#|| a part of his quest being to find those alchemy books you find throughout the game

[hcadlesshuntcr]

I do think the idea of Eirnin being a companion would be Funnie. Thinking about him going to Baulder's Gate to join the Harpers (I think he'd make a fine Harper). A lot of "Eirnin disapproves" when talking about helping the big three. Embracing the tadpole. Trusting the emperor. He has Kendrick level hate for THAT mf, a talk for another time. Doing tasks for certain randos without asking for money (unless the well-being of kids/those considered innocent is involved).

He's very helpful when dealing with Ethel in act 1. He picks up on her in the drove. Finding her again and passing that nature check that hides her comes easy for him. He tells your TAV/Durge to knock out her masked, so they can come back to remove them after they defeat her. Not to talk to that panicking drow. He's neutral to the use of the wand, being undead himself. He does warn the woman her husband won't be as she knew him.

In act two he's helpful when dealing with that pixie. He'll talk to her if your TAV/Durge is annoyed by her. He speaks her language and will hold onto the bell to activate it when it comes time. There is HEAVY disapproval that comes with making another moon lantern. He's very eager to meet Jaheira.

He comes through again with Ethel in act three. He's VERY excited abt that hagsbane recipe >:)). He'll offer to make it for you. You get approval if you let him. You'll also get approval letting Conner rest. Heavy disapproval when taking Raphael's deal HEAVY approval tearing through the House of Hope. He's been dying all over again to kill Raphael.

His good ending is him joining the Harpers. A romance ending varies, but it's ideally the two of you traveling together, either as Harpers together, or to be more independent contractors together. A bad ending with him involves him in service to a higher power. Maybe joining that thieves guild you find in the sewers, I fucking forget their names. That or that other group that I'm forgetting that dresses in yellow. He's good at stealing, and people already assume the worst of him when they know what he is. He either shows up at the end party with a lot to say or nothing at all.

[emperor-of-blood]

I have a unique one. Comic reviewer, Linkara from Atop the Fourth Wall. For some odd reason, I see him being either a Doom player or a Heart player. Btw, advice for this, watch the storyline compilations on his channel. Sorry if I sound demanding.

I just want to start off by saying that this is so fucking funny. I will absolutely do this. What’s next step of this, classpecting the Nostalgia critic or some shit?

For those who have no idea who this is you’re in the same boat as me. I assume nobody else is going to watch the storyline compilations so I’ll give a quickish summary of who this guy is with a quick disclaimer that I’m not going to be watching the full playlist. Here’s the link for the playlist if for some reason you wanted to watch too: https://www.youtube.com/watch?v=Ru4jsxzndoo&list=PLxCy3y2-ZD2EMO8tW4FKYtvKAMLLS12ZE

After I started watching I realized I have seen his stuff before. One of my friends watches his stuff and I think I’ve absorbed some of it through osmosis. Anyways, let’s begin.

Linkara specifically reviews only shitty comic books on his channel. Interspersed throughout these is some sort of story that happens around his reviews. There’s robots that come to kill him and other random bullshit. Lots of it is poorly edited nonsense that comes off as him and his friends doing home videos back in 2004 except they turned out actually funny.

So I know exactly coming from when you say he’s either a Doom or a Heart player. I think I’d lean more towards a Heart player just because, while it isn’t because it’s on YouTube, it seems like this is almost something he just does for himself that other people happen to find entertaining. With Heart players focus on the self it adds up. As for Doom, considering his hobby/job is to subject himself to reading shit he absolutely hates and then be angry about it for a while he definitely falls under the category of Doom. Less “Suffers for his art” and more “Suffering is his art”. I don’t really think he could possibly fit into any of the other aspects. Maybe there’s an argument to be made for Breath but I can’t think of one. So with that said, I’d pin Linkara as a:

Rogue of Heart

One who steals [Heart]/steals from [Heart]

So, what does this actually mean? Even though we have a canon example in Nepeta, she isn’t exactly helpful regarding classpects. She doesn’t really ever do much related to it. People cite her obsession with shipping fairly often and I just don’t agree. Remember, relationships are the territory of Blood. Heart deals with the self and the soul. Part of those are emotions, which also fall under the Heart umbrella. Her obsession with emotions specifically in her case romantic ones, alludes more to her classpect. It’s a nuance for sure, but an important one. For dear, sweet, Linkara his focus is completely different. It’s the emotions that he feels from reading garbage. He’s so passionate about it that he made a YouTube channel just to share it with the world. But what is he actually stealing? Cuz that’s a pretty defining point of the Rogue class obviously.

It’s an awkward way to put it, but he’s stealing those emotions and experiences he has and sharing it with the internet via his videos. I’d say maybe his habit of playing several different characters in these little skits he does could count as splintering to a certain extent; more proof that he’s a Heart player. The skits themselves interrupting his main content, the comic reviews, could also be counted as him stealing from himself. He takes the spotlight away from what he came for to do other random bullshit. Honestly, it’s hard to comment on much else from what I watched. I can’t even definitively say if his love life is as fucked as canon Heart players are (Tho I can guess).

In a session of Sburb I think Linkara would actually do decently. He seems at least moderately creative, which is a huge boon regarding alchemy. It looks like he’s got enough stuff around his house to come up with decent weapons and I don’t think he’d throw Superman merch or anything equally as stupid into his Kernelsprite. His session would probably end up being rather normal and, dare I say it: FUN. I have no fucking idea what his personal quest could possibly be about. Probably something not related to his YouTube channel though. As for the classpect powers he might unlock... Maybe it’d be something like he can “Steal” traits from targets and hand them out. And you end up with a team of people who look like this:

Thanks for the ask Anon! Despite taking upwards of 3 weeks to answer this I did really enjoy it. Hopefully I’ll be able to continue this sort of stuff!

[latter-day-saint-nick]

Here‘s a list of all the books with queer protagonists I’ve read this year. While I do actively seek those out, there are several books on here that I didn’t know had queer themes when I picked them up from the library and then I was pleasantly surprised by lesbians. I‘ll avoid spoilers except when discussing trigger warnings.

