#And the overall way he act is basic queer coding | Explore Tumblr posts and blogs

thebigbrightsun · 3 years ago

Text

MIYA POSTING

IT WOULDN’T LET ME TYPE ENOUGH TO REALLY SAY ANYTHING I WANTED TO IN THE FUCKIN. COMMENTS?? so i am just gonna make a post and tag mr. @yymiya who asked. So. INFO ON MY OCS!! specifically Miya because she is my baby and i’ve been drawing her for a year now

so these two are Miya (left) and river (right). Their pronouns are she/purr and they/he respectively. i made Miya last year in english because i was bored and remembered a conversation i had with a friend (who wears hijab)(i do not) which was basically just how would a catgirl wear a hijab? they would obviously just wrap their ears because it seems like kind of a hassle to cut out ear holes in every scarf you own and most hijabis cover their ears anyway, but if they had a tail would they wrap it? if catgirls were common enough would there be specially made clothes for them so they could cover their tail in a sleeve or something? we decided that its up to the person (like most things) but it’s probably not that common.. Anyway Miya doesn’t even have a tail in the main universe HAHA but it was an important question to answer i felt

i made River much later, in about april of this year? i thought Miya needed a skater boy friend (not boyfriend, as she is a lesbian🫶) so i made them also during class. to be honest i don’t have much of a story for either of them but they were really fun to draw messing around on my papers, i’m sure my teachers were sick of them lmao

if i were to make them into a comic of some sorts, i’d probably make their stories short and funny, while exploring themes of youth and growing up and finding your place in society as a minority/someone seen as ‘weird’. as an autistic queer poc, i didn’t really get much representation growing up, and i think seeing someone who acts and looks like me, who leads a life similarly to me, could have saved me from a lot of self-hatred when I was younger and didn’t know why I was different. a huge reason i still make art to this day is to help people who feel and look like me feel a bit better in their identities, because i know the representation i have seen, even if its few and far between, has touched me in ways i can’t even begin to explain. it means so much more than you’d think.

Anyway. the fantasy au kinda just came about one day when i was in a mood and felt like making fantasy character designs and stuff. i don’t have much of a storyline for this one either but i have a very vague idea on what it’s gonna be about, and i’m gonna develop the story as it is gonna be a big part of my Inquiry Question for Ap art this year👍👍👍

SO. these are their original fantasy au designs. i was actually pretty happy with miya’s first design, but for overall silhouette and posing issues i had to change her skirt, but i thought it looked stupid so i thought i should just rework her clothes altogether.

i’m gonna keep showing people this sheet because i am ridiculously proud of it. anyway. Even when i first started drawing Miya, way before i even thought of the fantasy Au, I had some specific design choices mind. I always wanted her to have catlike eyes, so i tried to imitate the shape of them while keeping them pretty human looking. the silhouette of her hijab is kinda exaggerated and not very realistic just so i could properly communicate the fact that she is supposed to be a cat.

in her original design, she’s supposed to be much closer to a human, with the only distinguishable traits to set her apart being her ears, her eyes, and maybe her hands. i wanted to put most of the “cat-coding” in things like the hoodie she wears, which has a tail, or the fact she paints paws onto her converse, or gives her self a dan-and-phil-style nose and whiskers (AHAHAKAHDHFKBS NOT A WORD). i also wanted her to be younger, about 15-16 in the modern universe, but that’s a difference I only made relatively recently, which you can see in the two pictures above.

with the fantasy AU, i wanted her to be honestly closer to an anthro than human. I didn’t want her to BE a furry, necessarily (no hate to furries, i am the number one furry enthusiast), but i wanted her to have much more animal-like traits. She’s very inspired by Tabaxies but i didn’t want the fantasy au to be in the 5e universe because i have several problems with racist stereotypes in DND.. anyway, miya is almost completely covered in a light layer of fur, has paw pads on her feet, almost has a muzzle, has a cat shaped nose, ears, a tail, and retractable claws. the only things keeping her from being a furry, at least in my mind, is that she has human hair and isn’t digigrade, and has much more human-like proportions, like the ratio of ear to head, head to body, torso to leg and so on.

i’ve put a lot of work and love into her design! while i can’t say everything has a concrete reason, almost every detail on her is intentional, one way or another. like, how she doesn’t have paw pads on her hands but does on her feet because she’s bipedal, and cats have paw pads to muffle the sound of their footsteps when stalking, for prey or otherwise. she also doesn’t need shoes because of her paw pads, but if it gets a little cold she might wrap something around her feet. shoes are very uncomfortable for her. (can you tell i’ve been dying to tell someone about that in particular i think its so clever)

other little details are, i made her headpiece mostly to bring more gold up by her face. it helps balance out the colors i think. the green in her eyes is inspired by my cat! and i don’t think cats can have brown eyes, but it was mostly bc i didn’t want to just give her green eyes (bc brown ppl with light eyes kinda freak me out cough cougb my sister cougb cough). the circles with smaller dots around them on her sampin songket are suppose to vaugely look like paws. i was gonna actually make them paws but that felt a bit on the nose.

i think thats all i have to say for now… i will talk more abt river when i finish their character page. there’s nothing really wrong with their current design, other than the fact that it’s kinda really boring, so i’m working on adding more character and interest! here’s the sketches i did in my sketchbook, i’m currently working on tracing n coloring them digitally

here they are!! also i said earlier that in the modern au miya is supposed to be younger but i never said how old she’s supposed to be in the fantasy au and i cant find a smooth transition to talk about that so i will say that here. She’s supposed to be like 18-19 in the fantasy au, i just think it would make more sense for what they’re supposed to be doing throughout the story (exploration, fighting, potential mortal danger, i think its a bit much for high schoolers is all). river is slightly younger but still around the same age as miya, so same thing for him too. they look really young in the sketches above bc my art style was doing something funky that day lmao

that is all!! finally!! for now at least. (if u saw me post this way earlier than i meant to No You Didn’t.)

#ocs #original characters #character design

10 notes · View notes

disasterbijamietartt · 4 years ago

Text

Okay, so I said I would do a post about Jamie, Keeley & Roy and growth, (im)maturity, accountability, double standards in the fandom and all that shit, but then, oops, I started watching Schitt's Creek, lmao, and now I won't have time to do this before the next episode airs, which probably will give me new things to think about anyways, so I'll just do a full on analysis of anything Jamie, Keeley & Roy during my rewatch between season 2 and 3.

But there is this one thing I noticed and need to get off my chest, and that I hope will be addressed in the last two episodes: The show usually is pretty good at pointing out bullying and presenting it as wrong (Jamie bullying Nate and Sam in season 1, Nate bullying Colin and Will in this season). But when Roy mocks Jamie and has him repeat that he is an ugly ugly boy etc. it is played as a joke and no one holds him accountable for it, even though it is super fucked up if you really think about it. Roy basically abuses his power as his coach to humiliate Jamie - it is childish enough that at that time he probably has ignored Jamie for weeks. Roy is a grown-ass man, like 14 years older than Jamie, and really shouldn't be acting so goddamn immature.

Anyways, when Jamie realizes what's happening, that Roy looked through him and is mocking him, he still begrudgingly plays along, since he truly wants Roy's help. And after "Man City" it just hurts watching the scene, since being treated like this must be something Jamie is painfully used to. And the way Roy gradually gets closer to Jamie, stepping into his personal space is—while being different in tone and overall demeanor—still eerily similar to the way James Tartt sr gets into Jamie's face in "Man City".

(And I'm pretty sure that James Tartt sr called him more than once a pussy for caring about his looks, since he probably sees it as soft and unmanly. And probably gay. Since vanity is a frequent trait used to queer code characters, but that is a whole different conversation.)

And when Jamie gets rightfully pissed and yells at Roy, Roy tries to initiate a physical fight (again: the same way James Tartt sr shoved Jamie—it reminds me of the parallel between Ted yelling at Jamie in "Two Aces" and James Tartt sr yelling at Jamie in "The Hope That Kills You". That has to be a deliberate choice!).

Ted is completely right to tell Roy, that Jamie is the mature one, and Ted doesn't even know what provoked their fight. Roy's audacity to say, that Jamie refuses to stop being an arsehole! ARGH! At no point does Roy acknowledge, that he did wrong and mocked Jamie to get a kick out of it, when Jamie, you know, just wanted to built bridges.

And the whole "Deep down, at your core, you're a prick" line ... Don't even get me started on that. While Roy didn't know the full extent of the abuse that Jamie suffered through his father, he DID KNOW that Jamie had been acting like a prick because his dad had called him out for being too "soft". That this had been the reason for Jamie to become "tough" and "dominant". But he probably just dismissed it, like everything else hinting at Jamie not being a complete piece of shit. Roy seems unwilling to change anything about the image he has constructed of Jamie in his head, even though Jamie has obviously changed and everyone else is able to see it.

Only when Roy sees Jamie with his father this image shatters and he sees Jamie for the broken boy he is. He finally has to realize that what he believed about Jamie was wrong. That deep down, at his core, Jamie isn't a prick. And in hindsight he probably realized that what he said and did in "The Signal" was not okay.

And that is why I really need some interaction between them, something, goddammit, where Roy acknowledges he was wrong about Jamie! Because the thing that everyone loves about Roy and Keeley is them admitting to mistakes and being accountable to each other. And so pretty please just let Roy admit his mistakes and be accountable to Jamie too.

Jamie just needs someone to tell him, "the way I treated you wasn't right and I'm sorry. you deserve better. deep down you are a good person." Because he needs positive reenforcement and while his confession to Keeley was about her seeing potential in him becoming a good person, it sounds a lot like he doesn't believe that right now he is already good enough to be loved. That he is worthy of love and respect, now and not at some ominous point in the future.

Now this got longer and more rambling than planned, but I have a very soft spot for one sexy baby.

#jamie tartt #roy kent #my ted lasso thoughts #I'm thinking way too much about him #and crying way too much about him

70 notes · View notes

ladyloveandjustice · 4 years ago

Text

Spring 2021 anime overview: Quick Takes

Now for my Spring 2021 anime thoughts! I’ve decided from now on if a season’s like, 20- to-24 episodes I’m just going to wait ‘til it’s done to review it unless I feels super passionately, so though I watched To Your Eternity (it’s good!) and MHA (eh), I’ll comment on them next time. Also, for the record, I watched the first eight eps of Joran: Princess and Snow of Blood but I dropped it because it had clearly crossed the line from entertainingly dumb to boring dumb.

I will probably give Supercub and some other stuff a shot later, this was a stacked season! May give updates on all that later, but this is what I have for now.

ODDTAXI

Quick Summary: A mild mannered middle-aged walrus taxi driver is drawn into a case involving a missing girl, yakuza, Youtube clout-chasers, manzai comedians and idols with big secrets.

It’s rare to walk away from media and be like “that is a singular experience I will definitely never see repeated again” but ODDTAXI is definitely one of those. A tense noir thriller murder mystery starring cartoon animals that spends an entire episode detailing the one (cat)man’s very fall into darkness triggered by addiction to gacha games and an online auction for a novelty eraser? Also there’s a porcupine Yakuza who speaks entirely in rap? Also there’s tons of meandering conversations about stuff like manzai comedy and the struggle to go viral on Twitter?

Admittedly, I had a hard time getting into the first episode, the dry meandering humor not being enough to hold my attention while I was sitting still, but once I watched this while I was working out at the end of the season, I found it an easy binge. A ton of characters with dark secrets or dangerous ambitions, each with their own part to play in a tableau of intersecting events- and it all actually comes together really well.(As for the female characters, it’s a pretty dude driven story, but they do get nuanced characterization and even some good heroic moments from one of them.)

It’s a great example of a carefully planned narrative paying off, with all the twists appropriately seeded and foreshadowed to reward viewers who paid attention. Even when it ended on a perfect “OH SHIT” moment and denied me closure, I couldn’t help but respect it. If you that all sounds interesting to you, definitely check out the first couple episodes and see if you like it- you’re likely to have a memorable, satisfying experience!

Shadows House

Quick Summary: Emilyko is a ‘living doll’ who’s told she was created to act as the ‘face’ of her shadow master, Kate. The shadows and their ‘dolls’ all reside on the mansion and are required to pass a ‘debut’ to prove they’re a good pairing. If they don’t pass, they might be disposed of. And so the mystery of the Shadow mansion grows...

This slice of gothic intrigue was my favorite of the season, tied with ODDTAXI. With an interesting premise, slightly tense undertones and a strong focus on character building and relationships, it kept me hooked the whole way through. And for any squeamish fans put off by the hype about it, don’t worry, while there are some suspenseful elements, I wouldn’t qualify it as horror. I thought the relationship between Kate and Emilyko might end up being a completely sinister one, but it’s thankfully a lot more complex than that and it’s really interesting to follow how both their characters and relationship grow. The focus of the show is, unsurprisingly, on the “dolls” slowly discovering their autonomy and personhood as they struggle under the rigid system imposed on them by the mysterious elders of this weird Victorian mansion. Can they develop a more equitable relationship with their shadow “masters” (who are also shown to suffer under this system)? There’s a lot to dig into there, and the show has the characters develop through learning to understand and appreciate each other, which is pretty heartwarming. Our hero, Emilyko, is the typical plucky ball of sunshine (they even nickname her sunshine), but she’s also shown to be clever in her own off-the-wall way and she bounces off the far more subdued and cynical Kate well, not to mention the other ‘dolls’ she ends up befriending.

What’s more, the show spends plenty of time to developing several other character pairings and combinations, and they all have their own interesting dynamic that makes you want to see more of them. Same-gender bonds are at the forefront of this show, and many of them are ripe for queer readings (I definitely appreciated the healthy helping of ladies carrying ladies), but even outside that it’s nice to see a show where a strong, complex bond between girls is at the forefront. My only real complaints about the show are the anime original ending is noticeably a bit rushed (though it’s not too bad, and leaves room for a season 2) and I wish the animation used the whole “shadow” theme more strikingly (like the opening and endings do)- instead the colors are a bit washed out which makes the shadows blend into the background sometimes. The “debut” arc also drags a bit in places, but it makes up for it by having a lot of good character integration.

I hope to check out the (full color)! manga soon and see more of this quirky, shadowy story. There’s some physical abuse depicted, sad things happening to characters and naturally the whole “oppressive familial system” thing, but otherwise not much I can think of to warn about. I give this one a big rec, especially If you’re a fan of gothic fairytales and stories of self discovery.

Zombie Land Saga Revenge

Quickest summary: In this sequel season, everyone’s favorite zombie idol group must claw their way back into prominence after a disastrous show- the fate of the Saga prefecture LITERALLY depends on it!

This was a fun follow-up to the first season- if you liked the first zombie-girl romp, you’ll probably enjoy this one. In fact, there were a couple areas it improved on- namely, Kotaro failed, ate crow and embarrassed himself a lot more this season, which made him more likeable (as did the fact the girls gained a lot of independence from him). This season also shed more light on what the ‘goal’ of this zombie raising project is and what kind of shit Kotaro got involved with to make this happen, and it’s appropriately off-the-wall and ridiculous. We finally got some backstory for Yugiri too! I wish it had focused on more of her interiority, but she got to be a badass in it, and it was a treat to see this zombie idol show turn into a period piece for a couple episodes (also her song ruled).

Tae also got a cute focus episode and there was a particular SMASHING performance early on! Also That revelation last season that had the potential to turn creepy hasn’t yet, and hopefully never will. The finale was heartwarming with big hints of more drama to come- I’m definitely down for more zombie hijinks!

Vivy: Flourite Eye’s Song

Quickest Summary: A songstress AI named DIVA (nicknamed Vivy) is approached by another AI named Matsumoto, who says he’s from the future and they must work together to prevent AI exterminating all of humankind 100 years from now.

This show is absolutely gorgeous visually with some really nice action scenes, but when it comes to the story my feelings basically amount to a shrug. It’s fine! I guess! Vivy starts out as an interesting layered character- and I guess still is by the end- with her stoic but stubborn determination bouncing off her fast-talking bossy partner Matsumoto well. She never listens to him, which is delightful. The way the show took place over the course of 100 years was an interesting conceit as well. However, it bought up a lot of themes and then sort of... dropped them. For instance, Vivy interprets her mission (PRIME DIRECTIVE if you will) as protecting humans at all costs, no matter how destructive said humans are or what their fate is supposed to be, and is perfectly willing to murder her fellow androids to do this, showing she inherently thinks of androids (herself and her own people!) as less worthy. Which is a little alarming! There’s a very dramatic point in the show where they bring this up as a potential conflict for her character but then it’s sort of...dropped. Pretty much.

Actually, despite the premise, the show doesn’t dip into the “AI rights” as much as you think it would with the main theme being more about Vivy’s search to find her own creativity and discover what it means to ‘pour your heart into something’. Vivy herself doesn’t actually care if she has rights or anything. Which is in some ways fine, because ‘AI as an oppressed class’ has been done to death, but IT’S ALSO KIND OF IN THE PREMISE, so that means that the show just shrugs really hard at a lot of the questions it brings up basically just going “humans and AI should work together probably” and that’s it. There’s a lot that feels underexplored. The antagonists in the show also either have motivations that don’t really make sense or have boring hackneyed motivations. In the finale in particular, it feels like a lot of things happen “just because” and it falls a little flat.

