#But some of the actual cinematography/action shots are really sweet

[bluejaypirate]

Fucking DEVASTATED there's no Phineus Phibes fanfic on AO3. Not. A. One. I am so pissed off. I want to see people BABYGIRL-IFY HIM. And believe me, if anyone on this absolut hellhole of a webbed site knew who or what i was talking about? THIS SITE? You bitches would be all over him. I'm dead serious. He is a pathetic wet cat with zero morals and the stupidest haircut in the entire fucking universe. I want to study him. He fascinates me on so many levels. He's literally the worst, and i want o run him over with my car. I want to place him in an enclosure for study and spray him with a water bottle every time he dissapoints me. I think maybe, JUST MAYBE he should kiss his stupid fucked up little scientist second in command on the mouth. Their relationship is so complicated, and it get a MILLION TIMES WORSE in the final episode, and their chemistry is so fascinating, and the tension inherent to their positions in this narrative is so thick I want to BITE it with my TEETH. I am only halfway through season one, but i KNOW where their story is going and it's KILLING MEEEE.

Oh yeah also the show I'm talking about is shaggy and Scooby Doo get a clue. I decided to watch it after the Velma show ended up being. Y'know. Bad. I kind of went into this idea of "man. I wonder how bad the previous 'worst' Scooby Doo spin off compares to this, because like. Surely it's not anywhere near this atrocious? I wonder if there might be something there worth looking into." So first i did some background research (spoiling the entire plot in the process, because everyone kind of assumes you've already seen it or don't care), and then it was off to the races! And uhh. Holy shit guys. I. I love it. So much. I need people to brainrot with please.

[lover-of-the-starkindler]

Prisoner of Zenda (1979)

Anthony Hope’s novel The Prisoner of Zenda is either the formative influence of the tropes I adore or one that manages to hit the sweet spot of most of them, and I’ve long said that MGM should do a shot for shot remake of their 1930′s version of the story, kind of like a ‘draw it again’ meme because it would be a lovely example of changing cinematography and filmmaking philosophy (and we also have the 1950s version to compare).

After watching the loosely adapted version with Peter Sellers I had a few thoughts, some snarky remarks, appreciation, and a laugh count...

Opening: !!!LANDSCAPE!!! PRETTY! not quite so enthusiastic about the king in the balloon, though, since he’s drinking and presumably about to meet his end. 

YIKE--oh, okay, wine cork through the bag is maybe funny and not the disaster I was envisioning at this point. ....and, nope, not amused by the irony of the actual death.

I’m having flashbacks to The Merry Adventures of Robin Hood; ah-ha, it IS Black Michael (who is a red-head, and not quite as charismatic as Prince John, though that may be a deliberate choice to have Michael overtly tyrannical) and here’s Rupert of Hentzau who is pretty. Pretty annoying, that is, and it seems Black Michael agrees. 

And here are Sapt and Fritz going to retrieve their prince from London... it’s interesting that the prince is expensively dressed, but the count is well dressed. If only the count had chosen his wife with the same care he bestowed on his wardrobe, we wouldn’t have to sit through this flirtation and mayhem in the club. Points to the count for his casual exit of the fountain after leaping in with his clothes on fire; and a point to Sapt for his use of a non-flaming pan and a cuspidor, the exits are the best part of the sequence.

Ah, we meet the cabbie with his uncanny resemblance to the prince. Sapt has a BRILLIANT idea. He and Fritz try to convince the cabbie to come to Ruritania--ooh, an actual laugh for Sapt and Fritz’s improv on the skills of the coachmen they’ve met. Poor Fritz, he’s really not cut out for this. ...and I call that the cabbie is talking about his horse right away; am I supposed to know that so that the dialogue is funnier? Either way, I’ll give it a hah, and kudos to the cabbie for looking after his business partner.

The count is back, and looking snazzy in a morning suit. Pity he runs into the cabbie who has no patience for a duel among gentlemen, and so the count is left without satisfaction. 

OOOOOH Fritz, you are not subtle in setting up the decoy. :/ On the bright side, the cabbie is a nice guy and the people at the station are going to have a lovely favorable impression of their new king. The cabbie is also confused by Fritz’s show of protocol, which is probably good for another hah. 

There’s a moment where Fritz realizes that he may not actually survive the attempt on the decoy’s life, and he swallows and takes his lumps bravely. What a cinnamon roll. Someone get this boy a new job. Or a better king. The cabbie takes the reins and wields his whip like an action hero! (DID RUPERT JUST GET TOSSED IN THE DITCH? HA! TAKE THAT RUPERT!)

SCENERY!!! CASTLE!!! NICE!!! But we have the spoiled prince to contrast with the cabbie and he doesn’t come off well. The staff are mildly confused when they meet the cabbie, and the cabbie is Suspicious and Demands Answers. We have a Discovery that there is Another (half-brother, that is, which explains the resemblance) and a kidnapping which is more cringe than comedy, which is sad because we were doing drama decently. Sapt convinces the cabbie to continue playing decoy.

Rupert taunts/flirts with Antoinette de Maubin. She slaps him. He backs off. Creepily.

OOOOOH Black Michael and Rupert have NICE uniforms for the coronation. And... aw, it’s the count again. And he’s in a snit.

Did we HAVE to mock the clergy? It’s sad, since we have a solemn moment when the cabbie is crowned.

Black Michael: How is this even possible? Rupert what did you do? Rupert: I swear I had nothing to do with this.

Flavia, love, what did you do to your hair? Oh, the 80s. I see. XD

It’s a bit out of place for the cabby to use the orb as a bowling ball, but I’ll grant it a laugh.

Now this is interesting. Zero effort is made to sell a cabbie/Flavia romance, and when she sees the difference between the prince and the cabbie he starts to tell her the truth right then and there and only Sapt’s swift intervention puts it off. And in every other interaction between the two they’re very honest and even kind to one another which is highly refreshing given how petty and cruel the other characters are.

Count: 1 wacky outfit, 1 horrible attempt at murder by croquet ball, 1 misfire. Props for dramatic tension, though?

The prince tries to convince Black Michael to let him go. What a poor little pathetic excuse for a man. Like, I think we were supposed to laugh when the prince rated his butterfly collection higher than the treasury or crown jewels, but, really, that’s just so sad. 

Plans are made for a double or triple cross; the major players meet at an abandoned windmill and, okay, having both sides pick a chicken for their ‘secret signal’ that all is not well is good for a laugh. Sapt and Fritz bumbling around does their characters no favors, alas. The night scenes here are BEAUTIFULLY lit; there are some wide shots that look more color-graded, but if there’s a light source the contrast is lovely. (So is Rupert’s red silk shirt he wears as he defends Zenda against the escape/rescue attempt.) The cabbie gets to call Rupert on his annoying habit, and Rupert grins as if, yes, he knows EXACTLY how much it drives everyone up the wall.

And then Rupert decides to play chaotic evil and switch sides.

YIKE--oh. Black Michael is only pinned to the wall, unharmed, not impaled through the throat. (is it on the viewer or did they really set up those scenes for the letdown/irony of the worst not happening??) Anyway, we have a fight scene that doesn’t hold a candle to a well done sword fight--or even a well done ‘bonk everyone on the head with random objects while other people fight’--and then we have an ending where the prince goes back to his gambling with the count’s wife at his side (poor count--but also, wow does that woman have poor taste) and the cabbie gets to be king and marry Flavia and hey! his horse gets to pull the bridal carriage and the cabbie gets to drive! Happy endings all around!

Or at least, what this movie considers to be happy endings.

[letmetellyouaboutmyfeels]

Why does everyone hate the Dear Evan Hansen movie so much? I thought the Broadway show was like beloved??

Hello nonny dear! This got long because I am incapable of shutting up so this is below the cut.

So, quick disclaimer: I am not a fan of DEH as a musical. I never liked it, for a few reasons, the main one being a personal preference - I simply don't like stories where the entire plot is based on a person lying to people. It really, really stresses me out (it's why I can't watch a lot of comedies). I think part of it is being autistic - I don't understand why the person lied. You can try explaining it to me, I just won't understand. It doesn't compute in my brain. In related news, I tend to be a bad liar and also extremely blunt. So!

DEH as a musical was loved by a lot of people, specifically young people. I actually noticed a very similar trend with DEH that I did with RENT, which is a musical from my generation that is beloved by people my age but by older people not so much. RENT, like DEH, speaks to the opinions, viewpoints, and issues of younger people. RENT is full of youthful anger at an unfair system, at feeling powerless, at not being listened to, and it also speaks to that youthful love of rebellion and art for art's sake. DEH, on the other hand, speaks to young people's struggles to fit in, with feeling alone, with depression, and so on.

As pointed out in one of the reviews, part of why people liked DEH was that the character was so young. The fact that he was in high school was what sold the story. Who hasn't, in a mixture of awkwardness, good intentions, and desire to be valuable, done a questionable or even wrong thing? Who hasn't done something they thought was small, like a white lie, only to have that thing spiral out of control? Kids (and teenagers are kids, God bless you all, I say that with the most sincere and deep affection) do that shit all the time.

However, it's not as endearing in adults. Adults, you see, theoretically understand better the consequences of their actions, the far-reaching ramifications, and are just generally (supposedly) on top of their shit.

To watch an adult (and the main actor playing the title character is completely 100% an adult now) make the same mistakes as a teenager is not endearing. It's annoying. Because your brain RECOGNIZES he's an adult. This is actually why people have discussed the problems with casting 30-somethings as teenagers in TV shows, because we see those 30-somethings in very adult situations (I don't mean that in a "protect the children!" way) but also behaving like, well, teenagers? And so it creates a weird dichotomy in your head and it is literally confusing your brain.

So you have an adult that your brain knows is an adult, behaving like a child, and that is annoying to you. It's not endearing. It's bothersome.

Another reason is that DEH is no longer hot off the presses. Give any popular piece of work time, and you'll start to see the imperfections (although online culture take this way too far and will rip any piece of media to pieces for not being flawless and perfect). A lot of people, again, especially young people (everyone I know who loved DEH was in high school or just starting college) connected with the characters and were grateful to have a story that was front and center about mental health issues. But now, time has passed. The initial rush of emotion connected to DEH is over, and people are able to view it with a more disconnected and therefore more critical eye.

I think, also, DEH fell into the trap that Prom did - Prom was not a perfect musical, and I think if I'd seen it on stage I would've thought of it as cute, sweet, and a bit forgettable. But the director made a LOT of mistakes in filming, such as in casting choices (James Corden please sit down) and in cinematography (he ruined dance numbers by zooming in on people's faces instead of zooming out and letting us watch them dance). I suspect DEH suffers from similar issues, since people often struggle to translate musical theatre to film.

It's oddly easier to suspend your disbelief when watching something on stage than watching it on film. In film, we have special effects, we have so much realism, we can make everything come alive, and so people have higher standards for it than in theatre where we all tacitly acknowledge that this isn't real but we're all here for a good time. The Lion King uses puppetry and large masks liberally. Avenue Q has hand puppets. Come From Away has actors in multiple roles, switching up using only minimal costume changes like hats or vests. Cats has no fuckin' plot whatsoever. But it's a lot harder to accept in film someone just belting out into song, so you have to find ways around that.

Chicago did a really great job by framing all musical numbers like you were in a cabaret show, firmly putting you in a dreamscape of the heads of the characters. They're not really singing, this is what they feel in their minds. In the Heights had a framing device where he's telling the story to kids and had the main character cheekily address the camera, breaking the fourth wall almost immediately. Cabaret swung hard the other way and was completely diegetic.

DEH, I suspect, did not put in the ground work to help you suspend your disbelief, which just made the flaws that much stronger. I always thought the songs in DEH are mediocre, and it seems film critics agree with me. And when the rest of the musical is going wrong (songs, casting, camera shots, etc) it makes it easier to see the glaring flaw which is the fact that the title character exploits someone's suicide for his own gain. He doesn't just lie (at least not in the film) - he creates fake email exchanges between himself and the dead teenager to fabricate the lie and sell it, so that he can get the love and sympathy he craves.

Not exactly a likable person, even a teenager, but especially when the teenager is played by a 30-something who looks it. The other characters are just as flat, and the musical makes a (sort of) villain of the one character who's genuinely being selfless.

Finally, a film can include details, thanks to camera shots, that a musical on stage can't. There's a scene in the film that I can't recall being in the musical (I could be wrong!) where the title character looks up the dead teen's favorite books list in the yearbook. The books are so stereotypical "suicidal teens read this" that I could vomit. Little things like that take a flawed story and push it into the realm of insulting.

Now, I admit, I am biased. I do not like this musical and have not for some time. I'm forever angry that it won Tony awards when Bandstand should have instead. I feel Bandstand handled mental health issues (ranging from PTSD to alcoholism to grief to depression) in a much better and more nuanced way. It didn't show one teenager exploiting another (dead) teenager for social clout. The songs were highly original and inspired, and of a jazzy 40s style we don't often see anymore but still felt fresh and connecting to a 21st century audience. Listening to DEH on the other hand I think, "well I've heard this all a million times before."

I also didn't like how it handled mental health, and I found the main character completely unsympathetic and manipulating. The fact that he was a straight white boy made it all worse. I am sick and fucking tired of stories about straight white boys fucking up, being apathetic and mediocre, and still earning sympathy and second chances from both other characters and the audience. I personally feel that all the bad reviews about the DEH movie are a long time coming and I am feeling extremely vindicated right now, since people are finally agreeing with me that this musical does not deserve the praise it initially received.

But! That is my own personal opinion. I hope that, if you or anyone else did like the musical, or are confused, you will note my previous thoughts about why the film is not being as well received. Translating musicals to film is hard, and this film made several blunders that both added to and enhanced earlier flaws in the musical.

[natesune]

Kate

Howdy folks Nate the Great here. This is the first review here on Cinema Empire. The first film we are reviewing is the 2021 Netflix original film Kate.

Now I decided I don’t want to spoil things for people who haven’t seen it so I will post a short review here then a longer more spoily one below keep reading.

Short Review: I actually really enjoyed this movie. some good action, good acting, and some really awesome shots.

The Plot of the movie overall isn’t too deep, or complicated. just a high paced action movie that definitely knew what it was. I would have to score it a 7/10.

Alright longer review here. Like I said above the movie was solid, and I really enjoyed it. Mary Elizabeth Winstead did great as the titular character Kate and so did all the other actors. The films plot really isn’t super deep it is just a movie that wanted to have a badass bitch kill people, and it works perfectly.

I would compare this to like John Wick/ taken. It starts off as a revenge film started by Kate, but then we find out that Kate was set up.

The cinematography in this was pretty enjoyable in my opinion. Some really great shots, and some really well set up scenes. Every fight scene, and shoot out was fucking awesome to watch, and the movie never lost me at all even with it’s basic plot.

In the beginning there is a really sick chase scene that had sweet angles, some sweet lighting, and the crash that happens at the end of the scene looked really amazing.

The characters were nothing special other than Maybe kate herself, but none of them were so bland that it was boring to watch. My only complaint is that it seemed like they wanted it to be more edgy and dark by making Ani say fuck like 100 times, but to be honest I guess some people do just talk like that so it is really only a nitpick.

