#Jen Reviews

[jbuffyangel]

No Choice to Make: Arrow 2x07 Review (State v. Queen)

Is there anything better than Oliver saving Felicity? The correct answer is no.  Of course, my feminist side is screaming Felicity can take care of herself (and does in most circumstances), but my inner Gloria Steinem needs to zip it.  I want romance novel heroism and “State v. Queen” delivers on a swoon worthy level.

Let’s dig in…

Olicity

This is easily my favorite Oliver protecting Felicity moment because there are so many nuances in their two primary scenes. However, to understand those nuances we have to review a little background information.

The Count escaped from Iron Heights during the earthquake (and released the Dollmaker while he was at it). I love this explanation for returning villains because it makes total sense. Logic in Arrow is rare jewel – treasure the moment.

Moira's trial is under way, but Diggle is not feeling well. Oliver sends John home, but he collapses in the bunker.

Oliver: I heard you passed out.

Diggle: I told Felicity not to call you.

Felicity: Yeah, but before that you said ‘gaw’ and ‘thud’ so I didn’t take it very seriously.

Felicity has John's blood tested and there are trace amounts of Vertigo in his system. They try Oliver’s antidote, but it doesn’t work. Adam Donner, the lawyer prosecuting Moira, also collapses in court due to Vertigo poisoning. The Count kidnaps him and forces him to take the drug to alleviate the withdrawal symptoms. It’s broadcasted live, so everyone affected knows the only cure is Vertigo.

I feel I would make a pretty good drug lord after watching Breaking Bad, Power and Queen of the South. The key to success is return customers, so this is not a half bad plan. You have to admire the Count’s industriousness. Ghost and Walter White would definitely approve.

Oliver hoods up after Felicity tracks Adam Donner’s location through the city seal of the Starling Municipal Records Department, which is reflected in Donner’s eye. Ok, so science is not sciencing in this episode. Felicity is immediately concerned about Oliver.

Felicity: I know what you're thinking.

Oliver: No you don't. I made a choice not put an arrow in this guy and it was the right choice. There’s no more killing.

Felicity was concerned Oliver would regret allowing The Count to live, but it’s just the opposite. He’s doubling down on his vow to Tommy. Oliver is not a conflicted man. He knows he made the right call. That's called growth, my friends.

Felicity’s little assertive nod means she backs Oliver’s decision one hundred percent. In fact, I’m sure she had a whole speech prepared for why not killing The Count was the right thing to do. It’s not just Oliver who believes there is a better way – Felicity and Diggle believe it too. This is as much their mission as it is Oliver’s. They also made a vow to Tommy to do better.

Unfortunately, The Count has caught wind that The Arrow’s aim is not lethal these days. The Count holds his arms wide open – an easy shot – and taunts Oliver to kill him, while Donner is held hostage by a henchman. It’s always a bit of a pickle to determine how Oliver is going to get himself out of these situations without killing. I’m all in favor of the vow he made, but killing does have some practical applications.

Of course, Oliver always finds another way. He fires on some flammable canisters, which creates a fire in a drug factory – clearly against OSHA regulations. Oliver spins and throws a flechette into the henchman’s arm, so he drops Donner and they make their escape.

THIS SCENE IS EXTREMELY IMPORTANT. REMEMBER WHAT OLIVER DID.

Felicity and Diggle determine the common denominator between all those poisoned with Vertigo is a flu vaccine, but they need to be sure. Oliver is busy with his mother’s trial at the courthouse and Diggle can barely walk. Felicity decides recon is on her tonight and seeks out the vaccine distribution van.  Low and behold, there is an entire shelf of Vertigo in the van, but The Count catches Felicity as she snoops.

Oliver and Thea are waiting for their mother’s verdict, which could be coming at any moment, when he receives a call from Felicity. But it’s not Felicity. It’s The Count.

The Count: Oliver? Is it okay if I call you Oliver? Surprised to hear from me, right? Not as surprised as I was. You see, I find this… not unattractive blonde getting all up in my business. And what does she have on her?

Source:  laurelscanary 

Oliver can hear Felicity crying on the other line and closes his eyes in absolute horror when he realizes she’s being held hostage.

The Count: A Queen Consolidated ID badge. Now, I think to myself, why does that name ring a bell? Oliver Queen. He tried to buy off me last year just before the hood put me in a padded cell. Ipso facto, ARROW.

Source:  laurelscanary 

Oliver doesn’t bother to contain his rage and without a second thought leaves the courthouse. Thea calls after him, reminding him that the jury will have a verdict anytime. All Oliver can tell her is that something came up at the office, but he cannot hide shakiness in his voice.  Oliver is afraid.

Oliver arrives at Queen Consolidated, suit on but hood down. For practical purposes, he doesn’t need to conceal his identity from The Count because he already figured it out – something so many other characters have failed to do with much more information than he had.

But from a symbolical perspective, the hood down is crucially important. Oliver is not here as The Arrow. He is here as Oliver Queen. This is personal to him. So much of this series is about Oliver struggling to reconcile his two halves – the hood and the man, but Felicity is one of the few people who truly knows both sides. He doesn’t have to hide with her.

Oliver approaches very slowly. He recognizes The Count has the upper hand and he cannot afford any mistakes. Felicity is zip tied to a chair and The Count holds a gun on her while he strokes her ponytail. That action alone sends the creep factor sky high.

Source: @yet-i-remain-quiet

There is a sexual element to Felicity’s kidnapping. The Count referenced her attractiveness on the phone with Oliver. Now he’s stroking her ponytail. Oliver asks The Count what he wants and he responds, “World peace and personal satisfaction. Though not necessarily in that order.” He massages Felicity’s shoulders at “personal satisfaction” in the grossest way possible.

Source: @yet-i-remain-quiet

It’s a thinly veiled threat of sexual assault, which does not go unnoticed by Oliver.  There are few things worse than rape and it serves to amplify Felicity’s terror and Oliver’s powerlessness and rage. If the writers intended to keep Oliver and Felicity strictly platonic they would not introduce this terribly disturbing aspect into the scene.

The Count monologues for a bit longer and tells Oliver someone else hates him almost as much. This mysterious benefactor funded the Vertigo operation, so The Count could draw The Arrow out and kill him. (Spoiler alert: it was Blood).

The Count gets the drop on Oliver and fires off a couple rounds. It forces Oliver to run and dive behind a couch. It always surprised me The Count was able to get the upper hand in this moment, which points to Oliver’s fear for Felicity more than anything. He’s not thinking strategically when it’s her life in danger. He can’t.

The Count cuts the zip ties and grabs Felicity by the ponytail. He drags her to the spot where Oliver was hiding, ready to finish him off, but this time Oliver gets the drop on him. He points an arrow squarely at The Count’s chest, but he is using Felicity as a shield. The Count holds two syringes of Vertigo (a lethal dose) to Felicity’s neck. It’s important to remember Oliver’s antidote for Vertigo did not work on Diggle.

Source: @yet-i-remain-quiet

Don’t ever say to me Felicity Smoak is not a hero. She was willing to die to keep Oliver’s vow to Tommy. Felicity was ready to trade her life for Oliver’s soul. She believes in Oliver, and their mission, that much. What's madness is thinking Oliver would put the vow before her life.

The Count orders Oliver to lower his bow, which he does and tosses the arrow to the floor. Then we see him do something Oliver never does – he tries to negotiate.

Again, Oliver doesn’t bother to hide the fear in his voice which makes the negotiating sound a lot like begging.

The Count: Consider this your penalty for making me go to plan B in the first place.

The Count raises the syringes to Felicity’s neck and Oliver manages to pull not one, but three arrows in rapid succession - killing The Count. 

The look on Oliver’s face when he fires the arrows, tell me two things.  First, this kill is emotional. When Oliver shoots to kill he typically only needs one arrow. The Arrow never misses. Three arrows is excessive.  It is literally overkill which means one thing – pure rage.  

Second, the act is instinctual.  The rapid succession in which he fires the arrows shows there is something programmed deep in Oliver’s bones to protect Felicity. Her life was threatened and his body simply reacted.

Felicity drops to the floor and The Count crashes through the window. Oliver closes his eyes and exhales like he’s been holding his breath the entire time. I think it is part relief and part regret. He doesn’t regret killing that bastard, but regrets he couldn’t find another way this time.   