I also have to warn that one of the arcs focus on a robot ‘pairing’ where the dude-coded robots actions toward his partner are straight up awful and rob her of her autonomy, but it’s played like a tragic love story. I suppose you could read it differently too, but it definitely made me go ‘ew’ the story seemed to want me to sympathize with this robo dude,

Overall, I wouldn’t anti-recommend this show, it’s an all right little sci-fic romp (and definitely SUPER pretty). My favorite element was definitely the episodes where Vivy develops an entirely new (an loveable) personality, because it played with the idea of of an AI getting “rebooted” really well and interplay between her two “selves” was done really well. But there are a lot of other parts of the show that just feel...a little underexplored and empty, making me have an ‘eh’ feeling on the show overall. It’s definitely an ambitious project, and while it didn’t quite stick the landing, there’s something to be said for a show that shoots for the stars and falls short over a show that just languishes in mediocrity.

Fruits Basket The Final

Quick summary: The final season of that dramatic drama about that weird family with a zodiac curse and the girl who loves them.

It’s very weird that after not cutting a lot out, they kinda sped through some material for, you know, the finale. I guess they thought they couldn’t stretch this final arc to 26 episodes? Or weren’t cleared for another double cour? However, though there were a couple places that felt awkward, despite being a bit condensed it mostly held together pretty well for a D R A M A T I C and ultimately heartwarming conclusion. I was really disappointed they kept the part where Ritsu cut their hair for the ‘happy ending’, I thought their intro episode not showing them in men’s clothes meant the anime had decided their presentation didn’t need to be “fixed” but WELL I GUESS NOT. That was the only big upset for me though, otherwise the adaptation went about how I expected, sticking to the source material. Furuba has a lot of bumps, from weird age gap stuff to ...gender, but it also has a lot of important feels and great character arcs. It was a gateway shoujo for many and has its important place in animanga history, so I’m glad it finally got a shiny, full adaptation.

#anime overview #spring 2021 anime #shadows house #oddtaxi #zombie land saga #fruits basket #vivy: fluorite eye's song #zombie land saga revenge #fruits basket the final #anime #my reviews #long post

68 notes · View notes

omegawolverine · 4 years ago

Note

Plesse tell me about queerness in the get down!!

okay okay queerness in the get down let's fuckn goooo

disclaimer: I havent watched this show in full for like 5 months at least, probably gonna get something wrong and/or forget some more important bits. also this wasnt proof read I just word vomited

tws: period typical homophobia, abuse mention, f slur use, bury your gays trope, overdose mention, mention of a creepy possible age gap (the age gap hasnt been confirmed so that's why its possible), cops

going from least to most prominent queer characters, let's start with mylene cruz!

so, from the beginning of this show she has an established romantic relationship with ezekiel (although the status of their actual relationship changes frequently throughout the show) and though this was a relationship she was hesitant to pursue, it is clear that she does have romantic feelings for him and if not for them both having growing careers in very different music genres (zeke specifically working in a genre that she repeatedly labels as bad because she thinks they're ruining records + that it isnt real music because they're using someone elses piece and rapping over it, that's not really important here tho lol) they probably wouldve had a much healthier, smooth sailing romance. that being said theres a few things that happen in the show that, while not explicitly clear, or even really good coding at that—to the point where you wont catch if you really arent looking for it (and trust me, I always look for coding, hers was just so little that it flew over my head until I saw someone else mention it)—are still cool to think about!

so, for starters, I wanna mention the toy box performance, which was performed by mylene and regina, who are best friends. that's all cool and shit, and you dont really think much about it...until you hear about the fact that the show runners purposely colored a lot of the scenes in that performance with the bi colors. like. the writers after the show ended basically said "oh yeah there was plans to make her coding more explicit, but our shit got cancelled soooo" and then dropped the fact that she was gonna be bi (or at least implies bi) in the series, which puts a new twist on a few things.

now, besides the bi coloring in the background of the toy box performance (which was mostly on scenes with her and regina, which involved a lot of uh,, lowkey lewd dancing. with each other. in very revealing outfits. wooooo), there's her music! I dont tend to read too much into this one bc, like I said before, her coding is fucking light and the writers themselves said they didnt really get to do much with it, but I think some stuff with her music is interesting. specifically how her, yolanda and regina's song set me free blew up because dizzee, resident (lowkey enby coded) bicon, got their song played in a queer club. also that the song was majorly important to dizzee and started playing literally right as he kissed a boy for the first time and realized "oh shit I like boys that's bonkers". also that the song can be taken in a gay way since literally the entire thing is about becoming your true self, fully and unapologetically, which is what both dizzee and mylene's entire character arcs are about. dizzee (and a lot of other queer people, apparently), heard this song about being set free and it resonated with them so much that they got that shit most of its popularity.

speaking of dizzee and mylene, they parallel each other a lot in the way that their arcs are about them realizing who they are, coming into themselves and no longer just letting people treat them like shit in a sense (dizzee starting to tell people essentially that they can call him weird all they want, they can make fun of how he acts, what he likes, how he dresses, etc. but he likes how he is and quite literally saying "it's okay to be an alien" as he has consistently compared himself to one throughout the show vs mylene learning that if she wants to be a disco singer she needs to put her foot down, not let anyone, not even the love of her life, not even her abusive father, stop her from achieving her dreams, etc. and continuing to pursue her career with or without their support). one more little parallel that I think is interesting is during I think s2 towards the end of the show is when dizzee and thor are shown together having fun with each other, painting all over the building and each other and are basically just being happy and in love together and then they have these clips of them being interspersed with clips of mylene at a party where she is starting to realize that if she wants to get anywhere she needs to be her own main priority and that she needs to put her career and her dream, which is what makes her the happiest, above all else if she wants to succeed. idk I just think how the show made these two into a weird parallel, accidental or not, is neat. maybe not an explicitly queer parallel, but I think at least how her music and whatnot helped dizzee, the main queer character in this show, blossom, is important.

moving on we got shaolin fantastic also known as "oh no your internalized homophobia is showing-"

so, heres a quick list of...interesting shao facts:

Consistently referred to as fag/faggot (shaolin fanfaggot is my personal favorite); he gets really defensive about this despite nobody actually thinking he's queer, it's just people being assholes to be assholes, and he is the only character consistently referred to using a slur, especially a homophobic one, especially for a "straight" character. dizzee, a canonically queer character, is called a fag less than shaolin is even though dizzee actively goes to gay clubs, has a not so secret dude he "hangs out with" and wont let anyone properly meet, paints his nails, wears less than straight clothes even by the 70s standards and is just all around the definition of fucking queer (and I mean like in the weird way, not the gay way). in fact theres only like once I can remember him being called a fag and it had nothing to do with him actually being gay it was literally just like thrown out there the same way you would call someone a bitch.

Has only shown sexual interest in women, yet refuses to have deeper relationships with women in general (possibly because of trauma but who knows) but takes his relationships with his "brothers", specifically zeke, very seriously

Tells zeke and zeke ONLY his real name when zeke was planning to stop being his friend bc shao more or less got boo boo, a like 14 year old black kid, arrested for selling hard drugs; he was clearly scared and trying to do anything to keep zeke around, literally chasing him down the street and hounding him until he got zeke to stop and argue with him

Kept threatening to beat up zeke in the end but couldn't actually bring himself to do so, instead saying that zeke is "fucking lucky" before walking away

Let's zeke get away with things that nobody else can, in general just has a weird soft spot for ezekiel that he shows with nobody else

when shao found dizzee with thor in a vaguely compromising situation (like they were just shirtless covered in paint sleeping next to each other but shao had also seen everything they painted on the walls ((which some of it was sus)), it was clear they had painted on each others bodies and dizzee had been routinely disappearing with this guy for weeks now yet not producing nearly as much art, at least, as far as we audience members know) he didnt judge him but instead, waited for him to get cleaned up and then told him something along the lines of "theres a reason why im so secretive blah blah blah [not everyone needs to know everything about me]", which, in context, kinda implies that he might be a lil. a lil homiesexual. jus a lil.

whenever even the possibility of zeke leaving him comes up he absolutely loses it. he has literally cost ezekiel life changing opportunities because he thought zeke would just up and leave him for them. this could be abandonment issues bc he's a severely traumatized character, and that probably does contribute to it, but it also is just not a reaction he has to any of their other friends just randomly dipping in and out of his life soooooo

generally speaking, this mfer has got either bisexual with a big hard on for zeke coding or homosexual with terrible internalized homophobia and still a hard on for zeke coding. either fucking way, that nigga gay. he gay as hell. gay as fuck man. there wasn't really much to analyze here tbh bc the coding is just so fucking obvious if you look for it or you are/have been a gay person who's dealt with at least a little bit of internalized homophobia.

also, just a sidenote, idk how fucking old shao, but I'm praying hes like at max 19 bc I'm pretty sure zeke is a minor in this show and shao definetly is not so the whole him being heavily implied to have a crush on ezekiel thing is kinda. oof. not oof if zeke is like 17 but any younger than that? OOF.

edit: apparently the characters are only supposed to be a year apart in age but i had no clue about that before writing this post and since shaos age was never actually stated in the show i naturally assumed he was an adult since his actor Looks Like An Adult. this is definetly on me to a certain extent, but i also never saw anything about this when trying to find our their ages so 🤷‍♀️ maybe i just didnt look deep enough, sorry!

now moving on to the main event...marcus dizzee kipling :]

so, first things first, let's talk enby coding bc him being bisexual was already confirmed!

um, to start off, I just wanna say I dont think this enby coding was intentional or even really coding, it's just moreso me being a dizzee kin on main and knowing as a transmasc enby he has very transmasc enby vibes. for example:

cool, gender neutral nickname that everyone calls him

paints nails various different colors

the whole wardrobe is just a transmasc enby heaven...fishnet shirts, jean overalls, jackets and cuffed pants galore, the big colorful pins, etc

gender neutral hairstyle (when I had my fro it was very sexy and made it easy to transition between hyper masc and vaguely fem, which is pog)

comparing himself to/representing himself consistently with an alien character (though this is meant to represent his sexuality, it could also double as a gender thing too, not neccesarily bc of the whole nonbinary alien trope but bc an enby who likes aliens might heavily identify or compare themselves to whatever their idea of an alien is, whether that just be a genderless entity or a motherfucker with fly style and no need to be perceived as anything other Wacky As Hell)

moving on from there, let's talk about how his queerness is presented to us and how, while it may be a really good piece of representation, especially coming from netflix, it still lacks in A Lot of places.

so, let's start with good things!

i personally really like the get down's queer rep with dizzee bc it's (for the most part) nonsexualized and very very soft, about dizzee figuring himself out and realizing there is a place where he fits in, and about two teenagers in the 70s falling in love over their shared passion for street art. it also features an interracial couple where both boys challenge stereotypes both about queer men and men of color, which is epic poggers and very sexy. this piece of rep specifically is very important to me bc I am a queer black person and even tho interracial relationships are mostly normalized now, I've still had people give me shit for primarily dating white people in a town that is...primarily white lol

mm anyways, I can also appreciate how in the get down, dizzee being represented by rumi the alien is not a thing specifically related to gender (as it often is) and instead is about his sexuality and just in general weirdness and how it has led to him being alienated amongst his peers, poc or otherwise. him seeing himself as an alien is not about just his queerness, which is important, it is about him being a queer black man who talks different, acts different, dresses different and is "soft"—he isnt a walking black male stereotype and he wouldnt have been seen as masculine back in the 70s by any stretch of the imagination. this can be relatable to a wide spectrum of queer poc, from queer black men currently who still have to deal with this shit or to people like myself who are afab neurodivergent mixed race enbies that have always been signaled out as weird and alienated for it. dizzee is god rep bc while he has a small part in this show, his parts are very impactful, hard hitting and show queer poc of all ages that they arent alone and that it's okay to "weird", you just need to embrace it because somebody will love you for you, as thor did for dizzee.

that being said theres um. some minor problemas here,,,

namely:

dizzee and thors first kiss

the lack of development this pairing got

the way dizzee was confirmed bisexual off screen, he never said the words himself, just showed interest in both genders

the way dizzee and thor were never even confirmed boyfriends or just fwb so most of the fandom just calls them boyfriends bc Why Not

dizzee was implied fucking DEAD??? AT THE END OF THE SERIES?????? AND THOR WAS IMPLIED ARRESTED?????????????

now, these might have been things that wouldve been fine had the show been given it's full run but it wasnt which is why we are now left with probelms.

so, from the top, let's go over these: dizzee and thor's first (and only "on screen") kiss was one that was shown in a montage of other queer people making over and doing other vaguely romantic/sexual things, one of those things being a whole ass naked titty being mouthed at, but the actual kiss...was just not shown? like they really did just say "yes they kissed <3 you know this from the context clues of it being in a montage with kissing, hickey giving and titty sucking <3 but no we will not show it <3" LIKE HELLO? I SAW A NAKED BOOBIE BUT NOT TWO MEN KISS??? HUH????????

also, dizzee and thor were both fucking high as hell during this bit like this isnt a terrible thing but it's also like sometimes you do shit when you're high that you wouldnt do sober and they just never kissed again on screen so like?? like idk that's not that bad but it does kinda irk me since they deadass got no other on screen intimacy after that unless you including painting on eacher other or sleeping next to each other on a shitty mattress but not touching at all during it bc they were both at opposite ends of the mattress like half way off it

so yeah, that was trash. then we got lack of development, which kinda goes with the "dizzee being a bisexual but he never says it in canon" thing cause like...okay dizzee was already sort of a side character from the get go like he wasnt the mc by any means, but he became way more of a background character as things continued until we basically only saw him for performances or when he was with thor, yet they got no fucking development as a pairing other than "dizzee realize he gay, he like thor, he and thor spend time together and ig probably do some gay stuff but we dont really know bc we only ever see them do graffiti together now" like?? tf am I supposed to do with that shit. answer. quickly. and then theres dizzee not being confirmed bisexual, which is just a running problem with shows literally doing everything to say a character is bi except for having the character just...say they're bi? which would be so easy? like a good way dizzee and thor couldve had some development is by thor teaching dizzee things about the queer community that he didnt even know existed, thor couldve helped him understand what being bi meant and helped him label himself and whatnot but instead we got an off screen confirmation that the writers had bisexual in mind when writing him. which is garbagé.

the whole thor and dizzee never having a confirmed relationship status is also a development problem cause like literally nobody knows if they were just friends who made out, maybe fucked, who knows, or if they were dating bc dizzee does give a love confession but a love confession doesn't mean there is a relationship, especially since thor didn't say he was in love either (as far as I remember, I could be wrong, plus whether or not that really happened or was apart of dizzee literally overdosing during a performance is unclear so 🤪)

and now for the biggest issue...bury your gays trope.

during the season 2 finale, dizzee and thor are chased by cops after they are found doing graffiti, one of the cops is able to catch thor while the other chases dizzee into a train tunnel and there is a train seen headed straight for him before the show cuts to black on a train horn. the show writers claim that if they had gotten another season, dizzee wouldve been alive but since they didnt and since that's essentially super fan trivia knowledge, most people dont fucking know that and instead had to watch a black queer teenager chose death over being fucking arrested by a white cop. on top of that, thor didnt see any of that shit because he was caught and the cop started hauling him off while dizzee was still being chased so thor literally has no clue where his friend/possible boyfriend fucking is or that he's likely dead in a goddamn tunnel all alone, unless you count the fucking pig that chased him in there who wouldve died too. this shows rep was so fucking good as far as most shows go on not having major fucking problems, on not being toxic and over sexualized, etc, etc. and then they just. killed a black queer teenager for no fucking reason. like it was literally the last episode ever, it would add nothing to the plot, it would just devastate fans and devastate it fucking did. I dont cry easy but seeing a character I identified with, who I had hyperfixated on, die because he'd rather that than be arrested is terrible. it fucking sucked.

so yeah. that's my all too extensive thoughts/analysis on the get down's queerness. theres definitely stuff I missed, or misinterpreted, or looked too much into, etc, etc., but this was a fun thing to spend time writing sooo yeah!! thanks for the ask anon, sorry this was just a big rambley info dump, but hopefully you get some enjoyment out of it since it took like 3 hours at least 😭😭 feel free to ask clarifying questions lol

#shit self #asks #the get down #mylene cruz #shaolin fantastic #dizzee kipling #long post #analysis #info dump #idk if anon has seen tgd or is just being nice so i tried givinh background to things #kinz #bangerz #discourse

76 notes · View notes

penelopefeatherington · 4 years ago

Text

BRIDGERTON EPISODE TWO SPOILERS : to quote critical role’s brian w. foster BABY GOT BACKSTORIES in Shock and Delight.

This episode starts with ... not surprisingly a flashback. It’s a Simon Episode Folks. Unfortunately it’s the same one that we read in the prologue TD&I. Simon’s poor mother, desperate to have a son, gives her life to give her husband an heir. I am in LOVE with the way they weaved Lady Danbury into Simon’s childhood / connect with his mother. I think it was such a good way to tell this particular story and how Lady D took such an interest in Simon. I’ve said before that romance novels especially JQ’s can be very insular to the main characters, and I think it was such a good idea for the showrunners to expand on the people around them as they weave this love story. Every single flashback gave me the exact same feeling I had reading the prologue, learning about Simon’s stutter and his father reacting to it, telling everyone he was dead, Lady Danbury sticking up for him against his father. & yes, I cried in both versions. It’s so important for first time viewers to know WHY Simon makes the decisions he does that lead to the things that it does and they did it in such a compelling way.

THE HASTINGS LINE ENDS WITH ME, is probably the mic drop of the season ( but we still have 6 eps ).