 Kaleidoscope Song by Fox Benwell

Neo, a South African teenager, is obsessed with music of any kind. Her love of music brings her together with the singer of a local band and they have a passionate relationship that they must keep secret. The descriptions of Neo‘s life and her tendency to hear music in everything are beautiful and dynamic. The author included a list of the songs Neo is listening to throughout the book, so I was introduced to a lot of cool music from South Africa and other places. TW: Corrective rape and Bury Your Gays. This is a book by a queer (albeit white British, rather than black South African) author writing about a very real problem that exists within our communities, so it feels different to when a cishet author kills off a queer character just for shock value. I still can‘t help feeling that he could have made the same point without having the character die – just have her be injured. Still, I loved pretty much everything else about the book, so it gets a tentative recommendation from me.

The Mermaid’s Daughter by Ann Claycomb

25-year-old opera student Kathleen tries to cope with the constant pain in her feet, nightmares about having her tongue cut out, and desperate yearning for the sea. With the help of her girlfriend Harry she delves into her family history to uncover the secret of a curse spanning generations of women. What’s nice about this book is that Kathleen and Harry’s relationship is accepted by all their family and friends without question, so if you want to read a nice wlw fantasy story with no homophobia, this one’s for you. TW: Some discussion of suicide, but nothing too graphic.

The Miseducation of Cameron Post by Emily M. Danforth

A teenage lesbian is sent to conversion therapy by her religious aunt. This is basically a coming-of-age story as the title character comes to terms with her identity and the death of her parents. It’s considered an important work of LGBT YA literature, so I really wanted to like it more than I did. Most of the first half of the novel deals with Cameron’s everyday life in her small town in Montana, which was, to be honest, rather boring to me. The pace of the story picks up a bit once she gets sent to conversion therapy, but even then it’s slower and less eventful than I would have liked. But since it is a popular book, that’s probably just me. I did like that the two best friends she makes at the therapy camp are a disabled girl and an indigenous boy, two types of people that are not often represented in queer fiction, so that’s something. TW: Conversion therapy and self-harm.

Proud by Juno Dawson

This is a collection of poems and stories about queerness aimed at a YA audience, and each one is a pure delight! These stories detail moments of joy and pride that make you feel happy and hopeful about being queer. They include a high school retelling of Pride and Prejudice with lesbians, a nonbinary kid and his D&D group on a quest to disrupt the gender binary at their school, a magical phoenix leading a Chinese girl to find love, and gay penguins. All stories, poems and illustrations are by queer writers and artists. Seriously, I cannot recommend this collection enough!

Spellbook of the Lost and Found by Moïra Fowley-Doyle

An Irish magical realist story about three girls who perform a spell to find things that they have lost. The spell appears to have wider consequences than they expected, bringing to light things that should have stayed lost. This book has three narrators, two of whom are wlw. It treads a nice line between fantasy and reality, and has some pretty good plot twists. Also, there’s a crossword at the end, which is awesome. More books should come with crosswords.

Ancillary Justice, Ancillary Sword and Ancillary Mercy by Ann Leckie

A space opera trilogy set in the distant future about the embodiment of a ship’s AI who seeks revenge against the ruler of a colonialist empire who destroyed her ship and killed her beloved captain. This is not beginner’s sci-fi, as it is very complex and intricate, but if you’re fine with a bit of a heavier read, you’ll be rewarded with some very interesting concepts. What makes this series queer is that the Raadch empire has no concept of gender and uses female pronouns for everyone. This makes every romantic relationship queer by default, whether we are aware of the characters’ sexes or not. I found it particularly enjoyable when Breq, the protagonist, tried to communicate in different languages that have gendered pronouns, which she had to navigate carefully in order not to offend people. She tries to look for outward clues of gender, such as hairstyles, chest size, facial hair or Adam’s apples, but even then often gets it wrong, because these things are not always consistent. That is just a great depiction of how arbitrary ideas of binary sexual characteristics tend to be. Also, I guess technically Breq is aroace, but since she’s not human, I’m not sure if she can be considered the best representation, though she is a very likeable character that I enjoyed following.

The Gentleman’s Guide to Vice and Virtue and The Lady’s Guide to Petticoats and Piracy by Mackenzi Lee

These books are a lot of fun! They’re historical adventure stories with a bit of fantasy thrown in, featuring disaster bisexual Henry Montague, his snarky aroace sister Felicity and his best friend Percy whom he is secretly in love with. In the first book, the three teenagers are sent on a tour of Europe for various reasons, but they quickly abandon the planned route when they get embroiled in a plot involving theft and alchemy. The second book details Felicity’s further attempts to become a doctor, which leads her to reunite with an old friend and chase a tale of fantastical creatures.

The Spy with the Red Balloon by Katherine Locke

Technically I read this one late last year, but whatever. I just wanted to put it on the list to have an excuse to talk about it. It’s about two Jewish siblings with magic powers who are recruited during World War II to take part in a secret project to fight the Nazis. Both siblings turn out to be queer: the brother is gay and demisexual, while the sister is bisexual, and they each have a love interest. This book is an independent prequel to The Girl with the Red Balloon, which takes place in East Berlin during the time of the Wall, and is just as good, albeit not as gay.

We Set the Dark on Fire by Tehlor Kay Mejia

This book tends to be classified as fantasy, because it takes place in an alternate, Latin-American-inspired world, with a distinct history, culture and religion, but there’s no magic at all, so I’m not sure it counts. But I digress. The country of Medio is built on classism and acute xenophobia. But by hiding her status as an illegal immigrant, Daniela, a girl from a poor background, manages to rise to the top of her class at her elite finishing school and become the first wife of one of the most powerful young men in the country. But her new comfortable status is threatened when she is pressured to join a group of rebels who fight for equality. At the same time, she also finds herself falling for her husband’s second wife. Obviously, this book’s political message is very topical, but beyond that, it’s just a very good story, with a well fleshed-out fictional world and great characters. This is the first in a series, with the sequel, We Unleash the Merciless Storm, coming out in February.

All Out: The No Longer Secret Stories of Queer Teens Throughout the Ages by Saundra Mitchell

A very nice collection of short stories about various queer teenagers in different historical settings, from a medieval monastery to an American suburb on New Year’s Eve in 1999. Most of the stories are realist, but there are a few ghosts and witches to be found in-between. What I found particularly notable about this book is that it featured several asexual characters, which you don’t often see in collections like this. I definitely recommend it.

Under the Udala Trees by Chinelo Okparanta

This is a thoughtful, heart-warming life story about a woman growing up during the civil war in Nigeria. After Ijeoma, a Christian Igbo girl, is sent away from home, she finds her first love in Amina, a Muslim Hausa. Even after they are found out and separated, Ijeoma doesn’t quite understand what’s so shameful about their love. Still, as she grows older, she attempts to fit into a heteronormative society while also connecting with the things and people that make her happy. TW: Homophobic violence, including an attack on a gay nightclub. The novel makes up for this by having a remarkably happy ending.