I am a bit surprised at how decent this is because I feel like when I first heard about it back when they dropped a trailer the only thing that interested me was Mary Elizabeth Winstead. I was not disappointed by her performance, or by the movie showing her kick ass, and get her ass kicked. 

As the movie goes on she really looks fucked up. the makeup department did great in making her look badass, but also making her look like she should be ten feet under.

The ending of the movie is a little bittersweet, but not disappointing. They did a good job at making me sympathize for Kate wanting a normal life, and for Ani as she felt betrayed and alone. It would have been nice to see her live for a sequel, but honestly being a one of movie in an age where everything seems to have sequels, or spin offs isn’t a bad thing.

The film isn’t anything people haven’t seen before, but it also isn’t something insulting, or boring. I would most likely watch this again, and I would recommend it to anyone looking for a fast paced movie to pass time. I put my rating up above but I will put it here again.

Kate gets a rating of 7/10

[byrcca]

Chiaroscuro. From the Italian, meaning light-dark. It’s a method that artists employ in paintings, drawings, photographs, and film to paint a picture using light and shadow, strong contrasts of highlight and darkness to make the subject appear (in paintings) three demential and immediate. The background falls away and the eye is drawn to most import and immediate aspects of the picture. It’s stunning, and sometimes shocking, and leaves an emotional impression with the viewer.

Blood Fever, s3 ep 16, is a masterpiece of the art, imo. It’s visually stunning. The use of limited lighting in some of the scenes on Voyager, hand-held, away team ‘wrist lights’ by Tom & B’Elanna when they’re trapped in the tunnels, and the dappled sunlight on the planet’s surface ramped up the emotional impact of a storyline that was all emotion anyway. From B’Elanna’s excitement at the thought of revamping her warp coils, to her embarrassment and shock over Vorik’s proposal and subsequent attack, to her own gradually escalating emotional imbalance once her blood fever started to take hold, (and let’s not forget Vorik’s own impulse to warp 10 outbursts of primal rage) the use of light and shadow became another character in this episode. Kudos to Lisa Klink (who else?!) and Andrew Robinson, in order: writer & director, and Roxann Dawson & Robert Duncan McNeill (yes, I have to look up how to spell his name every damn time), and Alexander Enberg for their outstanding work!

This is my own Blood Fever week ....don’t I wish! Actually, I just reached BF this week with my crappy collages, and I realized that I couldn’t limit myself to just Tom Tuesday & Torres Thursday. And even after adding a tribute to Vorik on Wednesday, I’m not done. So today’s post will be (yet again) a series of crappy collages in tribute to the stunningly beautiful cinematography in this episode.

Let’s start with an example of flat, ordinary lighting. Tom reacting to B’Elanna’s frenetic explanation & actions when she’s briefing him & Neelix about the mission before they beam down to the surface.

Because I took about 400 screen shots of this ep - most out of order - I’ll jump ahead in the episode and contrast that with a shot of B’Elanna in the tunnel, after she’s bitten Tom, run off, been found by Tom, Chakota, & Tuvok, and wrestled the gun away from the unnamed native Sikarian. The episode is chaotic & frenetic, and this little photo essay will be too!

B’Elanna is the focus here, as she is in most of the tunnel scenes. Tom isn’t incidental, like say Chakotay, but he’s more often muted than starkly contrasted. I like to think it’s because he’s torn, suspended between his own inner light & dark: he wants nothing more than to believe all the sweet words B’Elanna tells him about her secret desire for him, but he knows that it’s just the pon farr talking.

Back to B’Elanna. We get to clearly see that she’s slipped from the zipped up, boots polished, perfectly applied lipstick & helmet hair chief engineer, and yes, her condition is absolutely going to become as bad as Tuvok fears. Just give it time.

Backtracking to the bite... Alas, I had to lighten this pic just a smidge because I couldn’t count on it not just looking like a black square, but I’m swooning at the play of light on B’Elanna’s cranial ridges.

But Tom does get to shine after B’Elanna has run off down the tunnel, when he hails Voyager & lets slip in front of the entire bridge crew that she bit him. His hands are the focus as he’s attempting to track her life signs, but the director could have easily had Neelix shine his own wrist light on Tom. Instead, his face is barely lit & that bite noticeable but not glaringly obvious. We all know what it means when a Klingon bites someone on the face, but did she bite him because she wants him, or because she simply wants?

Because I don’t know how long I can make a tumblr post, I’m going to throw down some pics without much comment. Really, they’re so gorgeous, they speak for themselves. Cave kisses:

B’Elanna, after Tom has pushed her off of him:

And more, from earlier, of them trapped in the cave when she doesn’t comprehend what all the fuss is about and why everyone insists there’s something wrong with her:

Here’s Tom & B’Elanna in the dappled sunlight on the surface of the planet after they’ve accepted the reality that they‘re going to have to have sex to break the pon farr:

...part 2 👉

[365days365movies]

February 27, 2021: Love Actually (2003) (Part 1)

We gotta start this Recap.

Just trust me here, this one’s gonna be a lot. Why? Because this is Love Actually.

And I really want to talk about it, I REALLY do, but...this is not only a long movie, but an anthology, so it’s gonna be...complicated. But, I will say one thing. If you’ve been reading this since January, then you’ll know that this blog was inspired by the book Shit, Actually by Lindy West, a collection of hilarious movie essays that I love. And, yeah, this film is its namesake. So, although I want to go more into it, we gotta get started. Sorry for the rush, but...TRUST ME.

SPOILERS AHEAD!!!

Recap (1/2)

An airport! We see families and other loved ones reunited at Heathrow, as narration begins, telling us that love is everywhere. After name-dropping 9/11...TWO YEARS after it had happened (too soon, David), he states that “love actually is all around.”

Got it. So, as the 2003 film All Around begins, singer Billy Mack (Bill Nighy) is trying to sing a Christmas-themed version of “Love Is All Around,” which is pretty goddamn bad. His recording manager Joe (Gregor Fisher) agrees. Jamie (Colin Firth) tells his sick girlfriend (Sienna Guillory) that he loves her, and he takes off for something that he can’t attend.

Daniel (Liam Neeson), a fresh widower, calls his friend Karen (Emma Thompson) a mom bidding her daughter a good day as she heads to school. Jack (Martin Freeman) and Judy (Joanna Page) are...air humping on a set? I need to know more. Peter (Chiwetel Ejiofor) and Juliet (Kiera Knightley) are getting married in a church, with their friend Mark (Andrew Lincoln) as the best man. And FINALLY, David (Hugh Grant) has just been elected as the new Prime Minister, where he meets Natalie (Martine McCutcheon), a member of the household staff.

...Well, that is a lot. Goddamn. So, this is an anthology movie, huh? I’ll try to cover this as smoothly as I can.

Peter and Juliet say their vows, and as they walk out, they are surprised by a rendition of the Beatles’ “All You Need Is Love”, organized by Mark. At the wedding is Jamie, whose brother is at his apartment when he returns home early. He’s there to fuck his girlfriend. Oh. Shit. Well, sorry, Jamie. 

Also at the wedding is Colin (Kris Marshall), a waiter and messenger who’s been trying to woo British women, but is constantly failing. When talking to his friend Tony (Abdul Sallis), he insists that he’s going to the USA, where the women will appreciate his accent. Tony tells him to simply accept that he’s a “lonely, ugly asshole”. Colin, in response, calls himself a God of sex on the wrong continent. A pair, these two.

Tony is a production assistant, working on the film that Jack and Judy are in. They’re apparently professional stand-ins, actors who substitute actors in film set-up, in order to figure out lighting and cinematography. Neat! Well, normally. Here, they’re standing in for a sex scene, and they ask Judy to go topless, to see how best to frame the shot. And it gets...increasingly awkward. And it’s pretty goddamn funny.

Meanwhile, a funeral. Oof, tone whiplash right there. It’s a funeral for Daniel’s wife Joanna, and she leaves behind him and her son, Sam (Thomas Sangster AKA fuckin’ Joffrey, but I won’t hold that against him). Back at the wedding, Mark stares on longingly at the dancing Peter and Juliet. A woman asks if he’s in love with Mark, and he replies no.

At an office building, another guest at the wedding, Sarah (Laura Linney), is a worker at a graphic design company run by Harry (...awww, Alan Rickman). His secretary Mia (Heike Makatsch) brings her in to Harry’s office, where he tells her that he and everyone else in the office knows that she’s in love with fellow worker Karl (Rodrigo Santoro), and that he should get it over with an ask him out. He walks by her, and she doesn’t say anything, while also recieving a call...from someone she refers to as “babe”. Well, I feel a little infidelity coming on.

On Mia’s radio, Billy Mack’s shitty Christmas song is playing, and a radio host agrees as Bill’s brought on for an interview. Bill shares the sentiment in what must be the most depressing radio interview I’ve ever heard. In that interview with Mikey (Marcus Brigstocke), he basically completely sabotages his own record, and probably his entire career. This interview is followed with news about the Prime Minister.

David, new PM, has been bonding more with Natalie, and the two definitely appear to like each other. He also comes up in conversation between Judy and Jack, as their stand-in sex scene has progressed to basically just straight-up sex, which feels...I feel like this doesn’t fucking happen with stand-ins in movies...right? Like, come on, that’s a LOT of breached privacy, and I feel like it’s not that realistic. Anyway, the two use the opportunity to make small talk, and Jack tells Judy that he appreciates having someone to talk to. She agrees, and it’s cute in an extremely awkward way!

Production assistant Tony is heading home, and is getting a ride from Colin, who announces that he’s bought a ticket for a trip to the beautiful land of Wisconsin, where he will certainly meet some hot, hot babes. Tony does not agree.

Back at Harry’s office, he and Mia plan the company Christmas party. Mia unsubtly notes that she kinda has the hots for him, and he’s not saying no. Meanwhile, Daniel and Karen are talking about the fact that his stepson Sam seems to be having a lot of trouble, understandably, and Daniel’s not doing much better. 

Karen does her best to help him through it, and Daniel does his best to help the troubled Samuel. But he can’t coax much out of Samuel to figure out what’s wrong. Samuel finally opens up, but tells Daniel that he’s in love. Daniel’s surprised, but he insists that he’s in love, with a young woman named Sansa Stark, but he must find a way to ensure her loyalty, if ONLY HER NOBLE FATHER WASN’T IN THE...right, sorry, Game of Thrones.

OK, anyway, Sam’s in love, and in complete agony about it. Daniel tries to coach Sam through his feelings, and is genuinely being a supportive-as-hell stepdad. Also in love and in agony is Sarah, staring at Karl from afar one night as the office closes down. And then, also in agony is Jamie, fresh off of his breakup with his cheating girlfriend. He’s in a GORGEOUS AS FUCK house in the French countryside, and sits down to write.

Back in London, David tries to get to know Natalie a bit better, and they...I mean, they’re 100% gonna get together by the end. We’re just working through the romantic folderol right now. Natalie leaves, and David asks a portrait of Margaret Thatcher is she had that problem, calling her a, uh...a “saucy minx.” Well, OK.

Billy Mack is on a television show, continuing his press tour and reminding us once again that he used to be addicted to heroin. Joe is not happy. Mark, an artist, calls Peter, and is put on the line with Juliet. Peter asks him to “be nice,” but when he they talk to each other, he’s rather short when she asks for some of his footage from the wedding.

Back at Harry’s, Mia is laying it on fuckin’ THIIIIIICK, Jesus, while Sarah ends up pining once more for Karl. At his college in the French countryside, a new housekeeper, Aurélia ( Lúcia Moniz), has been hired to take care of his place. However, there’s a serious language barrier between the two, as she’s Portuguese, and he’s too talkative, goddamn. It’s awkward. It’s a little awkward.

David’s got a meeting with the President of the United States (Billy Bob Thornton), who IMMEDIATELY notes Natalie’s attractiveness. Political tensions are also rough between the two and their administrations. The two have a private meeting later, and David leaves the room for a moment. However, when he goes back in, he sees Natalie kissing the President! Whaaaaaaaat? That’s a...fucking terrible idea, Mr. President, what the FUCK? HAVE YOU HEARD OF BILL CLINTON

The next day, at a press conference, David gives into his rage about the affair, and he acts more assertive towards the President, noting that he won’t bow to the President’s bullying. Wow. International crisis time because of a fuckin’ girl! Who’s the saucy minx, now, Thatcher? WHO’S THE SAUCY MINX NOW

Right afterwards, he gets a call from his sister: Karen. Huh. She notes her frustrations with his actions, but he’s too busy and hangs up. She states her frustrations to her husband: Harry. DOUBLE HUH. After everything, though, David retires for the night. The radio station plays a song for him, and David responds by dancing around 10 Downing Street. And it’s hilarious. And I love it?

At Jamie’s cottage, he and Aurélia start to bond regardless of their language barrier, and their conversations seem to gel with each other, despite them not understanding that themselves. It’s actually...kind of cute. I dunno, I kind of like it. I think it’s sweet. Overly saccharine, yeah, but sweet as the two fall in love. Yeah, I’m a fuckin’ sap, what can I say?

Juliet visits Mark, who’s once again acting fairly cold towards her. She confronts him about it, and notes that she wants to genuinely become friends with him. Mark seems to agree with this, but still notes that he has no video of the wedding. And yet, she finds it, only to discover that Mark doesn’t hate her. Actually, he likes her. Actually...he loves her. And, uh...fuck, yeah, he LOOOOOOOOVES her. And she figures that out once she realizes that the video of the wedding doesn’t feature Peter in it AT ALL.

Y’know, I’m really worried that this is becoming an infidelity situation, but I have to admit...Mark’s a good man, and a great friend to Peter. He knows that he loves Juliet, but he keeps his distance for the sake of his friend. And that is...actually amazingly honorable. Damn. You’re a good man, Mark.

At 10 Downing Street, David asks his assistant Annie (Nina Sosanya) to put Natalie in another position, as her presence is distracting him. And that is...responsible. That’s pretty damn responsible. OK, I can dig it. She’s soon replaced, and you can see that David is saddened by that.

His sister’s best friend's stepson, Sam, has just gotten bad news. His crush, Joanna (oh, yeah, his crush has the same name as his deceased mother, forgot to mention THAT little tidbit), is going back to the USA. After discovering that she’s American, Daniel decides to cheer him up by watching Titanic together. AND AGAIN. This relationship is adorable, and I love Daniel’s hardcore good dad energy.

Jamie and Aurélia need to bid each other goodbye, as Jamie is headed back to England. However, as they part, Aurélia kisses him goodbye, which seems to break him a little. Meanwhile, Billy Mack has shot a video for his terrible song, which inspires Sam to perform in a school concert to get Joanna to fall in lover with him and get her to stay. But he doesn’t play an instrument, and chooses to learn the drums, to Daniel’s dismay.

At Harry’s company Christmas party, Mia is hitting HARDCORE on Harry, which Karen notices. She’s speaking to Sarah, and encourages her to dance with Karl, while to two stand in front of Mark’s photographs, and...