THE ELOISE PROBLEM. it’s not a problem, she just steals literally every scene she’s in. Asking the whole fam basically about sex. Telling Penelope they have accomplishments to acquire. I’m loving that we’re getting to see Eloise want more because it’s in every single book including her own that Eloise is afraid of settling for less than what she knows she can accomplish, is smart enough to accomplish. She’s afraid of loving someone and losing them like her parents, and the inherent tragedy that came with too many births in her time. She’s afraid of watching the people around her settle because she wants better lives for them. She & Jo March & Elizabeth Bennet would be best friends & co-presidents of the ‘queer coded middle sister’s club ‘ ( they’re all the Main Character ). Two of my favorite scenes were 1) Benny & Eloise, two overlooked Bridgerton’s who want to rail against the expectations set before them because of who they are, sharing a sneaky bad kid cigarette together, sharing the knowledge that they both want more , 2) Eloise telling Daphne she remembers her mother giving birth to Hyacinth and almost dying ( more proof that A & D took on a ton of responsibility after their dad died ) despite Daphne’s efforts to keep her from it, and telling Daphne that she feels bad about ‘ the game of pretend she feels she has to maintain. ‘

Nigel can suck it & I don’t even feel bad that he got his ass beat. I feel, & i think i’ve said it before, so much of the issues between Simon/Daphne/Anthony & now Violet are that they don’t communicate in any kind of healthy way. Which doesn’t make for compelling television most of the time but it’s so frustrating to watch like simple things being able to be resolved if someone had just .... told the other person this info.

One thing I love about this show is how much more aware of themselves and their station women are in the show & how they know how to use that station to get SHIT DONE ( Violet using gossip/the truth to get out of the engagement to Nigel ). They’re not ever going to be out from under what the ton thinks or how the men that control their calendars and their engagements and their proposals ( this is a vague @ show!Anthony Bridgerton ), but what they do control & how they use that to their advantage is so great to see.

WAS LADY WHISTLEDOWN REVEALED? no. SOME NOTES I TOOK DOWN : eloise: are you? benedict: are you? eloise: are you gay? benedict: yeah i’m gay are you gay? eloise: YES! / beat his ass simon x 2 ( abt anthony & nigel ) / WOMEN GET SHIT DONE / colin & benedict vaudville act coming soon BEST SCENE OF THE EPISODE : simon beating the shit out of nigel berbrooke & eloise asking about sex were contenders but honestly ? it was the quiet conversation between eloise & benny.

Overall : 9/10

#bridgerton #netflix bridgerton #shock and delight #bridgerton lb /#bridgerton spoilers /#episode review.

20 notes · View notes

abigailnussbaum · 5 years ago

Text

How to do Garak/Bashir in Canon DS9

Yesterday there was a fun tweet asking people how they would remake DS9 if they were given the option today.

Which led to some fun discussions (you can see my answers here). Obviously one thing that pretty much everyone said was “canon Garak/Bashir”. That’s generally considered one of the show’s big missed opportunities, with both Andrew J. Robinson and some of the show’s producers expressing regret over never having gone there. But it did get me thinking: how would you tell this sort of story? Because look, it’s one thing to write Garak/Bashir in fanfic, filling in gaps in the canon or changing the entire tone of the story to suit your ‘ship. But if you’re retelling DS9 along basically the same lines - the end of the Cardassian occupation, the discovery of the wormhole, the Jem’hadar, the Dominion, the war with Cardassia - and with the personalities of the characters and the tone of the show largely unchanged, how do you fit Garak/Bashir into that story?

There are some obvious issues with trying to work this ship into the show’s story and overall tone. For one thing, Bashir is a Starfleet officer. We like to make fun of his early, annoying incarnation, but even in that form he is clearly a decent, principled man with strong values. It’s one thing to flirt (literally or figuratively) with a mysterious, sexy spy, but getting into a relationship with him would not only be stupid, it would run counter to Bashir’s image of himself. You could go in a dark direction with this - Garak seduces Bashir purely as a way of gaining power over him (and perhaps out of force of habit); maybe they end up in a kind of Hannibal/Will relationship. But that doesn’t seem sustainable in the long-term, or congruent with the type of show DS9 was. Bashir can’t trust Garak, and Garak has done things that Bashir would consider disgusting. That’s something you have to take into consideration if you want to write them as a long-term couple.

It’s also worth considering that, as much as the Garak/Bashir pairing lingers over the fannish perception of the show, it’s not actually that prominent in the series itself. The last episode that I would call a Garak/Bashir story, “Our Man Bashir”, is an early S4 episode, well before the Dominion War happens. And Garak is absent for a lot of the later developments in Bashir’s life - “Doctor Bashir, I Presume” (you’d think Garak, with his complicated relationship with his father, would have something to say about Julian having been illegally genetically enhanced by his parents) or “Statistical Probabilities” (a troupe of savants who claim to be able to predict the course of the war would surely be of interest to Garak). In most of these stories, Bashir is accompanied by O’Brien, a much safer option as far as suppressed sexual tension is concerned (it should go without saying that this feels like a deliberate choice on the show’s part, to undermine any idea of a Garak/Bashir relationship). Meanwhile, Bashir is absent from most of Garak’s important Dominion War stories - his relationship with Ziyal and her death, his position in Damar’s rebellion, “In the Pale Moonlight”. So if you’re going to retell DS9 with Garak/Bashir as a real ship, you'd have to rewrite a lot of these stories to take that into account.

Finally, you’ve got the show’s ending, which is an extremely dark one for Garak, who gets everything he thought he wanted - his position restored, a place of honor in Cardassian society - just at the point where Cardassia is decimated and, in his words, left dead. Working a romance with Bashir into this ending would be tricky, and risks ending up with the final scenes of Man of Steel - two people making out atop a mass grave.

(Obviously, I’m taking it as a given that this hypothetical version of DS9 is much, much better at writing mature, complicated romantic relationships than the real one. Most actual DS9 romance was painfully juvenile, and the one exception, Sisko/Kasidy, was also an extremely low-drama ship - Sisko literally sent Kasidy to jail and the next time they met they were like “so, that was a bit of a bump in the road; dinner later?” It should go without saying that Garak/Bashir would not be a low-drama ship, so the writing would need to be there to support it.)

Anyway, complicated but obviously not impossible. This is what I’ve come up with for how I would rewrite the show with Garak/Bashir as an ongoing couple. I’m sure there’s plenty of fanfic with other, better ideas.

To start with, lose the claustrophobia business. Or, you know, keep it, but the reason Garak was expelled from the Obsidian Order and banished from Cardassia is that he’s gay. (To be fair, I feel like “claustrophobia” was pretty clearly code even in the original show.) A lot of people in the upper echelons of the Cardassian hierarchy know this - Dukat certainly knows - and miss no opportunity to harass him about it.

Obviously, in this version of the show Cardassia is deeply queerphobic. I don’t think this is a huge leap. Cardassian society is deeply conformist, and family-oriented in a fascist-adjacent sort of way that prioritizes the father as the master of the home. It’s hard to imagine a society like that tolerating deviations from gender norms, and it seems fair to assume that reprecussions for such deviations would be severe.

Garak doesn’t actually have a problem with this - or at least, not that he expresses. Garak’s defining trait is that he believes in, and loves, Cardassia deeply, and espouses its chauvinistic (in both senses of the word) values to anyone who will listen. But at the same time, he’s smart enough (and enough of an outsider) to know how hollow and destructive those values really are. So Garak will explain to anyone who challenges him on it that Cardassian homophobia is right and proper, while knowing that he has fallen victim to it himself.

Bashir is out. Though “out” might not be the right word because the Federation is so nonchalant about queerness that the notion of being closeted doesn’t really exist anymore (this is a version of Star Trek where we actually follow through on the promise of a more progressive future). But at any rate, to Bashir and the other Starfleet characters, him being gay is so unremarkable that it doesn’t even come up until his and Garak’s frienship is already established. This deeply shocks Garak - he knew humans were perverted, but the good Doctor, his friend? Bashir, meanwhile, wastes no opportunity to needle Garak about his society’s barbaric homophobia (Garak: “humans may be prone to such... urges, but Cardassians are made of finer stuff”; Bashir: *rolls eyes so hard he can see the back of his head*). But at the same time, and without being entirely willing to admit it to himself, Garak is intrigued.

And so we continue for about five seasons. Garak flirts with Bashir, partly because he thinks this is a way of unsettling the good Doctor, but really because he wants him. Bashir assumes that it’s all an act, and plays along with it a little because, hey, sexy spy. But he never imagines that it could go somewhere real, and probably wouldn’t follow through if it did.

And then Bashir gets replaced with a Changeling (this is a version of DS9 where that idea was seeded throughout the first half of the fifth season instead of being decided on five minutes before “In Purgatory’s Shadow” started shooting). And the changeling takes one look at Garak, sees an obvious in, and seduces him. Which clearly causes some awkwardness when Garak finds the real Bashir in a Dominion prison camp.

Bashir finds out. Worf tells him (this is a version of Worf who isn’t weirdly sexist and judgmental about other people’s sex lives). (Bashir: “why is Garak being so weird around me?”; Worf: “he and the fake you were doing it”; Bashir: “what”; Worf: “they were boning”; Bashir: “WHAT”; Worf: “they were engaging in sexual intercourse”; Bashir: “that's not possible. Garak only flirts with me to keep me on my toes”; Worf: *shrugs* “if that’s what you want to call it”.)

So now Bashir is upset because he’s spent the last five years bugging Garak about Cardassian homophobia and it turns out that Garak was a victim of it, plus he’s now been victimized by someone wearing Bashir’s face. And Garak is upset because he let his attraction to Bashir (Garak: “my base lust!”) blind him to the fact that his friend had been replaced by a changeling, leading to him being comromised as an agent (I will leave it as an exercise to the readers which one bothers him more). And, well, if you can’t get from there to romance on your own, you may not have read enough fanfic in your life.

Then you get the war, and honestly, I don’t know. You could do an on/off thing. You could make it a very casual relationship in between the two of them trying not to die and/or lose the Alpha Quadrant to the Dominion. You could have Bashir say “fuck it, I might die tomorrow and this guy makes me happy; who cares if my boyfriend is a liar and a murderer”. You could even go the Worf/Jadzia route and have them muse romantically about having a life together after the war. But either way, they spend more time around each other than they did in the original series.

But! When Garak goes back to Cardassia to help Damar’s rebellion, there’s a lot of tension between them, because Damar heard from Dukat that Garak is a pervert (you could still keep Ziyal’s death and Garak’s anger at Damar over it; those two always made more sense as friends anyway). And then it turns out that there’s an entire Cardassian queer underground, and in typical Cardassian fashion they’ve turned it into a whole spy network with operatives at every level of government. (Garak: “why did you never approach me?”; queer Cardassian underground: “dude, have you met you?”) And they’re willing to work with Damar if he promises that in the new Cardassia, they will no longer be persecuted (I think this dovetails pretty nicely with Garak’s observation that Damar needs to be disillusioned about the flaws of Cardassian society). So all of a sudden Garak is looking at a future where what he is doesn’t make him a pariah anymore.

And then you get to the destruction of Cardassia, and, again, I’m not sure how that combines with Garak/Bashir. The entire ending of DS9 is pretty rough on romantic pairings in general, but at least when Kira/Odo and Sisko/Kasidy break up, it’s bittersweet, and in service of other new beginnings. Garak’s ending is just bleak, and I’m not sure how you deal with a romance on top of that. The best I can come up with is Bashir saying “yes, this is horrible, but you can rebuild, and if you need my help with that, I’m not far”, leaving a door open for them to reconnect in the future.

Thoughts?

#deep space nine #garak/bashir #this got long

64 notes · View notes

isaacthedruid · 4 years ago

Text

Steven Universe’s Representation and Music: an informal essay

As the first animated Cartoon Network show created entirely by a woman, Steven Universe’s run lasted for five seasons, a movie and a sequel-epilogue series. The show was far from perfect and its fandom wasn’t the best either but there is something so special about a show that followed lesbian space rocks and a young boy saving the world.

More specifically Steven Universe is about a young boy named Steven, who is half-Gem, half-human who protects the town of Beach City from evil. Gems are a kind of alien who take on the form of pastel-coloured women, to better assimilate with the rest of the world.

Rebecca Sugar, the creator, explains her colourful characters in a behind-the-scenes promo:

“I always dreamed of making a show that would have this mix of fantasy and reality. So, I wanted to make these fantasy characters that enjoy being with Steven as much, if not more than they enjoy being fantasy characters. The characters aren’t perfect and that’s what makes them so great.”

Steven’s family are known as the Crystal Gems, a group of rebels who fought against their government thousands of years ago and now live on earth. Steven’s mom, Rose Quartz was at the forefront of the fight, she did extremely terrible things and when she gave up her gem—-so Steven could be born—-she was left unable to form a body ever again. Steven, with only his dad and three alien women, must attempt to fix her messes and deal with the repercussions of his mother’s actions.

One of the main mechanics within the series is known as fusion, in which two or more Gems become a single being who is stronger and more powerful. The fused form takes on the physical, mental and emotional aspects of those who are part of the bond. As mentioned and discussed many times within this blog, fusions are a physical embodiment of different kinds of relationships. And for a show starring a primarily female cast, they do not shy away from using this mechanic to tell queer stories.

So explicitly that in 2018, the show had the first-ever lesbian wedding in a cartoon. Of course, representation wasn’t always as accepted in Steven Universe. Just two years before the big wedding, higher-ups at Cartoon Network told Rebecca Sugar, they not happy with the multiple queer relationships, so much so that they were ready to threaten cancellation.

In an interview with Entertainment Weekly, she expressed:

“If this is going to cost me my show that’s fine because this is a huge injustice and I need to be able to represent myself and my team through this show and anything less would be unfair to my audience.”

Being LGBT herself, identifying as bisexual and non-binary, representation is important to her. For many queer people, especially grown-ups, they hope to see themselves represented in kids’ media today as they never had growing up. They want nothing more for children’s shows to say that being “different” or not fitting in with our heteronormative society is actually normal.

Within Steven Universe, you can find woman-loving-woman relationships, non-binary and intersex characters, woman-loving-non-binary relationships, asexual coded characters and basically every other letter in the acronym.

Rebecca Sugar even acted as the exciting force for LGBT inclusion within Adventure Time, originally working as a writer and storyboard artist before leaving to create her own show. She pushed for making the ex-romantic queer couple to be canonically part of the story and for it to not just coded into the dialogue.

A few years later, she returned to the show, multiple times, to compose over 20 songs that would air over the series 10-year-long run such as, “I’m Just Your Problem” which had lesbian subtext that would be confirmed later.

Some other iconic songs including “Fry Song“, “Remember You“, “Good Little Girl“, “Everything Stays” and even the finale song, “Time Adventure“.

Much like the show as a whole, there is something so special about the music she writes. In total, there were over 160 songs written for the franchise, some being short little tunes, no longer than a minute while others were full-blown musical numbers. No matter, all of them have their place within the show. Often when the character can’t express lines through speech, music is utilized to provide a more raw and poignant portrayal of their emotions.

Why Steven Universe is so widely loved is due to the music, as the overall story is not even close to perfect. Yet, everyone can agree on one thing, the music is unbelievably good. What is interesting is the different styles of melodies and backtracking used in the various songs, even more impressive is that every character has their own instrumental motif.

Steven’s motif is the ukelele as he is often seen playing the instrument himself, performing short little melodies and even writing the in-show version of the theme song. Additionally, Steven’s music uses a large amount of Chiptune synth, electronic music which is created using a programmable sound generator. Both instruments have a very childlike feeling to them, Chiptune especially as it is normally used in video game music like The Legend of Zelda: Ocarina of Time, one of the main musical inspirations for the show. As Steven is the lead, most of the music has Chiptune somewhere in the score and fun fact, the first song in the show, sung by Steven, “Cookie Cat” was actually written on an old Gameboy.

Amethyst is very loud and fun, her motif is electric drums which is extremely reflective of her character. As she can be angry from convincing herself that she is not good enough to happy and giggling from pranking Steven, her instrument can be used in so many ways as she is not a simple character. No matter what, for the few songs Amethyst has on her own (or in the score), her drums provide such an interesting emotional response to the situation.

Garnet is a fusion, so her motif is actually the combination of two instruments. Ruby is a drumbeat as she is a fiery and loud character, she is chaotic while Sapphire is her opposite. Sapphire is calm and collected, she has ice-related powers and is represented by Synth music. The characters together have a perfect unity, expressed by Garnet’s synth bass sounds, she is the equilibrium of two very contrasting characters. The music associated with Garnet, uses primarily the synth bass but Ruby and Sapphire’s individual instruments can be heard throughout her music. All three instruments are also heavily representative as Garnet’s main dancing style is Hip Hop which clashing with others’ softer dancing styles.

Despite, not being alive during the show, Rose Quartz still has her own musical motif as she plays a large part in Steven’s growth throughout the series. As well as being in many flashbacks, she is represented with strings, more specifically, the violin. Rose’s story is rather sad which quite is visible within her associated music, yet, she was also an extremely powerful character as she led the fight against the Homeworld government. Her strength can be heard with strong uplifts and swells in the music. She is never seen playing an instrument unlike the rest of the main characters but one person who plays hers is Pearl, a character Rose was possibly in love with.