The Watchmaker of Filigree Street by Natasha Pulley

A young man in Victorian London finds a mysterious watch on his pillow, with no idea how it got there. This sets into motion a strange series of events, which leads him to a lonely Japanese watchmaker, to whom he finds himself increasingly drawn. This is an unusual novel that treads the line between historical fiction, fantasy and sci-fi. Most of the characters are morally grey and have complex motivations, but are still likable. I just really enjoy stories that take place in this time period, particularly when they are this thoughtfully written and don’t just take the prejudices of the past for granted.

If I Was Your Girl by Meredith Russo

A YA book about a transgender teenager, written by a transgender author. After her mother decides that she is not safe in her hometown anymore, high school senior Amanda moves in with her dad in a town where nobody knows her and she can try to go stealth. But even as she is making friends and experiencing romance for the first time, she constantly worries about what will happen if her secret comes out. It’s a fairly standard story about being transgender, really, but as it comes from a trans author, it feels a lot more personal and less voyeuristic than these stories tend to be when coming from a cisgender perspective. Amanda is a sympathetic and compelling character. TW: This book deals with a number of upsetting themes, including transphobic violence, being forcibly outed and suicide. There is a flashback to Amanda’s pre-transition suicide attempt, which I found particularly triggering. I also wish she could have come out on her own terms, instead of being outed in front of the whole school by someone she thought she could trust. It is still a pretty good book, but it can be very upsetting at times.

As I Descended by Robin Talley

A loose retelling of Macbeth that takes place in a boarding school in Virginia and involves two queer couples. The supernatural elements of the play are amplified in a wonderfully creepy way, and the characters are complex and realistic, so you understand their motivations, even when they do bad things. TW: Out of the five queer characters in the novel, three die, two of them by suicide.

A Day in the Life of Marlon Bundo by Jill Twiss and EG Keller

A charming picture book about the Vice President’s pet bunny who falls in love with another boy bunny and wants to hop around at his side for the rest of his life. This book was written as a screw you to Mike Pence, but even so it is a genuinely nice kid’s book that deals with homosexuality and marriage equality in a way that is appropriate for young children. The illustrations are incredibly cute as well.

Palimpsest by Catherynne M. Valente

A very strange, surreal tale about four people (most of whom are queer in some way) exploring a magical city that you can enter in your dreams by sleeping with someone who has been there before. I wanted to like this one more than I did, because I really love Catherynne Valente’s Fairyland books for children. But while some of the dreamlike imagery is cool and pretty, I found a lot of it weirdly uncomfortable, along with the frequent sex scenes.

The Pearl Thief by Elizabeth Wein

15-year-old Julia is home for the summer at her parents’ ancestral mansion in Scotland and gets involved with a plot about theft, disappearance and possibly murder. She also has her first crushes – on a man working at her parents’ estate and a young Traveller girl, respectively. This is a prequel to Code Name Verity, which has the same protagonist, though her bisexuality isn’t really alluded to in that, which is why I’ve kept it off the list, even though it is an excellent book. The Pearl Thief is pretty good as well, though it is a bit strange to read after you’ve already read Verity and know that this carefree teenage character is going to grow up to be a spy in World War II and be tortured in a Nazi prison. Do read both books, though. They are great.

Gut Symmetries by Jeanette Winterson

A young scientist falls in love with the wife of the man she’s having an affair with. There’s speculation about quantum mechanics and interconnectedness, all wrapped in very poetic language. To be perfectly honest, I really didn’t get it, so I have no idea what any of it means. But at least the main character is bisexual and polyamorous (and possibly genderfluid – I’m not sure).

Queer Africa by Makhosazana Xaba and Karen Martin

A collection of short stories by queer African writers, discussing themes like love, sex, marriage, family and homophobia. The attitudes towards queerness in these different countries varies. In many of them, homosexuality is illegal, even though same-sex relationships used to be respected before the interference of Western colonialism. In any case, these stories are an interesting and oftentimes beautiful examination of queerness from a non-Western point of view, some joyous and some tragic. TW: The second to last story is about incest.

[icameheretowinry]

Ed for character ask, if you want! Have a nice day ❤️

If I want? If I want??? If I want?!?!?! OF COURSE I WANT TO. Ed ruined my life in the best possible way and I will ramble about him forever. LET’S. DO. THIS. 

How I feel about this character:

Obviously, you guys know that Edward Elric is not only my favorite character in the fma universe, but probably my favorite character in general. He’s excellently written, deeply representative of the nature of humanity, and endures beautifully subtle development over the course of his story. I’ve done several character analyses of Ed, but I tend to ramble. Here, I really want to take my time, and talk about specific aspects of his character I think are the most worthy of note. This might get l o n g, so grab some snacks and settle in. Let’s talk about the Fullmetal Alchemist!

One of most defining and well-written characteristics of Ed is his tragic backstory. The consequences of attempting to revive their mother follow Ed and Al years after it occurs, and forms one the main backbone of their story. While the immediate aftermath tends to define a large part of Ed’s personality in the beginning, what makes him so fascinating is that he eventually learns that using his personal tragedies as an excuse for his shortcomings with get him nowhere. Instead, he learns to use his suffering as a springboard to make sure no one else ever has to feel the way he and his brother did. The awful things that happen to Nina are a major setback, but instead of collapsing further in on himself, Ed, mostly thanks to Al, realizes that not only is it ok to start by trying to save himself, but with that effort, he can become stronger, and by extension, do more to help others. So, instead of using tragedy as an excuse for his weaknesses, Ed faces them to make himself stronger, and throughout his journey, use them as markers of his progress, or as checks to his humility. 

Ed is also incredibly well-written to reflect his age. Sure, your average twelve-year-old is not an alchemic prodigy serving in the military, but I’m talking about how Ed reacts to his circumstances as a boy who’s just trying to piece he and his brother’s lives back together. Ed can play up the adult facade as much as he wants, but Arakawa also wrote him to be what he is; a kid. In the early stages of his story, Ed reacts to many inconveniences with fits of frustration, triumphs with unabashed cockiness, and authority or criticism with an upturned nose. Most of these immature reactions lessen or die out as his story progresses, as it does when someone starts to grow up. I can say that after living with a younger brother at ages 12, 13, 14, etc., Arakawa did a spectacular job of not only capturing those years with deadly accuracy, but applying them to an extraordinary individual like Ed in a way that felt effortless. While on a quest that eventually would determine the fate of the world as they knew it, he also gets nervous over a crush, and deals with the ups and downs of teenage friendships. (I mean, 99.9% of people’s best friends in high school don’t give up control of their body to an immortal being but there’s a metaphor I’m getting at here.) 