TOO MUCH. IT’S TOO GODDAMN MUCH

I...I gotta take a break, and we’re at the halfway point anyway. See you in Part 2.

[artificiallyimplantedmemories]

[ ooc: ep 4 liveblog & opinions under the cut! this one got long winded because I had a lot that I was thinking about (and it took me twice the length of the episode to actually watch through it because I kept pausing to type oops) ]

yeeeesh that’s one way to start. thank you for letting bucky cry.

but also the look of pride on her face when she says “you are free” they’ve been working so hard and she’s so happy with the progress bucky has made ;_;

and now she’s so betrayed :(

but I’m also so glad Bucky learned xhosa that’s super important! <3 part of decolonization of the past involves respecting and learning and propagating languages and cultures that have been trodden over. Wakanda has been something of a safe place in that regard, and are now doing the outreach to help their continent and the world, but it takes the world of people within the majority putting in the effort and learning and embracing those cultures and languages (without appropriation, which I know is a fine line to walk sometimes) in order to really make progress. once it is no longer alien, it is also no longer scary, and can be held in proper esteem.

“sweet of you” shut your mouth Zemo xD

“she’s just a kid” thank you for your compassion Sam. and while she’s an extremist, I’m not sure whether Karli counts as a supremacist or just a terrorist? maybe she counts as genocidal if she’s truly trying to restore things to Blip conditions but it’s kind of unclear.

“the serum never corrupted Steve” “touché” YO EVEN HE ADMITS IT

Sam’s understanding of cultural habits (and there are many overlaps between various cultures and the ways they mourn) is such an asset here, and I’m glad that they’re pulling a contrast between the tech-driven, cold, calculating predictions made by certain people and organizations in other parts of Marvel and the general sort of soulful and instinctive approach here

Turkish delight. Excuse me but Narnia cemented the idea in so many people’s heads that it is this magical thing but it’s like superglue in your mouth. It is not irresistible, Zemo.

Legislation and social change as a result of violent action is nothing new. Every peaceful protest has been backed up by some kind of harm, whether it be economic, like a boycott, or physical, either damage to property or lives. I think instinctively people understand this, but it’s good to see it put in the spotlight.

Sam is “stranger danger” to these kids :/

“I know what happens when people say they’re going to help out... nothing.” Ouch.

The way Sam’s gaze falls at that too, because he knows theoretically that a lot of these injustices are happening and can empathize, but practically hearing it hurts. He doesn’t like not being trusted either, but I think he can probably understand why.

Zemo playing that psychology game! Kids love food and the idea that he must be a good person just for having a kid is dumb as hell but something that kids would gravitate towards. Smart man. Doubly smart for not telling them, Nat would approve if she didn’t hate him :P

Sam de-escalating is gonna be a trend I can just see it.

Cherry blossom tea? Interesting choice.

SHARON HI 

Nat vc: gosh it’s nice to see someone competent around here. 

ooooh they’re really reinforcing the idea of Captain America being a figurehead that inspires people

“heroes these days don’t have the luxury of keeping their hands clean” yeah well it’s because Steve had people like Bucky and Nat do do his dirty work, but sure

“all the people history just left out” OW

okay first of all Sam being the one who is insisting on reasoning with them because he knows what it’s like to come from an oppressed people !!! he knows grief and trauma !!! he can do this !!!!! I just know Walker is gonna fuck it up for them :P

second, Walker trying to emotionally manipulate Bucky? it’s a testament to how far he’s come that he doesn’t punch the guy immediately lol

Hoskins being the voice of reason as a foil for Walker again what?! this version of Lamar isn’t nearly as terrible as I expected.

Zemo calling that itty bitty girl his associate xD He really does understand the people here though... aaaand he’s getting handcuffed. Totally didn’t see that coming (he’ll probably break free anyway)

The conversation between Karli & Sam ;_; 

“you’re either brilliant or hopelessly optimistic” “por quo no los dos.gif”

Walker trying to guilt Bucky again god he’s so dumb. I appreciate the fact that he’s ruthless but he’s so narrow minded in how he approaches problems. oh no I have an issue let’s punch it until it dies! come on man.

Karli is so heartbreakingly naive and that’s becoming more and more obvious. I love Sam opening her up like this wow.

WALKER FUCKING IT UP AS ALWAYS

and the cuffs empty WHAT DID I TELL YOU

god we were getting somewhere ;____;

oh good just what we need, serum in Walker’s hands. he was already awful he doesn’t need to be more awful gdi

“we separate them and then we kill Captain America” ...yes, we’re listening xD

I know crazy because I am crazy... oh boy we got some internalized stuff, but let’s play it off

still a little blame game going in terms of where the shield ended up I see

THE DORA MILAJE ARE HERE -swoon-

pOINTY STICKS I cackled oh boy he gonna get his ass WHOOPED

Sam is enjoying the hell out of this

Zemo watching and drinking

“Looking strong, John!” “Bucky”

oooh dear they tangling and Zemo’s getting away.

your arm’s off! no it’s not

WAIT WHAT DID AYO SAY BEFORE SHE SAID JAMES

they all got their asses kicked ah well. also the look on Walker’s face says he gonna serum himself up, the lil fucker. oh no someone’s better than you how will your ego ever survive.

a lil Battlestar logo!!! shut up that’s cute. they’re really making him halfway likeable here.

“power just makes a person more of themselves”

ohhhh okay time to unlock Walker’s traumatic backstory. at least he feels bad about the things he did. at least he knows that those medals of honor are covered in blood. people are at least partly made by their circumstances, and I wonder what he was like before the war. the only indication we have of it is him being a football star, and while I may not have had the best track record with those in my youth, that doesn’t mean there aren’t decent ones out there...

Sarah’s “my world doesn’t matter to America, so why should I care about its mascot?” Oh, we’re speaking to the disenfranchisement of marginalized people hardcore today okay. if anyone’s gotten this far in my overly long commentary I want you to know that this is the realest alright? it’s hard to be proud of a country and its symbols when it doesn’t do right by you, when the majority doesn’t do right by you. am I glad I was born here? sure. are there worse places to be? sure. am I proud to be an american? oof, man, don’t ask me that.

Karli is not pulling her punches, she’s threatening the whole fam. Sam isn’t gonna like that... He sounds like he’s trying to suppress panic instead of being angry on the phone call with Sarah. I think he understands what Karli is trying to do, even though he hates how. And he’s worried, because he’s always gonna be worried. Poor guy. And there’s the confrontation.

Sharon got their backs!

Oof, seeing the gun with the shield.

Gunshot, run, oh, listening, he’s already got the serum, maybe? Given how deeply that shield is embedded in the wall I’m gonna say yes. YUP I WAS RIGHT.

Something about the water dripping and Lemar’s face makes me think he may have been waterboarded at some point :( but maybe he’s just in a lot of pain.

THE KNIFE CATCH. YES YES YES. THE KNIFE FLIP. Nat is so hearteyes.

Ooh, we gotta upgrade that wingpack with Stark repulsors pls go Sam go

oh no. Lemar. fuck. FUCK.

oh good now you’ve done it. killing a guy as Captain America. fuck.

the blood on the shield as the last shot! ~cinematography~

hoooo I’m chilled. I knew something along these lines was coming but oof. 

[all-the-heart-you-cannot-see]

Things i loved about season 4

- The Nun scene. Honestly the sheer level of galaxy brain Ludo Besse has when writting these seasons lol. It was a very clever pararell to have the nun mistake Sana for another Sister, in a country as catholic as Italy, its al simple way of putting the hijab into perspective, no one sees a nun and thinks the same things they do when they see a muslim girl wearing a veil, even when they are essentially pretty similar: an expression of their religion. I really liked it (and the conversation under the candlelight just felt a whole other level of intimate so thats a plus)

- The Luai storyline. Man i loved this bit of the season, can we talk about the scene where Nico and Luai see each other at the club? The song choice? The shots? GOLDEN. I like that there are no real villains in this story (except for Luai's parents) what happened between them wasnt the result of someone in the baloon squad being homophobic, they were both victims of the circumstances and i love that Luai currently has a boyfriend, i've never been happier for a side character in my life.

- Sana. I enjoyed Sana a lot, she is sweet, she is akward, is a different take on her character and i liked it very much. What i loved the most was that the side plots from the og are still mostly there but this time they are constructed so they still revolve around Sana and her struggles. After the fight with Marti and the Rose Squad when she stays there alone with blood on her hand and both of her worlds (the contrabandieri and the Rose Squad) just walk away from her and she is just crying...that hit me hard (kudos to Bea, her acting was also very good), it made the scene more about her and what it meant for her than about the external drama, and then she justs keeps getting hit when she hears the UFB talking about her and finally Eva and Malik kissing... i could feel the weight of everything that had happened that night just falling on her shoulders and my heart shrank...her character was so well constructed im glad she got such a great season.

- The Rose Squad. I loved them, three out of four of them have clear characterization and it just placed them really high on my list...Ludo managed to make me care about Luai who has a total of like, 5 lines so i think its safe to say they are very well written and very well used.

-Filippo. At this point Filo is the father of half of that school i swear, it laughed so much with his scenes, from drunk Rami to Martino being a mess and just giving up on life in Filo's bedroom, also the fan service with Elia, i would've enjoyed it more had they not implaid that Elia was going to date Emma there at the end. (We stan safe sex kids)

- Episode 8. Was such a beautiful episode to watch, Martino and Sana are one of my favorite Isak-Sana dynamics after Amira and Cris, i loved their conversation cause it was more about understanding each other, Sana was right about some things and Martino was right about others, it was nice to see her finally open up to someone after just botteling up her emotions for the entire season, it was really sweet. Her message to the girls was heartbreaking, i legit cried and had to rewind the video cause my vision kept getting blurry and i kept missing parts of her speech, again Bea's acting really helped here, episode 8 was Sana not only opening up to her friends, but to us as the audience, that even after 7 episodes on her POV, still didnt understand her actions very well, it was a nice way of complementing the new perspectice her convo with Marti had given us, i loved it. (Also hide and seek to reunite Niccotino? I love Ludo Besse)

- The girl squad. I always thought Eva was very underapreciated (which is why i adore Skam España for giving her more to do after her season), i dont know why, but since the first time i saw norweiang Eva's season she stayed in my heart, and this version of Eva is one i love as well, i enjoyed her character and honestly her last scene with Gio? GOLD, her letter? One of the best things to come out of the Skam universe, i want to thank Ludo for handling her with such love. Silvia i really liked, her clip really puts things into perspective and i love that they kept her cat as an actual consistent plot device, she's had a nice character development, from wanting desperately to be noticed by the school coolest boy, to simply not caring about boys to finally opening up to someone, truly letting them in and accept herself, no only her body, but who she was. Finally Fede... the backstory of why she spoke to Sana was something i really appreciated, as well as the fact of her being so ashamed of what she he had done, i like that story because it shows how people can change once their prejudice is deconstructed, specially at that age we are the product of the education we were given, things like homophobia, sexism or xenophobia althought still not acceptable for a teenager, dont mean that they can't be redeemed, that their world view can't change in the future and that they can't grow. It was nice, you may have been an asshole in the past but as long as you understand what you did wrong and geniunly apologize, there is no reason for us to think someone cannot be redeemed.

- Every. Malik. And. Sana. Scene. Was so amazingly shot and constructed that even when i understood 30% of the dialogue the first time i watched it without subtitles i was smiling like an idiot, the date scene, those last few seconds? Them just staring into each others eyes? No kiss scene would've made us feel what that made us feel and that is a testament not only to good acting, but to the amazing direction of Ludo Besse.

- Ludovico Bessegato. This man has so much love for this project it shows on the end result, Skam Italia is pretry similar to the og in terms of plot, but Ludo made it stand out with his characters, his cinematography and some minor changes. The result is a story most of us already knew and loved with characters that some of us might love more than the originals in a setting that for me personally is more relatable than the norweiang one and has earned a place in my heart. I still can't believe he alone had to manage social media for the first seasons and had to fight with Timvision to get the show done, im so happy his work, and the work of all the other people who poured their hearts into this project (including the actors) got rewarded in such a way.

- The final speech. I understood very little of it while watching the first time, but that didnt stop me from crying like a baby while Gio read the letter, i found i cared for every person on that screen, from all of them i had good memories on the show and i couldn't believe that a fictional story could make such an impact in me, specially since this is the second time i see it, i'm probably way to biased with this show and the truth is idk why,i couldn't pin point the things that make me love it the way i do, i just do, and i am very satisfied with this ending, if this is the end.

[thisbluespirit]

James Maxwell TV/Film List

More of a guide than a recs list, because old tv/film depends so much on availability.  It’s also hard as there’s nothing surviving that’s really like SotT for him (his voice is always slightly different, too & rarely the grand one from SotT) - I found it hard to find where to start back in the day, so I hope this makes it easier.  However, I have starred my favourites (rated for JM content only). 

I’ve divided things into categories and @jurijurijurious​ (or anyone) can make up their own mind as to what to go for.  (Also @jurijurijurious I have NO idea what old telly you’ve already seen, so forgive me if I’m telling you things you already know.)

Where to find it:  Luckily in the UK, it’s not too bad!  Network Distributing are the DVD supplier to keep an eye on (they do great online sales), you can find secondhand things cheap on Amazon Marketplace & eBay, and several Freeview channels show old TV & film, especially Talking Pictures.  I’ll note if things are on YT or Daily Motion, but they come and go all the time, so it’s always worth searching.

***

Film serials (ITC mainly)

British TV made on film in the US mode with transatlantic cash, so generally pretty light,  episodic (continuity is almost unheard of) etc.  Some turn up on ITV3 & 4 on a regular basis (colour eps). 

*** Dangerman “A Date With Doris” (ITC 1964)  James Maxwell is a British spy friend of Drake’s (Patrick MacGoohan) called Peter who gets framed for murder.  Drake goes to Fake Cuba to rescue him by which time JM is dying from an infected wound and faints off every available surface, including the roof.  It’s great.  On YT.  (The boxset is v pricey if you just want 2 eps.)

“Fair Exchange” (ITC 1964) JM is a German spy friend of Drake’s called Pieter who helps him out on a case.  Not as gloriously hurt/comfort-y as the other, but it does have some excellent undercover dusting. (Why  Patrick MacGoohan has JM clones all called variations on Peter dotted around the globeis a mystery.)  On YT.

The Saint “The Inescapable Word” (ITC 1965) This is pretty terrible, but  entertaining and James Maxwell plays the world’s most hopeless former-cop-turned-security guard. With bonus collapsing.  On YT.

“The Art Collectors” (1967).  JM is the villain of the week.  It does include a v funny bit, though, where the Saint (Roger Moore) goes for JM’s fake hair (and who can blame him?  How often I have felt the same!)  This one’s in colour so should pop up on ITV3 or 4. 

The Champions “The Silent Enemy” (ITC 1968).  Surprisingly good JM content as the villain of the week who drugs sailors and steals their clothes before realising that maybe he should have worked out if he could operate a sub before he stole it.

