#How does one come up with this many plot twists without making it seem clunky

[somewhereincairparavel]

TFOTA update (major spoilers for book 1): chapter 20

this book just keeps throwing plot twist after plot twist after plot twist on me and I'm falling for every.single.one. gosh. first jude kidnaps the human girl to free her into the mortal world, and she drowns herself? Then Dain yells at Jude for the thing I WASN'T expecting (stabbing Valerian) and then Jude fucking KILLS Valerian not even a few minutes later, then buried the body in HER house, then Balekin gatecrashes and slaughters almost everyone in his fucking blood line in the matter of MINUTES. Madoc kills Dain?? And ghost kills Caelia?? Rhyia kills herself?? Taryn and Locke might secretly have an affair??

Jude feels pleasure in seeing Cardan miss out on the coronation bc he got drunk which is ironically the best thing he did bc he dodged a bullet?? Now Cardan is the only hope elfhame has, which is also super ironic since Jude was marvelling over how glad she was that cardan wasn't ever going to be king in the first few chapters.

I NEED A MOMENT TO TAKE ALL THIS IN

[mediaeval-muse]

Book Review

Descendant of the Crane. By Joan He. New York: Albert Whitman & Company, 2019.

Rating: 2/5 stars

Genre: YA fantasy

Part of a Series? Not yet?

Summary: Princess Hesina of Yan has always been eager to shirk the responsibilities of the crown, but when her beloved father is murdered, she’s thrust into power, suddenly the queen of an unstable kingdom. Determined to find her father’s killer, Hesina does something desperate: she engages the aid of a soothsayer—a treasonous act, punishable by death... because in Yan, magic was outlawed centuries ago. Using the information illicitly provided by the sooth, and uncertain if she can trust even her family, Hesina turns to Akira—a brilliant investigator who’s also a convicted criminal with secrets of his own. With the future of her kingdom at stake, can Hesina find justice for her father? Or will the cost be too high?

***Full review under the cut.***

SPOILERS in the last paragraph of the “Plot” section.

Content/Trigger Warnings: violence, blood, references to torture, slavery

Overview: I really wanted to like this book. I really did. The premise seemed promising, and I loved the idea of a Chinese-inspired fantasy world with a touch of courtroom drama. Unfortunately, there seemed to be too much going on, so much that I couldn’t connect with this book’s characters and the narrative didn’t flow in a way that drew me into the intrigue and mystery. I would have given this book 3 stars on premise alone, but because I didn’t feel like the scenes built on one another, this book only gets 2 stars from me.

Writing: He’s prose is fine for a YA novel in that it is fairly straightforward with a few poetic images sprinkled in here and there to evoke emotion. It’s very similar to a lot of other YA prose I’ve read, and I don’t personally think anything sets it apart. I did notice, however, that would sometimes use imagery or metaphors that I found more confusing than illuminating. For example, He describes a character as taking to the shadows “like a knife in a sheath,” which would have been ok, but the character was supposed to be more dangerous in the shadows - and a sheathed knife isn’t a threat.

I also found that He would reference bits of lore, backstory, or worldbuilding at odd moments, and sometimes, this info wouldn’t be especially relevant. It felt like she was trying to make references to her worldbuilding without infodumping, which is all well and good, but these references would sometimes distract from the main action.

I also thought He’s pacing and focus was off; the trial/mystery plot would sometimes fade to the background, while the tensions with neighboring kingdoms wasn’t really felt until a certain point in the novel, then it disappeared again. Some events received more attention than I think was warranted, while others received less. For example, we get a lot of scenes of Hesina doing paperwork, but then the ending felt rushed and a lot of information was dumped on us after several plot twists. There were times when things would be summarized rather than played out “on screen,” which is ok sometimes, but it often felt like He used summary so she shock the reader rather than lead them on a journey.

And lastly, I noticed that He has the tendency to use constructions where things other than the characters have agency. For example, “fear creeped into her” or “hope fluttered through her” and the like; it wasn’t bad, per se, but it was noticeable, as if He didn’t want her characters to have as much agency.

Plot: Describing this plot is fairly difficult, since, in my opinion, none of the scenes seem to flow or build upon each other to create a structured narrative. It seemed like He wanted to write a courtroom drama, a high fantasy novel, and a political saga, all of which came together to meditate on things like truth, history, and oppression. It was a lot to cram together, so much so that instead of an action-packed saga, I got a narrative that I couldn’t focus on because there wasn’t the time to explore themes or events in detail. In other words, because a lot happened, all events were rushed and felt shallow. The murder trial plot, for example, didn’t feel very developed; all of the courtroom drama felt pretty standard (this suspect couldn’t have done X because she’s left handed and the cut had to have been made by a right handed person) and most of the people who are trying to fabricate evidence are pretty bad at it. The political conflict, too, seems to be an afterthought, as the people’s desperation for salt isn’t really felt (just told to us) and no one seems too bothered about the raids along the border. I think the novel would have worked better if it focused primarily on the trial and following characters as they uncovered evidence that would be important for that trial. Not only would the narrative structure have felt tighter, but I think the courtroom drama could have been a good vehicle to explore the themes that He seemed interested in (things like oppression and truth can definitely come up with the right focus).

I also found myself to be frustrated by the plot twists because many of them felt random. There wasn’t a lot of groundwork that was laid to make them seem plausible, and I personally don’t like twists that I can’t see coming on some level. Don’t get me wrong - I think a little shock is good here and there, but I think plot twists work best when there is some hint that something is awry. The twist with Hesina’s father, for example, felt earned, whereas the ones involving her brother Caiyan and Lilian, felt random. I especially did not like that the whole epilogue was devoted to explaining how one of the plot twists was made possible; the behind-the-scenes action was dumped on us all at once, and I don’t really like it when I read a whole book and am then told “actually, this was happening the whole time” without some hints during the narrative that there is a bigger picture.

Also, just a quick note: while the plot twist with the Tenets is interesting, I feel like it has the possibility to be a scapegoat in the vein of “prejudice is due to a magical curse rather than something real and ingrained that we have to do hard, continuous work to remove.”

Characters: Hesina, our protagonist, is a Princess who becomes Queen for the purposes of having control over her father’s murder investigation. Personally, I found Hesina to be somewhat bland. She’s not really a ruthless ruler or cunning strategist; most of her decisions are driven by emotion, which can be a good character flaw, but it wasn’t really balanced out by a trait that I found particularly defining. The most she has going for her is that she’s pretty brave and is sympathetic to people who are oppressed, but I don’t think Hesina developed enough for me to really see her character as having an arc. I did sympathize with her dilemmas, especially when she had to make difficult political decisions, but I wanted a little more from her.

Akira, the convict-turned-lawyer who is tasked with solving the case, is a ho-hum love interest who Hesina chooses to represent the crown in her father’s murder case because a Sooth vaguely tells her to “find the convict with the rod.” Akira is written as somewhat mysterious, with skills that seem to come out of nowhere: he is good at fighting, knows some languages, and seems to be good at understanding chemical compounds. All these seemed to be laid as breadcrumbs toward figuring out his tumultuous past; however, I didn’t feel like I was dying to know more because Akira is so aloof and fades in and out of the background. We also don’t really see him putting together clues or explaining how he figured things out; most of the time, we get a summary of what he said (”Akira explained this chemical reaction”), so he doesn’t feel like a major player in the plot. Even his background is dumped on us all at once in summary, which made it less emotional to read. The romance between Akira and Hesina also felt a little forced. While it doesn’t take up a lot of space in the story, it did feel a little random. I didn’t really understand why Hesina decided she wanted to kiss Akira, and the emotional moments they exchanged didn’t really feel genuine.

Supporting characters also felt a little one-dimensional, such as Hesina’s mother, who doesn’t get along with her daughter (because of mental illness? other reasons?) but does get along with her son. Civil servants also weave in and out of the story at convenient moments, and commoners are fairly faceless. I did, however, enjoy the family dynamics between Hessina, her brother Sanjing, and their half-siblings, as it created some complicated personal and official court tensions, while also showing some family affection that transcended “legitimate” bloodlines. The dynamics between Hessina, Caiyan, and Lilian were especially well-done, as they seemed to balance each other out. I would have liked to see more instances where Caiyan’s and Lilian’s experience living on the street affected how the plot went; He tells us this detail, but I think it only comes in handy once.

Other: I don’t think every fantasy novel needs a lot of world-building, but more support in this book would have been helpful. I might have missed some details because a lot was going on, but I constantly found myself asking questions like “What are the limits of Hesina’s powers as queen? Why can’t she command this person to do this thing? Why bargain with her main enemy, Xia Zhong, instead of expose him right away?” I also think some of He’s terminology needed to be reworked, as she used phrases like “sticks of black powder,” “Investigation Bureau,” and “pillow log” - terms that got the main idea across, but felt a little clunky.

I did, however, like the idea of the Eleven and the Tenets, especially their role as historical people/documents that are idolized and not challenged. There’s a real opportunity in there for some exploration of how history is sanitized or how bad things are overlooked in the attempt to present the current state of a nation in the best possible light - it reminds me of the ways in which America idolizes the Founding Fathers yet glosses over aspects like slave ownership.

TL;DR: Descendant of the Crane suffers from a shallow exploration of too many plot threads, plot twists which feel in service to shock value, and a forgettable main character and love interest. While it does have some interesting themes, such as the idolization of historical figures, there was ultimately too much going on that I found it hard to focus on any one thing for long.

[orangeflavoryawp]

Jonsa - “A Violence Done Most Kindly”, Part 1

Alright, it’s here.  I’m fucking doing it.  This is my Jonsa tour de force, my magnum opus.  My ultimate fix-it fic.

This is going to be a Season 7/8 AU. To summarize the major plot points up until now, this 'verse branches out roughly post Battle of the Bastards in canon, the mass murder of the Freys by Arya still stands, Cersei has been killed but her murderer hasn't been determined yet, Daenerys has only just landed in Westeros, the occupation/battle over Riverrun never happened as the Freys were slaughtered beforehand, and both Edmure and Brynden Tully are still alive, Bran found his way to Winterfell while Jon and Sansa dealt with ruling the North and preparing for a war with the dead, as well as the shifting power dynamics in Westeros now that Cersei has died. This story also assumes established Jonsa. Soft E. Dark. Politics and magic and murder and sex. That's essentially the gist of it.

I HIGHLY recommend that you read 'Bruises' before getting into this. It serves as a prequel of sorts, and it's only a one-shot so it reads pretty quickly. 'Bruises' really helps to set up the tone of where Jonsa is at the start of this fic.

“A Violence Done Most Kindly”

Chapter One: Hunger

"There is an old sort of magic to sacrifice, after all." - Jon and Sansa. Stark is a house of many winters.

Read it on Ao3 here.

Part 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 fin

* * *

It would be a lie to say that Sansa understands Cersei now – here at the end.

           Here where she warms her brother’s bed.

           Sansa imagines Cersei looked at Ser Jamie like this once, watching him in his sleep beside her.  Or perhaps not.  Perhaps theirs was always a quick, furtive fuck.  A blinding instant of lust and need, smothered in dark alcoves and behind garish tapestries, a secret, silent thing – clawing at them from the inside.

           Perhaps they’ve never slept the night through beside each other.

           Perhaps she regretted it – gurgling out his name while she choked on her own blood.

           Sansa reaches up to trace a hand down the side of Jon’s face, trailing past his jaw, along the cords of muscle flexing in his throat beneath her touch, whispering down his chest as he groans to wakefulness.  She slips her hand to his growing hardness with a surety that might have been foreign to the little dove Cersei once knew.

           But then, maybe that is also a lie.

           “Sansa,” he groans, head thrown back along the pillow, voice rough with sleep and desire.

           She braces her lips to his neck, imagines the rush of blood just beneath her mouth – pulls him from slumber with a selfish, desperate yearning she does not regret.  “I need you,” she breathes into his skin, teeth sinking down.

           Jon growls his answer, grabbing her by the hair, yanking her head back and kissing her hungrily.  He turns her easily, bracing her back along the bed as he covers her with his weight, already hard and ready in her hand.

           Some small part of her wishes Cersei had been her kill.  A different, equally intense part of her, is relieved beyond words that she isn’t – that she would never be, now.

           But more than that – more than a vengeful wrath she’s spent too long feeding to ever be free of hunger, to ever be satisfied with a mere raven scroll and the somber, even way Bran announces the news – more than that –

           She just needs Jon.

           “Come back to me,” she whispers against his mouth, moving with him in the dark.

           No, she doesn’t think she’ll ever understand Cersei.

           But as she feels Jon slip inside her, as she cradles his groan in the hollow of her throat, as she catches her lips at his temple – she thinks she doesn’t need to.

           It’s a different hunger she feeds now, after all.

* * *

           Sansa recognizes the sound of Baelish’s footsteps well before he’s made it to her side.  He slinks like shadow easily enough across stone and wood and dirt, but here in the godswood, trudging through snow in the womb of winter, his steps are almost awkward, clunky.

           He does not belong here.  She knows this now with a certainty she hasn’t felt in years.

           “My lady, I had hoped to find you here.”

           Sansa only sighs, glancing away from the red weirwood leaves to meet his gaze over her shoulder.  She offers a silent nod in greeting.

           Baelish makes his way toward her, smoothing his hands over his robe when he settles beside her.  “You have not forgotten what we spoke of when last I found you here, I should hope.”

           Sansa tugs her furs tighter around her shoulders, eyes drifting back to the weirwood branches.  “How could one forget?”

           “Yes,” he murmurs, eyes drifting down her face and trailing the length of her throat.

           She tries not to swallow, not to give notice of her discomfort.  He takes a step closer.  She resolutely does not take one back.

           “This is a very crucial time for us, Sansa, you must know that.”

             “Cersei is dead,” she says in answer, and she thinks maybe it should feel different along her tongue.  Lighter, perhaps.  Sweeter. Instead, it’s nothing but a stringent tartness.

           “Yes, and by whose hand?  None of my people seem to know the answer to that, except for whispers of faceless girls. Dead end gossip.”  He looks at her out of the corner of his eye, appraising.

           Sansa gives him nothing to appraise.  “Is that what matters right now?”

           He stays quiet a moment, and then, “It is, until we can ascertain whose side her murderer is on.”

           Another silence.  Sansa stretches a gloved hand out to catch the faint flecks of snow falling from the branches.

           “We can’t let this opportunity pass us by.  Cersei’s death has lead to infighting amongst the houses.  King’s Landing is in near shambles with no discernible sovereign.  Qyburn has fled without the support of his queen.  The Mountain hasn’t been seen since reports of Cersei’s death. Citizens are fleeing to the other kingdoms as we speak, and even Daenerys Targaryen has seen the uselessness in conquering King’s Landing at this point.”

           She knows this.  She knows this already and she’s tired of hearing it.  It only ever ends one way.