Another super interesting aspect of Ed’s character is his guilt complex. For someone who so acts his age, he still takes on blame for many things that legitimately weren’t his fault. He blames himself for the loss of Al’s body, though there was no way he could’ve know what Truth would’ve taken from him, or that Truth would’ve intervened at all. He chastises himself for not being useful in dire situations when Winry stepped up to deliver Dominic’s grandchild in Rush Valley. It wasn’t his area of expertise, while Winry, he acknowledges, grew up with doctors for parents and reading medical textbooks. He feels helpless, but how could he know he would find himself in such a situation? He even holds himself responsible as a culprit in Hughes’ death for getting him involved in their research of philosophers’ stones. What Hughes discovered about the nationwide transmutation circle was, ultimately, his own doing. In addition, besides blaming himself for the loss of Al’s body, a guilt that Ed carries to the end of his story was his inability to save Nina. Just because he was the first person to put all the pieces together, he thought that if he realized Shou Tucker’s true intentions that much sooner, she would still be alive. Yet, realistically, no one else had figured it out either. He was just in the wrong place at the right(?) time. Yet, all of this being said, the moments during which Ed overcomes some of his guilt are some of the most powerful in the entire story. (Learning that Al didn’t blame him for the loss of his body is a prime example.)

As I’ve mentioned in other recent character analyses, a complex personality is key to a strong and likable character, and my god, does Ed have one. Ed has many traits that make him just fascinating to watch. While his early cynicism of humanity fades away, he remains cocky, stubborn, abrasive, short-tempered, sarcastic, occasionally hostile to figures of authority, and not one above stroking his own ego. Yet, a lot of those aspects of his personality veer towards superficial. He views every human life (in all forms) as sacred, and something he is painfully reluctantly to use to further his own goals. To those who earn his respect, he is endlessly loyal, selfless, and fights for those who can’t fight for themselves. His personality also takes on a different tint (like a real person) when he interacts with different people. He fights to see the Ling within Greed, but ultimately respects Greed as a member of his team. He’s in awe, yet honest with Riza. He’s sarcastic with Roy, but when in danger, is his greatest ally. He’s level-headed, firm, and forgiving with Al. He’s uniquely gentle and compassionate to Winry. In short, he’s beautifully and painfully human. 

Finally, Ed is an excellent foil to the character of Father. While the latter tried to make himself a perfect being by ridding himself of humanity’s seven deadly sins (an idea I remember someone, though I can’t remember who, likening his goal to the idea of Nietzsche’s “Übermensch,” which is basically a form of superior man who could rise above traditional Christian values to impose his own. That sounds pretty accurate to me, but I’m no expert in this corner of philosophy.), Ed actively embraced all of his flaws, guilt, and well, sins, to ultimately become a more compassionate individual who is able to ultimately triumph over evil. (As a side note, Greed’s aid in this final battle really adds extra emphasis to his earlier explanation to Ed that “everyone wants something they cannot have.” The fact that Greed sacrifices himself in this moment to assure Father’s defeat proves that point several times over, which just makes those final sequences of the battle that much cooler [and heartbreaking]). The fact that Ed, who is riddled with what Father considers the ultimate faults of humanity, still overcomes him, proves that the rejection of own’s own humanity is a greater evil than the sum of it’s parts. As a huge characterization nerd, that’s pretty freaking cool. 

All the people I ship romantically with this character:

Edwin is easily one of my top five OTPs, and I honestly don’t see shipping Ed with anyone else. Like Roy and Riza, Ed and Winry’s relationship is built on years of trust, respect, friendship, and tragedy. While they sometimes struggle with communicating their feelings, whether its about each other or the circumstances they’re facing, they always manage to get their feelings across when the moment demands it. It seems that their respective obsessions confuse or annoy each other, yet, they each possess huge admiration for the other’s accomplishments and passions. They understand the harsh burden of losing their parents, and Winry never judges Ed for attempting to revive his mother, likely because she had the same kind of longing. In addition, each of them are deeply concerned for the safety of the other, with Ed especially going to great lengths to ensure Winry is unaffected with his involvement in the military. Sadness of one pains the other, and they’re both hellbent on making sure the other is, in the end, happy. Talk about the makings of a great relationship! Also, at the most basic level, they’re SO DAMN ADORABLE.

My non-romantic OTP for this character: 

I have to go with Al here. (Also apparently this got too long to add more gifs so rip to that idea…) These two have been through so much together, balance the weight of their varying personalities, and as a result, are the ultimate allies. Besides the deep care these brothers share, the most interesting aspect about them is how their personalities contrast and support one another. Ed is typically hot-headed and impulsive. Al is calmer and leans more towards logic. Ed has a big ego and is sarcastic. While Al has his moments, he’s unflinchingly kindhearted. However, their mutual passion for alchemy, humanity, and completing their quest are unmatched. The story is about brotherhood, and these two are the ultimate protagonists. Al’s superior battle sense, levelheadedness, and gentle personality are the perfect balance to Ed. He brings him back down to earth, yet encourages him to race to the ends of it. They joke and argue, but you know they would sacrifice everything for the other. 

My unpopular opinion about this character:

*sigh* The Ed being really short joke did eventually get old… 

One thing I wish would happen / had happened with this character in canon:

As is the case with many fma characters in my book, I want to see more! Knowing Ed, there’s no way this kid would peak at 18. I want to see his adventures after the promised day. I want to see him with Winry and his kids, being a great father, but I also want to see him traveling, discovering, and maybe getting himself into a bit of trouble here and there! At the end of years of struggling and hardship, I want to see the next crazy step in his journey. There’s no way he’d sit still for long. The sky’s barely the limit for Ed, and i want to see how far he flies. 

Send me a character, if you dare. 