Or was there? Upon this rewatch I noticed a couple things. First, Laurel was held hostage by the Dollmaker and Oliver did not kill him. (Sara did the honors that time). But consider the scene with Donner. Oliver threw a flechette into the henchman’s hand to free Donner. The henchman let go of Donner as a reflex to the pain. Could Oliver attempt the same with Felicity? Would a flechette in The Count’s arm free her as well?

The point is we’ll never know. Oliver made a calculated risk at the municipal when he fired on the flammable liquid and injured, but didn’t kill, The Count’s henchman. Oliver was willing to take the risk when Donner and Laurel were involved, but not Felicity.

I’ve been watching a lot of Bridgerton, so the next scene screams romance novel to me.

Source: AARONSWARNER

Oliver makes his way to Felicity who remains crouched on the floor and crying.  He gets down on one knee and tenderly touches her shoulder.

Source: AARONSWARNER

Felicity immediately flinches in fear at his touch, so Oliver in a voice so soft it’s almost a whisper, gently reassures her. She finally looks up and sees Oliver staring back at her with concern and love. She exhales with relief.

Source: AARONSWARNER

The shock wears off quickly once she hears Oliver’s voice and feels his hand on her shoulder. Oliver’s first thought is for Felicity, but her first thought is for him. SHIP COUPLES WHO WORRY ABOUT EACH OTHER FOR CLEAR SKIN.

Source: AARONSWARNER

Oliver moves his uninjured arm from Felicity’s shoulder and cups her face. The man has an actual bullet in his shoulder, but can feel no pain because Felicity Smoak is alive and safe. She is all that matters to him.

Source: AARONSWARNER

These physical moments are no small thing. Oliver keeps an extremely rigged line with Felicity that he rarely crosses. Shoulder touches are the maximum physical contact he allows and even those are on rare occasion. But she almost died tonight, so Oliver allows himself to take it one step further and touches Felicity’s face.  Oliver’s whispered reassurances in his reserved-for-Felicity-only voice unveil the real intimacy between them. He comforts her. Not in the way Oliver would like, but in the way he can allow. The line is still there, but it’s blurred at the moment.

There is no moment which better encapsulates the two sides of Oliver Queen than this scene. One moment he is a rage filled killer and the next he is a soft spoken, loving and tender man. It is not an accident the two sides merge into one for her. Darkness and light working in perfect cohesion to be the hero Felicity Smoak needed.

Source: @laurelscanary

Oliver makes his way back to the courthouse. He is so visibly shaken that Thea asks Oliver if he’s okay. She touches his injured shoulder and Oliver flinches, but it’s not the bullet that’s bothering him. He came too close to losing Felicity. Way too close.

Source: @laurelscanary

Sadly, this somewhat reinforces what Oliver said to Felicity in 2x06. There is a direct correlation between proximity to Oliver and danger, so he thinks it’s better to remain emotionally unattached. In his mind, keeping Felicity at arm’s length means keeping her safe.

But there’s what Oliver says and what he feels. He can refuse to acknowledge or act upon his feelings for Felicity, but that does not eradicate them. If Oliver is truly worried about proximity then why does he allow Felicity to be part of the team? Two reasons, Oliver needs Felicity and firmly believes they can protect her. But this was a frightening close call and Oliver’s fear is stemming from a more than friendly place. Felicity Smoak has become too important to him and it is scaring the crap out of him.

Source: FERRISBUELLER

Oliver returns to the bunker after his mother’s verdict to check on Diggle and Felicity. The way he looks Felicity up and down y’all is… a lot. Queen Consolidated is formulating a non addictive antidote for the people with Vertigo poisoning. Moira is not guilty. All’s well that ends well, so Oliver tells Diggle and Felicity to go home and rest.

But Felicity needs to get something off her chest.

Felicity: Oliver, I uh…

The way this man spins at the sound of her voice like he's a golden retriever who saw a squirrel. He is so gone for this woman.

Felicity: I just wanted to say thank you.

Oliver: (nods) Yeah.

Source: laurelscanary

He truly cannot fathom what she is apologizing for and steps much closer than necessary.

Source: laurelscanary

It seems Felicity has inherited a little bit of Oliver’s guilt complex. YOU WERE KIDNAPPED MY PRECIOUS CUPCAKE!!!

Source: laurelscanary

HE. TAKES. HER. HAND. We had a shoulder touch, tender face caressing and now holding hands. At this point, this equivalent to first base for these two. MY BRAIN SHORT CIRCUITED.

Source: laurelscanary

Earlier in the episode, Oliver and Felicity discussed not killing The Count previously and how it was the right decision. Oliver’s certainty in the rightness of the decision solidifies his commitment to his vow to Tommy. It is not something Oliver is questioning or wavering on. 

But Oliver is not qualifying what happened to Felicity in those terms. This is not about right or wrong. In fact, it wasn’t a decision at all. Oliver was not calculating the risks. Oliver was not thinking about a vow, or honoring his best friend, or the mission. His only thought was Felicity and her safety. Oliver simply reacted. All he could see was Felicity. All he could feel was the unbridled rage that came from anyone threatening her life.  It is programmed deep into Oliver’s bones to protect Felicity. There is no rational thought when it comes to her.

Nor does he care if it was right or wrong now. Oliver is not Monday morning quarterbacking the situation. Someone raised a hand to her, so that person is dead. End of discussion.

There is a war happening between Oliver’s mind and his heart. Oliver was clearly thinking with his head when he told Felicity in 2x06 that he will not allow himself to love her. But this episode was a completely different story. Sometimes life and death circumstances bring a much needed moment of clarity. Oliver may believe he has a choice whether or not he loves Felicity, but his actions show his heart knows different. There is no choice to make.

Moira Queen

The trial is not going well, so Moira is forced to testify. Laurel is lead prosecutor now that Donner is infected with Vertigo.  "Conflict of Interest" is flashing in a neon sign. On any planet in the solar system, Laurel would recuse herself. THE INSANITY GIVES ME A MIGRAINE.

Laurel also decides she’d like to get disbarred and visits Moira in prison because they are “family." Yack. Give me a break. She doesn’t want Moira to take the stand because Laurel will have to prosecute her to the best of her ability and use their smoking gun. Sure, because now she cares about legal procedure.

So, Moira comes clean to Oliver and Thea and tells them she had a one night stand with Malcolm Merlyn while married to their father.  The kids are shocked to say the least. Oliver has a solid case of the yicks. Thea is more than a little angry since she accused her mother of having an affair with Merlyn last year. Moira assures Thea it was not an affair, so technically she didn’t lie. Moira should teach Professional Gaslighting 101.

Inexplicably, Moira is found not guilty. (In my notes: Hahaha suck it Laurel)

Even Oliver is wondering what the fuck just happened. Upon release from prison, Moira is driven to a secret location to meet up with none other than MALCOLM MERLYN. His explanation for being alive is basically, “I’m a super awesome actor and faked it.” Oliver – did you check his pulse? What happened to the body? Did we miss a step Team Arrow? CLEARLY WE DID.

Merlyn bought the jury and Moira’s freedom (Ummm thanks I guess?) so he can deliver the second bomb. He ran a DNA test and knows he’s Thea’s father. PLOT TWIST! Honestly, this makes a lot of sense. I wasn't that surprised. Thea looks more like Tommy than she does Oliver.

Wait, this means Thea kissed her brother. Are we just going to Star Wars this and never talk about it again? Works for me.

Stray Thoughts

Oh shut up Laurel. Quit your bitching - me every time she opens her mouth lately.

Ivo is looking for the hosen because it contains coordinates to a sub that sunk in WWII. Whatever is on the sub can save the world. Shado and Oliver hope it can save Slade, so Team Island is going on a submarine field trip!

Slade has burns on half his body and yet he can still move. The man is not human.

"I have this thing about needles, all pointy things, which is ironic given who we work for.” I just love her so much.

David Ramsey is so enormous he doesn’t fit on the table. The mind cannot conceive of all that muscle.

 “Mom secrets are what put you into this situation. Secrets and lies. And now is the time to give truth its day.” Oh the irony, Oliver.

Donner took drugs on live television. Re-election is going to be a real bitch for the DA.

I like the Thea’s boxing moment with Roy. Nice foreshadowing. Girl is going to have a lot of rage to work through.

Laurel did make a good point about Walter and Merlyn. See? I can be positive about her.

OLIVER. STOP. ASKING. LAUREL. IF. SHE. IS. OK. Her whole “how can you possibly forgive me” speech was also nauseating and not believable. I like her better drunk.

“I’m pretty sure they aren’t interested in Buddhism.” Slade is burned over half his body but he jokes.