The Protectors “The Bridge” (ITC 1974, 30 mins.)  Not worth seeking out on its own, but ITV4 seems fond of it and James Maxwell gets to do some angsting and wears purple, so it’s worth snagging if you can, but too slight otherwise.

*** Thriller “Good Salary, Prospects, Free Coffin” (ITC 1975; 1hr 10mins, I think).  James Maxwell moves in with Julian Glover and runs an overcomplicated murdery spy ring where they bicker a lot in between killing girls by advertisement and burying them in the back garden.  What could possibly go wrong??  Anyway, it’s solid gold cheese, has bonus Julian Glover and a lot of natty knitwear.  What more does an old telly fan want?  (tw: Keith Barron being inexplicably the very meanest Thriller boyfriend.)  On YT but tends to get taken down fast.

***

Films

Design for Loving (1962; comedy).  Can be rented from the BFI online for £3.50.  Isn’t that great or that bad (or that funny either), but does have JM as a dim layabout beatnik, which is atypical.

***The Traitors (1962).  This is a low-key little 1hr long spy B-movie, but it’s also thoughtful and ambiguous with a nice 60s soundtrack and location work (it’s a bit New Wave-ish) and the central duo of JM and Patrick Allen are sweet and it all winds up with James Maxwell going in the swimming pool. One of the things where JM is actually American. (Talking Pictures show this occasionally & it is out on DVD as an extra on The Wind of Change.)  The quality of the surviving film is not great, though.

***Girl on Approval (1962).  A Rachel Roberts kitchen sink drama about a couple fostering a difficult teenager.  It’s dated, but it’s also really interesting for a 1950s/60s slice of life (and very female-centric) & probably the only time on this list JM played an ordinary person.

***Otley (1969).  Comedy that’s generally dated surprisingly well & is good fun, starring Tom Courtenay +cameos from what seems like the whole of British TV.  JM is an incompetent red herring & there are more cardies and glasses as well as a random barometer. 

Old Vic/Royal Exchange group productions

(Surviving works made by the group that JM was involved in from drama school to his death, made by Michael Elliott or Casper Wrede.  I like them a lot mostly, but they are all slow and weird and earnest & not everybody’s cup of tea.)

Brand (BBC 1959).  The BBC recording of the 59 Company’s (the name they were then using) landmark production, starring Patrick MacGoohan.  This was a big deal in British theatre & launched the careers of everybody involved.  It’s very relentless and weird but interesting & I’m glad they decided it was important enough to save.  First fake beard alert of this post.  It won’t be the last.  On YT & there is a DVD, which is sometimes affordable and sometimes £500, depending on the time of day.

***Private Potter (1962).  The original TV play is lost and this film has an extraneous storyline, but otherwise has most of the TV cast & gives a pretty good idea of why as a claustrophobic talky TV piece it made such an impact.  Tom Courtenay is Private Potter, a soldier who claims to have had a vision of God during a mission & James Maxwell his CO who needs to decide what to do about this strange excuse for disobeying orders.  Tw: fake eyebrows (!) and moustaches.  Only available on YT.

[???]One Day in the Life of Ivan Denisovitch (1970).  Again, no DVD release (no idea why), but it is on YT.  I haven’t seen this yet, but it’s another Casper Wrede effort starring Tom Courtenay and apparently JM is especially good in it.  (I’m just not good at watching long things on YT and keep hoping for a DVD or TV showing.)

Ransom (1974).  A more commercial effort starring Sean Connery & Ian McShane; it gets slated as not being a good action movie, but is clearly meant to be more thinky and political with the edge of a thriller. JM’s part isn’t large but Casper Wrede shoots his friend beautifully, & it’s a pretty decent film with nice cinematography, shot in Norway, as was One Day.  I liked it.

[I think this post might be the longest in the world, whoops.  Sorry!]

Cardboard TV (the best bit, obv)

One-off plays etc./mini-series

Out of the Unknown “The Dead Planet” Adaptation of an Asimov short story; this is very good for JM, but hard to get hold of unless you want the boxset.  I think someone has some of the eps on Daily Motion.  (His other OotU ep is sadly burninated.)

The Portrait of a Lady (BBC 1968).  Adaptation of the novel; JM is Gilbert Osmond, so it is great for JM in quantity and his performance, but depends how you feel about him being skeevy in truly appalling facial hair.  Do the bow ties and hand-holding make up for it?  but he’s in 5 whole episodes, and Suzanne Neve, faced with Richard Chamberlain, Edward Fox, and Ed Bishop as suitors, chooses instead to marry the worst possible James Maxwell.  Relatable. XD

***Dracula (ITV 1968, part of Mystery & Imagination).  JM is Dr Seward, fainty snowflake of vampire hunters, who falls over, sobs and can’t cope for most of the 1 hr 20 mins.  More facial hair, but not as offensive as last time.  Suzanne Neve is back again, although now JM is nice, she’s married Corin Redgrave, who’s more into Denholm Elliott. Anyway, I love this so much because it turned out that I love Dracula as well as shaky old TV with people I like in getting to fight vampires and all be shippy.  Good news - TP keep showing M&I, the DVD is out, and there are two versions of it up on YT.

The Prison (Armchair Cinema 1974).  This is the one with Lincoln in it, but it’s not that great & JM isn’t in it that much, so depends how curious you are for the modern AU!  (But my Euston films allergy is worse than my ITC allergy, and I watched this when very unwell, so I may have been unfair.)

Crown Court “Fitton vs. Pusey” (1973) - part of the Crown Court series, set in a town full of clones who all keep returning to court.  JM is on trial for his behaviour in (the Korean war?  I forget?) although he ought to be on trial for his terrible moustache.  It’s not that great, but it is nice JM content.  He probably did it, but for reasons, and he wibbles & panics whenever his wife leaves the courtroom.  Also on YT.

*** Raffles “The Amateur Cracksman” (ITV 1975) - He is Inspector Mckenzie in the Raffles pilot & is a lot of fun.  At one point when there was a Raffles fandom someone in it claimed he was too gay for Raffles, which I’m still laughing about, because Raffles.  Anyway, watch out if you try to get the DVD because it is NOT included in S1, whatever lies Amazon tells. It is up somewhere online, though, I think.

Bognor “Unbecoming Habits” (1981).  Some down marks for possibly the worst 80s theme & incidiental music ever, but fun & has been shown on Talking Pictures lately.  JM is an Abbot running a honey-making friary that is actually a hotbed of spies, murder, gay sex and squash playing.  This is the point at which he chooses to strip off on screen for the first time, because strong squash-playing abbots do that kind of thing apparently.

Guest of the week in ongoing series/serials

Since even series with a lot of continuity tended to write episodes as self-contained plays (like SotT), these are usually accessible on their own.

Manhunt “Death Wish” (1970).  This is one of the most serialised shows here, but this episode is still fairly contained.  WWII drama about three Resistance agents on the run across France.  JM is... a Nazi agent & former academic trying to break an old friend (one of the series’ three leads, Peter Barkworth) with kindness, possibly??  (Manhunt is very angry and psychological & dark and obv. comes with major WWII warnings (& more if you want to try the whole thing), but it’s also v good.)  Up on YT, I think.

Doomwatch “The Iron Doctor” (BBC S2 1971).  “Doomwatch” is the nickname of a gov’t dept led by Dr Spencer Quist that investigates new scientific projects for abuse/corruption/things that might cause fish to make men infertile etc. etc.  JM is a surgeon who comes to their attention because he’s a bit too in love with his computer for the comfort of one of his more junior colleagues.  (I think it’s perfectly comprehensible & a nice guest turn, but it is hard to get hold of outside of the series DVD.  Which, being a cult TV person, I loved a lot anyway, but YMMV!)

***Hadleigh “The Caper” (S3 1973).  Hadleigh is a very middle of the road show, but watchable enough (lead is Gerald Harper, who’s always entertaining) and this is pretty self-contained as it centres around an old con-man friend (JM) of Hadleigh’s manservant causing trouble by pretending to be Gerald Harper, for reasons.  JM seems to be having a ball.

Justice 2 episodes, S3 1974.  He guests twice as an opposing barrister & gets to be part of some nice showdown court scenes.  Again, a middle of the road drama, but stars Margaret Lockwood, who was still just as awesome in the 1970s as she was in the 1930s & 40s.  On YT.

Father Brown “The Curse of the Golden Cross” (1974).  JM is an American archaeologist getting death threats; stars Kenneth More as Father Brown.  Just a note, though, that 1970s TV adaptations tended to be really really faithful and this is one of the stories where Chesterton comes out with an anti-semitic moment...  (JM was unconscious for that bit and, frankly, I envied him.)  But otherwise lots of angsting in yet another fake moustache about someone trying to kill him.

The Hanged Man “The Bridge Maker” (1975).  Confession time, I have v little idea what this one was about apart from Ray Smith being an unlikely Eastern European dictator, as this whole series went over my head and was not really my thing.  (Ask @mariocki they’re cleverer than me and liked it & can probably explain the plot!)  I don’t know if it’s available anywhere off the DVD but on a JM scale it was v good/different as he was a coldly villainous head of security & it wouldn’t be too bad to watch alone, but there was an overarching plot going on somewhere.

Doctor Who “Underworld” (1978).  This is famously one of the worst serials in the whole of classic Who, but largely because of behind-the-scenes circumstances, not the guest cast.  There is some nice stuff, though, esp in Ep1 (JM is a near-immortal alien who’d like to lay down and die but still the Quest is the Quest as they say... a lot) & it’s bound to pop up on YT or Daily Motion.  The DVD has extras that include v v brief bits of JM speaking in his actual real accent (which he otherwise does in NONE of these) & making jokes in character.  Honestly, though, this is the only DW where the behind-the-scenes doc is genuinely the most exciting bit as they desperately invented whole new technologies & methods of working to bring us this serial, and then everybody wished they hadn’t.

*** Enemy at the Door “Treason” (LWT 1978).  This is a weird episode but I love it lots - from a (v v good) series about the occupation of the Channel Islands.  (So obv warnings for WWII & Nazis.)  JM is a visiting German Generalmajor, but he’s come for a very unusual reason - to ask for help from his brother-in-law, a blackballed British army officer (Joss Ackland).  It’s all weird and low key and JM is doomed and nevertheless probably my favourite thing of his that isn’t SotT.

* The Racing Game 2 eps (1979).  Adaptation of Dick Francis’s first Sid Halley novel Odds Against (ep1) + 5 original stories for the series.  This is an interesting one - JM plays Sid’s father-in-law & they have a lovely relationship that’s central to the book BUT Dick Francis loved this adaptation and Mike Gwilym who played Sid and was inspired to write a sequel Whip Hand, which he tied in with TV canon - and adopted at least three of the cast, including JM.  Which means that all the Sid & Charles fanfic is also JM fic by default and it’s quite impressive. (There’s not much but it’s GOOD.)  On YT.

Bergerac “Treasure Hunt” (1981).  Not a major role, but pretty nice & it’s one a Christmas ep of the detective show (also set on the Channel Islands) that involved Liza Goddard’s cat burglar, which was always the best bit of Bergerac.

His guest spots in Rumpole of the Bailey (1991) “Rumpole a la Carte” and Dr Finlay (1994) are both really just cameos, but both series come round on Freeview; the Rumpole one is funny and the Dr Finlay one his last screen appearance before his death the following year.

Not worth getting just for JM: Subway in the Sky; Bill Brand and Oppenheimer.

These films only have cameos but some quite fun ones and they come around on terrestrial TV: The Damned (1962), The Evil of Frankenstein (1964) & (more briefly) Far From the Madding Crowd (1967).  (I think his cameo in Connecting Doors must be at least recognisable as someone spotted him in it just based off my gifs, but it’s not come my way yet.)  I’ve never been able to get hold of any of his radio performances, not even the 1990s one.

ETA: I forgot The Power Game! This is the one surviving series where he occurs as a semi-regular (at least until halfway through S1 when he went off to the BBC to be in the now-burninated Hunchback of Notre Dame).  This isn’t standalone, but it’s a good series and it is on YT.  See how you go with crackly old TV before you brave it but it’s the snarkiest thing ever made about people making concrete and stabbing each other in the back.  JM is a civil servant who tries to run the National Export Board and is plagued by Patrick Wymark and Clifford Evans as warring businessmen.

***

[... Well, now I just feel scary.  0_o  In my defence, I have been stuck home bored & ill for years, and often unable to watch modern TV while trying to cheer myself up with James Maxwell, so I didn’t watch all of this at once.  It just... happened eventually after SotT. /waves hand 

But if anyone feels the need to unfriend my quietly at this point, I understand. /o\]

[flying-elliska]

S5 Review pt.1 : the Good

Arthur season is over, time to analyze it as a finished story ! This meta in 3 parts will go over the good, the bad and the mindboggling. My general impression of the season : excellent beginning, very meh middle, interesting ending. In short :  flawed but I feel people calling it a total disaster really are not making any effort to see it objectively. So ; let's dig into the why and how.

What I liked about this season :

A story made with and for Deaf people : It’s pretty evident when watching the interviews that Winona and Lucas really really enjoyed making the season and that it offered them an unprecedented level of representation. The creators obviously did their research, working with the people of the IVT. Personally I feel like I learned so much and the clips showing aspects of Deaf culture were among my favorites. It felt like a nuanced, rich, in-depth perspective, with details like choosing to get a cochlear implant or not, the testimony evening, the sign language class, Noee’s sign dance, the different ways to enjoy music, how to speak to someone who is Deaf, etc...showing that not everyone within that community has the same story or opinion, that they’re just people with their unique challenges but shared needs, as well as the really awesome culture that is part of being Deaf. It felt really respectful and a thousand miles away from the usual miserabilistic clichés - it brought up some concern about how difficult it is to be rejected/invisible in today’s society, but it was balanced with emotions like curiosity, admiration, and awe. I came to SKAM for the representation but I absolutely love getting educated about groups I’m not part of and I feel this is truly where the season shines. Learning from Deaf fans was also hella interesting. 

A complex discussion about disability : A central plot point, and one of my favorites, was Arthur learning to overcome his (now internalized) ableism. We see that Arthur is an overachiever and this change in his life upsets this idea of the perfect life he has in mind. He repeadedly lashes out at the other Deaf people he meets, makes fun of sign language, underlines how he is ‘not like them’ at the beginning because he is still clinging to his own self image. We can understand where this comes from when we see how condescending towards any sort of weakness, and focused on performance over empathy his father is. But as he learns to meet actual Deaf people and see the diversity and beauty of the community, he learns there is no shame in that sort of difference and learns to stand up for himself and that was amazing to see. Another important part was Laura and Melchior’s inclusion and beyond being very funny, they highlighted the idea that although disabled people have different, sometimes competing needs, they also have things in common, and that deep wish of not being discounted/othered/excluded. All the disabled characters this season were complex, real people, not there just to teach others a lesson or inspire them or be pitied or the butt of a joke, and that is so sadly rare nowadays. Even though some bits did feel a bit like a PSA, I feel like overall it was very well done. 