[aion-rsa]

Oscars 2021: Frontrunners and Predictions

https://ift.tt/3cGcIj1

This is weird, right? In a normal year this kind of article would have been written closer to New Year’s Day, and the awards season red carpets would’ve been rolled up weeks ago. But 2020 really was a weird experience, to put it mildly. And among other problems, it caused the Oscars race to bleed all the way into April. Indeed, it’s mid-March and the weekly Sunday night ceremonies have barely begun.

Nevertheless, and despite hand-wringing from this time last year about whether there would even be anything worthy of nomination in 2020, we’ve just come through a resilient and even hopeful period for quality cinema. Movie theaters remain largely closed throughout the U.S. and Europe, yet filmmakers have found a way to get their passion projects out via streaming, video-on-demand, and for a precious few in limited capacity movie theaters. Through it all, the industry endured and quality work found an eager audience anxious for the catharsis of shared art—or at least a good Borat joke.

Thus the weekend before Oscar nominations are officially announced, we are providing our final predictions of who’s leading the race for Best Picture, and where the frontrunners might also stand in other Academy Award categories. The movies below are ranked from most likely to get a Best Picture nod to least likely.

Nomadland

The obvious frontrunner has long been Chloé Zhao’s Nomadland. This held true months before the Searchlight Pictures release picked up Best Picture prizes at the Golden Globes and the Critics Choice Awards in the last two weeks… but those certainly helped.

As a beautiful and lyrical elegy to the people America has left behind, and the fascinating American Nomad culture that has flourished from these hardships, Nomadland struck us as a modern day Grapes of Wrath when we saw the film at TIFF last year. In fact, the movie won the coveted People’s Choice Award at that festival, a feat achieved by recent Best Picture frontrunners La La Land and Green Book, with the latter succeeding at winning the top prize.

More impressive than tea leaves derived from historical precedent though is that Nomadland is the rare major Hollywood release from a studio (Searchlight Pictures, which is the prestige arm of the now Disney-owned 20th Century Studios) that opened in theaters for a limited period of time before debuting on Hulu last month. That commitment to the theatrical experience—although not absurdly so—will play well to Academy voters who’ve long resisted awarding streaming originals the Best Picture over the last decade.

Read more

Movies

Nomadland Review: A Modern Day Grapes of Wrath

By David Crow

Movies

Nomadland: How Bob Wells’ Real Life Story Grounds a Quiet Depiction of Grief

By Kayti Burt

Additionally, Nomadland is an achievement wherein the line between narrative storytelling and documentary filmmaking is blurred. That unusual alchemy has become Zhao’s specialty, and in a year of acute self-consciousness, finally awarding the talented Chinese filmmaker with Best Picture and probably Best Director is a refreshing nigh inevitability. Also expect nominations for Best Actress thanks to the ever riveting Frances McDormand’s haunting turn, as well as nods in Adapted Screenplay, Cinematography, and other technical categories.

The Trial of the Chicago 7

The new old adage of “if it wasn’t a Netflix movie…” applies heavily to Aaron Sorkin’s otherwise Academy-friendly The Trial of the Chicago 7. A truly terrific drama that recounts a gross miscarriage of justice enacted against eight men deemed “radical” for protesting the Vietnam War by the Nixon administration, The Trial of the Chicago 7 is a life-affirming period piece about a subject near and dear to Baby Boomers’ hearts: the culture war of the 1960s. The fact Sorkin finds direct parallels between its story about civil unrest and social injustice during the Civil Rights movement and modern demands for social justice at the tail-end of the Trump Years makes it doubly potent.

Read more

Movies

The Trial of the Chicago 7: Abbie Hoffman and Jerry Rubin Were the Martin and Lewis of the Radical Left

By Tony Sokol

Movies

Aaron Sorkin: Donald Trump Made The Trial of the Chicago 7 Movie Possible

By David Crow

(It probably also doesn’t hurt its chances that Yahya Abdul-Mateen II’s powerhouse performance as Black Panther Bobby Seale is supporting while Eddie Redmayne’s all-American embodiment of the New Left is the closest the film’s ensemble has to a lead). Sorkin’s ability to turn dialogue into spectacle has long appealed to the Academy, with his scripts previously earning him three Oscar nominations, and one win for The Social Network. We imagine though that he’ll again have the best chance to win in the Best Original Screenplay category, as Chicago 7’s Netflix status might just make it first runner-up, as Roma was to Green Book. However, don’t be surprised if Sacha Baron Cohen also pulls an upset in the Best Supporting Actor category for his resurrection of Abbie Hoffman’s ghost.

The movie is also a near lock for the Best Editing prize.

Minari

One of the best films of 2020, Minari has had a quiet ascent to the top. In actuality, the film has been cruelly misrepresented by other awards bodies. Categorized as a “foreign language film” by the Golden Globes’ Hollywood Foreign Press Association, as well as the Critics Choice Awards, this all-American story about Korean American immigrants attempting to make a go of it as Arkansas farmers is as American as Apple pie. And Lee Isaac Chung’s visibly semi-autobiographical portrait of his young family in the 1980s heartland, complete with a nuanced empathy for the plight of his parents and even his grandmother, make this one of the most beautiful triumphs about the human spirit committed to cinema this year.

The film was snubbed by the Globes from the Best Picture race, but the much more prescient Hollywood guilds, including the Screen Actors Guild (SAG), the Directors Guild of America (DGA), and the Producers Guild of America (PGA), have all recognized Minari’s brilliance. Indeed, Chung getting into the competitive DGA short-list speaks highly of its competitiveness. One year after Parasite shocked the world by winning Best Picture, here’s an American story that supported the theatrical experience thanks to A24, and whose inclusion speaks well about the future of American cinema. Putting it in its rightful place at the top of the ticket, as opposed to Best International Film, is also a very good look. Hopefully, nominations will also include Best Supporting Actress, Best Cinematography, and Best Original Score.

Ma Rainey’s Black Bottom

Perhaps showing the relative sparseness of this year’s cinematic offerings, I suspect we’re already past the point on this list where contenders have a sincere shot at winning Best Picture. However, a movie like Ma Rainey’s Black Bottom will surely be nominated. As a sledgehammer film about the pressures on Black artists in America, and the corrosive influence of white money used to appropriate that art, George C. Wolfe’s Ma Rainey’s Black Bottom hits like a ton of bricks.