For the complex and beautiful character, Pearl, her motif is classical and swing piano. She is visually represented as a ballerina for a large majority of the series, dressed in a leotard, a small skirt and ballet shoes. Apart from Garnet, she is one of the calmest characters in the show. She is a perfectionist and is knowledgeable on many topics. She has a dark past and her fair share of trauma, all of this is wrapped up in her music. From her traumatic past with Rose Quartz, the violin had been heard throughout her music, yet, when she finally dealt with everything, the violin was lost. Swapped out for a new instrument, a bass guitar which she learned how to play at the end of the series. Pearl is a character who has been through a lot and her music reflects it. As she grew, her music changed with her, becoming her own instead of something built off of Rose’s.

My personal favourite song is “It’s Over Isn’t It?” which is this heartwrenching and emotionally painful ballad sung by a broken woman. Pearl was in love with Steven’s mom. Yet, the feelings were not mutual or at least ended being reciprocated as Rose left her for Greg, Steven’s dad. It hurts because Rose didn’t just leave her, Rose Quartz also passed away. As the song goes:

That they didn’t really matter until you I was fine when you came And we fought like it was all some silly game Over her, who she’d choose After all those years, I never thought I’d lose … You won and she chose you and she loved you and she’s gone It’s over, isn’t it? Why can’t I move on? … Who am I now in this world without her? Petty and dull with the nerve to doubt her What does it matter? It’s already done Now I’ve got to be there for her son

Without Rose, Pearl has lost her place in the world as all she ever knew was her. Yet, now she is left to help raise a half-human baby and go on with her life. It makes it more difficult as this baby is the product of Rose and the man that she left Pearl for.

Pearl doesn’t want to hate Greg, she is angry at him but she doesn’t have hatred towards him. They may not be the best of pals at the start of the series but in the song called ��Both of You“ has Steven, finally, begging for Greg and Pearl to just talk to each other.

Why don’t you talk to each other? Why don’t you talk to each other? Just give it a try Why don’t you talk about what happened? … You might not believe it but you got a lot in common, you really do You both love me and I love both of you … I know you both need it Someone who knows what you’re going through

An interesting thing about this song is that Steven is this to them, the person with Rose’s gem is singing to the two people who fought over Rose. It makes me wonder if this could be Rose speaking through Steven to her two loved ones. Whether it is or not, doesn’t really matter to the overall story but it is a fun idea to look at.

Overall, these songs are a literal representation of dealing with ones’ emotions in a healthy way, something that Steven Universe actively tries to teach their younger viewers about.

To say Steven Universe is a good show only for its music would be a false statement, it’s one of the strongest aspects but without the story or the characters, the music would fall flat and not have any of its passion.

#isaac rambles #steven universe #lgbt #steven universe music #cartoons #cartoon network #rebecca sugar #cartoon review

2 notes · View notes

moviediary · 5 years ago

Text

Grease 2

So, this movie kind of slaps in the worst way ever. You have to watch it with the knowledge that it’s terrible, it makes it a lot better. The songs are pretty underrated, a lot of them are low key bops and I would probably listen to them without watching the movie. It’s a product of its time so of course it’s aggressively heteronormative even though the main guys are very queer coded just like most 80s movies. The main girl is a fine singer, but her character is kind of boring and really just an ass most of the time. She also has no business being in a movie about the 50s (or maybe the 60s it’s not very clear) she is so obviously a quintessential 80s chick from her hair to her leather pants, she’s basically Sandy’s makeover as a person. In my opinion the main love interest could have done a lot better. He spends the whole movie doing the reverse of the first movie, going from geek to biker??? Yeah, they all ride motorcycles now, but they’re still called T-Birds which really doesn’t make sense but nothing in this movie really does. Oh! And Frenchy is in it, she came back to high school to complete her chemistry credits?? The whole movie is a mess but honestly, I enjoy watching it. I’ll watch it again, I already have.

Basically it’s the first movie but gender swapped and with a talent show and biker gangs.

The T-Birds really make this movie, they’re the most interesting characters in it. Their leader Johnny is funny and likeable despite being a dick, he has very obvious vulnerability and growth during the film which makes the audience not hate him. His goons are hilarious, they have some of the best lines in the movie and I actually laughed out loud at some of the shit they said. I could do without the gratuitous sexualization of high schoolers but what can you do. I don’t really understand why they have beef with this 20-person biker gang of full-grown adults that apparently have nothing better to do than antagonize 4 teenagers but hey I get it they need a common enemy. I also get that they were going for anger and jealousy when Johnny looked at Michael every time he was being his sexy mysterious biker persona but maybe they should have told him that because that definitely isn’t what’s coming across in his face. He has the biggest man crush I have ever seen I swear.

Michael, who is apparently Sandy’s cousin even though he’s British and she was Australian, really drives the story; everything happens because he wants to date Stephanie even though the only real conversations, they’ve had are just him being nice and her being a dick the whole time but I guess she’s pretty? So he becomes a biker to be what she wants because she wouldn’t date a hot smart guy with a British accent, no way he’s a loser. I guess. So instead he spends the whole movie trying to live up to her standards which is more than a little infuriating but lets be honest the plot isn’t really why you watch this movie. It really only starts happening in the 3rd act anyway, most of it is taken up by talent show hijinks and motorcycle themed music numbers. And a surprising amount of bowling. I wasn’t expecting the coolest kids in school to have their own bowling league but that bold choice did lead to a very confusing but fun musical number in which we see that Johnny sings high sometimes because he’s basically Danny in even tighter pants (somehow) and Paulette (a pink lady played by Judy Garland’s daughter) has an amazing voice that doesn’t get used enough in the songs.

There’s a lot of odd running gags in the movie that really don’t need to be there. Rhonda’s obsession with her “huge nose” even though it’s really not that big. The random teacher that had a nervous breakdown and keeps almost dying. The teacher whose whole gimmick is that she’s hot and maybe sleeping with her students? But definitely sleeping with the substitute teacher. The fact that Johnny’s right-hand man’s name is Goose? A reference to a movie that hadn’t even come out when this movie take place? I think anyway, like I said it’s really hard to pinpoint when this movie is supposed to take place. Also the T-Birds are on the football team I think? Or they’re running drills during PE which also doesn’t make sense with their characters. I don’t know man the whole movie is so strange they say stuff and then never bring it up again.

The ending is where I think the movie really lets you down. After a very weird talent show scene Where Steph has a very boring song and is all sad because she thinks Michael is dead, they have a party. And the party is a Luau and it’s quite possible one of the whitest things I’ve ever seen its so embarrassing. They have a long song about how they’re having a Luau and then they have a bunch of shirtless guys carry Steph and Johnny into a pool on a big throne/raft thing? And then the biker gang bursts in because they have nothing better to do and everyone’s screaming and throwing things it’s very chaotic. The continuity errors in this scene are absolutely outrageous. Then Michael shows up out of nowhere and Johnny literally quivers when he sees him (yeah he’s straight) and he singlehandedly kicks out all those hardened criminals. Then there’s a very long and awkward moment where they initiate Michael into the T-Birds even though school is basically over at this point and then Steph and Michael make out. One of my most hated scene tropes in movies, the very intimate confession and make out in the middle of a crowd. And then finally we have the last song of the movie in which Steph and Michael start off with a duet and their voices sound terrible together (it’s a sign and I refuse to believe otherwise) and then everyone else joins in and they try way too hard to tie up all the character’s storylines even though as the audience you weren’t really all that invested in greaser number three and pink lady number three’s sex life and most of these things didn’t really need to be sung out loud they were pretty minor parts of the movie. And oh, okay, everyone now ends up in a relationship even Paulette’s younger sister who I thought was in like, middle school but now I guess she’s dating the dumb guy from the T-Birds but they’re all seniors?? Okay…yeah, the ending fucking sucks it’s the worst part. The song is long and boring, and the choreography is bad but then they recap a bunch of the better songs during the credits and it’s all fine again!

Overall, the movie isn’t nearly as bad as I’ve heard other people say, I’ve seen much worse. And the thing is, the bad parts are kinda what makes it great in the first place. It’s kind of like when they made mean girls 2. It’s not really a sequel because non of the actually important characters are in it (except for Frenchy but she’s only there for like 10 minutes tops). It’s a cash grab but not the worst one. The songs are fun, and the characters are pretty fucking funny if you ignore how weird it is that they’re all like 30. I’d say watch it if it’s free to stream, don’t rent it. I probably get more out of it than a normal sane person because I read into character’s and their emotional connections way too much I basically am rewriting it in my head. I doubt anyone would be interested but I definitely broke down all the characters and their motivations and tried to figure out their actions, also known as me trying to create queer characters off of very unstable reasoning. Hey, you gotta do what you gotta do. Anyway, the people in this movie are pretty hot and most of the songs kinda slap so even if the plot is questionable other things make up for it.

As of now this movie is available for streaming on Amazon prime.

Final Verdict:

On my scale 7/10

Actual good movie scale 4/10

#grease #grease 2 #movie review

8 notes · View notes

ryttu3k · 4 years ago

Text

I want to have them all on Tumblr, so. Here are my reaction posts, in order, for Resolution of the Daleks and season 12, part 1!

Resolution of the Daleks

Thoughts on Doctor Who - Resolution! Spoilers, obviously!

Okay, negative first, just to get it out of the way. Doctor Who, I really appreciate that you consistently have queer minor characters and queer couples. Just super casual and all, as it should be. Now can you please stop killing off half of said couples? Angstrom's wife, Frankie, now this young guy? It's really not cool.

Don't think the voiceover worked. I feel the prologue would have worked better with just visuals.

Again, Yaz didn't have much to do. The Doctor got a ton of action, Ryan and Graham both had significant interactions with Aaron, Yaz was... just kind of there. I'm hoping that when the show comes back in a year, now that Ryan has largely dealt with his issues, Yaz will get more attention?

UNIT was killed by Brexit?! Fuckin' rude!

Okay, on to the positive!

The Dalek was, frankly, fucking scary. Despite knowing that the Doctor would beat it, obviously, it caused huge swathes of damage and racked up a... rather high body count. Like it felt like a proper threat. Also, its ability to stop the TARDIS tracking it and stuff. Lin's terror felt extremely genuine and it was just nice and horrific overall, like - if it wasn't for the Doctor, it would feel like a genuine threat to the entire Earth.

(Also, it shut down the wifi. On New Years Day. What a monster!)

Oh man that Dalek laughter. Creepy as fuck. The Doctor dragging it in via hologram to dare it to laugh in her face? Fucking iconic.

"I've learned to think like a Dalek." Oof.

Doctor vs Dalek. Not just the physical aspect, but the mental part - the Doctor recognising the seriousness of it, but also having that element of cockiness ("Oh, mate") because, frankly, she's dealt with bigger threats. She's right when she points out that the biggest problem will be if regular humans try to engage it!

Elements of Dark!Doctor when she asks the team - almost desperately - if she gave it enough chances, if she was nice enough. Because the Doctor can get fucking scary around Daleks and she knows it. She's nice. She's friendly. But she's also the Doctor, and the Doctor has done some really damn questionable things to stop the Daleks, and she knows that. Fantastically done and I still desperately want some proper Dark!Doctor.

Really liked the parallels between the Doctor using scrap to make her sonic screwdriver, vs the Dalek using scrap to make its armour. The Doctor makes a tool, the Dalek makes items of war. Of course, well, the Doctor is probably more dangerous just with a swiss army sonic than a Dalek blaster...

I love how the whole, "Dads are complicated... so I've heard" bit could refer to either the loom thing or the Doctor having actual parents or the Doctor being a shitty dad themself XD

Graham was so excited to show off the TARDIS! Like he's just going, "How cool is this?!"

There were some legitimately funny moments! Graham's chair, "I suppose... we'll have to have a... conversation?", "Junkyard chic"... UNIT was killed by Brexit like that's so awful but. But in a kind of funny way.

Okay, now the unsure. Ryan, Graham, and Aaron. Ryan and Graham have sorted out their issues - but Aaron is still such a big overshadowing part of it that it's a bit of a shock when he comes back in. As someone with a similarly shit biological father, I was completely empathising with Ryan in the coffee shop conversation. And I do understand why they wanted reconciliation, so they showed Aaron as acknowledging his bullshit and Ryan ultimately choosing to forgive and save him.

But it's just... not that easy. It's not all going to be perfect just because they stopped a Dalek together. Aaron's neglect hurt Ryan really badly, and it just felt... too easy? Like it helped that Aaron was genuinely contrite, and that he had that good stepfather talk with Graham, but just... yeah, not sure how I feel about it, honestly.

The Doctor's first words to him being, "You weren't at Grace's funeral. Ryan waited for you, you let him down" were so, so good. Like the Doctor is just going "fuck you I'm his father now". Like tbh I think she was 100% prepared to yeet him off the TARDIS and be done with it. Like damn don't emotionally hurt one of her crew.

Some wonderfully savage lines, though. The Doctor's, "You're almost making up for your parenting deficit!"; Aaron and Ryan's, "Is that how you talk to your dad?" "I don't know, he's not been around"; Graham's fucking smirk when Ryan pointedly calls him 'Gramps'.

I did see a suggestion that would have made it much better - instead of the Dalek capturing Aaron, it captures Ryan. First, it ups the threat in the mind of the Doctor and Team TARDIS - this isn't some dickhead, this is one of them. And instead, it's Aaron who reaches out to Ryan, Aaron who risks his life, Aaron who has to come through for Ryan, instead of the other way around. Also would have tied in beautifully with, "Family isn't about DNA, or a name. It's about what you do, and you haven't done enough."

Also, 'srs tech skillz'. With a Z. Doctor why.

In conclusion, I am going to fight Nigel Farage for killing UNIT.

Spyfall part 1

Current response to Doctor Who: making a near-literal SDKFJHGSDASDKFH sound, grabbing a cushion, nearly throWING THE CUSHION.

More intelligent commentary when my brain comes back online.

Okay. Am calm. Am good! We're good.

MAJOR SPOILERS for Doctor Who: Spyfall, part 1!

So yeah I actually literally screamed (kind of... scream-laugh-holy-shit-yes). Like, even before Dhawan finished speaking the, "Or should I say spy... Master?" line because of the way he had said 'spymaster' in full in the line before and there's nothing that grabs my brain like that one word in that one context. It wasn't quite as mindblowing as the Utopia reveal, since, let's face it, it's only been a season since we last saw that magnificant arsehole, but still.

(Actually, since I didn't watch Twelve's run, the last time I saw them was exactly a decade ago in The End of Time, broadcast New Years Day 2010. And I still fucking cry over, "Get out of the way." So. That may have been why I literally screamed lmao)

I mean. It's the Master. I can't not. They're my favourite jerk. This is probably slightly concerning.

Anyway. Comments!

The good

Episode was just flat-out exciting. It reminded me both of the Three and Ten eras, a bit? Fun gadgets, fancy suits, and what ends up being a giant game! Did start wondering when they were talking about spies and codes and stuff. It's basically a puzzle that's been set up for the Doctor to solve. Plus, the way she was pretty much enlisted into it! Thirteen and Dhawan!Master might end up having a more Pertwee-Delgado-esque dynamic, maybe? I would be down for that!

(My introductory episode to the Master was The Mind of Evil. Let's just put it that way XD)

"I'm her best enemy." <3

I mean, in retrospect, isolated house full of high-tech stuff and a wall full of books about the Doctor... oh honey. Long, looong game of playing Spies and Conspiracies just for, apparently, the sheer funsies of it. Oh, honey. They're such a disaster and I love them.

The reveal scene, Jodie's acting. The way she just... freezes and hunches in on herself. She's been hiding her past more than other Doctors have in the past, and suddenly, here is her past!! Right here!! Laughing and joking and right there in front of her! And she's just like, "Ohhh shit, I was not ready to have this conversation again..."

Yasmin and Ryan's dynamic. I do like that they split up the usual combos of Thirteen-Yasmin and Graham-Ryan for once, because I do like seeing the way they play off each other! It makes them feel more cohesive as a group. I liked Ryan trying to comfort Yasmin after her experience.

Post-reveal, I'm now wondering if the weird zappy forest thing is the Master's TARDIS? Something to do with changing and processing DNA into something else? Something based around neurons, with the electric travelling system? Am also wondering what happened to Yasmin while in there, since she seemed to be processed in some way, and I'm wondering if she had part of her DNA rewritten as well - or maybe if she's been replaced entirely, like she's currently piloting an alien version of her own body while her actual self is still in there. They did already do that with Flesh!Amy, though.

Once this arc is over, I think Thirteen is definitely going to have to sit down and tell the Fam who the hell she actually is. Graham is having some serious questions, and the Master was definitely egging that on, pre-reveal.

How much do I love that even in a tux, the Doctor still has the culottes and boots? A lot, that is how much. Also, how much do I love the Doctor in a suit and on a motorbike? A lot, that is how much.

"I've had an upgrade." <3

Thirteen playing Snap. It's okay, Thirteen, you still win my heart <3

"Worst! Uber! Ever!!"

"Kisses!" Yes, we know ;) They've been texting! Someone write me a WhatsApp chat fic with plenty of subtext and double meaning, I require it. Also, memes. You know it's true. The Master isn't a Time Lord, they're a Meme Lord.

"Everything you think you know is a lie." Season hook? :o

The hmm

Main concern is how they're handling the Master's characterisation? Last we saw, they were so ready to jump the Doctor ship. Now it's back to games. Kind of wondering if that means the Master is just at the point of being resigned that they and the Doctor just don't work and so is going back to games because at least it makes them happy, but I'm happy to wait until next week to see how things play out!