The politics of desirability : A theme running through the season is the idea that who we are attracted to is socially constructed and can really be biased by our prejudices. Alexia expressed this idea (albeit clumsily) in the bar scene early on, and this came back when she talked about her insecurities. This was also present in Laura’s insistence that disabled people have certain needs like everybody else. And finally, it’s present in Arthur’s own struggles - his fear of not being able to sleep with his girlfriend with his hearing aids, and his own difficulties in seeing what is happening with Noee and him saying ‘she’s deaf’ to the question ‘is she beautiful’ even as he is obviously into her. Our society gives us this incredibly narrow set of criteria for who is considered attractive - thin, white, able bodied, etc - but people’s actual real patterns of attraction and finding beauty are, when you set those prejudices aside, and see the beauty of people for who they are and not how well they fit a box, so much more broad and generous and diverse and I loved how this season highlighted that. 

Technical excellence : God, the cinematography this season was absolutely off the charts, it makes me wish they could redo previous seasons with this amount of style. Shots like Arthur under the shower, or that party at the Asso with the blurry dancing, the shots in the pool, or the ones from the farm episode...INCREDIBLE. The sound editing was used sooooo well to put us in Arthur’s shoes, it was a wonder and I really felt how intense the change must have been for him because of that. And the acting is impeccable. You can really feel how well these actors know their characters by now, they have total mastery of their portrayal. Robin did an awesome job with tough scenes, but just...everyone was on their best game really. 

A nuanced portrayal of abuse : Arthur’s relationship with his father was thouroughly heartbreaking, and it felt very real. I am very grateful that they didn’t try to redeem him - it’s important to show that even if you are trying your best, some people are toxic abusers and the best thing you can do is take your distance. I felt it right away, in the subtle way he was dismissing and belittling his wife and son, in the ways he was asserting his control over them, and I wasn’t surprised at all when more came out. It surprised me in the beginning that so many people were arguing that the father was caring, just strict - I feel like the signs were so obvious but I guess that’s the point. Abuse is a pattern that becomes visible over time and abusers can be perfectly charming and reasonable to people who don’t know what it’s like. Growing up with that is isolating and terrifying and it does awful things to your self esteem and your capacity to be in tune with your feelings. We can see that when Arthur basically defends his father’s actions because he is still so eager to have his love and placate him. Arthur’s behavior did not come from nowhere and it was inspiring to see him grow past that and realize he did not have to perpetuate the pattern and make his own choices. Also, his relationship with his mom was very sweet, supportive (her smoking weed with him was awesome) but complex - the way he was mean to her sometimes, condescending bc of her lack of studies ; the way she blamed herself for not seeing sooner - she must have been subjected to Patrick’s more emotional abuse, and so she will probably feel like she should have reacted sooner or known and that’s like...painful ugh. This whole thing was so raw and real. And it was incredibly important to see the nurse and her Jerome - adults, with medical knowledge - see Arthur’s situation and tell him that sometimes you just have to leave. 

Highs and lows of friendship : Basile !!!! I was not a fan in s3 but the great aspect of POV shift is allowing us to see some characters through a different angle - even though I think Basile went through a lot of growth too. In Lucas’s season he was meant to be the annoying gross overly straight guy as a contrast - but for Arthur he is this devoted friend that is so open and sincere in his affection that his awkwardness comes off as endearing instead. You really understand why those two are friends : Arthur is smart, sarcastic, he can help Basile with social awareness and hype him up, but he’s also so painfully guarded and finds it hard to express emotion, I think, and it makes sense he loves Basile’s spontaneity and big heart. Meeting his grandfather was also so funny and endearing, as were all the marks of more physical affection he wasn’t afraid to show Arthur. I think having a friend like that is part of what allows Arthur to finally stand up on his own - whether against his father or deciding he needs to be single to figure himself out. As for the Gang in general, I loved the moments where they were all happy together (the early graffiti clip is truly one of the shining moments of the season for me) but their later spat is also quite understandable to me. I find it very realistic that although they are trying their best to accomodate their new friend’s disability, they’re going to mess up, that’s part of the process. The most important thing, I think, when faced with someone who is different from you, is to engage with it (respectfully) - ask questions, not assume. And communicate ffs.  I also really liked those moments where the Crew and Gang came together, it gave this big end of high school vibe where all the squads merge and there is this feeling of having gone through an ordeal together that makes everyone closer.  There were also so many funny moments  that were absolute gold (the wheelbarrow ! the dinosaur balloons ! Imane getting attacked by chickens ! Emma and her horse! ).

Arthur on his own : I liked the more introspective moments we got this season. The successive alarms while he was angsting about his hearing coming back were such a clever way to put us in his perspective - there is already a lot of stress linked to a morning alarm, isn’t there ? We all know that moment in the morning where we don’t want to get out of bed and face the world, and taking that emotion and adding Arthur’s absolute stress at realizing that this change is lasting, it was really effective. Arthur’s link to water, as a symbol of another world where sound is much more diffuse, is quite interesting too. And the moment in last episode where he puts his glasses back on, too, as a more obvious sign of a disability that is very socially accepted and that is just part of who he is, just as his hearing loss is. We also got a moment with the bench of loneliness that was an interesting parallel with s3. (I love how the Buttes-Chaumont parc has become this double symbol in Skam France of both loneliness/alienation/putting on a mask and growth/return to authenticity.) And I like that he ended up the season single and deciding to figure himself out. It’s a big aspect of his character that he has spent too much time trying to conform to expectations and that he was super walled off as a result, that he hurt others without realizing, that he found himself boring, that he didn’t seem to open up to his friends, etc...and in the end he is a lot more open but he also knows there is a part of growth that being in a relationship cannot bring him. He can’t use women the way his father did. I respect that a lot, honestly, it’s what saved the end of the season for me, that they didn’t end up putting one girl above the other and made it about Arthur being lost and needing to find his way on his own. 

The tornado and the sunshine : The new characters were awesome. Her role in the plot set aside, I really liked Noée as a character concept. I think Winona was awesome, and I liked Noée’s mix of warmth and feistiness. I like that they let her be angry at the way the world treated her, and compassionate at the same time. Also her headbutting that guy in the club that didn’t want to listen to her was !!! iconic. I loved her style, too, and that dance was so beautiful. Camille was a great addition to the team too, Arthur was lucky to find someone that patient and his dry humor but sunny disposition were great too. It was cute to see him with Mika as a couple of gurus - that we did get a Deaf/hearing couple was a good addition to the season, I think - and I hope we’ll see both of those new characters next season, too. 

Queen Alexia : She was definitely one of the characters I had the most emotions for this season. She’s just so cool and her perspective on life is just so mature and interesting, her acceptance of herself and others so inspiring - a lot of the early clips with her were adorable. I loved how supportive she was in such a creative, playful way - that game she made for Arthur, the boards she brought, etc. The moments she talked about her insecurities, if bittersweet because of what happened later, remains one of my faves from the season. She was so beautiful framed by rainbows (also apparently that’s her sign name ? Amazing.) And the moment where she sings was just...oof. She was really brave and strong to be able to do that, to express her emotions and hurt in such a public, dignified and creative way. It was a moment of reckoning for Arthur, putting him on the spot and recognizing how much he hurt her, but it was done in such a graceful way - the way she signed to signal her acceptance of his Deafness, the reminder that she loves him and won’t be able to forget that immediately, and a rejoinder to recognize his feelings towards Noee, etc. She wasn’t perfect (organizing that meeting without asking really pushed it a bit too far - you can’t rush someone else’s self acceptance) but she was just ...really good. 

Elu as an established couple : One of my biggest reproaches to s3 is that they didn’t give us enough fluff after all the drama (time constraints, I know, etc.) But this season they really delivered. And listen I know some fans love to blather about fanservice but fuck it, I just love seeing a healthy domestic queer couple on screen !!!! It’s just so bloody healing, because they feel real and in love like nothing I have ever seen on screen before. Maybe because so often straight actors are so awkward at playing queer intimacy and they’re really not. Seeing them in their new appartment was like a pure shot of serotonin - morning croissants ! fairylights everywhere ! but I also liked that it wasn’t too fluffy one note. We can still see that Eliott struggles with MI, that Lucas has some insecurities, but yet their devotion to each other is still as strong, as in “he’s my boyfriend and I love him.” It was a hopeful note throughout the season, Lucas being persistent and devoted all through the challenges of being with someone who is mentally ill. Also, I really liked Eliott’s role this season, as a sort of...provider for the Gang ? Getting them a van, bringing them to the cool graffiti place, making this fresque for them...you can feel he’s not 100% part of the gang because he’s older, already in college, etc, but at the same time he has sort of an observer role that can give them things no one else can. I feel like Lucas confided in him about the troubles they were going through and Eliott can empathize with being treated different, the fear of losing your friends...so Eliott helped them in his unique way, through art. And him having this new secret place he can bring more people to, and so full of color and sharing his art with people and !!!! God I’m emo he’s just my fave character ever really. 

The pressure of the future : Listen the last year of high school in France is horrible, there is the pressure from the BAC + half the people are passing entrance exams and doing interviews for the stuff you want to do later and it’s so stressful and I’m glad they touched on that at least a little. Emma really embodied this theme this season, of the pressure of not wanting to know what you want to do later. It’s really when you realize that they’re all so young and being asked to make such big decisions for their entire lives is really sort of fucked up, and I think her being there is a way to dedramatize not knowing, and gives Arthur the freedom to see he doesn’t want to be a doctor ; I liked the apt comparison with Imane’s passion for medecine. I wish we’d seen more of Arthur figuring out his real passion (did he make that painting or what ?) but I appreciated this storyline. 

Overall, I think this season was full of excellent moments - either funny, heartwarming, heartbreaking, or edifying - and it provided some much needed quality representation for the Deaf community. In that, and having educated a lot of people, it is at least somewhat a success. However, as a whole, it did not quite come together for me, which is what I will analyze in my next post. 

[overthinkingkdrama]

Exit Review: My Country

Synopsis

This drama is set in the transition between the Goryeo and Joseon dynasties, and follows turbulent friendship turned fraught rivalry between Seo Hwi and Nam Seon Ho. Seo Hwi’s late father was the greatest swordsman of Goryeo, but after being framed for embezzling military supplies he was executed as a traitor, a stain which hangs over Hwi and his sister’s lives. Seon Ho is the illegitimate son of a powerful state official, but due to his mixed parentage he can never fully belong to his father’s world and has an insatiable ambition and bitter resentment toward his father which drives him.

Hwi and Seon Ho have been close since childhood, but when they end up going head to head in the state military exam a tragedy follows that will drive a terrible wedge between them. Eventually circumstances will force them to pick sides between General Yi Seong Gye (the first King of Joseon) an his ruthless son, Yi Bang Won, in the fight which will give shape and purpose to a newborn country.

Review

Story: My Country is a difficult drama for me to review objectively, in part because I loved it so much. Watching this drama was a truly absorbing and gripping experience for me, and it plays to so many of my story preferences. I was unequivocally obsessed with this drama from the premier to the finale, but during the weeks between airings I couldn’t help but feel like I was arm wrestling with the script.

It was characterization more than anything that gave me fits. I wouldn’t go so far as to accuse the show of giving us thin or two dimensional characters. To the contrary, each of these characters has a fully realized matrix of conflicting desires, loyalties and ambitions that inform their choices and alignments. However, it is often difficult to sift through those murky motivations and draw a clear line between a character’s internal desires and their external actions.

This drama starts out with an incredible cold open that raises all sort so questions about who these characters are and immediately invests you in finding out how they ended up in this situation. It’s truly masterfully done, and I probably rewatched it upwards of 10 times through the run. It kept me asking those questions all the way until the pay off. But because the writers were so invested in keeping their cards close to the chest, clear characterization was sometimes lost in the shuffle.

That said, this drama really is one beautiful, tragic escalation after another. Just taking the first two episodes in isolation is quite a ride. I really thought after the first few weeks, or hell, the first half, that the drama would get bogged down in plotting and politics or have nowhere left to go, but to my great joy it really doesn’t let up a single moment until the finale.

Acting: Where to even begin with the acting in this drama? All three of the main male leads: Yang Se Jong, Woo Do Hwan and the inimitable Jang Hyuk are perfectly cast and give inspired performances. Everything from posture to voice to subtle microexpressions is so stunningly on point.

I came into the drama already a big fan of both Woo Do Hwan and Jang Hyuk as actors, having followed them through other projects, so it wasn’t surprising to me that I liked them both here as well. However, what did surprise me was the extent to which they were able to show off their range and talent. As a long time Jang Hyuk fangirl, I would confidently argue that this particular rendition of the Yi Bang Won character is him at his absolute best. I also went into My Country relatively indifferent to Yang Se Jong, or at least not overly familiar with or impressed by his previous work. I’m happy to announce that that is no longer the case, as his performance of Hwi is one of the most memorable of the year for me, and his sheer level of commitment to the role is awe inspiring. There’s a video of him talking behind the scenes about a moment early on where he actually yelled himself hoarse embodying a moment of panic and grief, which made me appreciate the level thought and effort he put into playing this character.

I don’t want to limit my praise to just that trio of actors either, because the entire cast is incredible. I didn’t know much about Seolhyun before this role, but I thought she was really strong as well, though her character doesn’t feature as heavily as one might like or expect from the promotional material around this drama. The villains too are captivating, especially the detestable Nam Jeon played by veteran actor Ahn Nae Sang. Wow, you are really going to love to despise this guy. I just cannot say enough about the performances from top to bottom, because we would be here all day. The acting is really what makes the drama, especially the stunning chemistry between the characters, and more specifically the chemistry Yang Se Jong has with all the other leads.

Production: There is some movie quality cinematography throughout this drama. It just looks very, very good both in the way it is shot and the attention to detail, the props, the costumes the sets. There is a beautiful long tracking shot following Hwi through a battle field in episode 3 or 4 that was just jaw dropping. It really felt like they were flexing, honestly, and it’s refreshing to see this kind of cable quality coming out of South Korea and ending up on American Netflix for people to watch and appreciate.

I love the music in this drama. Some of it can come across a bit camp, like the electric guitar and strings heavy instrumental “My Country” that accompanies many of the sword fight scenes, but I loved Bang Won’s wailing violin theme music every time it showed up, and the OST definitely sets a mood.

One of the more distracting choices the drama made was to allude to certain historical characters like Poeun, Sambong and Choi Young but never have them actually appear as characters, in the present or in flashbacks, opting to address certain important events and philosophies through fictional expys such as Nam Jeon and Seo Geon instead. They even resort to filming certain scenes in strange oblique ways so that we understand Sambong is in the room but we don’t see his face.

The only thing I can figure is the writers wanted to use the audience’s familiarity with these historical figures without chaining the story too closely to the actual flow of historical events. Or perhaps they decided to exclude these characters in order to avoid too much direct comparison to the critically well-received and highly rated drama, Six Flying Dragons, which covers much of the same time period.