Read more

Culture

Ma Rainey’s Life and Reign as the Mother of the Blues

By Tony Sokol

Movies

Ma Rainey’s Black Bottom Ending Explained

By Tony Sokol

This is in no small part due to the harrowing performances of both the late great Chadwick Boseman and Viola Davis. Expect both to be nominated in the Leading performance categories, with Boseman as close to a lock as possible for winning the Best Actor prize with his final, heartbreaking performance. The movie should also do well in the Adapted Screenplay, Costume, Makeup, and Production Design categories. 

Mank

A personal favorite of mine from 2020, Mank is an admittedly acquired taste. A meticulously researched and authentic portrait of the creative process and the uglier side of Hollywood’s Golden Age, David Fincher’s Netflix production is less a love letter to the industry than an affectionate middle finger. That abrasiveness has rubbed some audiences the wrong way, as does its expectation you know about the the debate of authorial credit on Citizen Kane. Nonetheless, this is a swaggering triumph of presentation and performance.

Ergo expect a large amount of nominations for Best Director (Fincher), Best Actor (Gary Oldman), Best Supporting Actress (Amanda Seyfried), Best Original Screenplay (Jack Fincher), and multiple technical nominations including Cinematography, Editing, Score, Costumes, and Production Design. For above the line nominations though, the best shot at a win may be Seyfried’s enigmatic turn as Marion Davies. Although, given the chances of two performances below, she’s now the underdog in that race.

Promising Young Woman

One of the most original and talked about movies of 2020, Emerald Fennell’s Promising Young Woman is a pitch black comedy/tragedy that’s as intentionally uncomfortable as it is bleakly amusing. A passion play for the post-#MeToo era that examines our culture’s treatment of women through the gaze of an avenging loner named Cassandra (Carey Mulligan), this soon-to-be millennial cult classic may honestly be too outside-the-box and ballsy (pardon the phrase) for the the typically more conventional, older sensibilities of Academy voters when considering the top prize.

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Movies

Promising Young Woman: Director Emerald Fennell Breaks Down the Ending

By Rosie Fletcher

Movies

Mank and Amanda Seyfried’s Quest to Save Marion Davies from Citizen Kane

By David Crow

Still, expect Fennell to also get nominated for Best Director while also being the frontrunner to win the Best Original Screenplay Oscar over Sorkin. It is a long established tradition for the Academy to award the most challenging (and stylish) Best Picture contenders a Screenplay Oscar over Picture or Director. Meanwhile, Carey Mulligan is likewise the frontrunner in the Best Actress category—deservedly so.

One Night in Miami

Despite premiering on the globally accessible Amazon Prime, Regina King’s One Night in Miami feels like it’s fallen a bit under the radar for most folks. Which is a shame, because this is a superb directorial debut for King and one of the most thought-provoking movies of 2020. Another adaptation of a play about the intersection between the soft power of celebrity and the hard responsibility of Black art, we personally argue One Night in Miami is the more challenging and intriguing adaptation: one that imagines what words might’ve been said on a mysterious night shared by Cassius Clay (soon to be renamed Muhammad Ali), Malcolm X, Sam Cooke, and Jim Brown.

Read more

Movies

The Internal Debate Within the Writer of One Night in Miami and Soul

By David Crow

Movies

Judas and the Black Messiah Ending Shows Horrific Legacy of COINTELPRO

By David Crow

With this being such an actor’s showcase, as well as one directed by a great actress herself, expect the Academy’s large thespian wing to power this into a Best Picture nomination. Leslie Odom Jr. also appears to likely be nominated for Best Supporting Actor due to his turn as Sam Cooke, as will Kemp Powers’ adaptation of his own play likely land him in the Best Adapted Screenplay race. However, after the DGA snub, I fear King will be ignored in the Best Director category.

Judas and the Black Messiah

At this point, we are examining films on the bubble of actually getting a Best Picture nomination. One contender that may yet squeeze in is Shaka King’s fearless depiction of the death of Black Panther Party Chairman Fred Hampton. Executed by police officers working on intelligence gathered by the FBI, the film of Hampton’s life is told from the vantage of William O’Neal, the man who betrayed Hampton to the feds.

A film with a more revolutionary heart than the similarly themed The Trial of the Chicago 7—in fact, Hampton is a supporting character in the Sorkin picture—Judas might be too zealous for more conservative Oscar voters; it also is a little narratively messier. It should be nominated for Best Picture, and its odds grew with a nod from the PGAs, which remains the best prognosticator for this category. However, it very well may wind up with only nominations for Daniel Kaluuya in the Best Supporting Actor category and a nod for Best Original Song.

On the plus side, Kaluuya is the clear and away frontrunner for Best Supporting Actor after winning in the same race at the Globes and CCAs.

Borat Subsequent Moviefilm

Borat 2 is a legitimate Oscar contender. Brave new world, indeed. While I’m still skeptical about it actually getting into the Best Picture race, that idea doesn’t seem impossible after Borat Subsequent Moviefilm earned a dark horse nomination at the PGAs. Granted the producers guild is always more eager to shower love on successful audience entertainments than the Oscars, hence Deadpool and Wonder Woman also getting recent PGA nominations while being shut out by the Academy. But those movies didn’t have a scene where a fictional character unmasked Rudy Giuliani as a dishonest creeper with his hand down his pants. So…

Read more

Movies

Maria Bakalova is Ready to Do Borat 3 in ‘Five Minutes’

By David Crow

Movies

Borat 2: Sacha Baron Cohen Reveals Dangerous Deleted Scene

By David Crow

Either way, expect Borat 2 to pick up a Best Supporting Actress nomination for Maria Bakalova’s star-making turn as Borat’s daughter, Tutar. It’s a performance that demanded as much spontaneity and improvisation as Baron Cohen’s, with Bakalova arguably being even more impressive as she also creates a sincere heartbeat underneath the snark. The performance was snubbed from winning a category it should’ve been a shoo-in for at the Golden Globes—Best Actress in a Comedy/Musical—but Bakalova recovered momentum by winning in the more 1:1 Supporting Actress category at the Critics Choice. She faces steep competition from Olivia Colman in The Father and Amanda Seyfried in Mank, but neither of them embarrassed Donald Trump’s personal lawyer weeks ahead of the election he was trying to undermine.

The Father

As someone who has watched a loved one suffer from dementia and the effects of aging, I can attest that Florian Zeller’s The Father is an accurate, and arguably too devastating of a portrait of a mind in deterioration. For that depressing element, I suspect Zeller’s film will play too tragically for Academy voters, who tend to prefer life-affirming stories in the Best Picture category. But The Father has an outside shot for nomination. And it will definitely get nominations for Best Actor (Anthony Hopkins), Best Supporting Actress (Olivia Colman), and Best Adapted Screenplay. The odds makers similarly say Colman’s the frontrunner in her category (even though she’s lost the major awards thus far), although I still have my doubts about that too.