Did see a suggestion that this is the Master from one of the alternate universes (or at least that seems to be the general consensus on why there were multiple maps), so not actually necessarily the same version as Missy. Alternatively, this could actually be a pre-Missy version! Maybe between Simm!Master and Missy, since we never actually see that regeneration?

Actually, if this is the one immediately before Missy and this two-parter ends with the Master regenerating and we actually do get Thirteen and Missy together on screen I may cry.

(Like I'm aro-ace and agender but I'm still so gay for both of them. There is no word other for this emotion other than 'I'm gay'.)

I kind of wish someone had double-checked the name of the company because VOR running the world is. Is. "Right now, VOR is more powerful than most nations." Just. *pinches bridge of nose* Like okay you know how we say 'oh yeah just google it' 'yeah I googled it' are they really gonna say 'yeah I just VO

'I'm going to V

I can't say it. I can't.

Apparently the Australia scenes were filmed in South Africa. Kind of assumed it wasn't really Australia as soon as I saw actually greenery in the background h e h.

Highkey wish I could have seen Missy and Thirteen together. Dhawan!Master is very fun so far but. Missy and Thirteen. See comment above about the Master's characterisation!

...ABC are you really going to keep to Thursday night broadcasts even after the UK switches their Sunday nights / our Monday mornings? Well that's a good way to guarantee I'll be watching them online first! I was happy to wait twelve hours or so so I could watch it with Mum, but like hell I'm going to wait three and a half days!

In conclusion, am dead, send help, is it Monday morning yet?

Spyfall part 2

Thoughts on Doctor Who: Spyfall, part 2!

GALLIFREY LOOOOORE.

Oh man I'm hyped. We got a teeny teaser to the Timeless Child way back last decade but now we may actually get to see what the fuck is going on. And hell, if nothing else, at least the discovery is being teased to be so devastating it did undo Missy's characterisation. If this incarnation of the Master is after her, at least. Still not necessarily anything to suggest that. The Master will likely be recurring over this season, so we'll find out more, at least!

God, the Master is so fucked up. Like. He's seen something apparently so massively traumatic that he had to destroy his own planet and legitimately does look broken by it? Unless he was acting, but I did not get that impression from the message at the end. And the only way he can think of to get the Doctor's attention is to start his old tricks? Not sure if it's better or worse for him to be pre-Missy tbh.

It's just... such an interesting dynamic. Also I really want to read into the whole... scene where the Master asks the Doctor to kneel and call him 'Master' in front of everyone - then, when she does (defiantly! Stubbornly!), he... kneels to be at the same level as her. Like, "I'm going to play these BDSM-esque power games with you but when it comes down to it, I still consider us equal."

Anyway the Master is def a service top.

This comment from Tumblr user upslapmeal:

"'why would it stop? I mean how else would I get your attention’ what did I say about the Master being like a cat knocking things off shelves"

I mean. Yeah.

"Contact." Old school.

The Companions! They get a capital C because they were rad as hell. I love them all deciding that what they do next is: carry on to save the world. Like they're all heroic af without the Doctor and it's so good.

"Don't make me do a soft-shoe shuffle!"

And questioning at the end, oooh man. There are some Implications there, yeah. They've found out some surface information, yes, but no real hint at the deeper trauma. And given what this coming season is hinting at, I strongly suspect we will indeed be getting that deeper trauma and maybe even Dark!Doctor. Gallifrey does tend to bring it out of them...

The whole on-the-run thing seemed to definitely be a callback to Sound of Drums. Uh, what's that going to do long-term? Send out a worldwide message saying, "Sorry, our bad, they're fine"? I mean, last time that happened... okay, Jack was already with Torchwood and so is used to Not Really Existing, but Martha definitely couldn't go back to fuckin' medical school. She ended up at UNIT and then went independent. They did not return to their normal lives.

Barton: needs a goddamn punch. He killed his mother what the fuck. On the plus side, at least he seems to have thoroughly destroyed his career? Be interesting to see if he reappears later, you don't go from the most powerful person on the planet to massive pariah overnight without Repercussions.

On to our guest characters! I hate to brag but I guessed who Ada was as soon as I heard her first name and saw her outfit. I mean the computers theme was already there, who else would she be? :D And I admittedly didn't know who Noor Inayat Khan was except in passing, but still. Little upset about the erased memories (Donna ;_; ), but I can see why the Doctor did it and like... this way, I'm glad they were able to avoid the implications of, "Ada only developed computing because she had already seen the future." Like people said that with Rosa Parks even though the Doctor said explicitly to only ensure there were enough seats filled and the act itself was all Rosa, so they may have wanted to play it safe.

I... really want to comment on how Ada definitely was crushing on the Doctor (and really, who wouldn't?), but she was a real person so I shall avoid those implications. (But really though!)

Doctor how many times have you been in someone's liver. This is some Magic School Bus Inside The Human Body bullshit and I love it.

Doctor's recording: "First of all, you're not gonna die! Second of all, don't talk back to the screens, obviously I'm a recording and I can't hear ya. Third, don't panic. Especially you, Graham."

Graham, panicking: "I'M NOT PANICKING!"

Doctor's recording: "Yes, you were! And I did just say, don't talk back to the screens!"

Graham: "????!?!!"

I want an entire series of the Master having a really infuriating seventy-seven years on Earth. Please.

Comments on continuity issues regarding that, "It's worse than Jodrell Bank!" "Did I ever apologise for that?" "No." "Good." exchange XD;; Like people are going, "Continuity error!! It was the Pharos Project, not Jodrell Bank!!" and like. Pharos was a project. Jodrell Bank is an observatory. You can do projects at observatories. Also, you can refer to projects by location, too. Am I referring to the Canberra Deep Space Communication Project or Tidbinbilla Station? Both! They refer to the same thing! In the Whoniverse, they likely did the Pharos Project at Jodrell Bank, and just had some lighthearted bantz about that time where the Master killed the Doctor, no biggie.

So, onwards to... an apparently unrelated episode for next week! Also, the Kassavin? Still there. Like. The Master only gave suggestions. They still have all those agents everywhere! They're still ready to act! And yeah, now they have the Master in their hands, so... I wonder if they'll make the Timeless Child a long, ongoing arc, and have the much more immediate threat of the Kassavin as the season finale?

Orphan 55

Thoughts on Doctor Who - Orphan 55!

...whew.

First thought: anvilicious, but some anvils need to be dropped, because, uh, have you seen the world lately.

It feels like quite a brittle episode? Even beyond the immediate tension of 'there are large angry creatures trying to kill everyone', there's just this sense of... like, tension. There's the tension between Benni and Vilma, which at first is kind of a sweet tension then becomes a life-threatening and sad tension. There's the tension between Roger Parslow Silas and his dad, with Silas not being taken seriously (although I do think him running out while they're in life-threatening danger is a bit much). The obvious and major tension between Bella and Kane that drives the whole episode, yes.

And there's also the tension amongst Team TARDIS! The episode starts with the Doctor still in Some Kinda Way about last week, and I felt a bit of tension between Yaz and Ryan? She seemed rather unimpressed by Bella, at any rate. I do like how organic the relationship between Ryan and Graham feels, at least. "It ain't the aliens that are gonna kill me, it’s worrying about you!"

Set and costume building, I felt, was kind of... eh? I liked how Tranquility itself looked, but the tunnels looked Very Generic, and some of the looks I felt didn't really work. Silas and his dad's green hair just looked very obviously fake, and I saw a description of Hyph3n-with-a-three looking like a cross between a Jellicle Cat and John Candy in Spaceballs (which... yeah, honestly). And I'm not sure about the Dregs, although I did initially have the thought that whatever the original inhabitants of the planet were, they must have been humanoid was amusingly accurate...

"I just pulled this out of a friend of mine! >:("

"Oh! ...We do not make any judgments on our guests and fully support any way you choose to enjoy yourself here at Tranquility Spa! ^_^;;"

"... ... ...It wasn't recreational! o.O"

God you could feel Hyph3n-with-a-three's embarrassment...

"If I had crayons and half a can of Spam, I could build you from scratch!" Excuse me I am at least Tofurky.

Also a logical issue on the whole journey to find Benni, because frankly, it just wasn't... sensible. Okay, bring a kid. Father of the year right there. Okay, bring an old woman. Granted, she could have insisted because it was her man-friend they were looking for, but surely she would have known she would slow them down? Her 'heroic sacrifice' felt very wasted, because dammit, she could have survived if she had stayed in the Dome where it was at least a bit safer!

"At least three eighths of a plan, right here! ...Two eights. I'll be honest, all I've got is the letter 'P'..."

So the Doctor is almost at the point of passing out from oxygen loss but hang on, let her first indulge her curiosity...

The sheer existence of orphan planets is very depressing. The sheer fact that there's at least fifty-five is very depressing.

There's an interesting comment about how straight after discussion of the reveal, the first shot of the preview is the Statue of Liberty. Very Planet of the Apes! (No apes next time, just Tesla vs Edison!) Also feeling a strong connection to Midnight (stunning resort on dangerous planet with a very personal enemy), and I saw a comment about Thirteen unintentionally The-End-Of-The-World-ing the Fam (and making a connection between 'very angry trees' and the Forests of Cheem). Bit of Ravolox. Bit of... fuck what was it... Curse of Fenric.

Although, we know that the Earth will eventually be consumed by the sun, and it was done in a way that was like... it was its time. This was not its time, was a colossal fuck-up on a planetary scale (and the Doctor continues to be 'eat the rich'), but it's also only one potential future. Which is good, because that got dark. Even more than The End of the World, even more than Utopia, even more than fuckin' Frontios, because this is the near-future. The shots we saw of the destruction were modern day! That was the Dome of the Rock you saw getting bombed!

"Be smarter than what made you." PAGING THE GOVERNMENT...

Going to put it on a solid... maybe 7/10? Some really good elements in there, but also some clunkers, and unfortunately not a patch on the same writer's It Takes You Away, which was one of the strongest of the last season.

Nikola Tesla’s Night of Terror

Thoughts on Doctor Who - Nikola Tesla's Night of Terror!

Opinion before episode: man, Tesla's cool. Opinion after episode: man, Tesla is fuckin' cool! :D That was a well-done personality-based historical, absolutely - I think it's my second-favourite personality-based historical only to Rosa (there are other pseudo-historical based ones set in the past that I love, but they're not personality-based; the Human Nature duology is a good example).

But yeah, Tesla just came across as a really, really cool character. Genius and he knew it, yes, and the real Tesla did have some questionable views (sexism, mostly), but otherwise the archetypal Idealistic Genius who wants to change the world for the better. Contrast with Edison, who was... a businessman. With, like, a really punchable face. Still pretty intelligent, but... very, very punchable. I've read about the Tesla-Edison feud before and always sided with Tesla, and let's face it, so did the writer XD

Good mix of character combinations - with a lot of characters, it's easy for someone to get sidelined, but this managed to handle Thirteen and the Fam, and Tesla, Dorothy, and Edison, pretty well. There were some neat combinations, like Ryan and Dorothy bonding over the sense of adventure, and Graham and Edison's confrontation; I also really loved the whole conversation between Thirteen and Tesla on the joy of just... creating. There's actually a very nice overlap between arts and sciences.

Antagonists - not bad? I feel a lot of people were expecting the Racnoss, and there was such a similarity that I would have liked at least a throwaway line about how the Skithra were related or something. Ooh man she definitely brought out Dark!Doctor, though. Teleporting the queen back to the ship, specifically so she can be fried? I mean, she might have survived it. Might. And just that fantastic little change of expression when the queen asks the Doctor if she's ever seen a dead planet before! Whittaker pulled that one off.

There's a very interesting compare and contrast between the Skithra and Edison, I found. Thirteen has her speech about how once the Skithra are gone, they won't be remembered. Caput. Forgotten. They left nothing behind. Compare and contrast to Edison, who was openly accused of using other people's work, but who's able to learn from his mistakes, end on an even(ish) setting with Tesla, and who does get remembered. Which kind of stings, honestly, if you look at Tesla's actual history.

Like. Apparently that, "The man just didn't understand the American sense of humour," line was an actual historical line, according to Tesla's own records. The absolute main reason for the difference in fame and recognition is that Tesla was a genius who didn't know how to market. Edison was a marketer who could invent a bit. So in conclusion Edison is a dick and Tesla needs more respect, the end.

Favourite lines and scenes:

Tesla: "Is - is this your own design?" Thirteen: "I made it! Mainly out of spoons! :D" Tesla: "You're an inventor! :D" Thirteen: "I have my moments." Tesla: "I knew it! So you... so, you can understand how it feels, you know, when you have an idea, and - and to make it real. I don't think there's any greater thrill!" Thirteen: "I couldn't agree more." Tesla: "You... you spoke of aliens. People here laugh at the very idea." Thirteen: "But not you." Tesla: "Well, apparently I'm not like other people. It can be difficult, you know, to feel no one else sees the world the way you do. It's like you're, uh..." Thirteen: "...out of place."

Graham: "Yeah, still. I bet you'd jump at the chance to have him back working for you, wouldn't ya?" Edison: "Yeah?" Graham: "Yeah!" Edison: "How d'you figure that?" Graham: "'Cause I had a supervisor like you at my old depot. And men like you don't pay a bloke that much attention unless you think there's a payout comin'."

Thirteen: "I wouldn't go killing me and Yaz. 'Cause Yaz... can tell you what this is." Yaz: "It's a camera!" Thirteen: "Bingo!" *FLASH!*

Edison: "I couldn't figure it out either." Tesla: "The internal dimensions transcend the external." Thirteen: *GRIN* Edison: ._.

Thirteen: "You do realise, it's killing Edison that they want you and not him? ;D"

Graham: "Don't worry. This ain't our first rodeo!" Ryan: "We've never been to a rodeo." Graham: "...you're not helping, Ryan..."

Thirteen: "And what are you queen of, exactly? A stolen ship and second-hand guns? A queen of shreds and patches. You're not a ruler, you're a parasite." Queen: "And what are you? So clever, stealing onto my ship, taking what I claim as mine. But where has it got you? No weapons. No armour. No escape. Just the desperate hope you might change my mind." Thirteen: "No, we are way past that. I gave you your chance." Queen: "A chance to be like you?" Thirteen: "A chance to evolve. But you were too stupid to take it. When you die, there'll be nothing left behind - just a trail of blood and other people's brilliance. No one will even know you existed."

(Side note: I love that this speech was actually in front of the companions. They're starting to see that things are Not Okay.)

Thirteen: "Don't give up." Yaz: "Whatever anyone says." Tesla: "Well, let them talk. The present is theirs. I work for the future... and the future is mine."

Favourite incorrect lines:

Thirteen and Tesla, firing at the ship: "VIBE CHECK!"

Fugitive of the Judoon

I'M GONNA... NEED A HOT MOMENT TO PROCESS THAT...

WELL I. UH. OKAY.

lmao I'm serious I don't even know where to begin.

Uh, some very disorganised comments on Doctor Who - Fugitive of the Judoon!

I squealed when I heard Jack's voice then saw him in the flesh. I gasped audibly when 'Ruth' broke the glass. I yelped when we saw the buried TARDIS. I MAY HAVE SCREAMED A LITTLE WHEN 'RUTH' INTRODUCED HERSELF.

(Also can we talk about her outfit. That was on point.)

I'm getting a very... very early vibe? She didn't know what the sonic screwdriver was, and that was introduced with Troughton. Since we saw the Hartnell-Troughton regeneration, she must be pre-Hartnell? Maybe a Doctor whose memories were rewritten to the point that they thought the Hartnell incarnation was the earliest? Not to mention that was a pretty old-school-looking TARDIS!

Alternatively, maybe between Troughton and Pertwee? Either option has some inconsistency - if she's post Troughton, she should have known what the sonic was, although it admittedly did look very different. Plus, her TARDIS is already its police box shape, which was implied to have set in the junkyard. Also, we never actually do see the regeneration between Two and Three, and it could explain why Gallifrey was after her - she escaped after her trial after The War Games!

Definitely early, though.

Alternatively alternatively, Thirteen actually does say 'time is swirling around me'. Maybe an alternate timeline. Something to tie back to the Timeless Child?

"I've lived for thousands of years, so long I've lost count. I've had so many faces. How long have you known me? You don't know me. Not even a little bit."

That wasn't just aimed at the companions. I feel that was aimed at the Doctor themself.

(Related: the response from the fam was flat-out beautiful. Doesn't matter who she was or who she'll be. They know her now, and they love her.)

Just. Wow. Wow.

Really cool note from Twitter - disguised name was Ruth Clayton. Ruth = 'friend, companion'. Clayton = 'of the Earth'. She literally named herself 'friend of the Earth'.

"You're probably a bit confused right now."

I mean. Yeah. Confused and intrigued and what.

"Don't do points! I do points! Points are my thing!"

Jack. Jack. Smooching Graham, hitting on all the companions, getting into Shenanigans! The Lone Cyberman - I wonder if that's a totally different crisis that isn't even related to the current Gallifrey-Timeless Child one? The more important part is Jack's presence - the presence of another time traveller with a... unique relationship with the universe. The actual warning could be a red herring, but Jack showing up anywhere in the first place is a sign that something is happening with time?

Orphan 55 had a timeline that may or may not have been the 'real' one. Being only a potential future kind of doesn't work with what we know of established DW continuity, so I'm liking the 'alternate timeline' theory, maybe?