Feels: For me My Country watches like a bitter-sweet tragi-romantic melodrama centering on a toxic love triangle with a historical backdrop. And when I say “love triangle”, I am 100% referring to the interplay between Seon Ho, Hwi and Bang Won (my sincere apologies to poor Hui Jae) because that’s how the entire drama is structured. My Country is one of the most purely homoerotic things I’ve ever watched. If it weren’t for a few limp attempts to imply Seon Ho’s romantic interest was in Hui Jae and not his former friend, I would say “unapologetically homoerotic” but alas, South Korea isn’t quite there yet.

The romance between Hui Jae and Hwi never quite caught fire for me, though lord knows they were trying. It always felt like a side dish to the main course that the drama really wanted to serve: namely the star-crossed relationship of Hwi and Seon Ho. (And this is not meant as a dig toward those who liked the Hui Jae/Hwi romance. This section of the review is just about my subjective experience.)

There were moments where I worried, or couldn’t quite tell where the drama was taking us with regard to Seon Ho and Hwi, or where I feared everything was going to end in senseless destruction and they couldn’t successfully bring the plot to closure in just 16 episodes. But for the handful of issues I had with the writing of the drama, its final resolution was poetically, heart-wrenchingly, perfect.

My Country just pushes so many of my narrative and aesthetic buttons and plays heavily to my id. This is a drama that I’m going to be thinking about for a long, long time. I will definitely be watching it again and I will try to get as many other people to watch it as possible. I liked it that much.

Would I recommend My Country: The New Age? Yes, oh god yes. Please watch it. Watch it and then come talk to me about it. Definitely one of the best of the year.

9/10

[bloodraven55]

The Potential of Glimmer's Villain Arc

Okay so a lot of people have been theorising about what's coming next for Glimmer's character with everything that's happened in Season 3. And I have plenty of thoughts of my own so this is going to be my longest analysis post in a while. I'll put it under a cut for ease of reading, and I hope y'all enjoy!

So as an introduction let's briefly look at where Glimmer is now. She's getting ever closer to Shadow Weaver, and we all know how well that ended for her father, plus the loss of Angella is undoubtedly going to be hugely traumatic for her, especially because as she herself says she assumed that Angella would always be there since she was immortal.

Angella is gone, Adora is going to be under a whole lot of mental strain of her own due to the revelations she's had about her past and the pain of having lost both Catra and Angella for good as far as she's concerned, the rest of the Princess Alliance aren't exactly around a whole lot at Bright Moon, and it doesn't look like Shadow Weaver is going anywhere any time soon as long as there's power to be had and the Rebellion is where she can best work towards her own goals.

What I'm saying is, Glimmer likely isn't going to have much of a support system except for Bow next Season, and she's in a prime position for Shadow Weaver to employ similar manipulation tactics and methods of abuse on her as she did on Catra and Adora. Glimmer has no real experience with that type of abuse and manipulation, or any real frame of reference to understand the more nuanced form of evil that Shadow Weaver represents, and so she probably won't realise that she's being played and pushed down a darker path until it's too late.

So with that basis established let's look at some of the other signs that seem to point towards an arc of this sort for Glimmer.

One very significant thing is some of the cinematography in Moment of Truth.

First Glimmer is positioned directly in front of the image of her father in this shot, showing us that she's figuratively as well as literally taking the same position as Micah with regards to becoming Shadow Weaver's pupil. Note that she’s standing in darkness rather than in the light in this frame as well, because that’s going to be important going forward.

It’s also very telling that this shot comes right after Glimmer argues with her mother about the best course of action and first suggests accepting Shadow Weaver’s help. The visual symbolism of her replacing her father on screen reflects her taking the first step towards filling the same role as him in the story as well.

Then we have Glimmer flat out stepping from the light into the darkness as she decides to perform the spell with Shadow Weaver. Which is extremely Not Subtle.

Plus the angle of the following shot making Shadow Weaver's outstretched hand look bigger and more striking to highlight the threat that the offer poses.

And finally there's the way that the scene where they actually do the spell is framed. Shadow Weaver's hand extends through the circle, like a barrier is being crossed metaphorically, and again it fills the screen to make it seem threatening and imposing.

Meanwhile when we get the reverse shot, which I might add is clearly meant to actually be from Shadow Weaver's perspective, Glimmer looks very small and very young, an uncertain and far less powerful figure ripe to be taken advantage of.

There is no way that the tone of this scene was accidental. Without any dialogue being exchanged it's telling us that Glimmer is going to suffer for this choice---it's telling us to be worried---and it's honestly a masterful piece of television.

Another aspect that isn't hugely noticeable on first watching is the undercurrent running through the show of Glimmer's desire for power. She's not obsessively power hungry the way Shadow Weaver is, that's for sure, but she does often demonstrate annoyance at her own limitations.

"Glimmer is frustrated by the constraints of her magic, by the constraints of being a princess, the daughter, of this immortal queen — her mother is this kind of immortal, untouchable angel and her father was the best sorcerer that Mystacor has ever seen. And she’s in the shadow of that." (x)

This quote from a recent interview with Noelle Stevenson pretty much spells it out, and I don't think I need to mention the importance of the use of the word "shadow" here.

With all of that covered, I want to move on to something I haven't seen talked about as much, which is the ways that Glimmer and Catra are paralleled in the story.

"In some ways I think [Glimmer]’s a little bit of a mirror to Catra, although neither of them would ever admit it."

I find this quote from the same interview incredibly intriguing, and it gives me lots of ideas about not only the potential development that a villain arc for Glimmer could bring to her own character, but also the development it could bring in terms of her and Catra as foils for each other in the narrative.

For a start, Noelle then goes on to talk about how "it’s always been this kind of like losing battle for [Glimmer]" and I would like to point out the resemblance to Catra's lines about how she "never gets to win" and "if [she] wins a battle [she] loses the war", because this really does seem to foreshadow that Glimmer could end up in a similar place next season to where Catra was at the end of Season 3.

"So when someone comes to her and offers her more power and the ability to actually really save the day and prove her worth, she takes it. Glimmer’s also sorta crossed the line in the sand this season."

This part of the interview I want to bring up just to further prove that the way these things were written this season was certainly deliberate and it isn't reaching to draw these conclusions from them. It's apparent that the writers are very aware of what they're doing in terms of Glimmer and Catra's character arcs and the possible link between the two so I simply wanted to include this quote to give my analysis here a more solid grounding.

The one thing I'd like to pick out of that as well is the idea that Glimmer is looking to "prove her worth", which is something that has been the core of Catra's decision making throughout most of the show so far. In the past it was Catra making bad choices in an attempt to get respect and admiration from Shadow Weaver, and now I believe it will be Glimmer's turn to do the same.

But beyond that, I want to wind the clock back to the beginning of Season 3 for a moment, specifically to when Glimmer asserts that "evil people don't change." Adora is quick to point out that that is an extremely reductive mindset to have and far from always the case, though she does so by applying it to completely the wrong target in the form of Shadow Weaver who is almost certainly not going to be redeemed in any way, but that got me thinking about how Glimmer flirting with her inner darkness could be utilised in the story in exceedingly interesting ways.

The most obvious path is that through having to redeem herself for bad decisions that she made for understandable reasons, Glimmer would come to realise that things aren't as black and white as people being good and evil but rather there is far more nuance to be found with regards to morality. Basically, she would gain a greater understanding of what it means to be good or bad and the possibility of redemption first hand and grow to acknowledge that she was wrong to oversimplify it down to a binary choice of people being immutably good or evil and never able to change.

However, I would also like to discuss how Glimmer's villain arc could intersect with Catra's redemption arc. Glimmer has always balked at Adora's attempts to get through to Catra, telling her that Catra is evil because she's with the Horde and dismissing the notion of a redemption for her. But if Glimmer sinks to that same point---if she hits rock bottom the way Catra did---and she sees Catra pick herself back up and rebuild herself successfully to become a better person than she was before?

Well, then that could provide some amazing inspiration for Glimmer to then follow in her footsteps and break free from the cycle of Shadow Weaver's abuse herself as well. Add Catra getting to see that the Princesses are far from perfect but fallible people just like everyone else on top of that, and both Glimmer and Catra would evolve as part of the same arc and come out of it with a much stronger understanding of each other and just how people work in general.

Lastly I want to bring up this quote that I’ve put below from a recent convention.

"Interesting foil! Catra is a secretly sweet person with her darkness on the outside. While Glimmer is the opposite."

As well as again emphasising that Glimmer and Catra are in some ways two sides of the same coin, this would definitely seem to back up my theory and indicate that Glimmer has depths that she herself doesn't even understand that are now going to be pulled to the surface by Shadow Weaver.

To add to this, in the interview I drew from earlier Noelle comments that "the way this season ends has major repercussions for Glimmer. It throws her into a world that she never expected to be in." I think the second half of that quote is key. Glimmer never realised that she had this darkness within her, let alone expected to tap into it, and this is why it could lead to serious growth for her as a person to discover the worst of herself and in the end choose to cultivate the best of herself despite that.

There’s one more layer to the Glimmer/Catra aspect of all this as well if you combine this theory with the concept of Micah being alive and mentoring Catra during her redemption process. Because it would link Glimmer and Catra even more closely and beyond that it would create a great call back to the fact that this arc started with Glimmer being paralleled with her father.

And if Catra does work with the Rebellion at some point in the distant future, this could also serve as a starting point for the two of them constructing a friendship using the foundation of that shared similar experience (and also a shared father figure potentially) as they learn how to be part of the same team. It might also play into restoring Adora's faith in the people around her as seemingly losing Glimmer to darkness so soon after losing Catra the same way would undoubtedly nearly destroy her and it would give her some much-needed motivation to see both of them pull themselves back from that.

Anyway, there we have it. Those are all of my thoughts on why I do definitely see some kind of villain arc for Glimmer, and how I think it could be an excellent addition to the show for a number of reasons. Thanks for reading and see y'all next time.

[tigerlilyhasablog]

What I’ve Been Watching

Hello everyone! If you read my comeback post, you know that I promised a round-up of  the movies I’ve seen so far in 2020. This post has taken WAYYYY too long for me to get around to writing, but now I’m self-isolating and have plenty of time on my hands, so hopefully I should be writing more! So let’s get into it. Before I talk about films from this year, I’ve got to sneak in my thoughts about my absolute FAVORITE film of 2019…

Knives Out – 5/5

I cannot tell you how much I love this movie. I’ve seen it three times in the theater since it came out! I knew that I wanted to see it the moment that I saw the trailer, and I had heard good things about it, but I was worried that it wouldn’t live up to the hype. Turns out I had nothing to worry about. Everything about this movie is just so. Damn. Good. The characters, the storytelling, the aesthetic setting and costume design… perfection, perfection, perfection. The cast, of course, is incredible. This movie is just so much FUN, and I’m obsessed. If you haven’t seen it already, GO SEE KNIVES OUT GODDAMMIT!!!

Now for 2020…

Richard Jewell – 4/5

I went back and forth on whether to give this a 3.5 or a 4, because its been a minute since I watched it, and honestly, I had kind of forgotten about it. Upon reflection, I’ve decided that is because of how many really good films I’ve seen so far this year, not because Richard Jewell is a forgettable movie. I really enjoyed it at the time… it has just gotten overshadowed by things I’ve watched since. The performances are great; Paul Walter Hauser was not someone I was super familiar with before this film, but he seriously impressed me as the titular character. It is just a very solid film about an important story that I really should have known more about since it happened in my home state.🤷‍♀️

Just Mercy – 4/5

Oh boy, bring some tissues for this one. What can I say, this is just a really good movie: its a well-told story of a real-life issue, its hard-hitting and tear-jerking af, the performances are great (Michael B Jordan, man🙌🏻), its just super solid all around. If you don’t cry your eyes out watching this, then sorry, you have no heart.

1917 – 4.5/5

Whoa. Okay, this is an absolute must-see. Holy shit, this movie is something else. As you have probably heard, this movie is shot and edited in a way that makes it look like it was one long take. Not only is this seriously impressive, but it is also effective as hell. There is never a break from the intensity of the film, and you will be on the edge of your seat every second (I’ve seen it twice, and I was completely on edge the entire time even during the second watch.) That’s not the only thing that makes ‘1917’ super impactful, though. The actors are fantastic… I was really impressed by George MacKay. This movie really doesn’t hold back; it is an honest, horrific, emotional depiction of war, and wow, it really isn’t like any war movie I’ve ever seen before.

Like A Boss – 3/5

Okay, time for a drastic change of tone from the last few movies! Not gonna lie, I went into this movie with basically no expectations, as I had heard nothing good about it. But you know, I liked it better than I thought I would. It was funnier than I expected, though not all the jokes hit, and it was overall incredibly silly. But it’s also a fairly sweet story about female friendship. I went to see it with one of my own female friends, we had the theater to ourselves, we laughed at all the stupid parts and we had a good time. So yeah, I didn’t hate it.😅

Dolittle – 3/5

This movie was… weird. Not necessarily a bad weird, but like, really, really bizarre. It’s hard to explain exactly why without giving plot points as examples, but I’ll tell you that there were numerous times throughout the movie where I turned to my sister and said “what the fuck??” I think that there were some drugs involved in the making of this film. On the plus side, I kinda enjoyed it. There were some parts that were genuinely funny, and overall it was something fun to watch with my younger siblings. My 12-year-old brother loved it, and that’s the real test, isn’t it?

The Gentlemen – 4.5/5

Ok, this movie was fucking GOOD. Not gonna lie, when I first saw the poster and trailer for this film, my first thoughts were, god, do we really need another cool-guy crime comedy with an almost entirely white male cast? The answer is no, no we don’t. But damn, if this isn’t a great movie anyway. It surpassed my expectations in every way… I loved it. The humor is not going to be for everyone; it is very British and often extremely crude, but I fucking cried laughing, it was hilarious. The laughs alone were enough for me to like this movie, but there is more to it than that. The plot is engaging, and although I’ve heard some people complain it was slow or too hard to follow, I liked it and enjoyed the story-telling elements. I also found myself caring way more about the characters than I thought I would. Oh, and there are some gorgeous cinematic elements to it as well. Overall, great movie. I guess I need to go and educate myself on some other Guy Ritchie films.

Birds of Prey – 4/5

So, I’ve given this a 4, but this is another one that I debated giving a 3.5. I had wanted to see it again before I reviewed, but the coronavirus screwed that plan up. I decided to round up, however, because my overall feeling about this movie is that I enjoyed it. It isn’t perfect… There were some odd plot decisions, and some so-so action, but you know, I liked it. It’s just FUN. The characters are all bad-ass, the music is on point, it’s funny, it’s colorful, it’s just really enjoyable. The cast are all great, and I thought Ewan McGregor made a great villain. Also, in amongst the mediocre action there were some really great scenes (small spoiler: I’m obsessed with Harley breaking people’s legs.) Like I said, I feel like I need to watch it again to really decide how I feel about it, but overall it’s a thumbs up from me.