30-30-175-12 I’m sure that has something to do with the comics but I don’t care.

Some guy named Cyrus survived Blood’s Frankenstein experiment. So that’s not good.

Listen to the Watchover podcast reaction to 2x07!!!

If you’d like to support the blog, please buy me a cup of tea!

Disclaimer: Any gifs on the blog are not mine. If you would like a gif removed from my reviews, please message me!

[minijenn]

Aight but look kids. I know you’re all excited about the potential UF reboot but I NEED you all to understand something very important. The way I wrote and engaged with UF… it can’t be like it was before. When I used to write UF, I strived way too hard to please everyone else to the point that I often found myself dissatisfied with what I was writing. It got to the point that I got burnt out with the fic because I wasn’t writing it for, well, myself, and because of that it became something of a chore.

With new UF, I plan on fixing that. I’m writing this fic solely for me this time around, making what I want it to be, which may not be what you want it to be. I’m going to take lengthy breaks when I feel like it, I’m not beholding myself to a stressful tight posting schedule, I’m going to be self indulgent and focus on the characters I want to focus on. I’m going to have fun this time around.

And if I end up writing something you don’t necessarily like, well, sorry about that, I can’t please everyone. I can only please myself. And hopefully this time, I will.

[teamcurtflake]

Cinderella's Castle Review

At long last, what everyone (no one) has been waiting for - my review of Cinderella's Castle! Fair warning, there may be spoilers ahead! Mkay you've been warned. 💚

First, my general thoughts. Overall, I thought this was a fantastic addition to the long list of excellent musicals from Team StarKid. The story was familiar yet innovative, the characters were immersive, and the combination of the music and choreo was incredible. I may have laughed more during this show than any other StarKid show, but there were also some absolutely devastating and emotional moments. Also, everyone is so hot in this show it's unfair.

The choreo? PERFECTION. Lauren really outdid herself with the dance choreo. It was so different from that of other StarKid shows, but it absolutely matched each song immaculately. In addition to this, every cast member executed the choreo excellently. Special shout-out to Curt for slaying the fight choreo.

Speaking of the songs though - Jeff Blim the man that you are. All of the songs are so cool and catchy and, again, different from what we've been used to with Hatchetfield. Shout-out to the band aka the Whippoorwills for CRUSHING it! Everyone's voices sounded fantastic, 10/10, and I don't think I'll ever be able to pick a favorite song.

Nick and Matt Lang are geniuses, and this just confirms that. They created a story around something that is well-known and potentially overdone BUT made it their own with some special StarKid magic. The story is dark, hilarious, and touching all at the same time. They've come up with these brilliant characters that you can't help but fall in love with (which is obviously a combination of the writing AND the brilliant portrayal by the cast).

Sidenote - the wardrobe is STUNNING.

Now I could keep rambling, but instead I'll leave y'all with my summary of each cast member's performance in five words or less:

Angela - regal yet evil

Bryce - haunting and powerful

Curt - dadius (but also MOOD)

James - side-splittingly hilarious

Jeff - the realest

Joey - I wanna squeeze him

Jon - so so noble

Kim - ETHEREAL

Lauren - sweetie pie

Mariah - gross in a good way

[thereadingchallengechallenge]

Review: The Arrival of Someday by Jen Malone Rating: 4/5

Lia is about to graduate high school, paint an award-winning mural on a public building and rocket to the top of her roller derby team. But now Lia needs a liver. And she has no idea what comes next.

If you've ever wanted a midway point between The Fault in Our Stars and Five Feet Apart, this book is probably it. A disabled lead struggling with the realities of their illness, less romance but a lot of introspection and examination of how being sick affects the people around you. I liked it. Not sure about the ending. But I'd recommend it to people looking to read more disability lit. 

[toomuchlovereviews]

American Mary (2012)

⭐️⭐️⭐️⭐️⭐️

TW: There is a scene of SA at about 38 minutes.

This movie caught my eye because I reviewed Rabid (2019), which was also directed by the Soskas. They’re at it again and doing it wonderfully. Love you queens 🫶🏻

Absolutely adored this film. I am a Mary apologist!!!! A gal’s gotta do what a gal’s gotta do. She has never done anything wrong in her life. Long live women in STEM and all that jazz. I also deeply resonate with her doing her homework and downing a glass of wine at the same time.

The men in this film are so unhinged, they were the real things that made me squirm. As in real life, be prepared to not trust trust them right away, or at all.

Watch this movie:

For a twist on a favourite trope - this time it’s a student committing medical malpractice!!

To witness the most artistic body horror you have ever seen

If you like the “Good for her” trope

Similar titles:

Ginger Snaps trilogy (Katharine Isabelle, my beloved)

Open 24 Hours (2018) (very different storylines, but similar aesthetics)

Evil Dead Rise (2023) (not my cup of tea but for the body horror fans may enjoy this)

[literary-illuminati]

Book Review 62 – The Ballad of Perilous Graves by Alex Jennings

This is the latest book I never would have heard of if it wasn’t for an award nomination (WFA for Best Novel, in this case). Overall, I was left dearly wishing I had liked it more than I did – it was so thoroughly soaked in imagery and references to a whole milieu I only barely know enough about to catch all the references flying over my head. Unfortunately by the final act the whole thing just collapses into a mess of spectacle without much in the way of connective tissue or context.

The story follows Perilous “Perry” Graves, his kid sister, and his best friend/crush Peaches (who is clearly an ersatz Pippy Longstocking but for some reason this is almost literally the only reference the book doesn’t explicitly acknowledge). They live in Nola, a fantastical alternate New Orleans full of zombies, animate graffiti, sky trolleys, and music that is indistinguishable from magic. After the magical songs that sustain the city escape/are stolen, it’s up to the three of them to get them back before Stagger Lee (the song) hunts down and kills the others for his mysterious partner. There’s also an extended subplot with Casey, a recently returned Katrina refugee in what seems to be our world, discovering that his and his cousin’s graffiti and other art is very literally magic and can come alive when he isn’t looking. Things just generally get messier and harder to explain from there.

Above everything else, the book’s a love letter to New Orleans. The sheer fascination and affection Jenning’s has for the place just about oozes out of every page. The geography and the culture and especially and overwhelmingly the art. Now I know barely anything about modern pop music and even less about classic jazz, but Jennings is either a massive fan or an incredibly confident bullshitter, and either way it’s an absolutely loadbearing part of the book – famous jazz musicians appear as magicians and ghosts, snatches and stanzas of different songs are quoted liberally, and of course the songs themselves are the driving engine of the plot. I, at least, just kind of let all the references wash over me and try to figure them out from context, and also started listening to the namedropped songs as I read. But even without really knowing the subject, the sheer love for the culture that just suffuses the book is really incredible endearing. Which is good, because it’s absolutely the main actual draw here.

The dialogue also deserves a shoutout – both because there’s a fun line you can draw between the characters that talk like actual people and the ones that intentionally present themselves like cartoon characters, and also because it’s the first book I can recall reading this year where people speak in AAVE. Plus, as a matter of style, when songs or certain ghosts were speaking telepathically the book used a different font for what they were saying, which is the sort of flourish that I always like when it’s not too overused.

While the surreal, exaggerated sort of magical absurdism works very well for the setting of Nola, the plot is...just kind of a mess. You almost get the sense the book was written in one sprint and then never revised – the protagonists are constantly getting help out of nowhere exactly as they need it to solve their latest problem, and revelations of plot critical information exactly when it’s needed to keep things moving abound, whether there’s any setup or justification for it or not. The metaphysics that underpin Nola are all vague and confused, which really wouldn’t be an issue if the entire third act didn’t turn on on the villain being wrong about them. The end result is a finale that feels like a bunch of big set piece scene the author had been looking forward to writing without any real connective tissue linking or supporting them.

Also, like – it is a major part of Perry’s arc that a year before the events of the book he had a run in with a monstrous caricature of a Jim Crow era hanging judge, and it has traumatized him sufficiently that he had steadfastly refused to try and do any magic since. The judge is later revealed to be an escaped bit of living graffiti, with absolutely zero relevance or deeper significance, and never appears on-screen again. Which just feels like some sort of narrative malpractice, honestly.

I’m also just left a bit disappointed with the villain – or, specifically, the wasted potential. Like, the idea of The Storm as this primeval elemental force that wants nothing more than to drown the world is a pretty great villain for a magical New Orleans, honestly. And there was something there of graffiti and music and just art being this engine of joyous hubris letting the city exist in defiance of its inevitable doom – but you really have to dig to get at it, and most of the other personal plots and heroes journey stuff burying it was far less compelling to me.