           Baelish reaches for her, grasping her arms and turning her to face him, his gentleness forced and rushed – a falsity.  Sansa blinks up at him.

           “We have to consolidate power.  If we wait too long, this chaos will be of no help to us.”

           “Then go.”

           Baelish furrows his brow at her answer, his fingers flexing along her elbows.

           She swallows tightly, face a blank visage.  “Go to King’s Landing then.  Consolidate.”  She lifts her chin.  “Go.”

           His throat flexes, poison tongue pressing back behind pursed lips.

           “You can’t, can you?” she asks, not unkindly.  “Because your power lies here.  With me.  And with the Vale.  You can’t abandon either of us without giving yourself a disadvantage.”

           “Sansa.”  It’s almost a warning.  As much a warning as Baelish ever gives – all smooth tones and invaded intimacy.  His head inclines toward hers.

           “Jon won’t go South.  Not for that.”  She extracts herself from his hold slowly, gently, without offense.

           Baelish smacks his lips, a minute flicker of irritation crossing his eyes, but it’s all he will allow her to see of his disturbance.  “The King can be persuaded.”

           “Not in this.  The dead occupy him on all sides.  He won’t play the game.”

           “Not even for you?”

           Sansa doesn’t think too long on the way his eyes flick to her lips for a fraction of a second.  “You overestimate my influence.”

           “Oh, I think not,” he says lowly, a curl to his lip that reminds her of purple-faced boy-kings and hound-fed bastards.

           No, he does not belong here.  Not in the white and cold and wind of home.  Not here where her mother used to brush her hair and her father used to beg her hand to dance and her brothers played their knightly parts in her tales dutifully.  Not here where she had wanted to bury Lady those many years ago.

           Wanted, and never could.

           Sansa realizes suddenly, that Winterfell is not yet free.

           And neither is she.

* * *

           In the wake of Cersei’s death, the ensuing vacuum of power nearly cripples the kingdoms, with the remainder of the Lannister forces rallying behind a mourning, vengeful Ser Jaime, intent on securing the Reach and the Stormlands. Dorne wastes no time to declare its independence from the Seven Kingdoms entirely, and shortly after the suspicious slaughter of the Freys by unseen Northern hands both the Riverlands and the Vale swear to the North under the threat of a coming dragon queen.

           Jon has no time for such politics.

           Sansa rails against him openly in the Hall of Lords, demanding his attention to the ensuing fight for the crown, but the dead take precedence in everything he brings to court, and it’s not long before ravens are sent to all corners of Westeros begging aid in the coming fight.

           Bran watches placidly, neither arguing for or against either of them. Sansa would call him not unlike a piece of furniture if she hadn’t better manners, and most days her pleads for his council lands on deaf ears.  She ends most gatherings of the lords rife with frustration and nearly frothing at the mouth.

           She doesn’t need to glance at Baelish to know the look he gives her.

           “You think just because Cersei is dead that we are free from the South? That they will not land their hooks into every inch of the North until we are chained to them once more?” Sansa seethes, shutting her door once Jon is through it.

           Jon heaves an unsteady breath, fingers pinching the bridge of his nose. “That’s not what I think, and you know it,” he grits out, sending a dark look her way.  “Stop twisting my words.”

           “Then stop ignoring mine.”

           “I’m not!”  He stalks toward her, stops before he can do anything else.  His hands itch at his sides.  “Sansa, we can’t keep this up – this back-and-forth.  We can’t afford such a divide, not now.”

           Sansa takes a purposeful breath, hands folding before her.  “I’m with you, Jon, I am but – ”

           “Are you?  Sometimes I wonder.”  He can’t help the scoff that leaves him.  He stares at her, keeps her gaze a moment longer, and then he’s turning to the far window, a hand raking over his face.  He’s just so tired, suddenly.

           Sansa is deadly still.  So still he can’t even hear the rustle of her skirts on the cold stone at their feet – can’t pick up the scrape of air she pulls through anger-fused lungs.

           “And how is your show of the dead going with the other kingdoms, hmm?” she bites out.

           Jon snaps his head to her, his eyes narrowing so quickly she might have missed it.

           Sansa takes a step toward him.  “Are they simply jumping to aid us?  Are they gathering the entire might of their forces, marching the sum of their armies North, all on your word?”  Something sharp glints in her gaze and Jon swallows his reply back instantly. She scoffs, head thrown back.  And then her eyes are eerily blue on his – instantly staggering him.  “And have I ever demanded evidence?  Have I ever once denounced your claims of the rising dead before the lords?”

           Jon has no answer.  None that would satisfy, at least.

           Something in her softens at his silence, another step taken toward him. “I’ve never asked you to prove anything to me, Jon.”

           Jon, she calls him – always.

           (There was never anything to prove between them, after all.)

           Jon closes his eyes, takes a long, deep breath, exhales just as evenly. When he opens his eyes, she’s still there.  Still copper-crowned and winter-poised.  Still every inch his sister.

           And every inch not.

           He thinks maybe it’s a sickness – this craving of his.

           Jon steps into her, the stiff silence descending upon them like a cloak. He’s so close.  He’s so unbearably close, and even though he has yet to touch her, the heat suffuses him – a stifled winter, a burrowing need.

           He can see the way her chest heaves at the sudden proximity.

           (She’s always been his, even when she won’t admit to it.)

           Jon thrums a tentative hand along her side, fingers grazing the line of her hip.

           Her tongue darts out to wet her lips.

           It’s a lost cause, he knows.  Since the moment she opened her door to him, this was only ever going to end one way.

           “I know you’re with me,” he tells her on an exhale, roiled in heat.

           She arches a single, fine brow.  “Do you? Sometimes I wonder.”  She almost smacks her lips with self-satisfaction.

           A low snarl eases from his lips, his hand bunching in her dress, dragging her to him.  She lets him, hands alighting on his chest.  He leans into her, nuzzling his temple to hers, breath ragged already.

           She makes it so easy.

           He’s already panting for her.

           (She makes it so hard.)

           “Sansa,” he groans out, fingers trembling as they reach for her laces.

           She takes his face in her hands, pulls him back until his eyes are locked with hers.  He doesn’t still his unlacing of her.  He couldn’t even if he tried.

           So unbearably close.

           (He just needs to touch her.)

           “You lose one war, you lose them all,” she tells him, arching against him.

           She’s right, he knows.  She’s right, and yet –

           She comes undone so easily in his hands – they need to stop ending their arguments this way.

           Because this – the splendid way she hisses beneath his tongue and the subtle way she arches into his hands and the ragged pant of his name (his name) along her bruising lips – is a war they can’t afford to lose.

           (This is a war they haven’t even begun to fight, not truly – not by the light of day.)

           “I’m with you,” she whispers against his mouth, and he knows.

           He knows, he knows, he knows.

           And even still –

           Some wars aren’t about who’s right.  They’re only about who’s left.

* * *

           Arya returns to Winterfell in the dead of night.  Ghost clambers to wakefulness at the foot of Jon’s bed, the sharp rap on his door jolting him from sleep.

           It’s Davos at his door.  “In the hall, Your Grace,” he says, and nothing more.

           Jon rushes from the room, following his Hand and the faint shadows Davos’ torch casts along the walls.  When he turns the next corridor, he sees Sansa emerging from her own chambers, Brienne at her side.  Her sworn shield tugs the fallen slip of Sansa’s robe over her lady’s bared shoulder at Jon’s presence, and the motion does not go unnoticed.

           “What is it?” Sansa hisses in the night.

           He shakes his head, throat parched.

           It happens moments later.

           It happens when they breach the shadowed hall.  It happens when Arya turns from her appraisal of the room, eyes a slate grey that should be comforting, familiar – but are only haunting.  She is perfectly still in the filtering moonlight through the tall windows.  She is perfectly winter-poised (an eerie reflection of the sister beside him, and distantly, he wonders if either of them knew they’d ever grow to be thus).

           It’s a crack, a fissure – a lung-scraping quake that sunders through the silent hall.  

Ghost is the first to break the stillness, trotting up to Arya with an ease that staggers Jon’s heart in his chest.  But Arya smiles – smiles – and it’s a faint curl of her lips, before she’s bending like reeds in the wind, reaching for the direwolf’s great maw and threading her fingers through his thick fur, hands gliding over Ghost’s face and ears and neck.  Something of sorrow and fondness sweeps over her face then. “Hey, boy.  You’ve been keeping watch for me?”

           Jon is breaking toward her then, something splintering inside him he hasn’t a name for, and then she’s in his arms, and he’s lifting her up, up, and up, her feet off the ground, her arms around his neck, his broken gasp of her name smothered in her hair, and he’s trembling, absolutely shaking against her, absolutely shattered – here, to be here – with his little sister in his arms.  He holds her for an immeasurable amount of time, for eons and epochs and yet he’d hold her still, if only he could.  It never seems enough.

           Jon dips her back to the floor, breathless, glancing back at Sansa, and he stills suddenly at the way she stares at them.

           Arya keeps a hand at Jon’s elbow, her smile receding.  A soft, keen quiet overtakes her.  Her eyes shine with tears.  “Hello, Sansa.”

           Sansa takes a step, hand outreaching, and then stops herself.  She takes a sudden breath, and Jon is too overcome to think much of it, so he braces a hand at the small of Sansa’s back, urging her toward their sister.

           He doesn’t catch the way Arya’s eyes trail the intimate motion of his hand.

           “Arya.”  Sansa’s voice catches, and then she’s stumbling into her, arms wide, drawing her little sister to her chest.

           Arya’s eyes shutter closed for a moment, breathing something of relief against Sansa’s breast, her hands fisting in her robe at her back, but then she’s blinking those grey, haunting eyes open to Jon.

           He feels cracked open.  Bloody and bare.  Jon swallows the trepidation back.

           Their sister is returned.

           His hand burns beneath the memory of Sansa’s heat at his fingertips.

* * *

           Arya knows.

           She knows, Sansa thinks when she catches the derision in her little sister’s eyes from across the courtyard.  Somehow, she knows.

           Sansa steps purposely away from Jon as they walk together below the ramparts.

           He furrows his brows at the motion, a hand going to her elbow.  “Sansa,” he begins.

           She huffs her frustration, staying his hand.

           He’s always been terrible at pretenses.

           “Our sister is watching,” she mutters beneath her breath pointedly, and she can see the way his spine straightens, the way his shoulders stiffen.

           She is Sansa Stark.  And he is Jon Snow.  And not for the first time has she lamented this – though perhaps not so much as now.

           Now when he is close enough to touch and yet the chasm widens ever farther.

           This chasm called honor.

           (But there is nothing honorable about the ways in which he touches her in the dark of night.)

           Jon is silent for long moments, before he comes to an abrupt halt at the edge of the courtyard.  Sansa turns to find him staring at his boots, brows furrowed.  He heaves a sigh, a calloused hand wiping down his face, and then he’s turning swiftly, walking back the way they came.  Sansa watches him go, something constricting in her chest not unlike grief.  She looks back across the courtyard to see Arya still watching her.  Her jaw locks, her barred teeth caught behind perfectly poised lips.

           There are some things Arya will never know, she reminds herself.

           She will never know the way Jon’s eyes grow dark by candlelight, or the way his throat flexes beneath the press of her tongue, or the tremble that racks through him when she slips to her knees at the edge of his bed, bracketed by his thighs.

           And perhaps there is something secret and selfish still living in her. Perhaps there is a part of her that revels in the knowledge that while she may not be the favorite sister, she is the only sister who can drag such whines from his throat, who can reduce him to pleading, who can have him panting and desperate as he throws his head back, hand curling in her copper tresses as he pushes her mouth down on his length, hips thrusting shallowing up to meet her.

           No, Sansa reminds herself.  Arya will never know the dark visage of Jon when the last of his control snaps, when he’s pouring filth from his mouth too base even for brothels, when he’s rutting into her mouth like something feral, spilling hot and frenzied down her throat as he growls her name through clenched teeth, over and over and over again.

           No. Arya will never know the way he looks at her in the aftermath, the way he curls a quaking hand along the curve of her jaw, thumb brushing over her mouth in something perhaps too feverish to be called tender, but just as searing.

           She thinks this when she departs from the courtyard.

           She thinks this when she feels Arya’s gaze following along her back.

           She thinks this when she closes the latch behind her to Jon’s door that night.

* * *

           “You’re our brother,” Arya says like a demand.  “You’re her brother.”  It comes out slightly searing this time.

           Jon grips at the mantle over the hearth, his back to her.  “I still am.”

           “How could you be?”  Her scoff is lined with something faintly like disgust.

           Jon closes his eyes at the sound.  He draws a deep breath in, lets it to air.

           Arya shifts somewhere behind him.  “Robb would never have touched her so.”

           “Aye, and Robb isn’t the brother she begs for at night, is he?” he spits just as harshly, whirling on her.  He realizes what he says a moment before he catches the look that passes over her face.

           It’s not a look she’s ever directed at him before.

           Jon swallows thickly, the words dying in his throat.

           Arya looks away, lips pursed tight.  She’s so utterly still.  This whole while, her entire time at Winterfell, she’s been nothing but stillness.

           Jon wants to shake her suddenly, just to know she’s still there.  Just to know he isn’t the only one missing what they used to be.

           He has to tear his gaze from her – has to focus on the lick of flames in the hearth, the flare of copper too familiar to cool this rancid heat in him. “But I’m not Robb, am I?” he whispers, almost like regret, almost like penitence.

           (Almost, but not quite.)

           “No,” Arya answers, so low he might have imagined it.  “No, you’re not.”

           He isn’t sure what it is he hears in her voice, and he doesn’t have the heart to turn to her then, to see for himself, to know the damning censure of her gaze, even when her voice is indiscernible.  

           She leaves him then, the heavy door of his solar sliding shut with a nauseating finality.

           She doesn’t even leave a shadow.

           (But he thinks he should have expected this.  He thinks he should have expected a lot of things.)

* * *

           Jon has known the permanence of betrayal, the way it sinks into your marrow until you are rife with it, until the sharp tang of it has festered long and sour beneath your tongue, until it is behind every look over the shoulder and every false greeting.

           Jon sneaks a glance at Sansa beside him, catches the upturn of her chin while she listens to Lord Glover in the Hall of Lords, the resolute crispness of her blue gaze as she sits regally at the head table.

           His hand strays to the ends of her furs hanging over the arm rest.  He catches the material between his thumb and forefinger, a small comfort.  An anchor in the storm.

           He glances back out across the hall.  All eyes are on Sansa.  All but a lone, accusing pair.

           Jon catches Arya’s glare from across the hall, nearly missing her lithe frame amidst the shrouding shadows of the Stark banners.  The flicker of torchlight is not enough to obscure her frown.

           His hand slips from the edge of Sansa’s furs beneath the table, his throat dry with an apprehension he’s never felt before.

           They sit staring at each other for long moments – everything and nothing passing between them – the lords airing their complaints and their needs like a fog around him.

           “Do you agree, Your Grace?”

