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uh-velkommen · 3 years

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The White Lotus, HBOMax

Alright four episodes in and things are finally starting to ramp up. My face throughout the whole episode was stuck on discomfort. This show packs so much tension in every 45 minutes that I'm constantly waiting for somebody to pop off or something crazy to happen but instead we get teased with the smallest little plot pusher. Which is working. I'm officially intrigued. I do wish I knew the overall point of the show because that's what would've helped me decide if I wanted to keep up with but now my determination to find out how this all ends is doing just that...

Character breakdown + Spoilers/Predictions

Armond: The manager of the White Lotus resort. I love him in all his poor choices. He's just constant chaos simply because he has the power to create it. He's also the biggest driver of drama. He lies a lot, almost pathologically, and he will carry those lies to the grave for no real reason.

Nicole Mossbacher: Resort guest, Mark's wife, and Olivia and Quinn's mom. She's a pretty basic character who is teased about possibly having OCD and working during vacation. She was pretty chill in the first 2 episodes but every once in a while she says things that gives off I'm a centrist but my views lean a little more conservative.

Mark Mossbacher: In the beginning he's stressing about possibly having testicular cancer because his father died of cancer... Turns out his father had AIDs. He has a depressive episode over his dad being gay and then, while drunk, he inadvertently comes onto the Armond. The next day Armond tests the waters with Sober Mark and we get uncomfortably funny scenes of Armond coming onto Mark in front of the whole family. Mark's a very passive dude who doesn't do anything exciting in the show but we just find out that he has, in the past, repeatedly cheated on his wife and didn't tell her (he told his son that he did tell Nicole but I don't believe it) I think his theme is just being genuinely unhappy with his life at the moment.

Olivia Mossbacher: She's a college sophmore and has many moments where she calls out her parents questionable statements. She carries herself with a weird nonchalance where you'd think she's a mean girl but she's only ever expectedly mean to her brother. However, she brought along her friend Paula and we start to see that their friendship is built on some unspoken competition. The girls do tons of drugs on vacay until Armond gets his hands on them and breaks his 5 year sobriety. This is when and why shit starts to hit the fan. They know he stole the drugs but because everyone avoids admitting to having illegal drugs, no one is ever outright accused.

Paula: Olivia's poc friend, possible hypochondriac, and supplier of drugs, has secret rendezvous with one of the Hawaiian native resort workers. She refuses to say anything when asked about her nightly disappearances but Olivia knows why or for whom Paula keeps sneaking off. We learn that Paula doesn't want Olivia to know about her and her beau because Olivia always wants what she has. My theory is that this wouldn't be the first time Olivia has stolen a partner of hers and I think now because Paula isn't admitting to hooking up with this guy, Olivia is gonna steal him and use Paula's secrecy as a way of blame.

Quinn Mossbacher: Involuntary loner in my opinion. He comes off as a classic video game nerd, obsessed with the internet, cant live without his Switch and Fortnite. He doesn't have any friends and he takes all the teasing from Olivia and Paula without a fuss. But he starts sleeping on the beach alone and keeps running into these amazing sights to see. This is where we start to see him blossom and speak up. Its ever so slow but in episode 4 he actually walks up to a group of guys and introduces himself, interested in their boat related sport[?] (Or maybe even the guys themselves🤞) He's also the only one who knows about the Dad's affair and stupidly hints at it at the family dinner (he's just genuinely stupid).

Shane Patton: Also a resort guest and the funniest character to me. He's your run of the mill self-centered male Karen (Kevin if you will) and he arrives at the resort with his wife Rachel. They're on their honeymoon but so many moments make you question why in the hell did these two get married? He is in an unnecessarily one sided battle with Armond. First the resort accidentally downgrades his room. Armond gaslights Shane into thinking that he never purchased the bigger room. Shane gets a receipt. Armond tells him there's a German couple staying in the receipted room longer than Shane and his wife are there so the room will not be ready for them in time. Shane finds out the Germans are actually leaving wayy earlier. Armond apologizes and books them a romantic sunset dinner on a boat. The boat is actually a funeral where a strange grieving woman, named Tanya, fails to spread her mothers ashes in the sea. Shane confronts Armond and asks for Corperate's number. Armond creates a fake business card and when Shane realizes the number is fake, he bursts into Armond's office to find him rimming a coworker while high on Ketamine. Prediction: Armond's gonna get blackmailed for abuse of power in a classic Monicagate manner.