Anyway yeah, in the end this very much felt like it was style over substance, but on the other hand the style was excellent. In the end I kind of feel like this was ill-served as a book? Not that it’s necessarily impossible to write a novel that’s mostly about music, but this was really begging for a medium that could include a soundtrack.

[cartoonfangirl1218]

Twisted Tales: Suddenly Super Review

What if Violet was an Agent of Syndrome?

This was another solid addition to the Twisted Tales series. It’s unfortunate this tale is only available out of the U.S. because Calonita does a great job on the first Pixar-based tale.

All from Violet’s POV, Calonita explores the girl’s negative feelings about her powers. Since being Super is illegal, it’s been ingrained into her to never show her powers to others. Problem is, she can’t quite control it when she turns invisible from anxiety, embarrassment or any high emotion. I mean, it’s teenage hell amplified. Add in the fact that they’re constantly moving when Mr. Parr blows their cover, chasing his glory days, Violet wishes she was never born super. She wants to be normal.

What’s more normal than getting grounded for sneaking to a party without her mom’s permission. And almost getting exposed. But that brief bout of normality is all Violet’s gonna get. When her parents don’t return from their vague conference, Violet has an inkling that her mom’s paranoid attitude the day before might have something to it. She certainly knows it when goons break into their house to kidnap them! With no one else to turn to, she accepts the help of Mirage, a woman she only knows from her dad’s mess of business cards, and her boss, Syndrome. Syndrome offers Violet a chance to rescue her parents with a special bonus. To ensure that they won’t be targeted by supervillains again, he’ll help get rid of their powers. Dun dun dun!!!

Calonita has been writing YA for decades so she does a good job in portraying Violet’s hormonal mood swings, and readers can see the clear arc of Violet’s insecurity and shyness in the beginning to her learning to master her powers and take charge herself. I particularly applaud Calonita’s portrayal of Violet’s anxiety attacks in relation to her powers and generally describing the physical toll of her powers on her body as heat and electricity. There’s a good balance of Violet’s panic-stricken reactions to a world she doesn’t really know and proactive in trying to protect her family. This alongside her conflict with her negative feelings about her powers and supers in general that it s not a curse but a gift. Her anger fueled into her control into control out of defense of her family.

There was a surprise in Mirage and Syndrome having two-three chapters to themselves. Mirage in particular gets more depth as an aspiring actress drawn into Syndrome’s promise of an equal world plus money. Primarily the money, until she realizes what an egomaniac he is. It is also quite funny how unprepared she is for when her job unexpectedly puts her in the role of babysitter. Syndrome is also drawn in-character as Calonita captures his affable cool-bro exterior with the underlying obsessive bitterness.

Calonita also gets to add her own characters into the world like the Incredibles’ big nemesis, Mastermind who reminds me of a cross of Edna Mode and Yzma as well as Frozone’s non-super niece, Lucy who provides a sounding board to Violet in the eleventh hour.

Calonita improved the story by having the infamous babysitter, Kari, be Violet’s only friend. It fits as her chattiness allows Violet to blend in at school as well as provide a bunch of comedic moments. Like when she babysits Jack-Jack. That will always be funny. Calonita adds other references fans will enjoy like Bomb Voyage, Brad Bird and so on.

The only one negative would have to be the lack of Edna Mode. Absolutely none darling and it’s a shame!

A well done tale full of action, humor, and family. So go onto eBay and try to snag a copy.

[emachinescat]

A Year in (Book) Review: My 2024 Reading Journey 📚

#22 - Go the Distance by Jen Calonita

Fantasy / Twisted Tales #11 / 257 pages / published 2021 / Finished Feb. 13

One Sentence Review: A great twist on Disney's Hercules, full of adventure and deep emotion, this book draws on Greek mythology and develops Meg as a character in a realistic, satisfying way - a thoroughly enjoyable, beautiful read!

Favorite Quotes

"We imprint the lost on our hearts."

*

"Let this be a lesson, child. Don't ever let a man dim your light. In this world, you can't count on anyone except yourself."

*

"I need to see you understand love is a strength, not a weakness. That putting your trust in someone you love doesn't mean you can't stand on your own two feet. It means you know how to share responsibility and accept help when it is needed."

*

"All this feelings stuff is exhausting."

*

"But don't you see? When you find someone worthy of your love, letting them help you is also powerful."

*

"Hera, it seemed, was poised to be the mother-in-law from hell."

My rating: 4/5

A Few More Thoughts (Spoilers):

I was wary going into this one after the Frozen book by the same author, but I was pleasantly surprised. It was emotional, heartfelt, and action-packed, and it drastically changed the story while leaning into Greek mythology. I do wish the relationship between Hades and Persephone was more fleshed out.

I loved the fact that Meg's story wasn't what she thought - that her love didn't actually leave her for someone else. I found it refreshing that once she knew the truth, that she was happy - even desperate - to help Katrina, and that she was secure enough in her relationship with Hercules to be happy for her ex and his new family.

This book shows that you can be independent while still accepting help from those who love you. I really appreciated how flawed Meg was as a character, how fierce and strong and brave but also how proud and stubborn she was. It was so satisfying to watch her develop into someone who didn't have to do everything by herself.

[crazykuroneko]

The Newsreader S2 Ep 2 (Spoiler)

Finally, after an underwhelming first episode (it's not bad, but I feel like it's there to set the scene), The Newsreader is back to being insane. I have to say this episode is on par with IWTV Ep 5; the writing is tight and insane af, all of the characters are going for each other's throat, the score the cinematography are top notch muah. Love LOVE a good television.

So, some thoughts under the cut.

Rob/Noelene: it's so interesting to have them as some kind of foil to Helen/Dale. So soft to each other. Noelene's concern on their relationship affects their career because she's an Asian woman and how a relationship becomes a whole family thing is so relatable. Dennis caring for her because the Asian solidarity is cute as well. And Rob is such a softie 🫂

Helen/Dale: I feel for them both. They're the reason why my office doesn't allow their workers to marry each other lol. It's complicated. You kinda see yourself as a team, but your boss don't. And both of them got a point imo. Dale is right with the footage, Helen is right with the gun law. I think if they prepared a good script for her to corner that gun nut, it could have gone awesomely, but alas. That whole newsroom is filled with alphas (except Dale, he's pretending he has an inch of alpha in him). Dale only listens to words about his own career when Gerry speaks is so funny though (I'm so sorry Gerry, but there are only two things inside his head: career and Helen). And how the moment he's assured that he has a good audience instinct he uses it immediately to recover Helen's image? That's cute. That's love. I'm so sorry to doubt you 🥺

Now, these snakes: Geoff, Evelyn, and Charlie. Geoff isn't that snakey without his wife. He is so unprofessional with his program though. Like, he literally uses it to preach? Doesn't he have a boss or something? I know it's an exclusive program, but still. And GOD Evelyn is out there gaslighting Cheryl in real time. I wrote on my note "Hannibal would be so proud of her". She is my Big Bad Guy from S1, actually. And Charlie, he is interesting. He pokes and prods until he finds the real fault on his cup (News at Six). I think he's underestimating Helen at first, and now he's "interested" in her because she doesn't follow his words yet somehow presents a better solution. (Good for Helen for standing her ground!) But he doesn't realize yet Helen/Dale move as one unit though. He's also so controlling. It will be interesting to see if he'll just fire Lindsey in the next episode or take advantage of the dislike the crews have for each other longer.

Anyway, a solid episode throughout. 10/10. I think I need to rewatch it tomorrow.

[literatureaesthetic]

mini reviews / 2023 sapphic contemporary releases

— the adult by bronwyn fischer

'the adult' is a "sad girl", coming-of-age novel following natalie as she moves to university. she develops a relationship with an older woman. it's primarily about this toxic relationship and the power disparity between the two, all while natalie is navigating stepping into the world for the first time

it was gentle, tender, and intimate. with a soft but vivid style of writing, fischer depicts the all-consuming power of first loves and heartbreaks. she captures post-adolescent confusion and the clumsy awkwardness of entering adulthood perfectly

— big swiss by jen beagin

the only way i know how to describe this book is eccentric—odd but full of charm. in ‘big swiss’, beagin completely deviates from the blueprint for trauma plots. rather than a burdening and bleak look into female trauma, this book is a wry, witty, and sexy dark comedy that delves into queer desire, therapy and medical biases, and coping with formative wounds

beagin presents us with two women who function as opposite models for processing trauma. our protagonist, greta, struggles with a tragic childhood incident. the love interest, flavia (aka big swiss), was brutally assaulted by a man. where big swiss maintains a pedantic approach to life and refuses to play the victim, greta allows her past trauma to shape the present, causing her to live a life void of comfort. these two opposing perspectives clash, creating a seductive and confronting whirlwind of a novel that borders on the absurd. it won't be for everyone, but it was definitely for me!!