           Sansa’s voice comes to him like a gale.

           Jon snaps his gaze to her, blinking rapidly.

           He suddenly remembers.

           He remembers that Sansa has seen the evidence of betrayal marring his skin. She’s seen the gashes along his chest and not withheld her touch.  She’s smothered his sobs of recollection to her breast when he’s recounted the nooses – the way their feet swayed in the wind like a condemnation.

           Sansa has never been party to his betrayal.

           Sansa will never be his betrayal.

           His fingers search for the ends of her furs once more, gripping tightly beneath the cover of the table – no longer an anchor, but the thing that drowns him.

           “Aye,” he agrees, never needing to know what he agrees to.

           Sansa eyes him with something of sharpness.

           Jon looks back across the hall.  Arya is gone.

           He does not relinquish his hold.

* * *

{“Why did you bring her here?”

           Bran looks up at Sansa’s question.  It is a face she used to know once – but not anymore. She holds tight to this image of her brother like sand sifting through her fingers. She wonders if it is not perhaps easier to simply let him fall.

           She looks away finally, her hands gripping at her skirts.

           The hearth spits another log to cinders before them, and she thinks he means to keep this damn silence always, until, “Because she is needed.”}

[depizan]

Today in Mac rambles about fiction flaws, we have the problem of: “Oh no, the terrible untrustworthy guy is terrible and untrustworthy!”

The slicer guy in The Last Jedi is a great example of this, and the weakest - what I think is the weakest - episode of The Mandalorian is an even worse example. (Better example? What does one use for perfect examples of bad things?)

Aaaanyway. “Oh no, the terrible untrustworthy guy is terrible and untrustworthy!” is what you get when main characters rely on someone who has all but stated that they sold their own granny to a Hutt for a piece of gum and will do the same to the main characters if given half a chance. Possibly even an eighth of a chance. Basically, they have no reason to trust, rely on, or work with Mr. Untrustworthy, but do so anyway for plot contrived reasons, and then Mr. Untrustworthy lives up (down?) to his name and stabs them in the back. (Or possibly the front.) And everyone makes surprised Pikachu faces.

And the two Star Wars examples of this aren’t even the only examples I’ve encountered. They’re just the only two I can remember right now.

Why is this a thing!? It isn’t dramatic. It isn’t clever. It isn’t a twist. It just makes the main characters look dim (or extremely desperate) and squanders a chance for an actual emotional moment. Because, I’m sorry, but being betrayed by Mr. Betrayal McBackstabs is not a shock. It’s an: “oh, gosh, wow, who’d have thought. It’s not like it’s right in his name or anything.”

The Star Wars examples might be a case of people not grasping why Lando’s betrayal* at Cloud City works so well. But the thing is, in that case, the audience is aware of more than the characters are and Lando is charming enough that we don’t want him to be up to no good.

I suppose whether the slicer in The Last Jedi has any charm is a matter of personal opinion, but the story set up entirely works against him. He’s in a jail cell he demonstrates he can escape from at any time, with no explanation of why he’s hanging out there. So he starts out deep in the hole, trust-wise. But that should be for the characters, too, not just the audience. And half of his dialogue is about how everyone should be 100% in it for themselves! Dialogue to Finn and Rose, I might add. That he only betrayed them when they were all captured is more surprising than that he betrayed them. (Though I still maintain that the only truly surprising thing was that the First Order paid him rather than tossed him out the nearest air lock. Don’t they know how to be villains!?)

And that example pales in comparison to the wtfery that goes on in the sixth episode of The Mandalorian. The group of people our hero goes to raid the prison transport with don’t just ooze utter untrustworthiness, they’re assholes. They’re horrid, they hate him, they barely stop short of saying they’re going to betray him. There’s just no tension there. The question isn’t will they shoot him in the back; it’s when will they shoot him in the back. Or the question is what the everliving fuck the Mandalorian was thinking. He’s doing a job with people who are clearly going to fuck him over, steal the ship, and do god knows what with the tot he went on the run to protect. There aren’t enough credits in the galaxy to make that make sense!

(Okay, I guess he knew he was just so much better than all of them that it would work out, but that is still one hell of a chance he took.)

But in that case (and in many of the cases of “oh no, the terrible untrustworthy guy is terrible and untrustworthy!”), it just...sucks all the tension out of things that could - should - be tense. I can’t be biting my nails over when Team Asshole will turn on the Mandalorian if I’m busy facepalming over the Mandalorian even working with them in the first place. Even the reveal that the prisoner is a guy that the Mandalorian abandoned in the past has no bite because a) these people are fucking awful and b) we already know this is going to end in betrayal, so...eh?

And maybe that’s my base frustration. This...accidental trope, or whatever it is... makes for a much flatter story than the story would’ve been without it. Or with several thousand times more subtlety (particularly in the case of The Mandalorian episode).

If the slicer in The Last Jedi had seemed sympathetic to the Resistance or even just hadn’t been used as clunky gray morality exposition (and they’d had the basic common sense to write him being tossed in the cell after the heroes), then maybe it would’ve stung when he sold out the heroes. (I don’t even fucking understand his sell out. Do ships not have any forward scanners? Like, it shouldn’t have even been necessary. “Yeah, we know they’re aiming for that planet. It’s the only planet they could ever have been aiming for. Why else would they have come out of hyperspace?” Why was the writing so bad? Whyyyyyyyyyyy?)

If the crew of criminals in the episode of The Mandalorian had not seemed like a pack of slavering assholes who could barely hold it together and wait until they were on the prison ship to betray the Mando, then maybe it would’ve been a shock when the prisoner turned out to be a guy he’d left behind on a job. Maybe the betrayal would’ve been a surprise. Maybe there would’ve been like emotions and shit. Instead of the dull thud of my forehead on my desk.

Subtlety. It’s a thing.

Hint that maybe all is not well. Instead of having the Twi’lek woman come off mostly like “bitches be crazy” have her seem to be glad to see the Mandalorian, but then have her expression when he’s not looking but the audience is or a line of dialogue here or there suggest that maybe there’s more to their history. Have the human dude show interest in The Child in a way that seemed less schoolyard bully and more potentially dangerous later. Have the strong guy be...pretty much anything but whatever that was.

Just, you know, write it such that these characters could be a threat to the Mandalorian, but aren’t inherently a threat to him. Then the audience can worry that they’ll find out about the bounty on The Child, or just be completely blindsided by the prisoner being the guy mentioned earlier that the Mandalorian had once left behind.

Is it really that hard? Is there some benefit to “Oh fuck, Betrayal McBackstab backstabbed me! Why would that happen?” that I’m not seeing? Do writers for Disney think audiences need everything spelled out in advance and so have characters walking around with name tags that say “Hi, I’ll be your betrayer tonight”? Just...whyyyyyyyyy

*I want to call it a “betrayal,” since it’s not like Lando had much choice. It was Han or a city of thousands (tens of thousands?).

[anticipatingevaporation]

Joker

I just came out of Joker, one of my most anticipated films of the year, and let me tell you. I have a lot of thoughts. Unfortunately they are frightfully mixed, so this is going to be part review, part me trying to work out exactly how I feel about this film…

So as a preface, I am both a DC fan and completely done with this superhero wave of films we’re somehow still stuck in. I haven’t gone to see the last 5 or so Marvel movies because I find they aren’t really doing anything innovative or new. They simply don’t appeal to me anymore. The only time I find myself interested in an upcoming superhero/comic book film is when I see it doing something new with the genre. Take the recent Spiderman: Into the Spiderverse, for example. The story structure, animation and choice to introduce Miles Morales was so intriguing to me, so I went to watch that film and loved it.

All of that being said, I was very excited to see Joker. I find the DC characters generally more interesting and complex and the dark tone this movie appeared to have really intrigued me.

Now I’m not a mega fan who has read every Batman comic, however I have read The Killing Joke, arguably the most famous one, and there is one quote in it that I kept coming back to. The Joker tells Batman “All it takes is one bad day to reduce the sanest man alive to lunacy. That’s how far the world is from where I am. Just one bad day.”  

This film delves into that idea in a thought-provoking fashion. Here, we are introduced to Arthur Fleck, a man whose life is plagued with tragedy. This film asks the question of what it would take for a man like that to snap. It explores the society this man finds himself in and whether or not they are complicit in who he becomes.

Joker does many things well. Firstly, this film would be nothing without Joaquin Phoenix’s performance. He is magnetic in this role. At every single moment, there is that flicker in his eye that depicts a man on the edge of madness. It is equally unnerving and fascinating. When his transformation is complete I found myself genuinely perturbed and afraid. This Joker is frighteningly real. Phoenix is in almost every frame of the film, and I honestly think it would have fallen apart in the hands of a less talented actor. At one point he is just so phenomenal that I said out loud, “He’s winning the Oscar.” There is no doubt this will go down as one of Phoenix’s best performances among many. He’s just that good.

The lore surrounding Batman has been well documented since the 1930’s and depicted in multiple forms again and again and again. It has been done so many times that it’s easy to become tired and difficult to alter without angering a huge number of fans. Joker has an interesting take on this well known story; controversially giving the titular character, someone who has famously never had a true backstory, an origin. A big part of the Joker’s character was the fact that it was never made clear what pushed him to become who he is. While some storylines suggested it, it has never been outright stated.

In director Todd Phillip’s adaptation, it is a cruel society that creates the Joker, thereby making everyone around him complicit in his downfall. It asks some very interesting questions about mental health and how those suffering are treated in society, particularly the lack of compassion people tend to have towards the mentally ill.

It also discusses class divides and the blatant disregard the 1% seem to have for the 99%, effectively creating a different interpretation of the famous Wayne family that I found very interesting and not an unbelievable stretch to take.

The score is also fantastic: a haunting string melody that is perfectly used to underscore the poignant moments of the film. The soundtrack is just as great; music is well placed to keep you in the world and highlight that 80’s timeframe.

I also loved the Joker’s look in this film. His suit and makeup are brilliant, the hairstyling and the way he walks. Right down to the laugh and why he laughs, a unique and brilliant choice this film makes. Everything about this character screamed the Joker. However it never felt like an imitation of a version of this character we had already seen. It was remarkably unique while also staying very true to the character. When Phoenix walks down the hallway, flowers in hand, you know it’s the Joker, but it’s also Phoenix’s Joker. He makes the character very much his own while encapsulating what it means to be the Joker. (More than can be said for some... other recent adaptations.)

However I don’t think I loved this film as a whole. That being said I think this is certainly a film that makes you think about it for a while and this opinion may very well change in a day, or a week or upon repeat viewing. But based on this first watch, I think my issues with this film lie with the plot itself.

I think while I loved the individual elements of the story, and the character, performances, style and tone, I didn’t feel they all connected smoothly and cohesively all the time. At times it felt like a series of brilliant moments that lacked connective tissue melding them together. That being said, I’m really glad to see a film that doesn’t feel pressure to give you all the answers all the time. Some plot points are deliberately left unclear, which leaves room for debate and falls firmly in line with the Joker’s famous lack of backstory.

The plot itself had numerous twists and misdirects that left me genuinely shocked and on the edge of my seat throughout. I like that it left me guessing. I couldn’t predict what was coming next.

My biggest issue with this film is that it is very direct and clear with its themes. In that it lacks subtlety at times. One of my biggest pet peeves in movies is dialogue that sounds clunky and unrealistic. There was more than one instance of heavy handed and on the nose dialogue to be found here. Particularly during a climactic scene that took me out of the film for a bit.

When I say the film is direct and clear with its themes, I mean that there are clear bad and good lines being drawn. So while the cruel and unforgiving society is the impetus for Arthur Fleck’s transformation into Joker, it often felt like everything was going wrong for him, in order to justify his evil turn. Bad thing after bad thing kept happening to him to the point of absurdity. I understand that the point is to show Gotham as a nightmare place to be, but when Arthur gets beaten up for the 3rd or so time, it started to feel ridiculous and excessive.

Every single person in Arthur’s life treats him poorly. There is no compassion to be found anywhere for this man. Which makes his turn understandable but the world to be somewhat unrealistic and extremely grim. I personally find the morally grey far more fascinating than the straight up black. So I felt at moments that if this dark world was given more complexity, more twisted corruption as opposed to point blank awfulness, it would feel more realistic and that much more upsetting.

I think Phillips was just scratching the surface with what he could do with this world and I would like to see it delved into deeper, to expose what other horrors Gotham contains.

This film has gone through quite a bit of controversy for the violence and potential message it could spread. While I completely understand the possible criticism that this film simply gives those who are already unstable and wanting to incite violence a justification for their actions and an example to emulate, I have to say that:

It is not the onus of a filmmaker or artist to deliver a “positive message” through their art. It is to make their audience think, to influence their emotions and perhaps make them reconsider how they see the world. It is simply ridiculous to hold an artist responsible for how audiences respond to their art.

Joker, while a compelling character to watch, is never framed as a hero. He is a legitimately frightening individual whose life is never painted as something to strive towards. This is a troubled individual’s story and it is horrifying to watch.

In the end, despite the small problems I had with the film (I don’t think I loved it), it definitely made me think. I love this angle being taken towards DC characters. It is high time Warner Bros. understand that this is the treatment these characters need. Poorly emulating something else disappoints everyone. This film is doing so well because it is depicting this character in the way he should be shown.

These dark, gritty and realistic takes on comic book characters are far more intriguing to me. They make the viewer think about the society they live in, the injustices that are occurring and what we can do to put an end to them. This is where comic book stories shine, when they make us consider our own world in a new light.

While I didn’t completely love Joker, or instantly think it my favourite film, I haven’t stopped thinking about it since the credits rolled. And I think that is the type of film we need in the comic book space. One that makes us think, discuss and debate.

I’m starting to think that Joker didn’t give me what I wanted, but perhaps it’s what I needed…

[rat-apologist]

A Semi-In depth Review of Anna Todd’s After

So I’ve been seeing the trailer for the movie adaptation of this book every five seconds on my Instagram feed, and as a proud dyslexic unwilling to sit down and read it, I listened to the audiobook.

Again, these are all my opinions, if you don’t agree that’s okay.

Here is a quick, spoiler free plot synopsis for those who want/need it: Being moved from Wattpad into the real world of publishing, After follows a girl named Tessa, who simultaneously has the mentality of a five year old and an old man from the 1800’s. She is eighteen years old and is going to college to be an English major. Tessa loves control, planning, and books. She's an introvert at heart, and “not like other girls” (i.e. dresses conservatively, is a virgin (the books words, not mine)). She has a shitty mom and a nice, preppy, boyfriend who is still in high school, and her life is completely planned out. That’s all turned upside down when the poster child for emotional abuse named Harden (harry styles) waltzes into her life during a frat party her first week of college. Your typical Wattpad/teen movie drama ensues.