Ryan: "I liked him. Kind of cheesy."

Yaz: "But good cheesy."

Thirteen, smiling: "That's Jack."

Graham just standing there going, "He kissed me tho? ...Wasn't bad, actually."

"Is she safe?" Jack, honestly, is she ever safe?

"When she needs me... I'll be there." Oh yeah, he's so coming back later this season.

Also, Judoon, chameleon arch, the Master, Jack - getting big season 29 vibes here and that's a big thumbs up for me because that's my favourite season. We just need Martha to make an appearance now!

...hehe honestly, between Jodie's entire existence, and now, in the span of five episodes, introducing Dhawan!Master, Gat, and now Jo Martin as the first black female Doctor, and reintroducing Jack, one of the most overtly and openly queer characters on the series, the 'Doctor Who is too PC!' bunch are going to be so mad XD

"A platoon of Judoon... near the moon." / "Look at you, your platoon of Judoon near the... that lagoon..."

Man. The close-up in the very first shot of the watch. Nice tie-in.

"The Doctor never uses weapons!" "I know! Shut up! >.>"

Where do the Kasaavin come into play? Is this something they've done by integrating themselves throughout time and space? Maybe they're fraying the fabric?

My mind is blown. I can't wait for the rest of this season :D

[Part 2 - Praxeus to The Timeless Children]

#doctor who #companion love #best enemies #long post

1 note · View note

raptured-night · 5 years ago

Note

Hi! I’m part of the lgbtq+ community and Severus is my favorite HP character and I was wondering (if you have the time and feel obliged) if you could please give me a few examples of how he’s queer? It’s been a few years since I reread the books, and def before I came out, so I’m a little in the dark here lol Thanks!!

First of all, I just wanted to apologize for how long it has taken me to properly respond to your ask. I’ve been dealing with some ongoing health issues that have turned me into something of a moody writer. I’ll get random spurts of energy and inspiration and then hit a wall of absolute writer’s block assisted by a major case of executive dysfunction every single time I try to respond to the multiple asks languishing in my inbox. Fortunately, I found myself involved in a discussion just today that addressed your ask so perfectly that I wanted to share it with you. In the very least, that discussion has also managed to shake off my writer’s block temporarily so that I have found myself in the right head-space to finally be able to give this lovely ask the thought and attention that I feel it deserves.

Although, in regards to the Snape discourse I linked above, I feel that I should warn you in advance that the discussion was prompted by an anti-Snape poster who made a rather ill-thought meme (I know there are many in the Snapedom who would rather just avoid seeing anti-Snape content altogether, so I try to warn when I link people to debates and discussions prompted by anti-posts) but the thoughtful responses that the anti-Snape poster unintentionally generated from members of the Snapedom (particularly by @deathdaydungeon whose critical analyses of Snape and, on occasions, other Harry Potter characters is always so wonderfully nuanced, thought-provoking, and well-considered), are truly excellent and worth reading, in my opinion. Also, as I fall more loosely under the “a” (I’m grey-ace/demisexual) of the lgbtqa+ flag and community I would prefer to start any discussions about Snape as a queer character or as a character with queer coding by highlighting the perspectives of people in the Snapedom who are actually queer before sharing any thoughts of my own.

In addition, I also wanted to share a few other posts where Snape’s queer coding has been discussed by members of the Snapedom in the past (and likely with far more eloquence than I could manage in this response of my own).

Source

Along with an excellent article in Vice by Diana Tourjée, in which a case for Snape being trans is convincingly argued.

Importantly, you’ll notice that while some of these discussions do argue the possibility of Snape being a queer or trans character others may only discuss the way that Snape’s character is queer coded. That is because there is a distinct but subtle difference between: “This character could be queer/lgbtq+” and: “This character has queer/lgbtq+ coding” one which is briefly touched on in the first discussion that I linked you to. However, I would like to elaborate a bit here just what I mean when I refer to Snape as a character with queer coding. As while Rowling has never explicitly stated that she intended to write Snape as lgbtq+ (although there is one interview given by Rowling which could be interpreted as either an unintentional result of trying to symbolically explain Snape’s draw to the dark arts or a vague nod to Snape’s possible bisexuality: "Well, that is Snape's tragedy. ... He wanted Lily and he wanted Mulciber too. He never really understood Lily's aversion; he was so blinded by his attraction to the dark side he thought she would find him impressive if he became a real Death Eater.”) regardless of her intent when she drew upon the existing body of Western literary traditions and tropes for writing antagonists and villains in order to use them as a red-herring for Snape’s character, she also embued his character with some very specific, coded subtext. This is where Death of the Author can be an invaluable tool for literary critics, particularly in branches of literary criticism like queer theory.

Ultimately, even if Rowling did not intend to write Snape as explicitly queer/lgbtq+ the literary tradition she drew upon in order to present him as a foil for Harry Potter and have her readers question whether he was an ally or a villain has led to Snape being queer coded. Specifically, many of the characteristics of Snape’s character design do fall under the trope known as the “queering of the villain.” Particularly, as @deathdaydungeon, @professormcguire, and other members of the Snapedom have illustrated, Snape’s character not only subverts gender roles (e.g. his Patronus presents as female versus male, Snape symbolically assumes the role of “the mother” in the place of both Lily and later Narcissa when he agrees to protect Harry and Draco, his subject of choice is potions and poisons which are traditionally associated more with women and “witches,” while he seemingly rejects in his first introduction the more phallic practice of “foolish wand-waving,” and indeed Snape is characterized as a defensive-fighter versus offensive, in Arthurian mythology he fulfills the role of Lady of the Lake in the way he chooses to deliver the Sword of Gryffindor to Harry, Hermione refers to his hand-writing as “kind of girly,” his association with spiders and spinners also carries feminine symbology, etc.) but is often criticized or humiliated for his seeming lack of masculinity (e.g. Petunia mocking his shirt as looking like “a woman’s blouse,” which incidentally was also slang in the U.K. similar to “dandy” to accuse men of being effeminate, the Marauders refer to Snape as “Snivellus” which suggests Snape is either less masculine because he cries or the insult is a mockery of what could pass for a stereotypical/coded Jewish feature, his nose, Remus Lupin quite literally instructs Neville on how to “force” a Boggart!Snape, who incidentally is very literally stepping out of a closet-like wardrobe, into the clothing of an older woman and I quoted force because that is the exact phrase he uses, James and Sirius flipping Snape upside down to expose him again presents as humiliation in the form of emasculation made worse by the arrival and defense of Lily Evans, etc.).

Overall, the “queering of the villain” is an old trope in literature (although it became more deliberate and prevalent in media during the 1950s-60s); however, in modernity, we still can find it proliferating in many of the Disney villains (e.g. Jafar, Scar, Ursula, etc.), in popular anime and children’s cartoons (e.g. HiM from Powerpuff Girls, James from Pokemon, Frieza, Zarbon, the Ginyu Force, Perfect Cell, basically a good majority of villains from DBZ, Nagato from Fushigi Yuugi, Pegasus from Yu Gi Oh, etc.), and even in modern television series and book adaptations, such as the popular BBC’s Sherlock in the character of Moriarty. Indeed, this article does an excellent job in detailing some of the problematic history of queer coded villains. Although, the most simple summary is that: “Queer-coding is a term used to say that characters were given traits/behaviors to suggest they are not heterosexual/cisgender, without the character being outright confirmed to have a queer identity” (emphasis mine). Notably, TV Tropes also identifies this trope under the classification of the “Sissy Villain” but in queer theory and among queer writers in fandom and academia “queering of the villain” is the common term. This brings me back to Snape and his own queer coding; mainly, because Rowling drew upon Western traditions for presenting a character as a suspected villain she not only wrote Snape as queer (and racially/ethnically) coded but in revealing to the reader that Snape was not, in fact, the villain Harry and the readers were encouraged to believe he was by the narrator she incorporated a long history of problematic traits/tropes into a single character and then proceeded to subvert them by subverting reader-expectation in a way that makes the character of Severus Snape truly fascinating.

We can certainly debate the authorial intent vs. authorial impact where Snape’s character is concerned. Particularly as we could make a case that the polarizing nature of Snape may well be partly the result of many readers struggling against Rowling subverting literary tropes that are so firmly rooted in our Western storytelling traditions that they cannot entirely abandon the idea that this character who all but had the book thrown at him in terms of all the coding that went into establishing him as a likely villain (e.g. similar to Heathcliff in Wuthering Heights, Snape is also coded to be associated with darkness/black colors and to represent danger and volatile/unstable moods, while his class status further characterizes him as an outsider or “foreign other,” and not unlike all those villains of our childhood Disney films which affirmed a more black-and-white philosophy of moral abolutism, such as Scar or Jafar, the ambiguity of Snape’s sexuality coupled with his repeated emasculation signals to the reader that this man should be “evil” and maybe even “predatory,” ergo all the “incel” and friendzone/MRA discourse despite nothing in canon truly supporting those arguments; it seems it may merely be Snape’s “queerness” that signals to some readers that he was predatory or even that “If Harry had been a girl” there would be some kind of danger) is not actually our villain after all.

Indeed, the very act of having Snape die (ignoring, for the moment, any potential issues of “Bury Your Gays” in a queer analysis of his death) pleading with Harry to “look at him” as he symbolically seems to weep (the man whom Harry’s hyper-masculine father once bullied and mocked as “Snivellus”) memories for Harry to view (this time with his permission) carries some symbolic weight for any queer theory analysis. Snape, formerly portrayed as unfathomable and “secretive,” dies while pleading to be seen by the son of both his first and closest friend and his school-hood bully (a son that Snape also formerly could never see beyond his projection of James) sharing with Harry insight into who he was via his personal memories. For Harry to later go on to declare Snape “the bravest man he ever knew” carries additional weight, as a queer theory analysis makes it possible for us to interpret that as Harry finally recognizing Snape, not as the “queer coded villain” he and the reader expected but rather as the brave queer coded man who was forced to live a double-life in which “no one would ever know the best of him” and who, in his final moments at least, was finally able to be seen as the complex human-being Rowling always intended him to be.

Rowling humanizing Snape for Harry and the reader and encouraging us to view Snape with empathy opened up the queer coding that she wrote into his character (intentionally or otherwise) in such a way that makes him both a potentially subversive and inspiring character for the lgbtq+ community. Essentially, Snape opens the door for the possibility of reclaiming a tradition of queer coding specific to villains and demonstrating the way those assumptions about queer identity can be subverted. Which is why I was not at all surprised that I was so easily able to find a body of existing discourse surrounding Snape as a queer coded or even as a potentially queer character within the Harry Potter fandom. At least within the Snapedom, there are many lgbtq+ fans of his character that already celebrate the idea of a queer, bi, gay, trans, ace/aro, or queer coded Snape (in fact, as a grey-ace I personally enjoy interpreting Snape through that lens from time-to-time).

Thank you for your ask @pinkyhatespink and once again I apologize for the amount of time it’s taken me to reply. However, I hope that you’ll find this response answered your question and, if not, that some of the articles and posts from other pro-Snape bloggers I linked you to will be able to do so more effectively. Also, as a final note, although many of the scholarly references and books on queer coding and queering of the villain I would have liked to have sourced are typically behind paywalls, I thought I would list the names of just a few here that I personally enjoyed reading in the past and that may be of further interest should you be able to find access to them.

Fathallah, Judith. “Moriarty’s Ghost: Or the Queer Disruption of the BBC’s Sherlock.” Television & New Media, vol. 16, no. 5, 2014, p. 490-500.

Huber, Sandra. “Villains, Ghosts, and Roses, or How to Speak With The Dead.” Open Cultural Studies, vol. 3, no. 1, 2019, p. 15-25.

Mailer, Norman. “The Homosexual Villain.” 1955. Mind of an Outlaw: Selected Essays, edited by Sipiora Phillip, Random House, 2013, pp. 14–20.

Solis, Nicole Eschen. "Murder Most Queer: The Homicidal Homosexual in the American Theater." Queer Studies in Media & Pop Culture, vol. 1, no. 1, 2016, p. 115+.

Tuhkanen, Mikko. “The Essentialist Villain.” Jan. 2019, SBN13: 978-1-4384-6966-9

#severus snape #pro snape #snape discourse #snape meta #snapedom #snape community #queer theory

79 notes · View notes

ptolemyofchaos · 5 years ago

Text

@progmetallesbian

1. Do you prefer writing with a black pen or blue pen? I subconsciously go for blue always

2. Would you prefer to live in the country or city? The city Ideally in a large house with a backyard/garden/greenhouse in it.

3. If you could learn a new skill what would it be? HMMM... initially i would say a language, but if its I have instant knowledge of this skill id say coding or something because boy would it make life easier getting decent paying jobs

4. Do you drink your tea/coffee with sugar? Tea and as it has been described to me by my English friend I drink sugar flavored with tea. But I also make my own sweet tea so. Accurate.

5. What was your favorite book as a child? The Olympians/the Dresden Files series.

6. Do you prefer baths or showers? Baths with bath bombs candles lit whole nine, I do shower before it though

7. If you could be a mythical creature, which one would you be? Dragon because I am a creature of Fire and air.

8. Paper or electronic books? Paper Aesthetically all the way, but Audio books are how I read now

9. What is your favorite item of clothing? My vintage black biker jacket

10. Do you like your name or would you like to change it? I love my name, Its just unique enough without being Eye rolling

11. Who is a mentor to you? My Older sister and my mom to an extent.

12. Would you like to be famous and if so, what for? Yes and no, the yes is because I would love to be an actor or performer, the no Is because I do indeed enjoy being left alone and just sorta existing. Basically I think Id do well as a voice actor haha

13. Are you a restless sleeper? Ha no I have a sleep deficiency so I enter rem 1 and four and that is mostly it

14. Do you consider yourself a romantic person? Yes. I go back on forth on how I feel regarding that I am that way

15. Which element best represents you? Air fire given any day its one more than they other.

16. Who do you want to be closer to? My sister, she recently moved to Colorado and its hard for her to be far away

17. Do you miss someone at the moment? Sister

18. Tell us about an early childhood memory. I remember saying nonsense words as a kid in car rides on cloudy days trying to make it rain. I think I from really little was trying to do magic stuff which is interesting to reflect on.

19. What is the strangest thing you have eaten? Bear or Rattlesnake? I come from a hunting family

20. What are you most thankful for? Dungeons and Dragons

21. Do you like spicy food? Yes! specifically I like spicy flavor food not just spicy for the sake of it

22. Have you ever met someone famous? YES!! I once met Courtney Act randomly at The Abbey, I also got to meet Kameron Michaels at a gay club in Vegas. These are Drag Queens for the un aware

23. Do you keep a diary or a journal? On and off.

24. Do you prefer to use a pen or pencil? Pen generally it feels better. But drawing pencil

25. What is your star sign? Leo Sun Aquarias Moon

26. Do you like your cereal soggy or crunchy? Cronch fading into soggy

27. What would you want your legacy to be? He was Loud joyful and quite Queer

28. Do you like reading, what was the last book you read? Yes, the Lord of Chaos from the wheel of time series.

29. How do you show someone you love them? Touch mostly if it is an intimate partner, but generally doing things.

30. Do you like ice in your drinks? Depends. Overall I can take or leave ice

31. What are you afraid of? Disappointing someone

32. What is your favourite scent? Lavender Leather Bergamot

33. Do you address older people by their name or surname? If they ask I suppose?

34. If money was not a factor, how would you live your life? HA Id have a good sized victorian Home in La, Id cook and bake a lot more, Id throw myself into making art, acting, writing etc and play dnd all the time. OH and travel quite a lot

35. Do you prefer swimming in pools or the ocean? Pools, though I know I have never been able to experience ocean water that is perfectly clear If I did i am sure I would prefer that

36. What would you do if you found £50 on the ground? Look around if I see no one frantic claim it.

37. Have you ever seen a shooting star? yep

38. What is the one thing you would want to teach your children? To be kind to themselves and to others. And to know that it is not a weakness.

39. If you had to have a tattoo, what would it be and where would you get it? Currently working out the logistics of my second tattoo. It will be a lion that much I know but i need to work out the details

40. What can you hear now? Fan and my computers soft humming

41. Where do you feel the safest? My room

42. What is the one thing you want to overcome/conquer? My lack of knowing how to balance myself and my emotional responses.

43. If you could time travel to another era, which one would you choose? Woof. Ugh depends on a lot of things for safety sake id say the 70s or the 80s

44. What is your most used emoji? :D

45. Describe yourself using one word. Conflicted

46. What do you regret the most? I try to live earnestly without regrets

47. Last movie you saw? Ugh... possibly a re-watch of the birdcage? I don’t really remember haha.

48. Last tv show you watched? Drag race

49. Invent a word and its meaning. Kerfuful- kr-FUF-l - a total degradation of an event, culminating in a frustratingly humerus scenario that was not desired

1 note · View note

itsclydebitches · 6 years ago

Text

RWBY Recaps: Ruby Rose

This is a reposting from Sept. 22nd, 2017 in an effort to get all my recaps onto tumblr. Thanks!

I am combat ready! Or at least writing ready. For ages now I've wanted to tackle a comprehensive recap/analysis of each RWBY webisode and what better time to start then a few weeks before Volume 5? Though I'll mostly be sticking to plot points as they occur chronologically, any new RWBY viewers should be aware that recaps will include spoilers, mostly in the form of referencing foreshadowing and parallels. Read at your own risk.