[just-a-girl-who-likes-sharks]

I am unwell after this…

And I’m like… so gay

[jbuffyangel]

Hot and Cold: Arrow 1x22 Review (Darkness of the Edge of Town)

There is no episode that exemplifies the disjointed nature of Season 1 more than “Darkness on the Edge of Town.”  We have Exhibit A: an OTA field op and the smoaking hot chemistry of Stephen Amell and Emily Bett Rickards igniting in an elevator shaft of all places.

And Exhibit B: the other show. A frigid black hole I feared we’d never escape from.

Let’s dig in…

Olicity and OTA

Let’s start with the positive since there is soooooo much freaking positive! It can take time for a television series to find its footing in the first season.  Unfortunately, nowadays if the audience isn’t binging the entire season in 24 hours, the show gets canceled. But blessedly, this was 2013. Network TV was still the supreme ruler, and Arrow was pulling big enough numbers for the CW to allow for some leeway.

Twenty two episodes of leeway. Arrow finally found its groove and latched on to the mystical “it factor” that keeps an audience watching - Oliver, Felicity and Diggle. The chemistry and dynamic between these characters and the actors who play them is undeniable and it creates an action packed, laughing out loud, and sizzling hot episode. The writers are having FUN in “Darkness on the Edge of Town" and it shows, which means we get to have fun too.

Oliver decides to question his mother regarding the Undertaking, but she refuses to confess. So, Oliver and Diggle take a more brutal approach. The Hood kidnaps them both and beats the crap out of Oliver until she coughs up the information. It’s always hilarious when this show acts like David Ramsey can fit in Stephen Amell’s suit.

The burgeoning relationship between Oliver and Felicity is very much in its infancy. Oliver is fully in denial about feeling any type of way toward his IT girl. Never is that more apparent then when Oliver and Diggle return from the confrontation with Moira. Diggle gets a few solid whacks in, which I’m sure felt amazing given the absolute jackass Oliver was being the past few episodes.

Felicity has a much harder time concealing her feelings towards Oliver and it’s clear she worries about him. She is always the first to ask if he’s okay, offer a supportive ear to listen or shoulder to cry on. However, Oliver seems to draw a line in this episode when Felicity reaches to touch the bruise on his face. That small step was too much. He physically keeps her at arm’s length because the intimacy of Felicity’s concerned touch is not something Oliver is ready for. There is still a very big wall hiding all that pain, regret and unworthiness.

Source: @lyricalarrow

Admitting he remembers the exact day they met, however, is absolutely no problem. We shall come to discover just how much Oliver remembers about that day in later seasons. I have a lot of male friends and I guarantee you I don’t remember the day we met. However, the day I met my husband is burned into my memory.

The team determines the only way to stop Merlyn from leveling the Glades with a man-made earthquake machine is to find the location of the device. Unfortunately, Felicity is unable to hack Merlyn’s system so she needs direct access to his mainframe inside Merlyn Global Headquarters. LET'S DO CRIMES!

Oliver makes an appointment with Tommy (more on that later) while Felicity continues to up her adorability factor by dressing up as Big Belly Burger employee delivering lunch to a security guard otherwise known as John Diggle.

The burger is laced with benzodiazepine, so it knocks out the other security guard and gives John free reign to control the elevator & cameras. Do we know how Diggle is able to pose as a security guard? No. Do we care? Nope. Let the hijinks commence!

Oliver and Felicity make their way to the elevator, but not until Oliver unloads an unwelcomed dudebro hitting on Felicity.

Jealousy looks so good on him. The way Stephen Amell plays this scene, with his nails-on-a-chalkboard look at the word “sweetie” to robotically knocking the papers out of the elevator, is physical comedy at its best. Something Amell rarely gets to do, but he’s great at it.  

The mainframe is on the twenty fifth floor, but the elevator only goes up to the nineteenth, so Oliver and Felicity have some climbing to do. It seems Felicity is thinking of a certain kind of climbing as well and really who can blame her?

Source: @lyricalarrow

Oliver lifts her WITH ONE ARM out of the elevator, which is so freaking hot I cannot.

Then, very gently, bends down to wrap his arm around Felicity’s waist and loop her arm around his neck. Oliver is moving with the precision of a jungle cat, but it also feels like an incredibly elaborate way to grab hold of someone. It has a very superhero sweep-her-into-my-arms sensuality to it. The mission is giving Oliver plenty of reasons to touch Felicity and he doesn’t seem unhappy about it, particularly when he softly tells her, "Hold onto me tight."

Is it warm in here? Holy Moses, Oliver Queen. Get control. This man is a god to women, so he clearly understands the connotations of, “Hold onto me tight.” There’s a thousand different ways to say that platonically, but nope! Oliver charges headlong into the blinking neon lights of SEXUAL INNNUENDO.

Felicity’s Freudian slip didn’t feel so Freudian either. She knew exactly what she was saying and leveled her full meaning in a single look. I thought the elevator was going to combust from all the heat. If you are looking for the text book definition of undressing someone with your eyes than look no further than these two. They way they hold the gaze. WOW. Can we have all the nakedness now?!!! It’s a sin against science for Oliver and Felicity not to bang regularly BECAUSE THE CHEMISTRY.

THIS IS NOT THE BEHAVIOR OF A MAN MADLY IN LOVE WITH LAUREL LANCE.

This scene has the classic Superman and Lois Lane feel to it.

Source: @olicitygifs

Oliver is doing his vigilante thing, but his partner in crime isn’t the leading lady of Arrow. It’s a supporting character who’s feeling less and less supporting with each episode.

Unfortunately, Felicity is about to be discovered while Oliver is held up by Malcolm Merlyn, Thea and Roy Harper. This is a very popular day to visit Merlyn Global. Oliver’s frustration under his cool and calm exterior builds the tension nicely and we do wonder how Felicity is getting out of this jam. Never fear! It’s John Diggle to the rescue. Top notch comedy from both Rickards and Ramsey.

Source: @olicitygifs

Their first official team mission outside of the bunker is a wild success. Felicity still has to search through all of Merlyn’s data to determine the location of the device. Despite all the heat, hilarity and hijinks on this side of the show, Oliver makes an abrupt decision regarding the other side of the show that makes absolutely no sense.

Lauriver and Merlance

Still feeling warm friends? Well don’t worry. I have a nice bucket of ice cold water to dump on you.

As predicted, Oliver’s love confession messes with Laurel’s mind and obliterates any clear path back to Tommy. He drops this bomb on her and they have not spoken for a WEEK. Of course, this is all Laurel has thought about and she makes a rather elaborate speech admitting she has feelings for Oliver too.

Yeah, none of this is a surprise. Tommy knew Laurel had feelings for Oliver. We knew Laurel had feelings for Oliver. Hell, even Oliver knew. The only one who wasn’t admitting it was Laurel, so at least she’s finally being honest about things. You don’t get a love triangle if the central figure in the love triangle doesn’t have feelings for two people. The issue is who does Laurel love MORE.

Laurel: Maybe Tommy was right. Maybe he and I weren’t meant to be.

She had a clear answer last week. It was Tommy. She absolutely wanted to get back together with him, but Oliver decided honesty was the best policy on this one subject only. This line enrages me because Oliver has distracted Laurel from the man she is truly meant to be with. I will die on this hill, friends. DIE. ON. THIS. MERLANCE. HILL.

Laurel: Tommy’s a good guy. Are you?

Oliver: I didn’t have an agenda. I didn’t mean to make it more difficult to fix things with Tommy.

Oh for fucks sake. Yes, you did Oliver. That’s exactly why you said it. This is just a straight up lie. Oliver absolutely wanted to confuse Laurel. He just doesn’t want to look like the bad guy for doing it. This is some A+ Ollie behavior.

After Laurel makes a wonderfully impassioned and heartfelt speech about her feelings for Oliver, after probably obsessing about it for seven days straight, Oliver dumps her. AGAIN.

Oliver: Nothing’s changed. My life hasn’t changed. I haven’t changed.