(the actual review under the cut)

This review is chock full of spoilers for Anna Todd’s book After. If you want a good idea of what I thought about this book without any spoilers I’ll just say this: I can really honestly say I was never bored while listening to this book. However, that is not necessarily a good thing. Often times I was just too much in awe of the clunky writing and truly evil supposedly “redeemable” characters to be bored. On a one to five star scale, I’d probably give it a two. More on that later.

Here are the things I liked:

(this one is only applicable to the audiobook) the narrator was amazing, her voice acting was very appropriate (though she did tend to drop accents sometimes- but that is forgiven because of how otherwise amazing her line delivery was- especially considering the quality of the dialogue).

Landon and Dakota were my favorite characters, and even though they had no personalities beyond what they meant to Tess and how they interacted with Harden (Hardin? Again, I listened to the audiobook I’ve got no idea how to spell that lmao) they still made the book better to listen to.

Despite the repetition of plot/narrative structures I can happily say again that I was never really bored.

Okay moving on to more mixed-bag feelings:

So the last chapter was from Harden’s perspective, and I thought that was an interesting idea. Learning what one character thinks, especially since our protagonist is, how you say, a little bad at reading/interacting with other human people. However the execution left something to be desired for me. It quite literally was just the exact same scene we just saw from the previous chapter, but from Hardens perspective instead of Tess’s. Which was just ended up being unnecessarily repetitive at times.

I liked how Tessa tried to be less judgmental throughout the book, however her growth is very, very limited.

I liked the fact that they mentioned they used condoms in pretty much every sex scene, and that most of the time clear verbal consent/clear nonverbal consent was given for the sexual stuff. That does not happen often in books, especially in fan fiction from what I understand.

I like that Tess does stand up for herself, while I could sometimes see myself comparing her to Bella Swan considering how much of her personality does kind of revolve around her relationship with Harden, she certainly was more vocal about her feelings. And boy, did she have a lot of feelings.

Moving on to the things I didn’t like, this is probably going to be a mix on writing, characters, and plot points so bear with me. (I’m saving my many thoughts on the twist for last)

Okay so a big number one is the biggest plot driver, the love story. So, I feel like it goes without saying, but the main relationship is SUPER unhealthy. Harden constantly stalks, manipulates, and bullies Tess throughout the whole book. He is pretty much abusive, using her caring for him to his own advantage and then dropping her when it suits him. Plus his hyper-sexualization of her “virtue” is really really nasty. Tess pretty much cries in every interaction they have together, and even acknowledges how toxic their relationship is, and yet I’m supposed to root for them? Hmm… I don’t think so

The near constant slut shaming and girl hate in this book bothers me, especially when it’s mixed with the hints of “I’m not like other girls” from Tess

The character descriptions kinda weird me out considering how much Harden is described like Harry Styles, like literally a tumblr punk edit of Harry Styles

The dialogue is… bad. To all the writers out there (myself included) make sure you read your dialogue out loud to see if it sounds natural, that way if your Wattpad fanfiction ever does get published, and your book is adapted into audiobook, you’ll avoid a situation like this one. Because, especially listening to it, the dialogue in this book is really really bad. Honest to god it sounds like robots imitating humans are talking to each other, only they’re trying to convince the other robots that they are humans. For some reason Anna Todd avoided using contractions for most of the book, making the characters sound unnatural and completely out of their predefined characters. Why would these college students not use words like “it’s” “we’ll” and “we’re”? It is truly astonishing, and it makes the few uses of contractions really distracting. Normally I don’t give a shit about grammar since I don’t really understand grammar, and normally grammatical errors aren’t that obvious when listening on audio, but the dialogue was seriously that bad.

The pacing was bad, that’s kinda all I have to say. It was generally too quick during plot development but then took a screeching halt for each fight/sex scene (of which there are many)

The repetition of certain words/phrases really got annoying. Everyone's always screaming, biting on their lip, or smirking. Harden is rude, as Tessa mentioned about eight million times, and Tessa finds his dirty talk arousing. We know this, because Todd uses those phrases about a billion times a chapter.

The sex scenes kind of grossed me out. I’m (in general) fine with sex, but the way the sex scenes were written seriously ucked me out. These college kids avoid using words like “penis” “dick” “pussy” etc. and use really really juvenile words like “down there” and “length”. Maybe this is a fanfiction thing, and I’ll admit that I have not read essentially any fanfiction, but it is truly a disturbing way to write sex. Especially since Tessa is written to have the experience and understanding of sex as like a child, not even understand what an orgasm is and unwilling to say words like penis or vagina, something our loverboy Harden is super attracted to, by the by.

I hate that this book uses “girl almost gets assaulted so man can come in and valiantly protect her” trope. It is super gross and I hate it. That’s kind of all I can say, the use of women's pain so that men can get some amount of redemption is awful.

More on Harden: I am sick of the “violent, broken man that I promise I can fix!” trope. It is used to justify and excuse abuse and I hate it. Tess is honestly scared of him several times in the book and it’s played as a personality quirk of his? Like everyone just accepts that’s how he is? I know for the most part we aren’t supposed to “like” him for the first part of the book, but it’s obvious that the author wants us to root for him and Tessa in some capacity. Especially with the inclusion of his perspective at the end, which in a way is exactly the kind of manipulation that he is into so idk. Also he is possessive despite the fact that they weren’t dating, and he is very clear he does not date. That’s already abuse, but of course there is more. On top of that he is cruel, and pretty stuck-up throughout the book- making him pretty much insufferable to me. And all of this shit just gets worse once the twist is introduced, and no amount of his whining from his chapter could at all change that.

The rest of the characters are all either boring, or the worst people you could ever meet. Tess’s mom, Molly, Jace, all really terrible to offset the horror of Harden. To almost justify what he does- because comparatively he doesn’t seem as bad (up until the twist).

The twist. Dear god the twist. So, as it goes it isn’t an extremely inspired twist. I’ve seen it done before in a similar way (I’m looking at you, Ten Things I Hate About You). For those who are wondering: the big twist is that Harden only really pursued Tess in the beginning because after she revealed she is a virgin at a party early on in the book he makes a pricey bet with Zed (another side character only used to add ~drama~ to Tessa and Harden’s relationship) to see who can take her virginity. All of the subsequent bullying, possessiveness, manipulation, etc. were all a ploy to have sex with her before Zed could. I feel like it goes without saying that that’s disgusting, but let me tell you exactly why: at least if he was actually interested in her at first his weird behavior could possibly be passed off as hormones (I wouldn’t like it, but I’d understand it  more if you’d try to make that argument), but the fact that it was all for a bet not only makes his disgusting actions worse, but makes the fact that he supposedly falls in love with her so much more annoying. Plus, the fact that he literally tries to trap Tessa in a lease so she can’t leave him, and tries to bribe his friends into silence really shows how little he actually cares about Tessa and her thoughts and feelings.  

So, why two stars? Honestly, because I was entertained (for lack of a better word) by this book. Maybe if I actually read it and not just listened to the audiobook it my rating would be lower, maybe if there was just one more sex scene to slow down the pace I would have been more bored. Who knows, but I was entertained. Sometimes by how terrible the dialogue is, by how astonishing the characters decisions were, sometimes by the actual plot. It’s like watching a shitty soap opera, it’s not good by any means, but it certainly keeps your attention.

[2nd-rate-film-school]

Hi there! Love your blog! I’m having a really hard time coming up with a good opening shot for my film. I have lots of little ideas, but non of them seem to translate to a useable, cohesive scene that fits it my storyline. What does a good opening scene look like?

Hi @emperor-oj!

Opening shots can be hard, so I understand your struggle. I first want to add a little warning: Don’t get hung up on a shot, especially when you are still in the writing phase. It will change so many times, even before you start filming. Sometimes I find that writing something down with the mindset that it’s just a placeholder actually gives me much better results than if I rewrite it a bunch of times to get it “perfect” before moving on.

That being said, what you seem to be describing, even more than the first shot of the film, is the “hook.” A hook is that thing that draws your audience into the film. A hook, like any scene, should tell its own mini story, and tell the audience something important. If your hook (or any scene) doesn’t show anything important, cut it. Sometimes it ties into the plot, sometimes it doesn’t, and sometimes a film doesn’t even have a hook! If you do want one, here are some elements I find make good or great hooks:

Introduce your world in the most interesting way possible. The protagonist walking up and going through their morning routine is the #1 WORST way to start a film. What is special about your world or your protagonist? Show that first. Inception begins with Cobb already inside the dreamworld, instantly drawing you into the story and quickly explaining how the shared dreams work. Children of Men opens with a news story about the youngest man in the world being murdered (in a world without children), followed by a cafe being bombed.

Introduce your character with brief backstory. Be careful how to use this one. While it avoids clunky dialogue exposition, the flashback trope is hard to use effectively. Don’t give away everything about your protagonist, but give the audience the bare minimum of information they need. Vertigo is a great example. It starts with a chase scene that shows the protagonist is a detective who’s vertigo resulted in the death of a cop. All of this is shown with little dialogue and in less than 2 minutes.

Introduce your villain. Have a great villain that propels your film? Show that villain in action to show just how dangerous he/she/they/it can be. For examples, look no further than Jaws, or The Dark Knight.

Set the tone. Audiences like to know what to expect, and opening scenes tell them what they will watch for the next 2 hours. What type of film are you telling? If it’s a character piece, start with a small event. If it’s a sci-fi, show some aliens… The Matrix opens with a high-paced, physics-bending fight/chase scene (with some coding in the mix). This establishes the genre (action sci-fi), introduces some main characters and the villain, and the rules of the world (without revealing what the matrix is right away).

Shock your audience. Sometimes surprises can be really intriguing for audiences. Looper is a great example. The protagonist sits in a field, waiting for something. When a man appears out of thin air, the protagonist shoots him and money. It’s shocking, quick, dramatic, and ties into the story.

Start at the end. This one has to be used carefully. If your audience knows how the film ends, it’s much harder to convince them to keep watching, since the mystery is already solved. Instead, by beginning at the end, you keep the audience watching because they want to know how or why they got to a certain (usually extreme) situation. American Beauty and Fight Club are great examples. In other cases, there is still a mystery to solve, and a story, told in extended flashback, tries to answer a question while also showing the audience how they got to that point. The Usual Suspects, which has one of my favorite twist endings, is an example.

Some of these methods can be combined, and I encourage you to do so, but not all of them will work for your story and not all of them have to. Experiment with these elements and have others read and give feedback to see what works and what doesn’t for your particular story.

(Side Note: Write down all those little ideas you have! You can go back to them for other stories, use them for inspiration, or combine/add them to other scenes.)

Best,

Jules

[thenerdparty]

Us - Film Review

Written by Shawn Eastridge (@yayshawndorman)

With his second feature Us, writer/director Jordan Peele seems determined to avoid the dreaded ‘sophomore slump’ by any means necessary. Thankfully, the film affirms Peele’s status as one of our most exciting new filmmakers, serving as an excellent example of what a great director can do with a larger canvas. But while Peele’s ambitions are admirable, the end result is a bit of a mess - overwrought, sprawling and lacking focus. Us should leave horror fans feeling satisfied, but don’t be surprised if you’re left scratching your head wondering not only what it all means but whether or not it actually makes any sense.

The concept is Twilight Zone madness at its finest (and further confirmation Peele is the right guy to spearhead the new TV revival). During a summer vacation, the Wilson family, consisting of concerned mother Adelaide (Lupita Nyong’o), wisecracking daddy Gabriel (Winston Duke) and their two kids (Shahadi Wright Joseph and Evan Alex), ends up being terrorized by a family of nightmare-inducing doppelgangers. As the Wilsons attempt to survive the evening, a horrifying plot begins to unfold, one with wide-ranging ramifications far beyond anything the Wilsons could possibly imagine.

Peele takes his precious time getting to the fun and games, sometimes to the film’s detriment. While the opening scene is masterfully crafted with hypnotizing, nightmarish imagery, the scenes in which we’re introduced to the Wilsons are less effective. There’s a lot of clunky exposition with characters detailing key bits of information in stilted dialogue exchanges:

‘Hey, **INSERT CHARACTER NAME HERE** Remember when you used to **INSERT CHARACTER TRAIT THAT WILL CLEARLY PLAY A BIG PART IN THE UNFOLDING STORY.**’ 

Or 

‘Did I ever tell you about the time I **INSERT TRAUMATIC EXPERIENCE THAT WILL SHED LIGHT ON CHARACTER LATER IN FILM.**’

Yeah. It’s awkward.

Once the plodding first act gives way to the film’s centerpiece, the nail-biting home invasion sequence, the pace picks up tremendously. It’s during these moments that Peele’s talents truly shine. As with Get Out, Peele demonstrates a knack for striking and memorable imagery. He has a strong grasp on conveying the terror of things that go bump in the night and understands how to convey these elements to their utmost effectiveness. His ability to wring every ounce of suspense from each moment is on full display and he deftly balances the scares with expertly placed punchlines and payoffs.  

But undercutting the film’s thrills is Peele’s unfortunate reliance on a number of cliched horror tropes and logic gaps. Characters behave in the most nonsensical of ways, wandering off on their own with a monster on the loose or back into a dangerous situation no intelligent person would dare re-enter. These lapses in reason fall in line with some of the genre’s worst tendencies and it’s odd to find them in a film that sets itself up as being more thoughtful than your standard horror fodder.

It’s also a bit of a bummer that we don’t learn much about the Wilson family beyond a surface level. Thankfully, Peele has assembled a wonderful ensemble to pick up the slack. Nyong’o leads the pack in full force, delivering not one, but two stunning performances as both Adelaide and her doppelganger Red. Everyone in this cast is great, but it’s Nyong’o’s work that will stick with you long after the end credits roll.

Thematically, there’s a lot to unpack. Probably too much. I have no doubt Peele has something important to say about the country’s current state, how social class affects one’s ultimate successes, how the dangers of turning a blind eye to past failures will be our undoing, etc., but it’s all too muddled and unfocused to come across effectively. It’s as if he made a list of every theme and idea he wanted to tackle, put them into a blender and dumped the contents out on screen without defining or refining anything. Upon further scrutiny, many of Peele’s twists and turns begin to unravel, as does the rest of the film. It’s puzzle pieces without a box to offer the ‘big picture.’

Maybe there never was a box, you say. Maybe that was Peele’s intention all along. Sure, maybe. But if he wanted to leave audiences in a state of uncertainty, why did he opt to include so many drawn-out monologues that over-explain certain plot points and character motivations? So much is carefully described to the audience to the point that it’s reminiscent of the classic Bond villains waxing poetic about their plans for world domination. 

So yeah, maybe Peele bit off more than he could chew, but here’s the thing: I applaud him for doing so. He really went for broke and that’s something to be admired, especially in an era where original properties are getting short shrift in favor of massive blockbusters. Peele could have played it safe, but instead, he decided to make something kind of bonkers. 

Us might not be a horror masterpiece, but at least it’s trying and I’m excited to see what else Peele has up his sleeve.