The Photograph – 3/5

Huh, this movie was an odd one. I really wanted to like it, and I mean, I didn’t dislike it, but I just wasn’t feeling it, you know? I confess, romance is not really my genre (I like a good rom com, but just straight up romance? Meh), but I just found myself completely uninterested in the main couple. If you haven’t seen this movie, the plot is split between the relationship between Michael and Mae (LaKeith Stanfield and Issa Rae), and flashbacks to the 80s that focus on the relationship between Mae’s mother, Christina (Chante Adams,) and a man named Isaac (Y’lan Noel.) When it came to Michael and Mae, I just did not care at all whether or not they ended up together. I didn’t give a shit about their relationship throughout the entire movie. I liked their characters individually, but together I just wasn’t feeling the chemistry. Now, with the other couple, Sara and Isaac, I actually cared a lot more. I looked forward to the parts that would focus on them, and was annoyed when the film would jump forward to the present day again. I dunno, I mean, I didn’t hate it. It was funny in places and moving (to an extent) in others. The storyline outside of the romance was alright. I just didn’t love it.

Parasite – 4.5/5

Ok, usually I only do reviews for films I see in the theater, but I had to make an exception for this… I had some friends came over and we watched it from my couch, but only because nowhere nearby was showing it. If you haven’t heard of Parasite, you’ve probably been living under a rock. After it scooped up 4 Oscars, everyone was talking about it, and rightly so. Honestly I’m not gonna give it a proper review, because you just. Need. To. Watch. It. Basically, the first half is genuinely really funny, and then it slowly gets darker and darker, and holy fuck, I did NOT see that ending coming. The story, the acting, the symbolism, the cinematography, the setting… All fucking amazing. Watch Parasite, people. Just do it.

[smokeybrandreviews]

Smokey brand Select: Biohazrd

With the advent of Peninsula’s release, the sequel of Train to Busan, i wanted to take some time and spotlight a few of my favorites Zombie films. My love for Zombie flicks stems more from the circumstances around the outbreak, rather than the monster effects and whatnot, themselves. Don’t get me wrong, the make-up in these things are almost always spectacular, but, for me, the existentialism is where the true horror of these films truly lie. I like the exploration of humanity and lack thereof in such dire situations. That whole man/monster motif. I am a sucker for those tropes and the study of human nature. For me, those make the best kinds films, that mirror to ourselves, and you get a ton of that in zombie flicks. Now, admittedly, i have seen a ton of these things and it was hard to whittle it down to just ten selections so this is another one of those wonky lists. Look, man, i like movies and this is my list so I'll do what i want!

10b. Overlord

Overlord is an interesting case. It started out as a spec script, then got made as part of the Cloverfield cinematic universe, but dropped that aspect after Cloverfield Paradox sh*t the bed. I think that was for the best because this movie is f*cking insane. It has nothing to do with Cloverfield and everything to do with Resident Evil and Wolfenstein. Indeed, this is everything a Wolfenstein adaption should be. Nazis and zombies and Nazi zombie super-soldiers - oh my! In all seriousness, this movie is one of the most violent, excessive, gory, cinematic pleasures i have ever experienced. Overlord knows exactly what it is and executes that vision with such fervent, bloody, sloppy, enthusiasm, you can’t help but have a great time.

10a. The Crazies

I saw the original version of this film when i was a kid on television. I thought it was an interesting take on the zombie formula and kept it’s existence in my back pocket. The Crazies was the first time i understood that a zombie didn’t need to be undead. This film predated my experiences with first Resident Evil game so infection was a brand new trope for me. Fast forward several years, and the remake drops. It’s so much better that the original. It is a low budget film, which means they need to focus on character and atmosphere to drive the tension home, both of which are absolutely excellent. The Crazies is harrowing, stressful, and brilliant. Both versions are good but the 2010 remake, in my humble opinion, is superior in every way.

9. The Night Eats the World

I stumbled upon this by accident while perusing amazon. I remember hearing about it and thought the premise was interesting. Imagine being locked in one of those dope ass, old timey, Paris apartments during a zombie apocalypse? That hook, alone, got me to bite but the performance given by Anders Danielsen Lie as the lead, Sam, was heart-wrenching. This is a very somber take on the isolation aspect of the zombie genre. This is I Am Legend but with a sobering reality infused in every scene. It was horrifying watching Sam’s mental degradation but a powerful watch overall.

8. Life After Beth

Life after Beth is probably the only light-hearted zombie film of this list and for good reason; It’s outstanding. I debated whether to put Zombieland or Burying the Ex on this list, both excellent in their own right, but i had way more fun watching this one, than either of those. That’s high praise because the first Zombieland is one of my absolute favorite films. Life After Beth is a unique take on the whole genre and Aubrey Plaza as the titular Beth was excellent. I would say it’s about as good as Zombieland, maybe a little better. Mostly because of Plaza. I really like Aubrey Plaza.

7. Deadgirl

This is actually Deadgirl’s second time making a Select list. I figured there would eventually be crossover as some flicks encapsulate so many different genres but it’s surprising that it would be this one. Actually, i think the first was Doctor Sleep with the Stephen King and Vampire lists, but Deadgirl is worth a double-dip, too. It’s super low budget and focuses on a rather interesting take on the Zombie genre. I don’t want to get into it too much because the film, itself, is worth a watch. So go do that. Go watch Deadgirl. Right now.

6. Maggie

This was a legitimate surprise for me to see. Maggie takes place several years after the actual outbreak. Zombies are a thing. They’ve been a thing. Humanity has already crossed that bridge and the virus is just the way of life. they’re the new normal and mankind is busy as much as usual after literally the dead rising from their graves. Precautions are taken to mitigate infection but they still occur with alarming frequency. Maggie is about a father who has to come to terms with his daughter’s infection. You slowly watch this man’s despair and desperation as the inevitable eventually befalls his one and only daughter. It’s stark, and bleak, and f*cking devastating. There isn’t a happy ending to this, it just ends. I loved this movie, man, and a lot of it has to do with Arnold Schwarzenegger’s performance. That sh*t was amazing and easily the best role I've ever seen in. I’m a huge Terminator fan but this performance as f*cking enthralling. Abigail Breslin is awful in it, though.

5. Cargo

Before i get into it’s merits as a zombie flick, i just need to say, Cargo is an excellent film in itself. Strong ass performances. A gripping and emotional narrative. Gorgeous cinematography. Deft direction. It’s an objectively beautiful film. Now, as a zombie outing, this motherf*cker is full of the despair. The whole f*cking thing is an exercise in constant, aggressive, tragedy. Don’t misunderstand, it’s excellent, but it will leave you exhausted by the end. It wraps up nicely and with a subtle tone of hope, but you will be emotionally exhausted, for sure, by the time those credit’s roll.

4. The Girl with All the Gifts

I love this movie if only because they took the cordycep route in regards to infection. The zombie story i wrote way back when i was in high school for my creative writing course, used that as the catalyst for my zombie shenanigans. I always found that sh*t interesting, like, what would happen if that parasitic relationship jumped species. Then The Last of Us came out and i was disillusioned because the story they told, turned out to be so much better than mine. I felt that same emotion when i first saw this movie. The Girl with All the Gifts is brilliant. It’s stunningly human while being objectively horrifying. The zombies play a part, sure, but it’s the inevitable extinction of humanity that drives this film, that haunts most of these characters. It’s X-Men but with zombies instead of mutants and executed in a way that feels disturbingly real. Plus, and i cannot stress this enough, Sennia Nanua is f*cking outstanding as Melanie. To be so young and to give such an emotional performance was a true joy to witness.

3. Night of the Living Dead

The classic that kicked off an entire genre and still, even after fifty-two years, one of the best examples of it to ever be made. Night was terrifying back in the day, mostly because of different sensibilities, but the horror of that film lied with the people trapped in the house. The true monsters were never the zombies, but humanity, itself. It was watching those survivors slowly turn on one another. It was the realization that people will eat each other when pressed with such harrowing events. I used to think that wasn’t true but then Covid happened and people were trampling each other for toilet paper. That was insane. People would absolutely act this way in real life so that ending, as f*cking abrupt and terrible as it was, rang true. That sh*t is what real horror is all about.

2. The Wailing

The Wailing is the first of two South Korean zombie flicks to make this list. Indeed, the other is so excellent, it had to share the top spot but this one, for me, was an easy pick at two. I’ve seen I’ve given The Wailing multiple viewings and every time, without fail, i am pulled into that world. It’s a very methodical film, not in the sense of pacing, but more in the sense of plotting. This thing has a story to tell and you have to commit to it being told. It is a lot to ask but, like so many other films that ask this of you, the experience is incredibly rewarding. Don’t let the fact this thing is Korean language stop you from taking in a true masterpiece. It’s gorgeous, performed adeptly, and shot wonderfully. The environment and atmosphere, alone, are worth the price of admission.

1b. Train to Busan

If 1a didn’t exist, Train to Busan would be the greatest zombie flick i have ever seen. It hits that sweet spot between the human and horror elements perfectly. Setting it on a train makes for some of the most tension filled scenes ever captured of film. For those of you that prefer a more action packed, zombie outing, Busan delivers that in spades, while giving you very real, very emotional, performances to boot. You feel for these characters and the bleakness of their plight. You feel the desperation as the world collapses around them. This movie, zombie elements remove, would still be f*cking fantastic. Add the horrors of an undead apocalypse, and you have one of the most devastating accusations of humanity ever captured on film.

1a. 28 Days Later

This is the greatest zombie film i have ever seen, hands down. It does everything Train to Busan does, AND sticks that feeling of isolation so well. In a lot of ways, this is more a study on the horrors humanity can commit in the face of oblivion, and i dig that. There are shades of that aspect permeating throughout all of these films but the first third of 28 Days Later nails that bleak loneliness with such aggressiveness, it’s borderline sadistic. This was my first experience with Cillian Murphy and i was thoroughly impressed. Dude was incredible in this role so imagine my complete lack of surprise when he popped up in Batman Begins. It’s said he got Scarecrow because of Days and i can totally see that. Watching this man’s career blossom has been a real pleasure but, for me, his Jim will always be the role i think off when people say his name. If you’ve never seen 28 Days Later, rectify that at once. It’s an incredible, gorgeous film that is definitely worth a watch.

Honorable Mentions: Burying the Ex, Zombieland, Shaun of the Dead, Dead Snow, Return of the Living Dead, Re-Animator, Day of the Dead, World War Z, Contracted, REC, Pride and Prejudice and Zombies, Gallowalkers, Pet Sematary, Resident Evil

[mugen-monogatari]

5 Quality Yet Accessible Tragic Anime You Should Watch

Let’s talk about tragedy in anime. Ain’t nothin’ like watching some sad anime boys experiencing sad things while I sit there and cry. I love tragedy in anime, there’s just a certain satisfaction in ‘dissatisfaction’. Sometimes, it’s far more meaningful for someone to lose a fight, to make a hard decision or sacrifice something. Maybe the hero never saves the girl, or a loved one just doesn’t make it. Yes, in a perfect world everyone ends up happy, but this isn’t a perfect world. People suffer, and sometimes it ends on a good note, sometimes everything goes to hell and the world burns. That gritty realism and human error adds a level of empathy and depth to many shows that would otherwise lack it. I personally think it’s worth talking about that, since I don’t think tragic anime get enough love.

So I thought I’d make a quick list of 5 accessible yet Quality tragedy series, ranging from pretty popular and accessible, to slightly more niche. Many of you have seen these series I’m sure, but with the continuous stream of shows being released every single season, it can be hard to either go back and watch older shows, or stay on top of newer ones. These are just a few picks that I would urge anyone and everyone to go and at least try.

I should also preface this by saying, when I say tragedy, it doesn’t mean the show has a depressing ending. By tragedy I’m referring to tragic events happening in a show regularly, be it at the end, the beginning or throughout. Simply putting something on this list, doesn’t mean it has a tragic ending, so you can rest assured there are still surprises to come when watching these.

Also, these are all my opinions, everyone is entitled to them. You can disagree or agree, it’s up to you, we can even discuss my peeps. Just don’t brutalize me for shows you don’t like or if one of your favorites isn’t on this list.

All of that being said, Here are 5 tragic series I think everyone should at least try:

1. Code Geass

Starting off simple we have Code Geass. What a show this was back in the day. Death Note, mixed with Mechs and sci-fi and chess and a whole lot of edge. For many people, they have already seen it, it’s almost guaranteed if you watched anime in the early 2000s. However, as time goes on, this series slowly falls into obscurity, many people being less attracted by its flamboyant art style and the ever growing age. It seems like Code Geass is slowly fading away with time, people online aren’t forgetting about it, but moving on, and many new fans are understandably detracted from a show like this.

But they’re all wrong. This series is incredible. It’s a fundamental “must-watch” show. Sure, it shows it’s age now, but that doesn’t detract from it’s plot and characters. With a very likeable cast, a constantly expanding story, high stakes, insane powers and mind games, politics and action, all of these make an insanely good series, one that warrants repeated viewing to this day. What starts as a boy being in the wrong place at the wrong time, blows up into a worldwide conflict. This is one of those series that sticks with you, there are scenes and moments in this you just never forget moving forward.

Some of the things I love is Sunrise’s mech designs, Lancelot as well as many of the Knightmare frame designs in the movies and show are still fun and vibrant to this day. Many old Mecha shows become redundant years later as the designs don’t hold up. This one though, certainly does.

I also really love the voice acting. Yes the sub is good, but the dub (fight me) is just mwah. Johnny Yong Bosch as Lelouch is nut worthy. Just watch the first episode where he gives his first command. Insta nut. I’m telling you.

I also love the endings of both seasons. I think the first is a really good climax, while the second season closes about as well as this could, while still coming out of left field.

Some things that I think detract people, definitely start with the art style. Sunrise’s designs for the machines and backgrounds and such is fine, it looks good, however Clamp’s character designs are definitely an acquired taste. They’re not for everyone. Everyone looks super slender, almost cartoon like in their clothes and proportions. Yes you get used to it, but they still look very “different” to the standard, even back when it first came out.

Another is sometimes, the show just goes to very strange places, for example having an episode to do with drug addiction that just came out of left-field. In the same vein, some people have very mixed opinions on season two, not entirely liking the direction it goes and some of the character developments. However, a lot of these things are subjective and I’ll leave them up to you to decide.

Spanning two, 25 episode seasons (you can definitely just pretend the movie never happened) as well as several spin off OVAs and Shorts (Those you actually can watch though), the series is a pretty long watch by today’s standards, but it’s definitely worth it.

2. Zankyou No Terror

Next up, we have Terror in Resonance. This one for sure is worth the watch even without the tragedy. This is one of those shows, which is so visually appealing to watch. It’s one of the most aesthetically pleasing shows I’ve ever seen. I guarantee anyone who’s interested in aesthetic gifs and images of weeb stuff, has seen shots from this show without even realizing it. It’s not exactly a niche show, but it’s a little less accessible than something like “Angel Beats”, with a much more serious and gritty tone. It’s not criminally underrated, but I just really wish more people had seen this, since it genuinely is a beautiful series.

Some of the things I really love about this show, is (as I’ve mentioned a thousand times) the aesthetic sense. Every shot in this series is screenshot worthy, with plenty scenes making for ‘straight-out-the-box’ gifs and icons and whatever it is you kids use screenshots for. Even the food, just like papa Gigguk mentioned, is just mwah, spicy stuff. I attribute this to the very well considered color palette, realistic lighting and designs, as well as just overall good cinematography.