I am infuriated on Laurel’s behalf with this flip flopping back and forth. The time to make this speech was last week in the hospital hallway. That was the moment to let her go and put Laurel on the plane with the man she belongs with, but Oliver couldn’t do it because it was too damn hard. It was just cruel and horribly unfair to both Tommy and Laurel because Oliver has absolutely no intention of being with her. But now it’s too late. The information is out there. You can’t put the toothpaste back in the tube, my dude.

Laurel pays her father a visit to basically get his permission to date Oliver again. Yeah, let’s make the man who lost his daughter to Oliver’s selfishness sign off on banging his other daughter again. This show.

Quentin’s speech is equally as empty as any speech Laurel’s made about seeing the change in Oliver because we, the audience, have not been privy to those moments. We’re just supposed to take their word for it even though the last time Quentin saw Oliver Queen he was trying to arrest him for drug trafficking. But sure, Quentin thinks he’s “changed.”

In order to make this storyline work, you have to give proper attention to the Lance family interacting with Oliver and the writers do not seem interested in doing that. All the important emotional growth takes place off screen and we’re supposed to accept it as fact because the characters tell us.

Meanwhile, they are organically growing the relationship Oliver has with Diggle, Felicity, hell even Roy! So we know the writers are capable of SHOWING these moments of character evolution. They just choose not to when it comes to the Lance family. It’s why the show feels so completely disjointed.

Oliver pays Tommy a visit and wants to have a chat.

Source: @queensarrow

So it's safe to say Tommy is still pissed.

Oliver encourages him to work things out with Laurel – kind of?

Oliver: Lord knows, I am guilty of a lot of things between us, but not you are her.

What’s infuriating about this conversation is that Oliver still refuses to accept any kind of responsibility in their break up. Oliver pretends to be a friend to the all feminists and touts Laurel’s independence and free will. She makes her own choices and she chose Tommy.

Tommy’s point is clear, even if it is self pitying; Laurel is not dealing with all the information. If she did have all the information then she would choose Oliver. From Oliver’s standpoint, it doesn’t matter because he can’t be with her.

That’s not reassuring to Tommy nor is it supposed to be. If the elements keeping Oliver and Laurel apart were removed (the Hood) then Oliver wouldn’t think twice about making a move on Laurel. And Tommy knows this. These are not the actions of a best friend, which is why he’s so pissed.

Now, Tommy’s big mistake was throwing in the towel too early. He should have NEVER given Oliver an opening with Laurel, but he did and it set them on this path. No we have to watch it play out.

Oliver: I promised myself that when I crossed all of these names off the list, I’d be done, but taking down these people, it doesn’t honor him. I was just treating the symptoms while the disease festered. I stop the Undertaking… I wipe out the disease.

Diggle: What are you saying Oliver? You would hang up the Hood?

Oliver: Merlyn’s plan is what I returned from the island to stop.

Does anyone else have whiplash? Oliver does a complete about face and determines he can be with Laurel since he only needs to cross one name off the list instead of dozens. He’s just missing one step, gee what could it be? Oh! I know. OLIVER STILL HAS TO CROSS MERLYN’S NAME OFF THE LIST AND STOP THE UNDERTAKING. Talk about counting your chickens before their hatched.

A hero’s journey is a very specific type of story. Joseph Campbell outline seventeen stages in 1949 and Christopher Vogler created an updated version in 2007 for screenwriting. I’m not going through all seventeen steps, but we can skip to the very last one regarding this storyline.

Freedom to Live/Return with the Elixir – meaning the hero has faced their internal and external struggles, has conquered the demons around them and earned the right to live as they choose. From a spiritual sense, the hero lives without fear of death.

It’s similar with Vogler’s elixir stage. From a community perspective, the hero has found the magical way to heal their wounded land. They are bringing hope, life and freedom back to their loved ones. In doing so, it gives the hero a personal victory. They’ve earned the right to experience peace and joy, which can be represented in a wide variety of narratives.

Oliver is hero. Arrow has made his endgame very clear - save Starling City. Has he saved the city? Has he stopped Malcolm Merlyn? NO. So why is his leather clad ass running all the way back to Laurel Lance to enjoy the fruits an elixir he has yet to procure? If Laurel is endgame, this makes absolutely no sense. This is too fast. It’s too abrupt. It doesn’t feel earned because it hasn’t been earned.

Clearly, the initial plan was to put Oliver (Green Arrow) and Laurel (Black Canary) on parallel, if not intersecting, paths. I’m not saying Oliver cannot be with Laurel as they evolve into superheroes together. But this is the first freaking season you guys! He hasn’t done a damn thing yet! Neither has she. And yet, here Oliver is, knocking on Laurel’s door, looking for some fruit.

Oliver: Ever since I’ve been back, we’ve been doing this dance. We come together and then I pull away.  Something pulls me away, but I think finally that something might be over.

Laurel: What are you are trying saying?

Oliver: That you know me better than anyone. And that you are more important to me than anyone. I just hope I didn’t wait too long to say it.

If Laurel has no clue Oliver is the Hood then can he really claim she knows him best? It sounds good to say, and probably what Laurel is dying to hear, but it rings hollow because there’s no evidence of this anywhere on the show. Laurel was wrong about who Oliver is all season. We are just supposed to accept some verbal acknowledgment of change, that she knows him better than anyone, but without any television scenes to back it up. That’s not how storytelling works, Arrow writers.

Sorry to beat a dead horse, but I warned you I wasn’t done with this topic - Oliver is still lying to Laurel. There should be more talking. What are those things pulling you away, Oliver? Why are they over? Are you a hooded, crime fighting, serial killer who has been mysteriously stalking me all year? Those are just some ideas off the top of my head. There is no person on this planet that Oliver needs an honest conversation with more than Laurel Lance, but nope. They jump straight to sex.  

Let’s talk about the sex. This has been built up all season. These two characters belong together. They are bulldozing over Tommy Merlyn to be together because they are this passionate romance that time cannot quell. It should be like the fourth of July in Laurel’s apartment right now.

Source: laurelscanary

Instead, of heat we get frigid. Fish have hotter sex.

I’m willing to acknowledge "Radioactive" was the hit song of 2013 and every show on the CW was using it. It has a very sexy beat and big crescendo. It sounds like a good song to use during a sex scene.

Except for the fact that it’s called RADIOACTIVE with lyrics like, “This is it, the apocalypse.” This is not the romance your Plan A couple usually requires in a scene like this. They had Blake Neely for a composer. Where’s Oliver and Laurel’s love theme? We'll probably get it in the season finale but anything would be better than "Radioactive."

Source: laurelscanary

Next issue. Black socks and jean shorts?  Wardrobe – what were you thinking? Nobody felt the need to tell Katie to take off the sox? Details matter!!

Source: laurelscanary

Stephen Amell and Katie Cassidy kissing are like watching two pieces of flat cardboard trying to hump each other. Can they choose a direction? Are we biting or no biting? Are we using tongue or no tongue? Can Oliver unbutton his shirt or does Laurel need to help? Is Oliver going to drop Laurel while trying to get her sweatshirt off? It was just so awkward from start to finish. ZERO SPARKS.

Source: habibialkaysani

And for the coup de grace, they leave the curtains pulled wide open, so Tommy can see them screwing from the street. The look of utter devastation on his face is heartbreaking and that’s the final image they leave us with as their love scene fades to black. Oliver and Laurel reuniting are not framed as a good thing. It’s framed as a betrayal, because that’s exactly what it is.

Source: @queensarrow

Even worse, Felicity finds the device while Oliver and Laurel are asleep and HE LEAVES. No note. No, honey I have to run out and save the city real quick, but I’ll be back for round two later. Nothing. But please, tell me again how much Ollie has changed.

When I watched this episode live I was horribly disappointed the big reunion with Laurel and Oliver fell flat. This was really my last gasp trying to be a Lauriver shipper. And I use the term “trying” loosely. I was more or less looking for any redeeming qualities in this love story, but after this hypothermic love scene I was officially out. I could not ship these two. I could never forgive them for betraying Tommy. But I feared Arrow would never move on from Oliver and Laurel.  

Of course, their real intention becomes all too clear later. Arrow was trying to blow them up to make way for something infinitely better.

 Theroy

Speaking of flipping back and forth, these two break up every other week. Roy is clearly committed to finding the Vigilante, which leads them to Merlyn Global and a run in with Oliver, the disapproving older brother. Again, Stephen Amell’s acting is superb.