FINAL RATING: 3.5/5

[semi-imaginary-place]

KH3 is like half a game, it feels incomplete and clunky. It sets up events that never happen and tries to force moments without having the build up to support them. The game does some things really well and reaches some truly heartfelt emotional beats and solid character moments.

3:48 PM - 31 Jan 20191 reply0 retweets1 likeReply 1 Retweet  Like 1 View Tweet activity

The Disney (and Pixar) worlds were pretty well incorporated and mostly able to contribute thematically to the game unlike sometimes in past games were the worlds were kind of just dropped into the game.

The Toy Box much like Halloween Town brings up how dolls/toys/those who begin as inanimate objects can gain hearts. Monstropolis allows a plausible  entry point for Vanitas with the connection between fear induced scream  energy and the negative emotions of the unversed.

Of all the worlds, I enjoyed Sora's time with the Big Hero 6 gang the most. Their interactions felt genuine and I had a lot of fun watching them. It also had the most complete arc of the worlds with the continuation of the movie's theme of living after loss.

Most of the worlds' story arcs felt incomplete. Starting in Olympus we are left hanging with Pete finding Pandora's box and the city in ruins. The story just kind of ends. There also was not enough time and build up to give significance to Hercules' choice to rejoin the mortals.

In Twilight Town, with all the discussion surrounding hearts and data from Coded to KH2 to KH3, that a whole other Twilight Town exists was completely dropped. It felt like the game was leading the audience somewhere and then never followed through.

With the Toy Box, the Sora, Goofy, and Donald leave and don't come back with Woody, Buzz, and the others still stranded in another world just hoping to one day meet Andy again. The search for Andy and the other toys is the main arc for this world and its never resolved.

While some worlds aren't quite as obviously half a story arc, all of them could have used more time. Many of them assume you have already seen the source material. In Frozen, Hans being the villian is the big twist but with the first half of the movie cut, there's no impact.

Pirates of the Caribbean makes no sense to anyone who hasn't seen the movies. I wish there was a scene of Sora unlocking Tia Dalma given how it was setup to happen. There was good characterization for Sora here though on how both he and Jack are free spirits.

The Winnie the Poo part while sweet (because I love Winnie the Poo sections) doesn't go anywhere. Sora just loses his connection with Poo and disappears from the cover, and then a few mini games later he's back. Sora's comment on how their bond has weakened never goes anywhere.

In the other games you search for lost pages or help Poo regain his memories, here there is no story. It's a lost opportunity to do, well something,  but that can be said of much of the game. They could have used this part to talk about how relationships must be nurtured.

The ending also fell a bit flat because of the buildup-payoff problem. The game tries to show the characters despairing only for someone to swoop in and give them hope. The problem is that in the Keyblade Graveyard they do this so many times it loses its impact.

Given the amount of stuff this game should have resolved, not enough time was spent on that. Instead precious time was spent trying to create sequel hooks. In doing so, the cohesiveness of the game as a unit was compromised. The game was too short for all they tried to achieve.

At times the narrative would point "Look! its a  happy/sad/intense/etc. scene", but without a proper build up, these  scenes lacked emotional weight.

I'm conflicted on KHUX in KH3.  I liked Chirithy reuniting with Ven, Laurium possibly remembering, and Strelitzia's maybe cameo. The black box stuff could have been cut. Its to connect  KHUX with future games, but it does nothing for the Xehanort saga and bogs KH3 down.

Then there is the mysterious girl with connections to Lea, Isa, and Ansem that we are only hearing of now. Who is she? Is she Ava? I don't know but they should have saved it for another game.

I thought all the keyblades of the Union members coming to help was a nice touch, but why did Ephemer of all people show up? He was a Dandelion; the player was the one who chose to stay (except the player has no canon appearance in khux which makes them hard to depict).

On one hand I got really excited looking for my KHUX username but on the other hand it was a little too 4th wall breaking and took me out of the game. The other 4th wall leaning scenes with Axel didn't do it for me either.

I did like the definitely-not-instagram loading screens. They were just this side of absurd to be amusing. It was cute. Humor is a subjective thing but I didn't like the increase in jokes in this game. It broke immersion for me.

Some were funny like Verum Rex. Others though felt forced. KH3 had more Donald, Sora, and Goofy poking fun at each other. At first it was fun, but then they kept doing it and it got old.

Maybe its because of all the jokes and narrative problems broke my immersion in the game or maybe its because I'm older now, but KH3 wasn't as magical an experience for me as the other games.

I don't mean magic in how many spells Donald can cast but in that sense wonder, that the extraordinary is possible. That sense of magic is why the Roxas prologue of KH2 is one of my favorite parts of the franchise.

Part of it also is that the section where Sora goes saving everyone's hearts from the Lich after they "died" didn't reach me emotionally. Which is a shame since the part right before where Sora runs around in the Final World and talks with the stars is one of my favorite parts.

I was surprised we didn't see more Dives to the Heart and battles at the center of the heart given the Terranort, Ventus-Vanitas, Xion, etc. After Sora got the power of awakening I was expecting him and Riku to use that to free Xion and Terra.

And then we would get an epic battle where Terra finally kicks Xehanort out of his own body. I also wanted to see Aqua beat up Xehanort. Aqua's suppose to be super strong from spending 10 years in the Realm of Darkness.

Kairi deserved better. Kairi deserved more. 3 games (II, 3D, III) on how Kairi trains to become a keyblade wielder and she doesn't get to do anything. Why was she kidnapped anyways? The answer is to give an excuse for Sora at the end to have a "I must do this alone" moment.

Kairi was kidnapped just so Sora could angst over her and so he could go save her. She deserved better.

The developers really pushed the Sora-Kairi romance this game. I was disoriented since we since the last game we saw a lot of romantic indications was 17 years ago in KH1. Riku got third-wheeled this game.

Enough complaining, parts that worked pretty well/were well executed: Big Hero 6, Monsters Inc, Sora finding the Door to Darkness in Destiny Islands and Aqua returning to the Realm of Light, Sora's interaction with other characters(Rapunzel, BH6, Jack, etc), the Final World.

Visually the environments are amazing! I was so happy running around everywhere. Its pretty. (and the heartless are cute)

KH3 was on the low side for number of worlds visited. Again, I'm surprised how (comparatively) short the game is. There was a lack on Final Fantasy characters as well (or well videogame characters given how TWEWY was in 3D).

I would have loved to see a Moana world. Moana, Maui, and Sora interactions would have been great. Thematically it would have worked too since Moana's plot centers on how Te Fiti losing her heart changed her.

In every KH there's always been some wham moments and that didn't happen to me at all in KH3... until the every end with Luxu. Many of us have been suspicious of Xigbar for a very long time. His organization chair height is too high. He seems to know more than he should...

As much as I am complaining, I do like the Kingdom Hearts III. Its a good game.

I've said it before, but KH:coded is a thematic summary of the entire series and one of the important points in that game is how Data Sora understands hurt. Data Sora understood how to live through hurt and this is something we see Sora learn as well through the games.

In CoM Sora did not understand this. All the way to 3D he did not know how to deal with hurt so when Roxas shared all his pain, that contributed to Sora sinking into darkness. In KH3 though Sora has grown and can accept hurt.

I would have though liked to have seen a more overt conclusion to Sora's relationship to darkness. Sora has always had darkness in him, he's not a princess of heart (or Ven) and there were hints before KH3 that he was falling to darkness.

Anti/Rage form are a manifestations of that darkness. Maybe this was just sloppy character writing, but Sora is noticeably meaner during KH2 and at the end he says "maybe the darkness has gotten to me, too". In KH3, besides rage form Sora's darkness isn't directly addressed.

Back to UX. The devs connected the epilogue, the secret reports, and UX well. That's all that was needed really. From Backcover we already know the black box is important. KH3 shouldn't have wasted time focusing on it.

And about X girl )Shuld?? idk). It really is awkward how they bring her into KH3. If she's the reason Lea and Isa got into this mess they should have dropped a line in 358/2 or one of the other games something like "Don't forget we're doing this for her"

Another good scene was Aqua giving Ven head pats. This gave me life.

Scala ad Caelum was built inverse on top of Daybreak Town. I didn't notice! Never mind what I said earlier, there's the "oh shit... what" moment. I'm just going to sit here mind blown thinking of all the implications...

[pulp-diction]

When M. Night Shyamalan first released "Unbreakable" in 2000, it felt a lot like the plot twists that would become so synonymous with his name: In a time when superheroes just weren't selling, he skipped the capes and tights and really dug into the heart of the origin story, with heavy emotional beats and spectacle. 

Nineteen years later, as Shyamalan releases "Glass" as the conclusion to what became a trilogy, the world is different. Superheroes dominate the box office, and -- as Samuel L. Jackson's character Elijah Price always said -- are proven to not be mere entertainment for children. Which is almost what makes a movie like "Glass" feel so out of place.

Bridging the characters of "Unbreakable" and 2017's surprise hit "Split," the film brings David Dunn (a grizzled Bruce Willis reprising the hero role he first played 19 years ago) into an asylum with Kevin Walcomb (James McAvoy), whose dissociative identity disorder was the fodder for evil in "Split." Having become a vigilante dubbed "The Overseer" in the intervening years, Dunn's showdown against the homicidal "Beast" of Kevin's personalities is interrupted when they're both arrested.

They, and Price, have all been brought together by Dr. Ellie Staple (Sarah Paulson), who believes they all suffer from a super-hero complex, imagining and overhyping their "powers." And so Shyamalan again twists the superhero formula; instead of another fight scene as has become so commonplace in comic book films, the main set-piece of the second act is a group therapy session, where Dr. Staple attempts to rid them of their delusions.

And here Shyamalan digs into the heart of what the entire trilogy has been pointed toward: What do we look for in heroes? What is it about superheroes (and by extension comic books) that we thirst for?

In "Unbreakable" it seemed the answer was a higher calling, a commitment to the greater good that we could believe in. "Split," in a muddled sense, turned empathy into more than a virtue, but a strength that could stand in the face of evil itself. The problem is "Glass" doesn't quite have an answer.

As it often is with Shyamalan's films, there's a disconnect between the motivations behind his film and his ability as a writer to satisfy them. Though his direction remains finely tuned, with every shot feeling meaningful and telling, his penchant for story is often muddled despite heavy exposition: In its final act "Split" made a case for trauma as a weapon, which feels loaded in a way that deserves to be answered (it's not here). "Unbreakable" grounded David Dunn, but "Glass" proves he doesn't know what to do with the story.

The thing that has always made Shyamalan so frustrating and often polarizing is that he comes close to greatness in so many ways; (without spoilers) the third act sets up some interesting dynamics around how chapters in comics often end as the lead-in to the next stage, but it feels a bit unearned after the two-hour film that came before it.

A project that's 19 years in the making has the ability to pull some killer deleted scenes as flashback-fodder, only to squander it without having anything truly subverting to say about superheroes at all.

You've got three highly skilled actors to bounce off each other, and yet you have so much of their exchange overly spelled out. McAvoy is the only one who ends up truly getting a showcase here, this time cycling through the various personalities multiple times over on camera, putting his impressive physicality and control on display.

And while "Glass" is a film that might lag in parts and speed through others, it's not that vexing to watch -- in fact, it's one of the easiest Shyamalan experiences in years. And yet, it's frustratingly obtuse to the actual questions it raises, or even how it interacts with comic culture itself. It's fair to say that a "realistic" superhero movie, set in 2019, has to at least acknowledge the lore and logic set by other comic book adaptations, and yet every time a character does so in "Glass" it comes off as clunky and out of touch.

That distance between where hero reverence is now versus where it was when this enterprise started definitely drags down "Glass." But it's inability to make something new out of its unique circumstances -- well, that's the heartbreaking twist you can see from a mile away.

[oscar-isaacs-number-one-bitch]

“Sicario: Day of the Soldado” Movie Review

Sicario: Day of the Soldado is the direct sequel to the 2015 critical hit Sicario, which was directed by Denis Villeneuve, and starred Emily Blunt, Benicio Del Toro, and Josh Brolin. With this film under the reigns of a new director (Stefano Solima), Brolin returns as Matt Graver, a CIA operative specializing in counter-terrorism against the Mexican drug cartels. When a harrowing bomb attack is carried out on Texan soil just near the border, the Secretary of Defense gives Graver the green light to hire a team of outside operatives in order to execute a specific mission: start a war between the cartels, and let the mess clean itself up. With a script by Taylor Sheridan, and Benicio Del Toro reprising his role as Alejandro, Day of the Soldado sets out to remind everyone that there are no good guys here; there are only survivors.

I was…apprehensive about this film, to say the least. Sicario was one of my favorite films of 2015, in large part because of Villeneuve’s unique touch on a relatively touchy subject: should the U.S. be allowed to operate with extreme prejudice in areas of the world where extreme prejudice already takes a toll on the population? Where must the line be drawn? Why do we have rules when carrying out foreign operations? Villeneuve’s film both introduced and answered most of those questions and the questions that spawned from those questions with one simple line from Del Toro’s character to Emily Blunt at the end of the film: “you’re not a wolf, and this is the land of wolves now.” Essentially, regardless of what the answer is to the question of the United States’ autonomy on foreign soil, the bottom line is that these operations happen, and the best course of action is not to remind one of their moral high ground, but to keep your head down and just get through it. If you can’t stomach it, don’t get near it, because you can’t stop it. (And yeah, having absolute knockout editing and immaculate cinematography from the legendary Roger Deakins didn’t hurt the film either).

This film aims to take Sicario’s central premise, and instead of putting Emily Blunt’s FBI agent Kate Macer into the crosshairs, substitutes her with two contrasting side plots involving children, examining the toll that this sort of war has on them and their overall psyches. Or at least, that’s supposedly the point…I think. It’s never really made explicitly clear what the theme of this particular installment in the Sicario franchise is supposed to be. And while films don’t necessarily need to make their messages explicit or even outright obvious, a little clarity probably would have helped here.

The first half or so of the film is all about Josh Brolin’s character carrying out the operation that starts the war between the drug cartels, with the start of the second act clearly beginning with the first mission inside that operation, and it seems like it’s mainly going to be about that; how does the U.S. influencing cartel operations actually effects the communities where those cartels reside, and will the CIA be able to handle it if things don’t go their way (i.e. interference from Mexican police or someone figuring out the double cross game)? But then the second half becomes something else, almost a transport/capture/rescue film wherein one of the most significant characters in the whole operation has to smuggle important cargo across the border in order to ensure its survival, and has to go rogue against the rest of the team to do it. That would be a fine twist, if it were that simple. Unfortunately, the film gets one too many side plots going, the one that saddles the film being a young boy getting involved with the cartels’ trade. That might have made for a good side story by itself, if it had actually affected more of the plot, but since the film already had a side story going involving a young girl being used as a pawn to start the cartel war that spawned off into a separate story, it really just feels a little bit convoluted and messy. It doesn’t ultimately break the film, but it is a case of one too many ingredients in an already fairly simple dish, and the overarching theme of the narrative gets buried a bit under the weight of the attention paid to it.