Let's get started.

Our series technically opens with four trailers (which you can no more skip than Doctor Who fans can skip Nine), but for the purposes of this recap we're saying that we start the show off with an origin tale. A fairy tale, if you will. Our very first shot is of a high tower decked out in green, beacon-like lights that I'm sure are in no way symbolic standing atop it.

Our narrator, an unknown woman, begins with a cryptic message:

“Legends, stories scattered through time. Mankind has grown quite fond of recounting the exploits of heroes and villains, forgetting so easily that we are remnants, byproducts of a forgotten past.”

Obviously not everyone has forgotten these legends, considering that she's the one telling us them, but right from the start there's a dichotomy set up. There are people, humans, who view the past as something that inherently includes them. Any myths that are passed down are about humans--they're the "exploits of heroes and villains." However, this woman reminds us that there was an existence long before mankind was created; that the world, its history, and its power is far more vast than we're willing to acknowledge. Or able to.

We're small in comparison. We're just "remnants" of something far larger.

(Also, interestingly, note the "we" in "we are remnants." We learn a lot about Salem later on and no matter how she might look or act, she seems to view herself as human.)

From there on we're given the story of man's creation. Born from dust into an "unforgiving world" already populated by monsters, were it not for their discovery of certain elements--a power that they named "dust" after their own origins--they never would have survived, let alone flourished. Power allowed for civilization. As the story supposedly resolves, we get a change in animation style, moving from the story-book imagery to the real world. The focus on a shattered moon suggests that, despite humanity’s success, things are not all peachy-keen.

Also, enter these guys.

This is Roman and I just love his entrance. RWBY is a show that is very overt in its tropes and homages, and though there's complexity later on, for now Roman and his goons are pretty straight-forward. They're Bad. How do we know they're Bad? Because they're creeping out of the shadows late at night. We've got this guy smoking in an age where the habit is thoroughly demonized. All his goons are pretty identical in true, gangster fashion and Roman himself is the most flamboyantly dressed, drawing on a long (and very problematic) tradition of queer-coding villains. He's wearing a bowler hat for heaven's sake, which is basically just a step up from a fedora.

He's also a redhead. That'll be important.... later.

For now, Roman struts down the street (giving us a hilarious first-look at RWBY's silhouette background characters) and Salem changes her tone, suddenly sounding far more menacing as she lays out humanity's inevitable destruction. All lights "flicker and die" and we're warned that "there will be no victory in strength." The only thing that keeps the scene from becoming depression central is the introduction of a new voice, a man's that--if you're paying attention--you'll recognize later in the episode:

"But perhaps victory is in the smaller things that you've long forgotten. Things that require a smaller, more honest soul."

Pan down to this cutie.

Wow! I wonder who the small, honest soul could be?

(Also take note of the ad on the back of the magazine: the Schnee logo with the tagline "The Finest of them All." Weiss, based off of Snow White, is therefore "the fairest of them all." Or at least she thinks she is.)

Roman barges in and starts talking about how hard it is to find a dust shop open this late which... raises a number of questions for me? Like why they're looking for a dust shop that's open at all. Why not just wait until everything is closed down and then rob the place? It certainly wouldn't be hard to break in. Given what we know of the villains' larger plans in Volume 3, it could be that they want to sow fear in the people of Vale by committing robberies in plain sight (recall the horrified background characters as Roman walks by), but if so why not actually attack in broad daylight? Overall it just seems like a strange comment.

We're given our first glimpse of Roman as an ambivalent villain as he refuses the shopkeeper's money. He's here only to complete his mission of stealing dust, not entirely wipe the guy out so... yay, I guess?

One of the goons notices our little red riding hood and pulls a sword on her, which is kind of hilarious. I'm not even sure why. Maybe it's because right after that a different goon pulls out a gun which is obviously the more logical weapon here. But no. Goon #1 needs his massive, red sword to threaten the small child with.

Small Child is not impressed.

"Are you robbing me?"

"Yes!"

"Ooooh."

And she proceeds to kick him from the back of the store all the way into the far wall.

Let's take a moment to appreciate Roman's dafaq face here:

This is a technique nearly two decades old. Everyone knows the story of how Buffy got started. Whedon wanted a stereotypical heroine--small, cute, blonde--but who, rather than getting killed by the monster in the alleyway, ends up being the very thing that the monster should fear. It's an oldie now, but a goodie. We're presented with this tiny, adorable girl who is characterized as a victim, only to find that she's the one with the most power. Not only can she kick a full-grown man across a room, she's got some crazy weaponry tucked away too.

This is, by definition, a badass moment.

As we see in the ensuing fight this little girl is very proficient with her scythe. There's a great moment as her headphones play "This Will Be the Day" diegetically, only for the song to move into non-diegetic soundtrack, and then back to diegetic music as she turns off her headphones and... they disappear? Presumably she has pockets.

Iffy animation aside, RWBY seems like the kind of world that would give its girls pockets.

Roman: "Okay... get her."

That little moment of confusion--Roman's disbelieving "Okay?"--seems a little like inconsistent world-building. Certainly he knows that Signal and Beacon aren't too far from here, meaning that there are lots of teenagers around, Huntsmen and Huntresses in training that are capable of kicking his henchmen's ass. Is he just thrown off guard by this girl's (even younger) age? Who can say.

Regardless, she handles all the goons with ease. Ruby (yeah, let's just use all names for simplicity's sake) has a direct and efficient fighting style. This is our first glimpse into the maturity hiding behind a seemingly immature outer shell. Ruby doesn't take the time to taunt the goons or get all flashy with her fighting, she just takes them out, pure and simple, something that young and confident heroes often struggle with. Roman proves a little harder though when his cane turns out to be a gun.

Lesson One: pretty much everything in RWBY is a gun. Cane? Gun. Scythe? Gun. Thermos? Gun! That lamp? Probably also a gun.

As Roman escapes we get another glimpse of Ruby's priorities when she asks the storekeeper, "Are you okay if I go after him?" It's a small but wonderful moment that tells us Ruby isn't a hero who wants to fight for the sake of fighting, at least outside of friendly competitions. Had the storekeeper been injured or needed her for some other reason, Ruby would have held his needs above just catching the bad guys. That's important.

So, having gotten the a-okay, Ruby chases Roman up to the rooftops and we hear his annoyed (yet impressed?) mutter of, "Persistent." Just as they're about to duke it out again an airship arrives that Roman boards, throwing out a dust crystal that explodes when he shoots it. It looks like Ruby might have been caught in the blast, but at the last possible second Glynda Mother-F***ing Goodwitch arrives to save the day.

Why was she out in town this late at night? How did she feel seeing some tiny child fighting a notoriously wanted criminal up on the rooftop? These are questions only fanfic can answer. The point is that Glynda saves Ruby not once, but twice, all while exhibiting a truly impressive amount of power. It's here that we first get to see not just fantasy weapons, but what we might term magic (in what will quickly become a fairly convoluted magical system). It isn’t until later that we realize others don’t consider Glynda’s abilities to be magic, though given what we now know about semblances and their assumed connection to Humanity 1.0, it’s perhaps no coincidence that the audience is meant to think this is magic at first glance. But telekinesis--the ability to manipulate anything from objects to the weather itself--is staggering nonetheless and the show should really give Glynda something else to do with her power besides fixing craters and broken buildings. Or just bring her back, period.

Glynda even makes a little "Humph" sound when she blocks the blast like, "Please. You'll have to try harder than that."

They do.

Roman yells to the pilot that they have a "Huntress" to deal with and we're given glimpses of a more important villain: fancy dress, high heels, strange tattoo on her back, and an affinity for fire. She's deemed important simply by the fact that the 'camera' always keeps her face hidden from view, inviting speculation as to who she is and what her motives are. Though she and Glynda seem pretty evenly matched (with Ruby joining in to help), Roman flies them out of there before things get more heated. Pun intended.

As a side note, it’s worth pointing out that, in retrospect, we did just see magic with Cinder... which we then assume for a very long stretch was her semblance given what we quickly learn about Glynda. You can see why this stuff gets muddled. The fact that Ruby, a bright and fighting obsessed girl, doesn’t seem to think it odd that someone can shoot fire just hammers home how not magic-y these abilities read to characters in world. Until the plot suddenly wants them to. AKA bird anger.

Regardless, as the viewer cheers at the rarity of three women dominating a fight scene, Ruby has bigger things to think about. Like the fact that Glynda is a Huntress and Ruby just has to have an autograph.

Cut from this:

To this:

Humor aside, this actually does a lot for situating what a Huntress is in the viewer's mind. We might not have an exact definition yet, but we know two important things: they're on the side of our small hero (Glynda protects Ruby) and they're regarded as at least minor celebrities. In short, they're the Big Good to the mysterious Big Bad.

They’re also, as we’re about to see, subject to the law.

But back to Ruby. See that spotlight? Glynda has this 15yo girl in an interrogation room, prowling about while lecturing that she "put herself and others in grave danger." Interesting. What others were in danger? Civilians? Looks like everyone else cleared the streets once Roman showed up. The shopkeeper? As said, Ruby was very careful about making sure he was okay. Normally I’d be 100% on Glynda’s side here, but I think Ruby actually acted very maturely given the circumstances. Especially considering that she’s right: they started it. Glynda’s generic reprimands might imply that there are many non-Huntsmen trained fighters out there making a mess of things (at least by Glynda's standards). Certainly we later see conflict between trained Huntsmen/Huntresses and those who learned to fight "outside the kingdom."

Also... just reminding everyone... that Glynda uses a riding crop. Rooster Teeth had to know the can of worms they were opening with that little choice. If you don't want porn of the deputy headmistress and various other characters, don't dress her like a dominatrix and give her lines like, "I'd have sent you home with a pat on the back... and a slap on the wrist!"

Glynda is very serious that Ruby would be in big trouble if it weren't for the fact that a certain someone wants to meet her. Enter my trash fave:

Ozpin.

He's basically Dumbledore if he actually had better justifications for his iffy decisions and looked like a hot 30yo. My priorities aside, more fascinating questions start cropping up. How long has Ruby been held in this room? What was that conversation between Glynda and Ozpin like--Hey, I found this random child who nearly took out a whole criminal gang, that seems like your kind of thing? Why does Ozpin arrive with a full plate of chocolate chip cookies? Did he bake them himself? Does Ruby ever get Glynda’s autography?

These kinds of questions are the lifeblood of fandom.

As an aside, I'm a complete animation snob. I've been spoiled by too many great artists to immediately accept just anything you throw up on screen. When I first watched this episode and saw Crunchy Roll's review that RWBY is "lovely to look at" my response was, "...seriously?" This moment, when Ozpin gives Ruby the cookies and they proceed to just disappear as they approach her mouth was my breaking point for a while. I had to be talked into watching more... and I'm so glad I was. Now, after years with these characters, I have a much deeper appreciation for the art style and the beauty that RWBY contains. Now the cookie scene is just straight up funny to me.

Back to plot though. Ozpin introduces himself by introducing Ruby. We get her name for the first time and as Ozpin peers down at her he says, "You have... silver eyes," which confuses Ruby and has the viewer nodding sagely. Yep. That'll come back later.

Ozpin reviews Ruby's fight and wants to know where she learned all that. More specifically, he wants to know who taught her to use "one of the most dangerous weapons ever designed," which is another fascinating moment that I think is largely overlooked by the fandom. Ruby is living in a world chock-full of crazy dangerous weaponry. Already we've seen a gun-cane and a riding crop used as a wand. The fact that Ozpin labels Ruby's sniper-scythe as one of the most dangerous not only re-emphasizes her skill, but hints that the scythe may be a particularly powerful weapon... one even he might favor. Though we later get to see Ozpin fight with his cane and he clearly prefers that form, we've yet to get a full explanation for those gears in it:

In retrospect after Volume 6, there’s little evidence that his cane turns into a full other weapon, but it was an cool theory for a while.

Ruby says proudly that her Uncle Qrow taught her everything and that she's currently a student at Signal Academy.

Ozpin: "And what's an adorable girl like you doing at a school designed to train warriors?"

Ruby: "Well... I want to be a Huntress."

Ozpin: "You want to slay monsters?"

Ruby: "Yeah."

Ruby launches into an excited speech about following in her big sister's footsteps, looking for a career that's more "romantic" than the police, and above all getting to help people. Watching Ozpin in this scene gives us a pretty clear view into his thoughts: his shock at Ruby's proficiency with the scythe, making sure he's reading the situation correctly (this small, adorable child wants to fight evil?), his look of approval as Ruby tries to explain her thinking. There's even what I read as a little test. "You want to slay monsters?" A major theme in RWBY is that people are the real monster, the biggest threat, and it takes Ruby a long time to learn that. To semi-quote Sirius, the world isn't split into good people and Grimm. Though Ruby doesn't realize this yet--she just implies that she wants to fight Grimm--her skill and pure intentions (which will come into play later during "Mountain Glenn") are enough for Ozpin to offer her a place at Beacon two years early. As we learn later, as an added bonus this also helps keep her safe. Those with silver eyes are hunted and Ruby has not been keeping a low profile.

"You want to come to my school? Well... okay."

One of these teachers is happier about this situation than the other.

It’s pretty amazing though.

Yang thinks it's amazing too. We jump ahead an unspecified amount of time to meet Ruby's half-sister on the airship to Beacon. I adore their interaction here because so often media limits sibling relationships to arguing and competition. Not so with these two. Yang isn't at all jealous that her little sister is getting special treatment. Ruby is the only one with issues:

Ruby: "I got moved ahead two years... I just don't want people to think I'm special or anything."

Yang: "But you are special."

Ruby just wants to be a normal girl with normal knees. No bee's knees allowed.

As Ruby begins struggling with her new situation we get Roman's name in a news bulletin, along with a hilariously different art style.

We also get reference to people called "Faunus" who possess animal traits, their civil rights movement, and the violent organization called the White Fang that recently interfered in a peaceful protest. The bulletin is cut off by a holographic Glynda's welcome.

Yang: "Who's that?"

Glynda's hologram introduces herself immediately after, but I find it funny that Ruby doesn't even look like she's going to try and answer. As if she hadn't met and fought alongside Glynda just a little while ago. Also. Ruby knew exactly who Ozpin was. Didn't have a clue about Glynda. Poor Professor Goodwitch does all the work around Beacon and receives none of the credit lol.

I actually really like Glynda's speech here though. She's welcoming to the students without coddling them. Like other shows with children entering combat, RWBY lets the viewer know that we can't always apply our real-world morality to these situations. These kids might be young--17 years old and 15 in Ruby's case--but they're going to be treated like adults for as long as that’s logical. As we’ll see later though, there’s a distinct difference between responsibility inside school and out...

Right before our pilot ends we're introduced to Jaune, or the name we know him by so far, "Vomit Boy." The webisode ends on a light note with Jaune getting puke on Yang's shoes and the two sisters freaking out about it. We're also given our first, gorgeous look at Beacon:

Now that’s animation I can get behind. Everything is light and happy. Ah, they have no idea the horror that's coming for them. Just wait until Volume 3.

Until then, 💚

#rwby #mymetas #RWBY Recaps

13 notes · View notes

clovexei · 7 years ago

Text

An Honest Review of the Emoji Movie

Longer than intended! Tbh I’m just leaving this here as physical evidence of the fact that I watched the whole thing. What was The Emoji Movie? Honestly we just don’t know.

The world-building was cool in concept but underdeveloped. It feels like a knock-off of Inside Out, but I spent most of the movie plagued by the same sort of stressful confusion that accompanies the Cars universe. A sampling:

Where do emojis come from? Are they born? Are they initially created in heterosexual sets of two so that they are able to procreate? If they're not born, why do some of them have children? How does the Princess family work, where there are apparently no male princesses? Is the Poop emoji an only father? What about the emojis who don't apparently have children/a heterosexual counterpart? Are those emojis going to grow old and die? What happens then? Do emojis die natural deaths? Do emojis age?

Why do the face emojis have to express the same emotion all the time and not just when they're on screen? It's like they're actors, but they have to be in their roles forever. Why? Why not just take pictures of the emojis and put those in the cubicles? Why do emojis have to physically stand in the cubes and wait to be picked, if they're only going to be face-scanned anyway? If there are multiple emojis, do they all take turns in the cubicles? Do they have to eat or sleep? If they do, then why? Aren't they made of code? Do they have to be in the cubicles whenever the phone is on? What if that's all day, every day?

Most of the questions I have about this movie carry over from world-building into the plot. Most of the events driving the plot feel like thinly-veiled plot holes. For example, the reason Alex is going to wipe his phone is to keep it from acting up – but it's acting up because Gene and company are moving from app to app. Buy why do the emojis hopping from app to app activate each app? If they're bopping around behind the scenes, why does that activate the user interface?

Another: A big scene happens in a Just Dance app, but Just Dance isn't an app? It's a motion-based dancing game, and you can get accessory-style apps for it, but the game itself is only on consoles/systems with a sophisticated motion-following camera. So it's not something that Gene an Jailbreak would be able to activate as a game on a phone.

(As an aside, I am human proof that you can suck at dancing and still pass levels in Just Dance so cut Jailbreak some slack, she was doing fine.)

Hi-5 is presented with a character goal (be a part of the Elite Favorite Emoji Club), but he doesn't actually do anything to achieve this goal. He wants to be a part of the club, joins Gene on his adventure, learns nothing, and gets to have his goal as a result, despite having no character growth and no indication that he's done anything to actually earn his goal. It's given to him as a way to wrap up the movie in a neat little bow.