I loved the way he said “What” to Thea and the firm alpha male handshake he gives Roy, warning him to stay away.

Obviously, Roy accomplished his goal. He found the Vigilante. Roy just doesn’t know it. He thinks Oliver Queen is too much of a wimp to ever consider him as the man in the hood. Thea was good and ticked off with that “wimp” remark. Enough to dump Roy. She will not tolerate any slander of her brother. #QUEENSIBILINGSFOREVER

But this is like the fifth time these two broke up, so it’s losing the impact. This isn’t all about the Hood’s identity and thanking him for saving Roy’s life. He wants to BE the Hood, so Roy can protect the people he loves and never lose anyone again. The question is – who did Roy lose? Unfortunately, Thea storms out before we get an answer, but hopefully one is coming in the season finale. (No I do not remember who).

Long story short, yes I like these two, but the faster the Arrow writers move the characters into the Hood storyline the better. Otherwise they are just marooned on their own show like Laurel Lance Island.

Stray Thoughts

Yao Fei died! It’s so sad and traumatic. I forgot he’s shot in the head. Really didn’t need to see that twice.

Fyers is shooting down a commercial airliner to destabilize the Chinese economy. It’s always about money for these assholes.

Walter wants a divorce and I would say their differences are irreconcilable. Moira is getting what she deserves. You can’t kidnap your husband for six months and then offer him tea and crumpets when he comes home.

"Who the hell is Felicity Smoak?" Uh oh. Quentin has Felicity’s name. That ain’t good.

“Is the other archer working for Merlyn?” Please don’t make Diggle look this dumb again.

Merlyn versus Oliver battle was EPIC! The fight scenes this season are so stellar.

“Psychopaths are color coding themselves. That’s helpful.” HA!

Listen to the Watchover podcast reaction to 1x22!!!

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Disclaimer: Any gifs on the blog are not mine. If you would like a gif removed from my reviews, please message me!

[cassipedia]

Review of Migration (2023)

Hey, Cassipedia, what’re you watching?

Over the weekend, I watched the film Migration. It is an original animated film directed by Benjamin Renner and co-directed by Guylo Homsy and produced by Illumination. When I say original, I do mean it, as it is the first movie I’ve seen in a while that is not an adaption nor based on a pre-existing property.

Do you recommend watching it?

Yes, very much so! This was a surprising experience that I would hate for others to miss out on. The commercials had piqued my interest with the beautiful animation of the flying scenes and the jokes seemed harmless enough. Sometimes I am wary of Illumination films as they can be sometimes a bit too noisy or chaotic, but I’m very glad I saw the movie anyways, as it was surprisingly heartwarming, very cute and stunningly gorgeous (and, contrary to my concerns, it actually uses quiet moments better than most animated films I’ve seen recently!)

What's the story like?

This is a story about the Mallard family, ducks that live a peaceful and simple life in their pond, until a flock of migrating ducks stirs an adventurous itch in everyone except the nervous father, Mack. However, he soon comes around to the idea as he realizes how much an adventure would mean to his family and especially his wife Pam. So they start flying to Jamaica for a vacation. The trailers for the movie spoils the fact that the ducks take a wrong turn and end up in New York City, but the story is less focused on ‘duck shenanigans in an unfamiliar place’ and it instead is more of a road trip with a seamlessly integrated villain. This road trip allows the Mallard family to see different locations and meet different birds, all the while the family grows closer, trusting each other and growing braver in their own ways. There are delightful moments of silliness that are reminiscent of Looney Toons, but the movie takes seriously how much the family loves each other, giving them a reason to grow together as strong and beautifully as the trees they fly over.

What does the movie look like?

Think of how beautiful the sky is. Have you ever been on a plane and looked out at the sloping mountains and pillars of white clouds? Or perhaps, as the sun sets, you look up see how the red sun fades into golden orange blanketed by increasingly purple clouds and the approach of blue night? This movie understands how beautiful the sky is and elevates that feeling, as our bird characters soar and fly through vibrant forests, to a claustrophobic but intriguing water-logged shed, to the shiny and colossal skyscrapers of New York. The settings are gorgeous and the characters themselves are animated masterfully, so each character is incredibly expressive, with the beauty and grace of real-life birds mixed with Muppets-style comedic timing and cartoon stretchiness anchored by being able to carry heavy emotions. This all goes hand-in-hand whenever the birds take flight, as the camera seamlessly follows the birds from take-off to being air born, giving the thrill of a flying rollercoaster. There is such a sense of scale and height, and the world is from the birds’ perspective, with little details that brought me back to the creativity of early Pixar, such as having the father duck blow away a lightning bug nightlight like blowing out a candle, or how the birds will seamlessly alternate between their wings or their feet to gesture. With the movie being from the perspective of the birds, that means none of the human characters talk, being more like creatures existing alongside the bird characters, and this results in a very entertaining and interesting villain in the form of a duck chef with a Yakuza, gang member level of intimidation, whom never utters a word beyond grunts and yells paired with very well-made expressions. To give an idea of how good the animation is, even though the chef has no lines, from simply how he moves, sharpens his knives and looks at the ducks, one can see how, he’s a chef that takes his cooking very seriously, demanding high quality, but, when the ducks start interfering with his business, then he’s all too happy to start seeking revenge. And he is technically only a fun obstacle as the core of the story that this beautiful movie conveys is not about them versus a villain, but instead focused on a family.

How are the actors and actresses?

Every voice perfectly fit their characters, and the animations did excellent in having it where I could feel the characters talking, watching how their beaks formed the words with little flashes of their pointed, bird tongues. The father Mack Mallard was voiced by Kumail Nanjiani and did excellent as an anxious father who could get silly and serious, (and whose manner of speaking fittingly reminded me of a more grounded Daffy Duck). Elizabeth Banks voiced Pam Mallard and delivered as a mother with energy and eagerness paired by a snappy quick wit and a genuineness in each word. One of the cores of this movie is seeing and hearing how Mack and Pam fall back in love with each other over the course of the film, and I believe these voice actors delivered. The rest of the family cannot be overlooked, as Caspar Jennings as Dax Mallard provides a great performance as a courageous young boy who is itching for adventure. Dax is full of bravery but lacks the knowhow on how to protect himself along with others, whereas his father Mack is an excellent survivor but needs to be urged out of his comfort zone to truly become brave. The lesson between them is not simply one is right and the other is wrong, but it is a sharing of perspectives, in which the boy’s bravery inspires the father, and the father’s wisdom equips the boy against their obstacles. I was most concerned of the family member Uncle Dan, voiced by Danny DeVito, as to if he would be an unpleasant tagalong as sometimes happens in these movies, but he quickly established himself as someone who, though he makes quips and seems to lean on his self-interest, he never, ever hesitates to dote on and play with his darling niece, the youngest Mallard, Gwen, who is voiced adorably by Tresi Gazal. Notably, the film makes a point to show that the family already loves one another at the start, but their trip lets them appreciate each other and push their boundaries and discover more of themselves. The other voice talent are more than just recognizable celebrity names and each fit their characters, providing a distinct and colorful cast as one would hope from a road trip type movie. The Herons were my favorites in setting the tone of characters not always being what they seemed in an intriguing way, but each played a role in furthering the family’s journey and usually closed their loop on their own personal journey. The only group of these characters that may feel underexplored are the migrating ducks that inspire the Mallards on their journey in the first place, but I think it is due to the other characters simply having more screentime, as I’ve no doubt these characters would have been just as entertaining as the rest of the cast if they had been given more time.

Is the music worth talking about?

This is not a musical, but the score is absolutely a big part in why the scenery and so many of the moments in this movie sticks out in my mind so vividly. If you listen carefully, you will hear how the music changes depending on the setting. While the Mallards are in the forest, there is an emphasis on using a whimsical choir, adding to the lighthearted feeling, and as they enter the city, unsure of what it even is at first, the music takes on an ethereal, almost dream-like quality that one isn’t quite sure what to make of, until the ducks pass through the smog and nearly run into a steel beam and suddenly you got energetic and chaotic brass instruments banging in as the Mallards are caught in a whirlwind of New York City hustle and bustle. My words really can’t do it justice. And it is worth noting, there is only one distinct instance of a pop song being used in the movie and it is incorporated quite well as a band in a scene plays that song, resulting in a surprisingly beautiful display of ducks engaged in a Salsa dance. The movie is very smart with its music, as it furthers the immersion of seeing this colorful world through these cartoon ducks’ eyes. There are also great moments of quiet and silence, as the movie will also let the atmosphere talk for itself, really letting you sink into it (though it is worth noting that, for the opening of the Universal and Illumination logos, these are the complete opposite and are the noisiest parts of the entire film as the Minion characters from Despicable Me introduce the logos with kazoos. And if you are watching the film in theaters, you may find yourself sitting a surprisingly long time watching a short film based in the Despicable Me universe called ‘Mooned’ but rest assured, you did not walk in on the wrong movie and I very much encourage you not to leave your seat as I overheard many others in the theater seats next to me nearly did.)