When I heard Taylor Sheridan was back to write, I was a little more relieved, since Sheridan’s talents have been put to spectacular use on such projects as Hell or High Water, Wind River (which he directed), and even the original Sicario (I haven’t started Yellowstone yet, but more on that soon). He is, no holds barred, outright one of the most significant writing talents of the decade and an absolute force to be reckoned with when it comes to taking realistic scenarios involving people who do the jobs that need to get done that no one else will do and highlighting (if not forcing an audience’s face down to look at) the darkest, most undesirable aspects of those jobs, especially where the “good guys” are really just survivors with a chip on their shoulders. And to be sure, Sheridan’s script is as sharp as ever. His dialogue moves back and forth between the actors naturally, and he has a great sense of where he wants the story to go in terms of narrative and character development, even if the theme does get a little lost.

The performances are excellent all around, with Josh Brolin getting more of the spotlight this time after Del Toro’s character kept stealing the show in every scene he had in the last movie. Brolin is magnetic as Graver, and you can tell he genuinely enjoys playing this part as a straightforward, no-nonsense, “get the job done” operative that he’s the best in the business at. As a character, Brolin seems even more at ease with Graver than he did with either Thanos or Cable, and that’s already some pretty strong pedigree of roles to exceed. Del Toro is also once again excellent as Alejandro, the absolute most lethal hitman on any screen, anywhere. He doesn’t get as much of a chance to shine in this one as one might like, but he plays the part like a champ and gets the most interesting character arc all the same, albeit lacking in the nuance or gravitas that his arc did in the first film. Even the kids (thought I’ve already addressed my issues with the narrative shortfalls of those characters) do really good work here. One feels that if Villeneuve had stuck around to direct the sequel, one of them might have gotten the chance to show off some true Oscar-caliber skills.

Villeneuve is not attached to this project though, and while director Stefano Solima’s take on the Sicario story may lack in narrative weight or more sensitive themes, he does an adequate job of placing and moving the camera in what seems like more of a tribute to Roger Deakins’ work than an emulation of it. He also has a great sense of place within what are some truly stellar action sequences that carry as much weight within their actual occurrences as the original Sicario did with the tension of the build-ups to those occurrences. It’s down-and-dirty, realistic, and most of all, brutal gunplay/warfare that truly drives these sequences home. I hesitate to call them “action,” sequences since they’re not really cut for blockbuster effect, and the sound design is biting and intense, but they are the only sequences where “action” happens in the film, so what are you gonna do?

On another note, the film’s third act is entirely too long, and there’s a relatively unbelievable thing that happens in it that’s supposed to introduce the finale, but it doesn’t really know how it wants to end until it just sort of does, and one wonders if they had about 4 separate endings, then just decided to put in all of them precisely because they needed to wrap up the one too many story threads they’d introduced. This, I’ve noticed, is becoming a trend among “good, not great” films: relatively weak third acts with good enough finales that forget to continue with the character developments and themes of the first two acts. Not every film has to follow a Blake Snyder three-act structure to the letter (we wouldn’t have some of the most interesting films we have today if they did), but it should always be clear what the overarching narrative and theme are meant to be, and with the third act of Day of the Soldado, that theme is fairly muddled up until a finale that feels half-baked.

All things considered, yes, Sicario: Day of the Soldado is a good movie (please don’t lose that), succeeding both as an action piece and as a character journey for the relationship between Brolin’s Matt Graver and Del Toro’s Alejandro. Unfortunately while it succeeds as a movie, it ultimately fails as a sequel, broadening the narrative just a bit too wide, and taking the most relatable character we had (Emily Blunt) out of the equation, to the effect of attempting to tell a darker story, without focusing on the darkness of the story. It’s still good enough that I would be interested in seeing a third (perhaps closing) chapter in a Sicario trilogy, but without Denis Villeneuve’s deft hands on the wheels of both theme and narrative, this installment strains under the weight of its trying to do too many things at once. Also (and I know this is a nitpick), Sicario: Day of the Soldado is way too clunky of a title. Like it’s the films it’s attached to, it’s not horrendously bad, but it would have been better as a simpler thing, without as much going on.

I’m giving “Sicario: Day of the Soldado” a 7.3/10

[theinquisitivej]

‘Avengers: Infinity War’ - A Movie Review

Here’s how this is going to play out – this first section is a spoiler-free review of the general characteristics of this movie. I still point out all of the films’ accomplishments and shortcomings, but in a sweeping way that’s not too specific about plot details. After the first score which summarises the film in a spoiler-free way, we’ll be diving into complete spoiler territory. I want to talk about the details of this film but I don’t want to spoil it for anyone, so check out the spoiler-free review if you haven’t seen it yet, then go watch it, and then come back for my full thoughts after you’ve done all of that.

         Avengers: Infinity War would be an impressive accomplishment if it just showed up and existed. Marvel was tasked with its most difficult juggling act to date with this film, having to bring in countless characters who have each had significant roles in their own movies, and find a way to allocate the appropriate amount of time to each of them so that nothing feels forced or clunky. Oh, and it had to convey the established personalities of these characters almost instantaneously so that familiar viewers are happy to see them again, while newcomers get a sense of who they are without too much explanatory dialogue bogging down the run-time / pacing of the movie. Oh! AND it had to introduce a central character who has been hinted at for a long time but hasn’t really had more than three minutes of screentime across any of the 18 movies up to this point, and develop him enough to make him seem like a legitimate threat, as well as a compelling enough character to take the weight that’s placed on his shoulders as the source of conflict in this two-part grand finale.

         Not only does Infinity War pull all of that off, but it does so while telling a cohesive story which constantly marches forward with an unwavering sense of purpose. It delivers on the promise of being this colossal team-up event movie while also taking you by surprise as the scale and stakes of the movie start to sink in. As the film progresses, the tone causes you to feel an ever-increasing amount of adrenaline and uneasy dread. They are both in constant balance with each other, making you wonder when, if ever, one of these feelings is going to win out over the other. Some characters don’t get much room for an emotional scene or to do much more than show up, be themselves, and engage in some enjoyable banter with old friends and new faces they’ve never met before. Even so, there are a great deal more characters who get the chance to have a meaningful moment or just sit down and talk than you might expect. Infinity War is a film that’s filled to the brim with content, but it has a clear focus to it which gives it a coherent theme and makes it work as its own movie, and not just the last act of an ongoing series. I’d be lying if I said that I was as invested in some of its threads as I was with others, and there is going to be a lot of debate over whether every character was handled as well as they ought to have been. But Infinity War, despite the hype, meets many of the lofty goals it has set for itself over the years, and its story also ended up giving me something I didn’t expect which has caused me to sit and process this film long after I finished watching it.

8/10 – I don’t know if it breaks the Top 5 MCU movies, but its tone and impressive balance in many areas certainly makes it one of the better films in the series.

OKAY SPOILER TERRITORY FROM HERE ON OUT GUYS

         After having time to sit on the film and reflect on how each character was used, I’d say that each character was properly represented and used effectively. Given the apocalyptic circumstances and the particular nature of what Thanos is after and what each person involved brings to the table, the film ensures that the characters all act in a way that scans with their personal history and what they would feasibly do in this situation. The fact that the film pulls this off with arguably every single character, whether they’ve got the luxury of time with full emotional conversations like Gamora and Quill, Thor and Rocket, or Vision and Wanda, or if they’re present but not quite focused on like Okoye, Bucky, Black Widow, or Captain America, is hugely commendable. Those are some of my favourite characters in the series, but I didn’t feel short-changed because I still felt that they were the same people I’ve grown to care for, and I’m pretty confident that a good number of them will have more time dedicated to them in Part 2. With the film spinning as many plates as it does, you’d expect one or two of them to fall down and break, and depending on the individual audience member’s level of investment in certain characters, they may well feel like someone they cared about was under-served. But I was personally satisfied with the overall handling of the characters.

         However, one area where the film felt uneven for me was how invested I felt about each of the individual ongoing threads. Character groups move back and forth throughout the film, occasionally overlapping or splitting up, which means that things are constantly shifting, but not so rapidly that you can’t keep track of everything, which I appreciated. I enjoyed the characters simply being together, so ultimately the specifics of what they were doing didn’t matter all that much to me. Nevertheless, two threads which felt weaker to me for different reasons were Thor, Rocket, and Groot’s quest to forge Stormbreaker, and the stuff on Earth with Cap’s group between his awesomely triumphant entrance, and Thor’s group arriving onto the battlefield at Wakanda. I loved seeing Rocket and Thor interact, as Rocket shows some growth and actually reaches out to Thor to try and offer support and check he’s okay, and Thor shows Rocket genuine respect and heartfelt comradery in their conversations. However, while it’s cool to see where Mjolnir and the Infinity Gauntlet were forged, the amount of time dedicated to these guys as they forge Stormbreaker feels like busywork, and lacks the palpable sense of tension which is ever-present throughout the rest of the movie. We don’t doubt that they’ll forge Stormbreaker, and while I wasn’t sure whether Thor would make it through the movie, the danger of the forging sequence never sold me on the possibility that Thor might die here. I do appreciate what this plot thread brings to the ending when Thor uses Stormbreaker on Thanos and comes so close to preventing calamity, but still ends up failing, even after all the work they put into forging this weapon. However, when they’re actually forging Stormbreaker, it all just feels a little too removed from everything to do with Thanos, which makes it feel too removed from the main thrust of the narrative.

         The reason the group on Earth and their fight to protect vision left me a little cold is that, while the other groups get more time to slow down and actually talk to one another, I felt less of that with Cap’s group. More than any other group in the film, their dialogue felt preoccupied with what needed to be done next, making the conversations and character lines feel functional rather than opportunities for unique moments of introspection. Granted, there may have been more of these quiet emotional moments going on than I give the film credit for which could have passed me by, and I might just catch some of them when I go see it again for my second viewing. Still, when I hear some people talking about how they had an issue with how the film never stops moving forward, this is the section of the film that comes to mind for me. Neither of these threads are weak enough to drag the film down all that much, but because the rest of Infinity War felt so lean and well-balanced, they do stand out.

But I’ve danced around it long enough. Let’s get to the real meat of this movie and talk about Thanos and its ending.

SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SERIOUSLY GET OUT NOW JUST GO SEE THE FILM ALREADY

         As many others have pointed out, this is Thanos’ movie. I love seeing this character land as well as he has with people after all this time, and hearing all the various thoughts about his twisted hero’s journey, his understandable yet inherently broken philosophy and conception of what love is, and all the debate around just how much we’re intended to see where he’s coming from. What stuck out to me was that, when the film is over and the credits have rolled, we see the typical Marvel ‘X will return’, with X being the main character(s) of the film you’ve just seen, and the statement serving as a simple yet tantalising promise that, while you’ve just enjoyed a complete narrative with this hero, their story isn’t over yet. This time, however, the final tagline is not ‘The Avengers will return’ (though that statement would certainly be very confusing to our emotions after that ending); it’s ‘Thanos will return’. That made everything slot into place in my head, and suddenly made me realise that we were watching Thanos’ movie this whole time. This isn’t a film about the Avengers facing a new villain and finding a way to triumph over them like in Age of Ultron. It’s a film about someone with such overwhelming power and conviction in what he must do that he succeeds in his goals, even though getting to that point meant coming close to losing or receiving a fatal blow, and even having to sacrifice everything he cared for in this world. By the end, as we sit and look at this man, we see the scope of what he has worked so hard to accomplish, and his sad acceptance of the role he had to play, and that no one will thank him for doing what he truly believes was the right thing. It just so happens that the thing this man wanted to do is horrifying, and that the people opposing him on his journey are the Avengers, the heroes we’ve grown to care for over this series. Bringing in this villain at this stage in the game and having him land as strongly as he has is a triumph, but it didn’t happen because the MCU spent this long hyping the character up in his brief appearances up to this point. It happened because this film executed the character masterfully through a combination of Josh Brolin’s commanding and nuanced performance, and the exceptional CGI work through motion-capture which creates a kind of villain we really haven’t seen before.

         The ending is profoundly unexpected. Not just because the heroes lose, not just because we see so many of our heroes die, but because the final tone of this huge movie, what all this whole series has been heading towards, is not grand or bombastic, but quiet and understated. It simply lets the horror of what just happened speak for itself, and it echoes out as we take in the stillness of the aftermath and realise just how much has been lost. In our anticipation for this film, many of us thought that the Old Guard, the original six from the first Avengers, would surely fall, dying in a moment of noble sacrifice as they protect the new heroes and the world that these films have built up over the last decade. Perhaps that might happen in the sequel, when things resolve in a way which fixes what lies so immensely broken at the end of this first part of the story. But right now, it just feels so intensely wrong that all of these old soldiers are left behind, while the young, the people they took it upon themselves to protect, are the ones who were snatched away.

         This is why, although I understand and, in some ways, share the opinion that many people have voiced when they say “oh come on, they’re all coming back, there’s no way they’re killing Black Panther, 90% of the Guardians, and Spider-Man, we’re not buying it for an instant”, I still think this emotional ending works. It doesn’t matter if we, the audience, don’t believe that these people are gone forever; what matters is that the characters within the film believe it, and that the emotional performances of the actors portraying them sells us on that idea. We see, in a matter of minutes, moment after moment of intense heartache and devastating loss, and it all registers because of the strength of these performances and the writing which adds so much weight to what each of the survivors has just lost. Rocket’s heartbroken response to seeing Groot die for a second time, Okoye’s world being shattered when her king and the young man she’s protected for so long is suddenly blinked out of existence, Tony seeing his worst fears come to pass when Peter begs him not to let him die, and Steve being overwhelmed by the magnitude of what’s been lost, both on the large scale and on the small scale with his friend and last connection to his old life fading away. All of these hit, and they hit hard. For me, even if next year’s follow up to this film undoes much of this and brings those characters back, that won’t rob this ending of its power. Whenever I watch this film, I will always believe that these characters are seeing their dearest friends disappear, and, within the context of what we see within the borders of this contained film, nothing changes or undoes this. For the next year, these characters are dead. After that, they will always feel dead whenever I finish watching this film. That’s what makes this instalment in this ongoing series as powerful and as praiseworthy as it is.

         Infinity War is both a thrilling joyride with some of your favourite characters and a haunting story about facing inescapable loss even after you fight with every ounce of energy you have. Some of its components aren’t as strong as others, and it hinges on the audience being invested in these characters, which means it’s not going to change your mind about the MCU or be the best entry point for the series, but that much should be obvious to anyone signing up at this point. But in every other respect, this film impresses and surprises, even with all the anticipation that has been leading up to it.

8/10 – Balances countless characters as well as feelings of elated joy and devastating loss. Depending on my ever-changing mood on this subject, this could just be my favourite of the mainline Avengers films so far.