Sound of Metal

Darius Marder’s depiction of a punk rock drummer going through early hearing loss got a boost of confidence from the PGAs nominating it for Best Picture. I could also see it sneaking into a Best Picture slot over Judas and the Black Messiah and Borat 2, especially with its story of a man learning to live again. However, it will most likely walk away solely with a nomination for Riz Ahmed in the Best Actor category.

Da 5 Bloods

Spike Lee’s follow-up to BlacKkKlansman may be one Netflix film too many for Academy voters this year. Which is a shame since this is an underrated slice of cinema that merges Vietnam War dramas with Treasure of the Sierra Madre thriller elements, and Lee’s singular dreamlike stylizations. At the very least, Delroy Lindo should be nominated for Best Actor. However, I fear Da 5 Bloods will be shut out, save for perhaps a Best Cinematography nomination.

News of the World

An underrated Paul Greengrass Western starring Tom Hanks, this is old school moviemaking that I suspect would’ve found a larger audience in a normal year. Instead it opened to mostly closed theaters and has gone strangely overlooked. At the very least child actor Helena Zengel should be considered for Best Supporting Actress for her poignant turn as a child torn between two worlds. However, this may only end up nominated in a handful of technical categories, with its best chance at a nod being for James Newton Howard’s rousing score.

Soul

Pixar’s Soul is excellent and will almost certainly pick up Oscars for Best Animated Film and Best Original Score. That might also be the extent of its nominations.

The United States vs. Billie Holiday

Lee Daniels’ by the numbers musical biopic about one of the defining voices of jazz being hounded to her death by the federal government will not be nominated for Best Picture. Sadly, this is a movie that should’ve been much better. Still, Andra Day will definitely be nominated for Best Actress.

Pieces of a Woman

An interesting (if somewhat cold) piece of cinema, Kornél Mundruczó’s Pieces of a Woman was always a long-shot before allegations of abuse against star Shia LaBeouf took it entirely out of the Best Picture running. Yet you can expect Vanessa Kirby to be nominated in the fifth spot for Best Actress for her raw essay of a woman who’s lost her child. Ellen Burstyn also has a dark horse shot at getting in for Best Supporting Actress thanks to her ruthless depiction of a grandmother denied.

Academy Award nominations are announced on Monday morning, March 15.

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[returnerofthesky]

why do you hate skyrim so much, anyway?

To be honest, I don’t… “hate” Skyrim, per-say? Hate’s too strong a word for any game for me, and even then Skyrim isn’t necessarily a terrible game despite how much I dislike it.

Which probably sounds weird, but that’s just me; most games that I dislike aren’t just plain old bad games. I don’t have an emotional dislike of, say, Bubsy, or Superman 64, or so on. They’re shit games, but there’s nothing particularly redeemable about them. They might have had potential, but it’s more conceptual, rather than being very flawed games with some good ideas (like Gates to Infinity, or Super Mystery Dungeon to a lesser extent).

Anyway, to get back to the question, the reason I don’t like Skyrim is because it feels creatively bankrupt.

To steal a quote from Super Bunnyhop, it’s hard to get engaged in Skyrim when every character feels like the most boring character, when every quest feels like the most boring quest, when every dungeon feels like the most boring crawl… you get the idea. To me it feels like every single time Bethesda had the opportunity to do something creative or interesting in Skyrim or its DLCs, they took the easiest, most boring route possible instead, even though it actively hurts the game’s appeal. And it’s very telling that what I consider to be the two most interesting quests in the game (the murder mystery in Windhelm and the peace treaty in the main story) are also two of the buggiest quests in the game.

Like, vampires in Skyrim are a good example of what I’m talking about. There’s a book in the previous games about a vampire hunter and a scholar (actually a vampire) advising him, and he describes Skyrim vampires as having breath that could freeze the blood inside of you, as well as actually living underneath frozen lakes and being able to reach up through the ice, grab people, and drag them under to feed. That’s not only a fascinating (and grim) concept, but an incredibly cool idea for a snow-based vampire.

Now granted, that’s a fairly dynamic idea, and it’d be hard to implement in Skyrim (especially given they never bothered to add underwater combat), so while I could criticize them for that, I won’t. What I will criticize is the fact that they didn’t even try to make the best approximation of that idea, instead opting to make vampires into slightly tweaked and reskinned bandits/draugr/etc etc.

Like, it wouldn’t need to be exactly like the idea presented in the book, but imagine this: vampires spawn in this invisible, walk-through-able state and have a circle that activates them. Once you walk in and out of that circle, an “invisibility spell wears off” animation plays and they properly spawn, body, weapons and all. Then, they aggro and you might get ambushed if you weren’t being careful. It’s not exactly like the book, but it’s close enough, and since the rest of the game’s enemies are so samey it’d be a nice change of pace.

There’s so many elements that are lacking that it’s very easy to sense the hand of the devs making out exactly what you can and can’t do, despite the whole TES brand emphasizing freedom. It’s obvious that you can’t do absolutely anything (well, at least it was obvious until Breath of the Wild came out), but Skyrim is especially bad at locking you out or not considering other options.

You can’t double-cross or double-deal in the Civil War aside from one single part that basically is the last chance for you to decide your faction. Being a thief is basically useless unless you join the guild, because the Fence perk for Speech doesn’t unlock until the skill is almost max. Conversations in general are far less varied and open-ended than before, meaning speech checks are few and far between as is. Stealth is only really useful for sneak-attacking, since most dungeons aren’t designed to be stealthed through completely. Most of the game’s “puzzles” are those simple match-the-symbol ones, and there isn’t anything particular brain-teasing or dynamic compared to even Oblivion.

I mean, even dragons have this issue. Anyone ever try fighting a dragon without any ranged options? It’s hell. And boring. And oh, oh so bland.

Similarly, like I mentioned, the quests themselves are incredibly bland. I’ve already seen plenty of posts on here throughout the years about how even the most mundane, non-combat-sounding quests usually end up with “please go to this dungeon full of Draugr and get my thing”, but it really is that bad. Most of the quests in Skyrim are either being sent to a dungeon to deal with the incredibly mediocre combat, or you get a vague, completely unashamed fetch quest.