Rachel: Shane's wife. Rachel's a journalist who actually looked up to Nicole (her job as CEO of god knows what puts her in the public eye) but when she finally got to sit with Nicole over lunch, Nicole calls her out for writing an incredibly slut shamey article, claiming that Nicole used her femininity to get her where she is now. This is the first smack in the face that maybe journalism isn't for Rachel. Well that on top of the constant teasing from Shane about her career choices. Shane's family is much more wealthy than Rachel's and he always finds subtle ways to make it known. Shane also pays her no mind, flirting with Olivia and Paula and battling Armond. Even during their arguments (which happens too many times for newlyweds) Shane doesn't look at Rachel and just gives periodic "mhmm"s and "okay"s. Also Rachel hates the Mossbacher family simply because they all seem to be doing better than her.

Now for the boring ones

Tanya McQuoid: An eccentric resort guest (which is a polite way of saying, a weird ass person who is over polite and basically pushes herself into every other character's drama in the most unintentional way, she's also bad at reading the room) She comes off as calm and quiet but we find out that her mother recently passed and she's in Hawaii to spread her mothers ashes. She becomes creepily obsessed with the resort's massage parlor manager, Belinda, after a complimentary massage and suggests becoming a beneficiary so Belinda can open up her own massage parlor. Her "obsession" could possibly just stem from Belinda showing her an act of kindness during a hard time but I know I questioned Tanya's intentions for at least the first two episodes... In episode 4, some random dude, Greg, shows up and invites Tanya to dinner after "accidentally" mistaking her room door for his own. Tanya postpones a business meeting with Belinda so she and Greg can hook up that night. The presence of these characters feel a little out of place. Unlike the Newly Weds and the Mossbacher family, there is not a lot of plot overlap. Tanya will often pop up to converse with the others and brag about Balinda's skills but she doesn't cause any trouble. Tanya's also very wealthy so I definitely thing this "Greg" has some secret plot to take down Tanya or plant something or steal her cash and unfortunately I do not think Belinda will see anything bright in her future. Her plans will be left on the backburner which I say is unfortunate because she's a kind woc who is just trying to do her job and is clearly very skeptical about going into business with this strange, rich white, resort guest.

Honorable Mention

Lani: A Hawaiian native, trainee at the White Lotus. She shows up in episode one as her first day on the job. Later we find out she's also pregnant and goes into a premature labor on the job. She has her baby and disappears for the next three episode. Come back Lani, Armond has just started getting your name right!

Show Themes

The show does touch on conversations of race and class but I would not consider this a political show or one with an agenda (it's satire). I point out the characters of color here because their race becomes a device used to create tension but not in a Token POC kind of way. All the characters are rich and they are shamed for it by the show writers. By this I mean nobody is spitting in their faces and calling them Climate Killers but the choices the characters make, the things they say, and the way they act gives the viewer something to laugh at. Their ignorant entitlement juxtaposing with the beautiful Hawaiian beaches and tragic Hawaiian history creates an underlying experience of, look at these rich people not having a good time and they can't even realize why! As for the characters, there is plenty of time to sit back and question, is this character a good person, who's the real antagonist, how do these stories intertwine, who do we root for What story is attempting to be told here? What is the message!?

#the white lotus hbo #the white lotus #the white lotus hbomax #hbo max

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dswcp · 3 years

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This week's theme: Show, Don't Tell!

This ridiculous comic doesn’t so much “show, don’t tell” as “show one thing, but tell another.” Though it presents itself as a Han and Leia romance, it’s actually about the love between Han and Chewbacca. Through a combination of misogyny and unintentional queerness, “A Valentine Story” is gay in the text and straight in the subtext.

It begins with this glorious cover. I haven’t discussed covers on this blog before, but I am a huge sucker for them. Who wouldn’t automatically buy this?? I don’t think I’ve ever seen “Star Wars” in pink before!

DSWCP’s first ever cover... Congrats, you crazy kids.

With the promise of hot heteros established, the comic does deliver -- visually, at least. As a few other comics have shown, you don’t have to have a good story or focus to have a strong and compelling color palette. In this case, “A Valentine Story” shows Han and Leia’s love with a non-diegetic shade of magenta.