[rock-and-compass]

7.02 thoughts

Okay. Here we go. I’ve slept on this but it was written while I watched the episode.

Under the cut because of negativity

The suitably vague “Years Ago” – I don’t think we’re ever going to get an explanation as to why everyone’s ageing is funky and exactly how long has passed since Henry left town…

A bit of friendly sword-play turns into sulky teen pretty darn quickly – Henry doesn’t seem nearly old enough or mature enough to be leaving home… although I guess there is nothing like leaving home to make you grow up quickly. And boy does he grow up quickly!

“This isn’t an ending Emma, there’s more to come.” …You keep trying to tell us that A&E…

Hook and Emma are clearly planning on expanding the family and, I guess, not finding it so simple…. I think this is supposed to reinforce the “Emma is too pregnant to help” discourse that runs under the episode.

Good god, you just happen to have that magic message-in-a-bottle bottle lying around and just happen to mention it now. How many times would that little piece of plot convenience have come in handy?  dark swan; missing hook; wish world; baby Gideon . . . every other freaking time that a character has been missing, lost or trapped. The thing with fantasy is that it still needs rules – to make anything conveniently possible with a new magical item that is then never seen again undercuts the narrative and makes the story trite. If you want people to be summoned to other realms then establish a method via your story, not just produce yet another artefact that can miraculously do what you need done. One of the core tenants of this show was that travel between realms was hard – but they’ve broken that rule so many times while still pretending that it holds true that it has become ridiculous.

Another realm … more “years later” yep. Continue with the vague. And Henry’s “in love” already to the point where others are noticing. So no slow burn for Hella then.

Why would Henry say “Captain Hook” into the bottle? Surely is would be “Emma, Regina and Killian” as Henry has called him for, jeeze I don’t know the duration of the proverbial “years” that have apparently passed. But I guess this is why WishHook is suddenly also in this new realm…

And now we are suddenly in “Today” sheesh. The break-neck speed continues.

“Rogers” asking about Emma complete with CS theme has potential. Well Didn’t that turn out to be a big old tease?

“People should be given a second chance” Hello theme of the day.

Still don’t get why the step mother has so much control over Lucy. It’s annoying and doesn’t assist in building any interest in the Cinderella storyline.  The newcomers acting continues to feel contrived and pantomimic, particularly Lady Tremaine and Co.

Such clunky dialogue – “where’s my other mother?” not “where’s mum?” or even “where’s Emma?” Could they make it any more transparently obvious that this is an explanation session for those legions of new viewers that this spin-off has failed to pick up.  The writing really is subpar this season, even from Jane Espenson who I always thought was better than the rest.

Hmmmm – so Hook when covering for Emma’s whereabouts, lies to Henry, at Emma’s request, about “what really happened” so Henry doesn’t drop everything and go running back to Storybrooke but can “get on with his life”. I wonder when we will find out what this is . . . or is it meant to be the baby news. It’s very vague.  Still, nice to see Regina’s opinion that “Emma is wrong” get shut down so efficiently by Killian. If only people had done that more often in Storybrooke… One must suspect that Regina is not concerned with telling Henry the truth as much as she is desirous of using this information as a way of getting her son home…

What is with Weaver’s voice?

Who are these people???

Ugh. I really really hate that Wish World and everything associated with it – Wish Hook included! This is a massive stumbling block for me. I was on the fence before – if it had been Our Killian, I probably would have continued with the show. But not with this. I can’t go forward with a show when it has just become a mockery of itself. Killian and WishHook are NOT the same person. One is a bad joke taken too far. The other is a character that I genuinely love.  I can’t commit to WishHook even if he is magically made to resemble GenuineKillianJones. As WishHook himself says, with absolutely no logic to underpin his explanation, they may have had similar beginnings but life and experience took them in very different directions so nope, not the same person.

The biggest issue for me is that WishHook was created with a wish just a few “years earlier” in season 6 - he didn’t actually exist before this. HE DOESN’T HAVE THE HISTORY THAT THEY APPARENTLY WANT US TO BELIEVE HE HAS. HE LITERALLY DIDN’T EXIST BEFORE THE WISH WAS MADE. He is a theoretical construct created out of the malicious twisting of Emma’s once uttered wish that she was not the saviour. The Wish World was not factual. Emma would not have actually been that meek little princess if she had been raised by her parents – the WishWorld was an insulting, twisted fantasy that is now infecting the entire show and we are supposed to embrace that caricature, that glib joke of WishHook as our substitute Killian. Others might like it, but it’s not for me.

It’s like, in life, we are all products of our choices…. Let’s say you had a choice between two paths – Path A and Path B - you have to choose one and there is no going back. You pick choice A and follow that road until the next set of choices presents itself. Path A becomes your path and effects and influences the person you become.  All the possibilities from choice B cease to exist. That path is closed and all the potentials it offered become purely hypothetical. There is no alternate “you” walking down Path B. But this is what this stupid premise wants us to accept and the upcoming episode titled “The Garden of Forking Paths” would seem to confirm this. And it might make sense if there had been time travel involved but there wasn’t – it was a wish and a new wish at that.

And didn’t Regina discover that WishRobin was not “her” Robin - HE WAS NOT THE SAME PERSON and he ended up going back to the wish world where he belonged. So sorry, I can’t accept the Killian and WishHook are “the same person” as a justification for reinvesting in the show.  I was invested in Killian Jones, not a very poor wish-born imitation. Unfortunately, it smacks of the writers wanting their cake and to eat it too – they want Colin/Hook in the show but they also want to facilitate Emma’s exit and preserve CaptainSwan’s happy ending.  So okay, I’ll take the slice of CS cake and go away and eat it, but as a consequence, I’m good and full – I can live without the slice of WishHook.  

Colin is great as Killian but his “officer Rogers” is kinda bland and underwhelming. Sorry. I know I’m the minority on that one. Lol.

Ugh Rumple.

No. no one would pay $550 to see a kiddie ballet concert. And all this Hyperion Heights stuff is just a bit . . .  boring.

Gaaaaaaah how could a recently created wish version of Hook have a daughter????? Sorry I can’t buy any level of care for this silly plot contrivance. There is no logic at all.  And it all feels so emotionally manipulative – they tell us Emma and Hook are having a baby but we’re never going to see that one come to fruition so they fob us off with WishHook and his freaking WishDaughter trying to make mileage off the fact that mush of the audience would have loved to have seen Emma and Hook as parents.

Lol. Regina is such a loser. She can’t find a life outside her adult son. One might theorise that she isn’t truly happy living a ‘good’ life… And Henry continues his pattern of being the parent in this relationship when he suggests she stay in the new realm.  Yeah, another reason I exit at this stop. And she was added by CGI into the goodbye scene. Hilarious.

Oh Jaysus… the exposition in that final WishHook/Henry scene at the bar – we didn’t have time to show it all so we’ve got to tell it (and add in a dash of completely superfluous Roni in for good measure)

Final thoughts: The episode was underwhelming and not an appropriate tribute to Emma Swan.  I’m happy that Emma and Killian are happy in Storybrooke – though it would be nice to at least know the name of their baby. I’m glad they are free of Regina and Rumple and that the whole town gets to live in peace and far away from those two utterly horrible people. I wish the story was continuing in Storybrooke, not Hyperion Heights. With no Emma and no Killian in Hyperion Heights, it’s just not a place I’m interested in. But, can I just add that I was prepared to keep watching if it had been the real Killian in Storybrooke. Yep, I know that would have meant that Emma and Killian would be separated yet again, that the CS baby may not have been hatched . . . but you know what it would have given me?

Hope.

…Hope that one day there was a chance, ever so slim or remote, of seeing Emma Swan again. Rogers would have automatically bee an altogether more compelling character because he wouldn’t be an imposter – he would have been our Killian, with an opportunity to have a story outside Emma but also to keep her as an important part of the story, even in her absence. That would have got me back. As the story stands, with the ending we were given, I have literally no hope or expectation of ever seeing Emma and Killian ever again. I do feel the choice not to keep authentic-Killian in the story will cost them in the long run – I think it was a short-sighted narrative choice that allowed them to exit Emma with no fuss or consequence.  So yeah, for me, personally I would have preferred to have seen Killian and Emma as part of the curse (I would have made Emma an inanimate object ah la Beauty and the Beast or as a swan or a cat or whatever – They promised us that whoever cast this curse learnt from the previous one so what could have been a more important lesson that neutralising the saviour.) Yes the fandom would have been furious but they still would have had a reason to watch – I mean, those OQ fans are still begging for Sean to return… but they’ve exited Emma and Killian in a way that effectively silences the fandom.

I’ll accept the nice ending because it means that Emma and Killian get to live on elsewhere, but unfortunately, it also means I’m done with the show.  

[worldsandcenturiesfunposting]

Imagine Your OTP: The new Blade Runner was better than the new Alien movies edition

-The aesthetic of your OTP is updated with the changing times but still maintains that low-fi clunky cyberpunk look we fell in love with rather than having incredibly advanced looking technology in the past with more low-fi stuff in the future. Even for the major company like WeylandYutani the tech in the past was better even though you’d expect the company to keep using the advance stuff in the future. 

-They go into deep philosophical issues and are able to actually commit to it, weaving it well into the plot and not overdoing it with having a dozen or so issues at once and not committing to any of them. 

-At no point do any androids say “I’ll do the fingering, you do the blowing”

-Expand on the lore of the fantastical parts without ruining the aspects of them that made them great. Like having a robot capable of giving birth and centering the movie around that issue rather than having an interesting looking alien design be a giant bald human but we’re too busy making a slasher film to properly explain that and what explanations we do offer suck ass and are based on an incredibly poor understanding of science and how it works. Meanwhile while I think the justification for the androids being able to give birth aren’t the best in the sense that the reasons given for it don’t make a lot of good sense if you think deeper into them, they don’t ruin any mystery or amazement surrounding the androids and it’s a welcome addition to them and how they function

-Ridley Scott is the producer and not the director so he doesn’t get full reign over everything

-The action sequences weren’t edited by an ADHD kid hyped up on meth

-In fact, a lot of the scenes were actually quite slow which I appreciated because you rarely see a movie take its time with scenes. Enjoy the atmosphere. Let characters react to things and take them in which also lets the audience really take things in. There’s so many lovely looking set designs and color pallets, it’s good to be able to enjoy them

-Imagine your OTP and all of the other characters in your imagining are complete and utterly irredeemable dumbasses and while you might not like a character or could question their motives and reasoning behind their actions, there’s 0 scenes as stupid as walking around on an alien planet without a space suit

-Now imagine sympathizing with the villain a bit more, though still disagreeing with his methods, but still appreciating the side on the philosophical matters the movie took and enjoying coming up with counter arguments and better solutions rather than wondering if the director understands anything at all and your only real advice is “don’t be a fucking dumbass.”

-Like seriously, imagine the movie sticks by the aesthetic that made it so memorable even with the better special effects capabilities rather than ditching it in favor of ancient human civilization look but in spaaaaaace. 

-Just remember to imagine your OTP having a limited amount of characters that we really get to spend time with and get to know and understand where they’re coming from with everything rather than having a dozen people serving as canon fodder. Like even in a horror movie, if the characters are bad enough and the film clearly isn’t supposed to be some dumb teen slasher film, it can ruin the experience. I understand that the Alien prequels and the new Blade Runner are fundamentally different films but they are both based on Ridley Scott films and touch upon similar themes and questions so it’s not absurd to compare and contrast them with their quality and how they handle the subject matter

-Imagine there being an actually bit twist you didn’t quite see coming but the clues were all there throughout the movie rather than a quick twist thrown in that does nothing for the plot and seems to be there just because....like say this captain of the ship who exists to sort of be a bitch and sleep with one of the crew members being Weyland’s daughter and the only clue per say is the med pod in her quarters being a male only med pod but there’s no real build up to the reveal because we literally see Weyland in the very next scene after the one involving the med pod and....well...you know

-Imagine it’s 4:54 in the morning and you’re actually writing this crap rather than sleeping. You’re still bitter about how shit the alien films were and the fact that the blade runner sequel was actually good makes you all the more bitter. You wonder if you’ll ever find true happiness in the alien franchise again. At least the movies. Alien Isolation was acceptable. 

[coshayphinelove]

just some thinky thoughts after i wrote a tag essay that got way bigger than the tags.  feel free to read if you want, but forewarning... i have more questions after writing than before so..

so before i start anything i’d like to clarify that i love ob.  most of my issues with it are bc i got my hopes too high and held the creators to the standards i hold myself, which is not fair in art.  also, i’m only talking about the ob team and the characters, not the fans.  don’t get all in a twist, this is just me... thinkin.

so ep 5 was great.  2013 me would have loved it.  but 2017 me is like.. hard into communication and explicitly labelled representation.  and cophine is neither of those things.  like... i can understand that there’s not enough time to linger on stuff the way i would want to.  i get it.  but like... there was enough time to linger on alison.  for five seasons.  the first time she ever did anything main plot-moving was this season, she was always almost completely seperate.  she got flashbacks out the wazoo to explain her entire life story.  we met her mom.  her monitor is redeemed.  

i just am very unhappy with the doling of screen time.  like... it’s not even about shipping anymore.  it’s about plot holes and i am genuinely confused about the story at this point.  like delphine and donnie are easily comparable characters.  donnie monitored alison for close to a decade.  lied to her for a decade.  once he found out about the clones started doing things without alison’s knowledge or consent.  he is forgiven.  almost immediately.  for everything. 

delphine lasted as a monitor about... a month?  she was so bad at lying that cosima caught her.  she immediately came clean.  then in the flashback begged cosima to believe that she would always protect her.  and yet?  the conflict surrounding delphine for the entire show is ~is she good or bad???~.  and at every turn she is keeping that promise while making and keeping other promises.  and everybody, including her love interest keeps throwing her mistakes in her face.

donnie gets side plots and new dynamics to explore.  delphine has to have all of her characterization as a subset of cosima’s screen time.  donnie gets a seat at the bubbles table, delphine does not.  she has to leave and get shot (a whole different rant of equal length).

on another note, alison and cosima are also easily comparable characters: side characters used to provide info for sarah to react to.  cosima’s safety is always at risk, she’s been boiled down to her love interest for several plots, and she doesn’t ever get to acknowledge her Very Obvious PTSD and abandonment issues.  alison has low stakes conflict (up until this season, but that’s already over), she is never boiled down to donnie’s wife, and we got to watch her parse through her issues in s2 in great detail.  

like even the flashbacks.  like alison got half her episode told in flashbacks and it was gorgeous.  i by no means wanted that when there’s so much going on but i thought we would get at least a little more.  

we met alison’s parent.  we hear about her in a natural and very not forced way.  cosima gets one very long line about her family very late in the game in a clunky and almost pointless way.  (like... why was it in there?  what purpose did it serve?)

i think the problem is subtext.  everybody is always talking about the subtext.  but the problem is there are several issues that the writer’s address almost explicitly.  like alison’s drinking problem.  we learned all about that and we cheered for her when she went to rehab and we we sad when she relapsed. with cosima it’s.... two instances of smash cuts of bad memories and her reacting to them.  ......*gestures with flailing arms* ISN’T THAT ALSO IMPORTANT???  

like.  i’m going to keep talking about delphine but.. that’s just where my head is rn..

but from s1 to s2 her arc was learning what her role would be in clone club and then how to do that.  and she made some big huge strides there.  and then she comes back for s3 and it’s gone.  she’s just.. not doing that anymore?  like they took the time to film her telling cosima immediately after she messed up that she had, in fact, messed up.  and then, what, a few days later she Can’t Tell Cosima Anything Anymore?  and don’t get on me about screen time here.  it could’ve been like.. 2 more lines.  “it’s not safe, they’ll hurt you.”  “b-but delphine??” “i’m sorry.”  LIKE?  they just wanted the drama of cosima not knowing.   which i can see wanting, but it didn’t end up working.  because then you had scenes showing delphine doing things for clone club.  so then... it was just.... confusing?  and imo drawn out for too long.  

but even to this day I, a delphine stan, am still kind of iffy.  she literally made an ultimatum (promise me, everyone.  you will never make an ultimatum in your romantic/sexual/platonic relationships.  that’s a manipulation tactic that a lot of abusers use.  slippery slope please don’t do it.)(i’m also not saying that delphine is an abuser or that you’re an abuser but just.. it’s a thing to be careful of.)  