A lot of this is tied to the Miscellaneous quest option, which is basically the game’s way of saying “we whipped up a quick, shitty quest in an hour or two, have fun”. In Riften alone, there’s at least seven or eight Misc quests that essentially amount to “I need you to find me some items, please”:

Finding ten fire salts for the blacksmith

Getting a sword and bringing it to its owner at the castle

Finding alchemy ingredients for the alchemy shop’s apprentice

Finding some gemstones and other items for a jeweler

Finding some gemstones for a bartender’s unfinished wedding ring

Finding ice wraith teeth for a lady to preserve her

Going to another big city to deliver a dagger

Going to a small village to pick up some ore and bring it back

And there’s very little proper “masking” to make these quests seem more interesting. The two quests that I didn’t include that are still fetch quests are a quest about mead being stolen (actually smuggled out at lower prices, which you can partake in or tell to the guards), and a quest about a Dunmer raised by Argonians who wants to find out more about his real parents (which is at least vaguely interesting in and of itself, due to the general relationship between Dunmer and Argonians and all that).

It isn’t just the Misc quests that suffer from this, though. Most of the writing is flawed, bland, or otherwise retreading old ground already, and a lot of it suffers from huge pacing issues. The main quest seems to expect that you’re not going to get distracted, so all of the “urgent” situations it sets up fall flat.

The Fighters Guild recruits you, has you do one proper quest where you find out that they’re werewolves, do one more radiant quest and suddenly they decide that you’re important enough to become a werewolf too. Not that “you know so you might as well”, but that you’ve actually done enough work (two quests worth, oh boy) to merit it (also you’re forced to become a werewolf even if you don’t want to). The Dark Brotherhood essentially does the same Oblivion story of a traitor in the guild over again, except with less interesting characters and less personal stake in the goings-on.

And the quests that aren’t tied to guilds aren’t really that much better, save for maybe a handful that I can’t even think of off the top of my head. It’s lazy, messy, and boring. It’s not completely, utterly terrible or full of plotholes, it’s passable at its best, but it’s still not terribly thought-provoking. I mean, thinking about it is what made me realize it’s not that good, so.

Perhaps more damning than any of this though, is that the gameplay itself is so boring. It’s already kind of an issue that Skyrim has iffy writing in a genre that generally needs to have semi-decent writing most of the time, but its gameplay isn’t really interesting enough to pick up the slack, either.

Admittedly, this problem goes back deeper than just Skyrim - even back during the Morrowind days, people were complaining about the combat due to how you could walk up to enemies and attack or use a spell, and you’d miss even though you’re standing right next to them. People still complain to this day about how confusing the combat is for an action-RPG.

But the problem with that logic is that Morrowind isn’t an action-RPG, it’s a proper old CRPG, more along the lines of Baldur’s Gate or Icewind Dale. You might be moving in first-person with the WASD keys and so on, but make no mistake that its core gameplay is far more in line with how the older isometric RPGs played, right down to standing right next to an enemy and missing your swings even though the animation played. When you view the game this way, most of its design decisions make a lot more sense.

Unfortunately, that never really registered (again, people still say Morrowind’s an action-RPG), so Oblivion changed things to have some sorta-kinda action-RPG combat. They didn’t rebalance the rest of the RPG elements (how to level up, level scaling, etc) to compensate, though, but instead of tweaking everything to work more naturally in Skyrim, they just removed all of the RPG elements entirely except for the Health/Magicka/Stamina thing.

Of course, that results in another problem: if the game is going to lean so hard on its action elements instead of its RPG elements… why not just play a better action game? Like, Skyrim’s combat is nothing to write home about. Oblivion’s wasn’t great, but at least it was faster and you could attack while jumping and swimming. Skyrim’s is just slow and clunky, and lacking in depth unless you actively choose to add it in.

The perks system is what ties into the combat problems the most. The issue is that the combat actually does have a small bit of depth and quality of life improvements… if you pick the perks that activate them. There’s two main screws with this, the first one being that due to how the level scaling works, you’re better off choosing the perks that just upgrade the raw damage you deal. Since even the most basic enemies slowly become health sponges, the fancy perks usually aren’t as helpful when it comes to actually defeating them.

The other screw is that these upgrades are even perks in the first place. While some abilities are understandable (like the one that sometimes replaces a normal cinematic kill with a decapitation), the ones that alter your power attacks to have extra effects have absolutely no business being optional when the combat is already as shallow as it is. If these tweaks to the power attacks had been default abilities, the perk trees could have been changed or expanded to capitalize on the differences between each kind of attack. On top of this, the choice between maces, axes and swords could have been more significant, rather than simply being minor differences in speed and power.

I know there are more abilities and special things you can do with the dragon shouts, of course, but between having to fight through dungeons in order to get those shouts, and then kill a dragon for a soul to unlock it, it’s usually too much of a pain in the ass to be worth it. Forget going out of my way to get Throw Voice - why not just give me a Noisemaker Arrow or something and be done with it?

The unfortunate thing is that despite all these issues, the combat is still generally just okay at best, so it can be hard sometimes to complain about it. But when the entire game is focused almost entirely around this combat, with almost no quest or gameplay variety to speak of, the only way it could be really seen as “good” by any stretch is by people who haven’t played other, better games.

But anyway… uh, yeah. tl;dr: I don’t like Skyrim because even though it’s incredibly safe and boring to play… it’s incredibly safe and boring to play.

Like, it’s oddly depressing to hash all this out because I really was excited for Skyrim six years ago, and I did genuinely enjoy it at first. Hell, despite all these problems I’ve still probably put way too many hours into it than I really should have. But nowadays, it just doesn’t feel that interesting. Oblivion, Morrowind, Daggerfall, and ESO are all much, much better games, and even though they have their flaws, they have a lot more interesting ups, as well. Morrowind is all-around an excellent CRPG, Daggerfall is an incredibly interesting roguelikey experience, Oblivion generally has better atmosphere and more quest variety, ESO has great combat and writing, albeit at the expense of stealth and some puzzles.

Skyrim... I dunno. Skyrim is stuck somewhere between being an average game and an undercooked one, and that really eats at me because I know that the franchise can do better. I didn’t even discuss a lot of the other problems I have with the game, just the major ones. But considering that Fallout 4 has a lot of the same issues, but even worse... I worry for what the next entry in the series might be, if it’s handled by Bethesda proper.