Who would like this movie most?

If you are someone that likes birds or the sensation of being high up in the air or on a rollercoaster, I very much urge you to check out this movie. It is also a film that I think would be very enjoyed by those whom are interested in animation and illustration, to see an excellent example of how colors and movement can truly be blended to dazzle in a movie format. The story and characters are well-written and compelling for any age, though I think this movie would be well-received by families, especially as this film strives to show how a family grows closer together. There is a clever, timelessness to the jokes that focus more on the situation on hand and when you have animal characters reflecting on human habits, such as when one of the birds refers to a chef as ‘a predator that hunts prey and serves it to much lazier predators.’ During one of my viewings of the film, I had the pleasure of a family of a broad range from the parents, to their parents to young boys all sitting near me, and it caught my ear that each generation consistently laughed throughout the course of the film.

Where can I watch it?

This film is available in theaters for only a little bit longer at the time of writing this, but I heavily recommend seeing it in theaters at least once. Not only so you can really soak in the colors and the scope of the heights as the birds fly, but also so you can better feel the thrusting of wings as the birds take to the sky and the wind rushes through their feathers. It is an incredible experience. Considering it is an animated movie, it is possible it may re-appear in theaters for kids movie special offers as theaters like the Marcus Theaters sometimes provide. Otherwise, if this review reaches you too late, the film is available for streaming on Peacock for the first four months of being released, then will move to Netflix for the next ten, and then will return to Peacock for the remaining four, so I recommend checking between those streaming services of Peacock and Netflix. Otherwise, it doesn’t hurt to keep an eye out for a physical copy.

Final thoughts?

Migration is a beautiful film that I think can very easily fit in as a classic film, one that focuses on bringing a family together through a fun and colorful adventure. At the very least, it was a pleasure to watch in theaters as a visual rollercoaster, especially for the bird lover in me, and I hope, after its theatrical release that it will make its way into homes as it made its way into my heart. If you’re up for an adventure, then I completely encourage taking the dive.

[tolerateit]

Jen's Book Reviews

Edition 1: The Devil In The White City by Erik Larson - Non-Fiction

Hello all! Thank you for voting in my little poll, I will be updating this series as I continue to read lovely (and perhaps not so lovely) pieces of literature! This edition centers around a book that I have read before and wanted to revisit because I loved it so much the first time: The Devil In The White City by Erik Larson.

Mild Spoilers Ahead!

This book goes back and forth between the story of the creation and building of the Chicago World's Fair in 1893 (known as the White City) and the murderous work of one of the first, if not the first, documented serial killers in America, Dr. H. H. Holmes (formerly known as Herman Mudgett). The story is definitely one for lovers of history, for it dives deep into the development and construction of the fair, headed by one Daniel Burnham of Chicago. The hope was to beat and outdo the World's Fair in Paris only years before with the revelation of the Eiffel Tower, and not only did the Chicago Fair do so with attendance, it did so with a feat of its own, which I will not spoil further for readers.

The entrance into the world of Dr. H. H. Holmes was both disturbing and fascinating as a psychology major and lover of history, but I warn that it is not for the faint of heart if you are interested. One can expect that from a story involving a murderer, but the cunning, cleverness, and outstanding ability of Holmes to outwit adversaries and debt collectors among many others was chilling and downright frightening at times.

Overall, I gave the book a 9/10 rating for being a bit wordy at times, though this is expected from a historical account. I'm leaning towards changing my rating to a 10, but that may be my history lover talking. The book is relatively quickly paced with some parts that some readers may find boring or unnecessary, but the bouncing back and forth between the stories keeps the reader engaged and curious. I hope that if any of you decide to check this out that you will let me know what you think of it!

Thank you for reading! Signing off for now. Jen xo

[moviesandmania]

MK ULTRA True-life CIA psycho-drama - review, trailer and free online

‘Based on a true story’ MK Ultra is a 2022 American psychological thriller film about the CIA’s notorious use of mind control drug experiments in the early 1960s. The movie was written and directed by Joseph Sorrentino (The Sacrament of Life; Coyote). It was produced by Lee Broda, Brian Mercer, Andreas Schilling, Joseph Sorrentino, Jerry Tankersley, and Seth Willenson. The movie stars Anson…

[minijenn]

Jen Tortures Herself With Every Dreamworks Animated Movie Ever: Antz

So as I mentioned earlier, I'm watching every Dreamworks animated movie (and special) ever because... I don't know, I fucking hate myself, I guess. But for reals, this studio is so weird because sometimes they'll make the greatest movies literally ever crafted (Prince of Egypt, How to Train Your Dragon, Puss in Boots the Last Wish) and other times they'll make absolute shit like what I had to fucking watch to kick this marathon off. Goddamn fucking Antz.

I plan on doing drive by reviews of each of these movies on here because well, what's the point of watching all these films if I'm not gonna share what I think. So yeah, let's start with 1998's Antz, the first Dreamworks animated film and by god its one of their worst.

If you asked me to tell you what Antz is about, I'm honestly not sure I'd be able to give you a coherent answer because I'm not sure Antz itself knows what Antz is about. Like I think its about individuality? About breaking free from opressive systems?? About thinking for yourself? I guess? But like its annoyingly heavy handed with that message to the point that it doesn't let its audience think for itself. It does a lot of telling instead of showing and as such creates a viewing experience as dull as the dirt these ants call home.

Also lets talk about these Antz. They are Ugly as Sin like seriously who looked at these character designs and thought this was ok???

Most stompable ants of all fucking time if you ask me and the non ants aren't much better. Behold, my new sleep paralysis demons:

As for how the characters act... yeah they're not much better than how they look. The main character, Z, is an annoying asshole who just spends most of the film bitching (and yes they actually use that word, this movie is weirdly littered with swears and cussing and sexual innuendos? More on that later) about his shitty lot in life and even once he breaks free he's still agressively uninteresting. His love interest Bala is just as uninteresting, an arrogant bitch who flip flops about how she feels about him with almost no development whatsoever. The side characters are all forgettable, and the villain, General Mandible is just your generic "wants to rule everyone and get rid of anyone who opposes him" bad guy. The world they inhabit isn't really that creative tbh, they hype up this place called Insectopia but its just a trash heap where a bunch of stoner bugs live and its really not that important to the plot at all really so why do we care???

Blatant product placement what what

Also yeah that plot. It starts out as Z being incontent with his lot in life as a simple worker ant and so he switches places with his friend Weaver so he can be a soldier ant, only to be the lone survivor of a battle against a group of opposing termites. This somehow leads to him and Bala winding up outside of the colony and they go on a lame ass adventure that seems incredibly rushed while Mandible is planning to wipe out all of the "lesser" ants and take Bala as his queen i guess? idk i kinda zoned out toward the end bc i was so soul-crushingly board with this movie.

The animation can be impressive for the time I suppose, that's really the only good thing I have to say about it but even then, the colors are dirty and unappealing, the characters are, like I said, all incredibly hard to look at, the music is bland and forgettable, the set pieces are garish and boring, and the writing oh god the writing.

Ok so I have no idea who this movie is meant to be for??? Like its rated PG right but they're constantly throwing out swears like bitch and ass and anus and making sex jokes and I'm just like??? What??? Is this a kids movie? Because what kid would enjoy this thoroughly unpleasant kinda dark movie? Is it for adults? Why would adults want to watch a movie about wisecracking ants??? Who is this for? Why did they make this? Ok well I know why because Pixar was making a very similar film at the very same time as this and Jeffery Katzenburg is a Petty Bitch

Really, at the end of the day, all I can say about this movie is just... don't bother with it? It really sucks, its agressively unappealing and unpleasant to sit through, and when its not assulting you with you how gross it is, its assualting you with how painfully boring it is. I don't think I even cracked a smile once while watching it. What a fucking way to start a Dreamworks marathon off on. Jesus.

Overall rating: 1/10

Verdict: Step on these damn Antz already

Next Review (Prince of Egypt)