“accept our toxic relationship as is or leave.”

IN WHAT WORLD IS THAT OKAY??? like i get the sentiment behind it.  like she was saying, ‘hey cosima i know i’ve been bad but like you don’t have to stay if you don’t want.  i’ll stop kissing you and everything.’  but then....  have her say that?  everything delphine ever says to cosima is wrapped in 3 levels of subtext.  or alternatively, cut the kissies in half and let them have a few lines about a new promise or something.  idk if that’s just her being extra or if that’s just.... the writers.

bc the creators... bless them.. they’re trying.  but when it comes down to it they were predominantly straight men.  and they did add tatiana as an executive producer which is like.. the head idea guy who tell the writers what to write.  which was awesome!  but like.. she’s straight (as far as we know).  so like.. i really don’t want to pull the sexuality card here.  but i think i am.  

bc it’s one thing if you don’t give romantic, mental health, or communication plot lines very much time.  it’s another if you give a straight couple plenty and a wlw couple scraps.  it’s one thing if the straight couple gets to delve into things multiple times and the wlw couple gets ten seconds before the plot needs to keep going.

i get that the cosima-centric ep was very plot heavy, stuff was happening, i get it.  but like... if you cared about giving good rep as much as you claim you do wouldn’t you... re-structure so that they have more than 10 seconds?  wouldn’t you sacrifice some of that oh so dearly beloved body horror to let them just... talk for a hot sec?  or let them be in the same room?

i know it’s hard work.  the longest original work i’ve ever finished is a 30 page script.  and even then it’s a lot of ‘is this dialogue working?’  ‘would that character say that?’ ‘that’s a plot hole’  ‘wait where is he going again?’  i get that there’s a lot to keep track of so like... knowing who cosima’s parents are wasn’t on a post-it note on the beat board.  but i just...  one of the questions i always ask myself is ‘is this healthy?’  so like... i always make sure that if the dynamic isn’t then i either address it somewhere else or change it so it is.

i don’t think they were asking themselves that.

bc straight guys are used to power balances in their relationships.  they’re used to ultimatums.  whether it’s in their life or in fiction, that’s what they see.  and they’re socialized to see that as normal.  so when they’re made aware that the media they’re making is feminist/progressive, these guys seemed like they did research and tried to make it more so.  but... they missed the mark.  bc straight men will never know what it’s like to be a wlw or a woman.  that’s just how it works.

and then.. like... they were so hyperaware of the fans and what they wanted.  and i think the thing they understood the best was that they wanted cophine kisses.  bc a lot of ppl wanted that and like...ppl who are cophine critical sometimes also want cophine kisses.  so that’s the loudest thing they heard/saw. and instead of doing the emotional work and the plot work they thought every scene had to have kisses.

and they also knew that they could always fill in the gaps at panels.  WHICH.  not canon if you say it at a panel y’all.  they knew the fans would spread their patches all over the place.  so instead of doing the work and explicitly taking a stand they just.. let people ask them questions so they knew what people were wondering about and then...... answered.

i don’t think they did any of this maliciously but like.. the whole drama surrounding sarah’s sexuality, the great debate of whether it was problematic or not.  like... knowing now that they didn’t intend it to come off as her lashing out and having a mental breakdown helps, but.... that’s still what it looked like at first glance.  and if i’m just a DVR viewer who doesn’t meticulously stalk everything ob online, i wouldn’t know that.  and they do that with delphine’s intentions a lot.  they do it with sexuality a lot.  they do it with gender a lot.  and it’s like.... it’s representation but... label-less to the masses.  like my dad was in the room when sarah was kissing a girl and he made some snide comment about it.  and it’s like... they were just too aware of fans that they gave them what they wanted (sarah kissing a girl/cophine kisses) without thinking about if was the healthy thing for the moment.  they didn’t think about the ramifications.

and it’s just so frustrating.  bc i love this show, i do.  there’s so much to talk about and so many themes and allegories and cool stuff.  but they just... do a lot of stuff that..... really grinds my gears.  like this isn’t even a comprehensive list.

[the-dan-in-high-castle]

The Lord of the Rings: Were some film changes justified?

Hi there, peeps. So this is the first time I’ve done something like this, but I thought I’d dig into something a little juicy and which often provokes a lot of debate in the literary sphere: whether or not the changes made from the original LOTR books to the film trilogy by Peter Jackson were justified or not.

Every book-to-movie translation features changes, and I mean every single one. We see it all over, with movies like the Harry Potter franchise, The Golden Compass, Alice in Wonderland, The Chronicles of Narnia, and perhaps most famously with Lord of the Rings. 

The reasons for these changes vary greatly. Some directors choose to erase aspects of the source material to shorten the overall length of a film, or to stop a film becoming clustered with too many plotlines or characters. Others may change a certain scene, location or character to better suit their vision of the adaptation, and some go as far as re-writing the plot to end differently altogether. For this post, I’m going to split LOTR changes into three categories:

The erasure of characters included in the novels

The change of characters included in both the novels and the films, either in actions, context or personality

The alteration of certain plot-lines and stories

Character removal

Yes, we will be talking about Tom Bombadil here to start with. The singing, dancing forest-lurker introduced in Chapter VI of Fellowship of the Ring, Tom acts as a seemingly random inclusion into the story, guiding the four Hobbits through the Barrow-downs and saving them from the undead Barrow-wights, while gifting the Hobbits the Númenorean daggers, one of which Merry uses to help kill the Witch-King in Return of the King. Bombadil has become the butt of many jokes among fans for his spontaneous appearance in the storyline, his apparent lack of significance in the plot as a whole, and simply because all he does is sing to trees and dance around his house. With this in mind, it makes sense entirely that Tom isn’t included in the films. He doesn’t appear for the rest of the films, he has minimal impact in the overall story, and he’s a bit of a joke character.

One more aggravating removal is that of Elladan and Elrohir, the sons of Elrond, as well as the Grey Company. The Grey Company, a group of elite Dúnedain soldiers led by Aragorn’s close friend, Halbarad, appear first in Return of the King, following Aragorn through the Paths of the Dead and helping him reclaim Pelargir and then the Pelenoor Fields. Elladan and Elrohir accompany the Grey Company, though also appear earlier in Rivendell in Fellowship of the Ring, and are also responsible for re-forging Anduril for Aragorn. The characters did not diminish at all from the overall story, with the Grey Company allowing Aragorn to show his leadership and control before his eventual succession to the throne, while Elladan and Elrohir gave more representation to the Elves, while also furthering the family of Elrond further, as in the books. Erasing them not only removes the Dúnedain from any mention save a conversation between Aragorn and Eowyn, but also erodes Elrond’s two eldest children from existence. 

There are other exclusions which do make some sense, in my opinion. Quickbeam, an Ent that befriends Merry and Pippin, is quite a humorous character in the books, but also does little to the story and would simply take up time and budget. There is also no mention of Bill Ferny, the corrupt Northmen who tells the Nazgul of the Hobbits being in Bree, though he wasn’t necessary in this regard either. Finally, there is the absence of Glorfindel, though I’ll explore that one when we look at the next section.

The alteration of characters

Faramir. Good grief, how they annoyed me with the depiction of Faramir in the films. Book-Faramir is genuinely one of the most noble and generous characters in the entire trilogy. He shows care and attention to Frodo and Sam, and while he is suspicious of Gollum, he never abuses him as is shown in the movies. More importantly, Faramir never attempts to take the Ring from Frodo, identifying it immediately as a source of evil. However, most significant is that Faramir aids Frodo in his journey by giving him food, as well as advising him not to trust Gollum nor to pass through Cirith Ungol. The contrast with Movie-Faramir, who at first acts out of greed and desperation to bring the Ring to Gondor, while also mistreating and abusing the trio travelling to Mordor, is a crude corruption of the noble Captain seen in the novels. Faramir’s actions seemed only to justify the scenes in Osgiliath, though these would much eagerly be replaced by the scenes involving the Window of the West in my opinion, which featured some of the best settings and dialogue in the entire trilogy.

Next, we move to Arwen. Arwen is one of the few characters to actually receive a greatly expanded role in the movies. Not only do we see her far earlier in Fellowship of the Ring, bearing Frodo to Rivendell, but we also see her struggles with journeying to Valinor and her romance with Aragorn, which is only ever mentioned in the books. Arwen’s expansion does help give some depth to one of the few female characters in the series, but also comes at the expense of other characters. Not only do the scenes detailing her inner turmoil and her relationship lead to the removal or cutting down of some characters, but her inclusion in some parts usurps the role of other characters, such as when Glorfindel rescues Frodo in the novel. Arwen’s changes are 50/50, as while the exploration of a character we know little about is somewhat appreciated, part of her appeal in the novels was her mystique, if Frodo’s perspective tells us anything, and her expansion comes at the cost of many other side characters.

Other character changes are somewhat minimal. The age of the Hobbits is greatly reduced, with Frodo being shown as a young adult, even though he is middle-aged in the books, though this comes down to a narrative change. Denethor is slightly differed also: while the books present him first with cunning and wit, which gradually descends as the story progresses, the movie presents him from the start of Return of the King as a man already lost to grief and madness, denying the audience the chance to see why he became the twisted and desperate man we see in the novels.

Alteration of the plot

In respect to Jackson, he did a far better job than most book-to-film directors in keeping to the plot of the trilogy (more than I can say for the Hobbit cough cough) but he is not without his blunders.

Remember the Scouring of the Shire? Peter Jackson doesn’t. One of the final chapters of Return of the King, the Scouring of the Shire was the takeover of the Shire by brigands loyal to Saruman (no, he didn’t fall off Orthanc at the start of RotK) and their subsequent defeat by the rebellious Hobbits, with Saruman being murdered by Wormtongue in the aftermath. The Scouring is definitely an usual addition, seemingly placed in the novel to close out Saruman after his escape from Orthanc. It did make some sense to cut out the Scouring, since it would have taken up time in an otherwise lengthy movie, and Jackson does well to allude to it with the Mirror of Galadriel in Fellowship, but getting to see an army of Hobbits beat up a bunch of bandits and thugs to round out the trilogy would have certainly been entertaining. Still, it makes sense to cut it.

What doesn’t make sense is the inclusion of Frodo, Sam and Gollum in the Battle of Osgiliath in Two Towers. Why were they there? The inclusion was practically nonsensical, since not only did it draw out the scenes where the audience was met with an (unsuitably) arrogant Faramir who they weren’t growing to like, but the battle scene never even included the other three characters fighting. If you want to add in a battle, go ahead, but don’t add a battle that nobody takes part in except extras. The battle wasn’t even that special, with the battle scenes themselves being clunky and the inclusion of the Nazgul being completely unnecessary, since we had not only seen them not long before over the Dead Marshes, but would later see them rip everything up in Minas Tirith. It’s a clunky addition that also deprives us of the scenes of respite that the novel chapters with Faramir provide. The last thing we really need at this point is turmoil and battle, and it only adds to the cluster of action going on at the end of the film.

Some smaller changes connect to the past two categories, such as the Grey Company coming to aid Aragorn and the complete removal of the Old Forest or the Barrow-downs, as well as the scenes in Buckland we see in the book where the reader learns that the Hobbits are being spied on. One of the more egregious changes in my personal opinion is the removal of the meeting between the Elves, led by Gildor, and the three Hobbits; Frodo, Sam and Pippin. The meeting is diminished to the passing of a group of Elves by Frodo and Sam in the film, and takes away from the mystique of the Elves that Jackson later tries to build in Rivendell. The meeting is one of the lighter-hearted portrayals of the Elves in the series, and the absence of the meeting does nothing but maintain the presentation of Elves as sullen, miserable warriors without any cheer or heart. 

Conclusion

So which changes are justified from book to film?

Definitely the removal of Tom Bombadil. While I enjoyed the Bombadil chapters in the book, they wouldn’t have done much good for the movies. 

The Scouring of the Shire. An interesting little storyline, but not significant enough to add to the films meaningfully, especially not a movie as long as Return of the King

The expansion of Arwen’s character. Tolkien admittedly included very few significant female characters, and so it is good of Jackson to expand on Arwen as a strong female figure.

Which changes weren’t justified?

Faramir. Changing Faramir into a near-antagonist for the entirety of Two Towers did nothing but give the audience a character to hate other than Gollum, which wasn’t necessary, since Gollum acts perfectly as a troubled, two-faced villain for the audience to be indecisive on. Faramir should have stayed as the strong source of hope in an otherwise troubled kingdom. 

The removal of various Elf characters. This includes Glorfindel, Elladan, Elrohir and Gildor. Four Elf characters that show far more heart and charisma than other Elves, yet are left out. Their inclusion could have added another dimension to the Elf race, but this is unfortunately avoided by Jackson.

How Denethor is presented. Denethor in the books started as witty and cunning, if not also paranoid, and over the course of Return of the King the reader sees the paranoia slowly take over his more respectable aspects. From the start of the movie, however, Denethor is depicted as broken and shallow, and so the audience misses out on that immersive transition.

Did Jackson mess up some stuff? Yeah, absolutely. If you’re of the belief that the books are absolutely perfect, you’re never gonna think a film adaptation will be as good since things will definitely change. However, as far as film adaptations of novels go, Jackson did a respectable job. He contained all the vital plot aspects, maintained the personalities of most characters while expanding on others, and gave us some absolutely gorgeous settings and art designs. Not bad, PJ. Not bad.