As much as I didn't like that Jailbreak rejecting Gene's romantic advances was what finally turned Gene into the “Meh” emoji of his dreams, I do appreciate that him getting his Good Feelings back wasn't dependent on her reciprocating his feelings. That's a very good post-rejection message, and as much as this movie was weird and bad-romantic (“I've known you for twenty minutes but I LOVE YOU so let's BE TOGETHER FOREVER like in the FAIRY TALES”), at least it dodged that particular bullet.

The characters in general were likeable but ultimately uninteresting. It's the same standard fare that I think is the easy trap to fall into: bland but relatable main guy, tomboy girl, and comedic side character.

Jailbreak was my favorite, but even so, I'm not sure what to think about what her arc was. The intended direction felt like “girl feels oppressed by rigid gender roles and leaves home, forms agreement with fellow outcast to further both her goals and his goals, realizes that she can be different and returns home to create her own rules about how she represents herself.” And this largely feels like what does happen in the movie, but I'm not sure how I feel about the execution of it?

She makes some interesting comments about feminism that seem like Character Flavor, and have elements that fit into the story overall, but her backstory and thought process isn't explored beyond “I had to do princess stuff and I HATE princess stuff so I left.” It falls into a style that I think is in vogue right now: to present girls as being Princesses and Not-Princesses. (This is especially popular in movies that are deliberately lampshading Disney's princess movies, but Brave did this, too.) And while I like that, at the end, Jailbreak realized (apparently) that she didn't need to not be girly in order to be happy and express herself, I don't know if that message carried over really well in general. We last see her in her original princess design as she runs the tech board for the emoji cubicles, so I guess she's comfortable with herself? And she's not picking Princess or Not-Princess but occupying a gray area in the middle? So that's good? But everyone else is still in one box or the other? So that's maybe not good? But with Gene paving the way to “be different,” there's a place for her and for others to be more socially flexible? But it felt like a sudden and easy resolution to something that was something that was so ingrained in their society that Gene was going to be executed for diverging from it.

Anyway. That was a tangent. TL;DR: Jailbreak is very queer and I like her but if feminism was going to be a part of her character arc, then I want it to be done with a lot more focus and nuance than there was? Yeah.

I liked Gene in the beginning of the film, when he was set up to be this energetic force for ENTHUSIASM, but Hi-5 muscled him out of that. Hi-5 is excitable, energetic, causes more trouble than good, and honestly, why do they even need Hi-5 as a character? He has the role that should have been absorbed by Gene. Within the first five minutes of Gene's introduction, we know that Gene is goofy, cheerful, and doesn't fit in. Hi-5 coming in as the goofy and cheerful side character demonstrably pushes aside those traits in Gene so that Gene can, nearly every time, play the straight man to Hi-5's hi-jinks.

If Hi-5 wasn't in the movie, then Gene would be both comic relief and the protagonist, which suits the energetic, playful way in which he was introduced. He would also have a much more interesting dynamic with Jailbreak: Jailbreak is jaded and bitter; Gene is (or should have been allowed to be) peppy and enthusiastic. With that push-pull dynamic, the interactions between the two would have been much more exaggerated and engaging, and it would have been believable that Gene encourages Jailbreak to be less standoffish and isolated.

Recommendation: Instead of relying on one-time gags and overdone food-related jokes, drop Hi-5 as a character and let the interactions between Gene and Jailbreak carry the comedic weight of the film.

Also, what is the target audience for this movie? Kids? Kids younger than 12? High schoolers? What do you gain by portraying students who have smart phones as mindless phone-obsessed zombies? Aren't you alienating your target audience? You're making fun of the people you're making this movie for?

There's a lot of that: of the creators being out of touch with their target audience. The gag of the text-based emoticons being old and out-of-date struck me as odd, when people are still using emoticons like that all the time. And, on top of that, we've developed new ones.

I also can't tell if Jailbreak's asides about feminism and female stereotypes are supposed to reflect her Cool, Modern persona or if they're meant to be funny? I think they're supposed to be the former, but they come across as the latter, especially since she gets so angry about the “Birds come when princesses whistle” stereotype... and then that stereotype turns out to be true and also plot relevant.

It did have some good jokes overall. The constant mismatch between Gene's parents having no visual expressions or tonal inflections paired with lines like, “I'm on the edge of my seat,” was right up my alley of humor. I also liked the Devil emoji's poop joke followed by the Poop emoji's tired sigh and “Aim higher, Steven,” but overall there were rather too many toilet jokes. “Aim higher” is kind of a good overall takeaway: this movie had jokes, but most of them felt like the same basic fare that one can usually find in kid's movies. It felt a lot like the humor in The Smurfs: The Hidden Village in that they cracked a lot of jokes, but most of them were overused or borderline mean, and so I didn't spend much time laughing, despite the fact that I was watching a comedy.

As for overall theme/message, I am biased on this front because, with little effort, this movie is a really odd, definitely unintentional allegory for, like, gay conversion therapy? And why it's not good? And why it's okay to be queer? This movie is about a cheerful, enthusiastic young man who disrupts serious social norms in his home community, who sets out to find a way to artificially alter his genetic make-up and encounters a young woman who likewise does not fit in and has rejected the social role/gender role she was expected to embrace, and the two of them realize together that what makes them different isn't bad and their differences should be embraced both by themselves and the wider community. Gay.

That metaphor is PROBABLY DEFINITELY very unintentional, but the romance between Gene and Jailbreak feels ham-fisted even without the queer undertones.

So, for a takeaway message, we have “It's okay to be unique,” which is the same message 50% of the rest of the kids' movies have these days, so cool, I guess. It's good to have that message reinforced, but there are also, as a result, more cohesive movies with the same message but better plotting and more interesting characters.

Overall Verdict:

Not great, could have been worse. I left The Bee Movie brimming with a confused and impotent rage, but this movie left me with vague good feelings and no deep impressions. I couldn't remember anyone's name either during the viewing or after. The animation was stretchy and bright and expressive, which I really liked. And the soundtrack was bright and bouncy. But the message was muddled, and I think the world-building/plot could have been (and should have been) a lot stronger than it was.

#do I tag the movie in this?#I just like writing about B movies

7 notes · View notes

avelera · 8 years ago

Note

What would you say makes a villain/antagonist a compelling one? Would it be their effect on the character(s)' development? Their effect on the overall plot? Both? Or is it something else entirely? Your thoughts on writing are always so interesting (and insightful) so I thought I'd ask you.

Once I would have said this: villains take action. I wrote extensively on this topic in one post about Character Agency, but in essence I said there that in a huge percentage of stories the villain is the person who sets the story into motion by doing a Bad Thing. The heroes are then stuck in the relatively passive role of Fixing the Bad Thing so that the world can go Back to Normal. Which, if mishandled, can make for rather boring protagonists.

The villain is often allowed to swan around, chew the scenery, put together dastardly plans, and rub their hands together gleefully as their plan comes to fruition. The hero in this scenario… basically gets to look up at the sky in horror at the latest explosion, and then run around putting out brushfires. I certainly know who I would rather be in that scenario! The villain is having way more fun while the hero has to Be Responsible and do the ugly, boring, tedious, not-fun stuff of halting someone else’s ambition. The villain gets to wax poetic about WHY they are acting in this DEVIANT manner, while the hero basically has to stick with the milquetoast Generally Acceptable Morality for the Widest Possible Audience which is stuff like “killing is bad” and “don’t do the thing that is bad” and “don’t rock the boat.”

And the thing is, it’s very common that villains are written to include Sympathetic Motivations so often the villain’s reasoning can sound pretty reasonable! It’s “just their methods which are wrong!” For example, Magneto wants mutant equality, as does Charles Xavier. The narrative though, tends to agree that Magneto goes about getting it The Wrong Way.

But we very rarely see the hero taking these actions The Right Way, we just see them stopping the villain from doing things The Wrong Way. Since the villain is the only one we see Taking The Action, it can kinda make the hero look like a contrarian and a stick-in-the-mud. After all THEY were just in a holding pattern keeping a rather shitty world the way it is, they weren’t taking active action to improve it, and rarely does the narrative show the world becoming a legitimately better place through their methods, it’s just shown Going Back to Normal because of the hero’s actions.

Back to the X-Men example, Charles Xavier* (*in the live action films) never DOES anything dramatic to ensure mutant equality except hide out, maintain the status quo, and stop Magneto from expediting the process in his way. Because of the PG-13 rating we rarely even get a sense that anyone got widely hurt by the villain’s actions. There’s no blood, and just some distant screaming, which is hard to relate to compared to, say, the discrimination named characters face in the X-Men franchise, discrimination Magneto is trying to stop. In essence, Xavier insists on getting equality the Right Way but never seems to actually take action on a scale to ensure it. This creates a great deal of sympathy for Magneto for all but, say, the last 10 minutes when the script demands that he goes batshit crazy and starts wreaking destruction as a way of undermining his previous ideas.

So to answer your first question: villains get to have more fun, be more active, and often attempts to make them sympathetic are so effective and the counter-argument so unenforced that they really come across as a more active, motivated hero. That’s the simple answer, but in my mind it reveals a bigger issue with villains:

This issue has been growing in my mind lately and is a bit less flippant and a bit less comic-book-villain-based as an answer to your question. Namely:

Villains are allowed to be different.

And the problem there is: most people are different.

Whether it’s on the inside or the outside, most people feel themselves to be different from everyone else in some way. However, in lazy writing, protagonists are often given very boring, milquetoast, mainstream characteristics.

The villain gets to be different. Most people feel different in some way. Most people, therefore, at some point identify more closely with the villain.

Take, for example, being queer. For a very long time, I’d say it’s not actually over yet so let’s say to this day, most queer characters or queer-coded characters are villains or antiheroes. Look at just about every Disney Villain. But it’s more insidious than that.

Have you ever noticed the shows where a protagonist is allowed to be queer? Black Sails springs to mind as being rich in queer characters. But here’s the thing, many of them are anti-heroes. They are literally pirates, who are traditionally Bad Guys. They live in “morally complicated times” and are part of a huge cast which also includes lots of straight characters. Shows about Ancient Rome spring to mind as well for allowing “good guy queers” BUT they too often do Bad Guys things due to their “morally complicated” setting – ie, they’re often thieves, murderers, etc but they also might have a “heart of gold” under all there and they’re allowed to be good guys and queer because they’re already outside mainstream values.

Irene Adler is “morally complicated” and an antagonist if not an outright villainess in BBC’s Sherlock - she’s a dominatrix and works with Moriarty, even if she comes to regret it. “Deep historical dramas” that take place so long ago they’re practically fantasy are allowed to have some queer characters, if they have a huge ensemble cast that is majority straight because “those were different times”. Stories that take place in prisons, like Orange is the New Black or Oz, technically are set in a place populated by traditional “bad guys”, ie they take place in a jail and are therefore “complicated”. Again, they also have huge casts. Hannibal - morally complicated, you’re not always sure if the good guys are really good or if they’re falling to darkness themselves are could be considered anti-heroes. Lucifer from the show “Lucifier” is literally the Devil. They’re are all outside the mainstream already so even if they’re “good guys” they have traditionally villainous traits of some kind allowing them to show these “deviant” characteristics while also being “good”.

While there’s been improvement recently in the media, the point is: there’s very few cases of characters with non-straight sexuality who are unabashed protagonists in a show that is not about the “bad guys” or isn’t otherwise “morally complex” and riddled with atypical heroes and anti-heroes.

Many times, when a writer wants to put a more morally complicated or otherwise “deviant” character into a mainstream story, they have to make them a villain or anti-hero. These characters are allowed to decry the status quo. They’re allowed to be interested in the same sex, they’re allowed to be poly, they’re allowed to express their sexuality in an unabashed way.

This also applies to neurodiverse or neuroatypical characters. How many unabashed protagonists in morally uncomplicated shows are there out there? Troubled genius shows are quite popular, but almost across the board these characters like Sherlock and House are introduced as anti-heroes, borderline villains compared to more typical heroes who are Nice Guys and Gals. “Legion” springs to mind as a neuroatypical protagonist but he also has traditionally villainess tendencies and behaves outside the mainstream. He is not an unabashed protagonist. Quite frankly the vast majority of neuroatypical characters in fiction are villains in horror franchises, with maybe the exception of PTSD which is portrayed sympathetically, even if rarely I’ve seen a character who begins the story with PTSD who is also an unquestionable protagonist (ex. The Punisher), rather it usually comes up in the course of their story and is dealt with as a consequence (ex. Frodo Baggins, Tony Stark, etc).

Let’s look at the number of characters that are alcoholics and also unabashed good guys. Or we could look at the number of characters that are drug users or addicts and are unabashed good guys in morally uncomplicated stories. Let’s look at the number of protagonists that unflinchingly enjoy sex and are unabashed good guys.

Look at the number of people who feel alone, depressed, anxious, weird-looking or otherwise like an outcast and see how many of them are unabashed good guys. Yeah, the protagonist can sometimes “feel like an outsider” but then the villain is often someone who also��feels like an outsider, but unlike the hero they still do. OR if the villain is someone popular, by the end the hero has flipped the tables so that they’re the ones surrounded by loving friends, who has gained social acceptance, and the villain is now isolated, or scarred, or strange looking, or has a breakdown.

So to this day, if you felt different at all, isolated or queer or strange looking or neurodivergent, addicted, unpopular, or hard to deal with, the villain was the only person in widespread mainstream storytelling who was like you.

Look at Loki - he feels rejected by his family, he feels alone, he’s adopted and feels he was given less love as a result. Thor never expresses those feelings. Even as he becomes less of an asshole over the course of the first movie, it’s more that he lost his traits of being a popular bully to become merely well-loved and popular. Frankly, Loki is something of a protagonist for kicking that process off and making Thor a better person. Loki is the one who gets to express moments of vulnerability and anguish that come from inside of him, Thor’s lowest moment is that he gets rejected by his favorite weapon. It’s not hard to understand why many people felt closer to Loki than to Thor - most people’s sense of misery and isolation comes from chronic events in their life - friends, family, their appearance, their mental state, the things they love, whereas it’s hard to identify with Thor’s single moment of sadness in the real world, yet he’s the protagonist of the story that is set up as its moral center.

Also in such a story, the villain’s final explosion can feel forced, like in the above example of Magneto. Why did Loki suddenly go off the rails? He seemed very intelligent and rational before he suddenly decided that the only way to gain love and acceptance was genocide. It feels manufactured by the writer to give an excuse for a big fight at the end. Also, again, the necessities of PG-13 mean we don’t really see the blood and gore and human suffering - so Loki’s actions really feel like something many of us have longed to do: lash out at those who have hurt us and made us feel unworthy for years on end. Thor is an unworthy avatar of real world feelings of hurt. Most people in the world feel more like Loki at some point in their lives than they feel like favored-child Thor.

But only villains in that instance were allowed to show even that level of anger at the circumstances that made them different from everyone else.

Here’s where I start to get scared - because villains are the only ones allowed to be at all deviant, at all at odds with the status quo, at all angry at their circumstances. They’re the only ones allowed to be queer, megalomaniacal, to say what they’re thinking which is a big FUCK YOU to the world.

Now you combine them with traditional villains throughout history, in order to drive home that they’re the bad guys and set up your plot.

You combine them with Nazi ideology to drive home the point that these are unequivocally Bad Dudes that the hero can kill en masse. You combine them with genocidal ideology. You combine them with massive armies and gold statues and the iconography of every villain throughout history. Because you need to show they’re bad guys.

Do you see where I’m going with this?

Now you have this problem where the villain is allowed to be different--to express ideas that the traditional protagonist cannot because they must be defenders of the Mainstream--BUT you’ve this villain to people who maybe don’t understand why they feel connected to those people, and maybe don’t distinguish between the actions the villain takes as a result of feeling that way. After a while maybe that audience can’t help but notice that the only people they identify with tend to be the bad guys.

To me, this seems to be the obvious root of the very troubling movement I’ve seen within the geek community of sympathy towards the “Alt Right” and other such fascist movements. When only villains are allowed to be different, but they’re also shown to be horrible, it means people’s walls of sympathy begin to be broken down towards horrible people. I don’t want to clutch my pearls here, I don’t want to say what writers can and can’t write. But if bad guys are allowed to be different, and bad guys are cool and hey, bad guys often show parallels with, for example, Nazis, maybe it’s cool to be a Nazi or have Nazi-adjacent traits or iconography because that’s the only place where anyone like me has ever been shown. It might be Nazis, or it might be criminals, it might be murderers or thieves or pirates. But that’s the only place where people are scarred or rejected or crazy or giving a big middle finger to the world seem to reside. And the heroes are boring, and they’re not like me.

My solution though would be this: allow more unabashed neurodivergent, queer, vulnerable, hurting, active, scared, enraged protagonists. Don’t let villains be the only ones who are allowed any kind of authenticity because they’re the only ones allowed to break from the ideals of the mainstream. Don’t let villains be the only ones who get to set the events of the story into motion. Let the protagonist start something BIG, let the villain set out to stop them. Let the protagonist be an oddball and not just in a quirky fun way. Let the protagonist be as interesting and tortured and angry as the traditional antagonist.

I know this last part isn’t answering your question, and I don’t have a solution to it, but this seemed as good a time as any to get it off my chest. I hope the rest was valuable to you at least a little!

#on writing villains #villains #writing advice #my meta #Anonymous

34 notes · View notes