On the less visible side of things, the story hold ups really well too, with some very genuinely emotional moments and scenes. Just like Code Geass above, this series has a very well considered ending, with a “Wholesome”(?) message at the end.

The only negatives I can really give for the series, is some pacing issues if you’re an impatient brat like me, as well as almost a complete lack of lightheartedness. The series can be sweet and touching, but it’s almost always dark and serious at the same time, with no time to relax or breathe throughout.

I think there isn’t as much to say about ZnT as there is about Code geass, as it’s not as subjective. It is an objectively high quality show, your own enjoyment of it is what varies. Unlike Code Geass, there isn’t many flaws, but it doesn’t take as many risks. To me, this show is a very safe bet. It looks gorgeous, is only 11 episodes (you big boys and girls can binge that) and tells a satisfying, self-contained story. A little bonus is that it’s directed by Shinichiro Watanabe, famous for Cowboy Bebop and Samurai Champloo, so hey- It has that going for it too.

3. Parasyte: The Maxim

Following on, we have one of the series that introduced me to tragedy, Parasyte: The Maxim. Let me tell you, this series is dark. And violent. Very violent at times.

When it first aired in 2014, the response was pretty good, it didn’t reach critical Acclaim, but had its own cult following, with the manga having been published from the late 80s to the mid 90s. For me, this was one of my first truly “darker” and more violent anime, having really only watched shounen and some seinen before that. This to me isn’t one of the best stories ever, the characters are fine, and the show looks acceptable. But while it doesn’t excel in anything, it does everything really well. To me, it’s the perfect bridge from Casual fan, to serious- or even as a primer for more dark and violent stories, such as Berserk or dare I say it Tokyo Ghoul (Read the manga, please don’t support the anime adaptation).

For me personally, I really Liked the main character, he drove the show on for me. Watching him develop into someone completely different from the beginning of the show, was a real draw to me. He’s likeable, relatable to an extent, and he had a complete character arc. Shinichi in the beginning is not the same character as in the end.

This character is also used to convey a deeper meaning about what humanity is and how we define the term. It’s a really interesting series about us as a race, with some genuine things to discuss and think about, which leaves a longer lasting impression than most shows. It’s the sort of series that makes you want to share it with other people just so you can talk to them about it. Ah- and it’ll hit you in the feels. This show is genuinely tragic through out, but still stays personal to the small cast, which to me, is the sign of a really good tragedy. Despite things going on in the entire world, they make you care about these few people specifically.

However, it has it’s own problems too. Art wise, it’s very faithful to the original source material, capturing the feel of it, the low key oppressive vibes. However, this also means, it can look a little… ‘Bland’? At times. The earthy colors can be a little drab, especially in an age were Studio Trigger, for example, can make an eye-gasm worthy scene using colours you didn’t even know existed.

The other problem, is some of the characters are very one dimensional. Take the love interest, she doesn’t really develop or change at all throughout the series, but I personally give this a pass as she’s not super relevant to the story anyway.

A fair warning though, this series has some strong violence, plenty of gore and mutilation, if that’s a problem for you, I suggest either giving this one a skip, or just trying to sit through it. It’ll be a good learning experience.

Spanning a fair 24 episodes, having aired in 2014, this series is both bingeable, and holds-up very well in the modern ecosystem of anime. To me, this is a pretty top tier show, a solid 8/10, it’s very good, a really well made show, It makes for the perfect bridge into far more serious and dark stories, such as maybe Berserk and Devilman, hence why I put it on this list.

4. Fate/Zero

For my second to last show, perhaps one of the most well known franchises, that is lowkey kinda niche. Fate is a series everyone knows the existence of, but not as many people have actually watched, especially not casual fans. To be frank, it’s intimidating. The series has no real easy entry point, and all the timelines are relatively interwoven, you can’t just bounce around. Everything spoils everything and it’s scary to even look at a list of fate entries.

That’s why I picked Fate Zero. To me, it’s the best entry point into the Type/Moon genre. For those of you who don’t know, it’s basically a battle royal between seven summoners who each have a servant of different classes. They all have to fight for the Holy Grail, an artifact that will grant them a single wish. Sounds simple right?

Well it’s not. The entire series is full of not only badass action, but plenty of mind games and ‘cat-and-mouse’ between the characters. It’s brutal, it’s tragic, violent and uplifting. Ufotable delivers some of the highest quality animation you’ll see in your life (they’re renowned for it), but it doesn’t just look good. The story is compelling, the characters are genuinely likeable and by the end, I wanted everyone to live and survive. Everyone has believable and compelling motivation, and even the objectively evil characters, like Caster, are still likeable, because you begin to love to hate them. The entire season honestly plays out more like a compressed microcosmic version of Game of Thrones, than a battle royal anime.

There are plenty of things I like about this series, the plot is really fun, the fights are pretty damn cool and it can be a very emotional show at times. I could talk about these aspects endlessly. However, the thing that really makes Fate for me, is the characters. Each individual characters gets some time and attention, and with the exception of a few, you really genuinely like and care about everyone. You want everyone to win, or at least survive, since all of them are either genuinely lovable, or have very compelling motivation.

The other part to it is, this is the best starting point for the rest of Fate, and I would actually argue that it enhances many scenes found in the subsequent (story wise) series, even if they aired prior to Zero. This series both introduced me to Fate, and got me attached and invested in the world, which is the sign of a good (technically) first series.

On the other hand, it has problems. First of all, it’s pretty interwoven with the later series. Those came before it and set up a lot of mysteries and ideas that Zero goes out of it’s way to explain, from character identities to events in the timeline, watching Zero will spoil a lot of those things, which may lessen the later experiences for some people.

The other flaw is despite being maybe the best starting point for Fate, it still isn’t entirely accessible. The show can be straight up confusing at times, at least for someone who hasn’t seen Fate. Many elements of the world aren’t explained and you’re just expected to go along with it, since it’s either just a part of this world, or explained in other series. Which is fine, but often lead to some rather “But wait… What just happened?” moments.

Ultimately, Fate/Zero is fantastic series for anyone looking for a really good character drama, full of magic and badass historical references. It’s not the best introduction but it’s the best you’ll get from Fate. Similarly to Code Geass and ZnT, the series has a really good conclusion in my opinion, with plenty of tragic moments sprinkled throughout.

For Fate, Zero specifically consists of two seasons of 12 episodes each, for a bingeable 24 episode series. For ideas where to go next from this, look for my upcoming Tumblr Post explaining the fate continuity.

5. Mobile Suit Gundam : Iron-Blooded Orphans

And Finally, we come to our last pick of the day. This is a series, I would urge anyone to watch. If I could make you watch one Single series from this list, this would be it. Throw away any views you have on the franchise or the genre, don’t be afraid of the name, just give this series a try.

Iron Blooded Orphans follows a small mercenary band of boys who just want to make a home for themselves in a galaxy strained by political unrest. The premise is simple, just people trying to survive and make a life for themselves.

Well what if I told you it was directed and written by the same Duo that made AnoHana, one of the most commonly acknowledged tragic shows out there. This duo write and direct stories about innocent children being put through immense hardship and this series is no different. This show is tragic, painful even. I sobbed as many times as I laughed and smiled in this show. We spend a season watching them come up in the world, only to watch everything get torn apart in the second season, and it is genuinely emotional and heart wrenching.

Something I love about this series, is the characters and how attached you become to them. Death is a genuine threat in this show, even if you don’t feel it in the beginning. When people die, it hurts, and that applies to IBO, where each death leaves resounding ripples on the people around them. It handles familial relationships really well, making you believe in these people and their emotions. When they suffer, you cry for them, and when they get brief moments of respite, you do too. I love how invested you become in this ragtag team of boys, making some of the later scenes all the more devastating when they happen.

Another thing I love is the stakes. Within the second season, the pressure to perform is on, the first season, while having threats and such, was never even close to season two. To be vague, one of my favorite moments is when a character has to land a decisive shot in the midst of a battle, and everyone’s lives are on the line. That entire confrontation is one of my favorite scenes in anime of all time. It is truly suspenseful and will take you on an emotional journey.

To top it all off, it’s made by Sunrise. If you like Mechs, well oh boy do they have you covered, and if you don’t- well oh boy, you will when you’re done. This show makes the mech Genre, and Gundam entirely accessible, you need no prior knowledge, you don’t need to be a fan to enjoy it. The fights are really fun and have genuinely cool moments, as cool as it can get for a mech anyway. The characters and story are well written and everything just comes together to make a very well produced show- Good job Sunrise.

It doesn’t go without it’s own problems though. The first 20 ish episodes, until they get to earth, are not pointless, but have some pacing issues, as well as low stakes. There are threats and people die, but you never feel that scared or intense. Then towards the end of season one, the show kicks into high gear. To counteract this slow start, the series has a phenomenal season two that I genuinely believe everyone should watch, as it’s a perfect example of character drama done exceptionally well.

The series is comprised of two seasons of 25 episodes each, totaling a measly (if you’re a big boy or girl) 50 episodes. There is several related forms of media, nothing worth mentioning though, for more Gundam, you’re better off watching other series from the franchise.

If I can only force you to watch one, please go out and watch Iron Blooded Orphans. To me, it’s 9- pushing a 10/10 series, with a undeniably slow start, but a fantastic heart felt, emotional ending.

So that’s it from me guys. Thanks for taking the time to read the ramblings of a mad man like me, but I hope this gives some people some ideas on where to go next or what they can watch now. If you enjoyed, make sure to follow me for more discussions and lists and whatever else anime related. If you have any advice, or want to discuss something with me, go ahead let me know, other than that- Leave, go outside, get some fresh air after reading all that.

[365days365movies]

January 13: House of Flying Daggers (Epilogue)

I think Crouching Tiger, Hidden Dragon has ruined me. Because this movie was great, seriously. Was it as good as CTHD?

No. No, it was not. Yeah, I liked it a lot, LOVED it even. And BOY, it had me guessing in the third act, I tell you what. But it wasn’t as good as Ang Lee’s outing in the wuxia genre, at least in my opinion. 

But OK, what was actually good about it? A LOT, don’t you worry. But, let’s go through it bit-by-bit, shall we?

Review

Cast and Acting

Ah, Zhang Ziyi. The first time I saw you was in Memoirs of a Geisha, because my Mom asked me to read the book with her, and we watched the movie in theaters when it came out in 2005. As I recall, you didn’t really speak English when making that movie, but you were still awesome in it. Years later, I watched Hero, another Zhang Yimou movie, and while your part was smaller, I definitely noticed you. Then, yesterday, I watched your absolutely wonderful performance in CTHD, and wow. BLOWN away, you should’ve been nominated for an Oscar. And in this film today...you were great! Different from all three other roles I’ve seen you in, but still fantastic as Xiao Mei. Thank you, Zhang Ziyi, for being awesome. Also, apparently, you were in The Cloverfield Paradox, but that film was SHIIIIIIIIIIIIIIT, so I don’t remember you in it, sorry. Also, Andy Lau and Takeshi Kaneshiro, you guys were also great, seriously. 10/10, guys, 10/10.

Plot and Writing

Straightforward plot, great story, and a twist on the Liar Revealed story, by changing the Liar entirely! See, I HATE that trope, so very goddamn much. I’m sure I’ll go into it one of these days, but it’s genuinely my least favorite film trope of all time. So, when they were setting it up, I was fully prepared to rip into it in this review. Instead, I praise how they did it, because I REALLY wasn’t expecting it! Not just that, but there wasn’t any seen blowback from the revelations! THERE WERE JUST MORE REVELATIONS!!! I loved that, lemme tell you. Good job, Li Feng, Peter Wu, Wang Bin, and Zhang Yimou! Ya killed it. Well...mostly. I mean, it’s a great story...not an original one. Elements of it, yeah, for sure. But two lovers on opposite sides? Two friends brought to blows over a shared love interest? A love triangle? That’s a tale as old as time. And I didn’t remove many points for that, because...c’mon. It’s a timeless love story, I’m not a monster. But it’s still one I’ve heard before. 8/10.

Directing and Action

Here’s the thing about House of Flying Daggers. At its very sweet, nougat-y center, it’s a romance, not an action film. And that’s expressed well through the direction, and how the action is treated. Whereas in CTHD, all of the action is essentially a conversation, revealing the characters to the audience and to each other, in HoFD...they’re basically just action scenes. Sure, there are character interactions laced within many of them, but the action scenes really are just cool action scenes. Because of that the fight choreography isn’t as tight and detailed as it was in CTHD, which makes sense as they’re serving separate purposes. And yet...I still feel like they should be. I do think the film suffers for not injecting as much meaning into its action sequences, except for arguably the very first and last sequence. Well, OK, was the action still good? Oh, FUCK yeah, it was still good! Just wasn’t a 10/10 for me. How about the directing? Oh, this film is beautifully shot, there’s no problem there. It’s Zhang Yimou, he knows how to use a camera. So, overall, we’re giving this a 9/10. Great! But not perfect.

Production Design

THIS category, however, gets an absolute 10/10. No questions, no quarter. This movie is BEAUTIFUL, from color pallete to sets to outfits. ESPECIALLY once we get to the actual HoFD, and to the bamboo forest. Their outfits have essentially changed a part of my personal aesthetic, and I now covet that bright green. And understand, for two summer, I lived and worked in the woods for field work in biology I KNOW green. And yet, this is the most beautiful green I’ve seen in a while. Even CTHD didn’t have a green quite this vibrant, and that green was BEAUTIFUL, don’t get me wrong. Zhao Xiaoding (cinematography), Emi Wada (costume design), you guys RULE. 10/10.

Music and Editing

Music is awesome, too! But...I’m not buying this soundtrack. Sorry, Shigeru Umebayashi, you did an amazing job. I mean that, sincerely. BUT if isn’t standout as memorable to me as CTFD was. But despite this, its still getting high marks. As for the editing, it’s great. Sound editing actually stuck out to me this time, and the film editing itself is quite good. What about the computer effects, added in post-production? Y’know, I could say that they look artificial, but...they’re kind of supposed to, right? At least, that’s my opinion. The artificiality of the thrown knives injects some wuxia-style fantasy and mysticism into a film that, let’s be honest...doesn’t really have any of that. No magic, no mystics, no nothin’. Just the beauty of a knife as swift as the wind itself. 9/10.

And that’s a 92%!

Great movie, even though it isn’t my favorite this month. And it’s been surprisingly slept on by US audiences in recent years, even though it was fairly successful when it premiered. Deserves more attention for its beauty and spectacle. And while it’s FAR more of a romance than it is an action movie, it’s still chock-full of that sweet, sweet wuxia action and bombast. Definitely has my acclaim.

Wuxia, man. Wuxia. Let’s take a break from it, though. Y’know, I was gonna do Ip Man this month, but I’m actually going to wait until the end of the month for that one. I’ll explain why when we get there. For now, let’s take a break from the martial arts film. Time to leave Hong Kong and China, and head to a different country.

What’re you doing, United Kingdom? Got any action genres for me?

 January 14: GoldenEye (1995)