But ... the person they’re talking about there is Chewbacca! No matter what sexy situation these two find themselves in, they’re always talking about Chewbacca.

Even though Han is freezing to death, Leia’s torn sleeve sexily exposes her shoulder. And neither of them are wearing hats.

Oh, my, you big strong man!!!

The best part about this comic is that, by its hilarious clumsiness, I think it tells the truth. Even in the movies, Han and Leia’s romance is sexist and shallow. (Still hot, though.) It’s weird to me how much people romanticize their most famous moment, the “I love you” “I know” exchange (you can buy it on matching shirts in pretty cursive font!), when that’s actually, uh, a very rude thing to say. Like, it’s funny because it’s unexpected, and sexy because he’s just too goddamn manly, but refusing to show your feelings to your partner is pretty much the opposite of romantic. In my gay little opinion.

Also, in real life, men who show their feelings are 10000x hotter!

By contrast, Han’s relationship with Chewie is sweeter and more serious. However you understand the nature of their relationship, it’s undeniably among Han’s highest priorities, probably higher than his relationship with Leia. (A comic that I like a lot more than this one, which shows us Chewie’s point of view, further explores this tension. But that’s for a future post.)

The real emotion in this story comes from Han’s passionate, illogical determination to save his friend:

And then, when he is cuddling with Leia, how he won’t shut up about Chewie’s sensitivities, peculiarities, and virtues:

She was amazed to discover that when he was saying “sure,” what he meant was, “no homo.”

Which leads to this absolutely fantastic couple of panels:

That feeling when you get a girl to fall in love with you not by caring about her, but by caring about your bro.

And the incredible way they show their reunion with Chewie:

Okay, the sexism is amusing but giving blue eyes to Carrie Fisher is inexcusable!!!

In conclusion, the last panel of the comic shows us Han x Leia:

But the first panel tells us Han x Chewie:

“A Valentine Story.” Dark Horse. February 12, 2003. Writer: Judd Winick. Penciller and Cover Artist: Paul Chadwick. Letterer: Jason Hvam. Colorist: Ken Steacy.

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hakasims · 3 years

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Shitty Luca Movie Recap, Episode 4

Can’t Watch Nina, Even For Luca?

Don’t Worry, Me Neither. Goodbye.

...

Ok, fine, I’ll talk about the damn thing.

So it’s a warm September night, and I’m in the mood for a Luca Marinelli feature. In my infinite wisdom I choose Nina. “It’s directed by a woman,” I reason, “and women know what’s up.” ‘What’s up’ in this particular case is code for ‘how to frame beautiful men for the female gaze’. Because women can be auteurs, too, and being an auteur means making movies about your own personal wank material.

Turns out, sometimes a woman’s wank material consists less of a gorgeous male form and more of fascist architecture. We’ll discuss the former in due time, but for now, what’s Nina even about? Well, at its core it’s a simple story about a young woman who doesn’t know what she wants, set against the backdrop of the Rome that is almost entirely empty due to most people leaving for the summer. This could have been a fairly straightforward coming-of-age film, but Nina is too indie and up its own ass for that. Literally nothing of note happens in this movie, and it’s all long static wide shots of empty streets, endless stairs, and domineering largeness of Rome’s most famous fascist buildings such as the Palace of Italian Civilization, the Sapienza University of Rome, Palazzo dei Congressi, and, most prominently, the Fountains Hall. (Google what they look like if you don’t know.) Now, I’m guessing those locations weren’t chosen by accident. They could have easily added to the creepiness of the movie — and I’m assuming creepiness was intended; otherwise how do you explain these hoverboarding nuns?

Anyway, the employment of the locations could have been atmospheric and thematic had the shots not been so bland. But they are. Bland, flat, and always looking the same no matter what is happening in the scene. Usually audiences are willing to sit through slow uneventful movies because of interesting visuals or characters worthy of attention, but Nina has neither. The titular character herself is tedious. Even her bad fashion sense is bad in a boring way that doesn’t tell you anything about her. Is she stuck in perpetual adolescence? Is she searching to get in touch with her sensuality? Who knows. The only thing I’m certain of is that she needs to learn to tuck her tops into her bottoms.

Nina spends her days giving singing lessons, going to Chinese calligraphy classes, eating cake, exercising and taking midnight walks in the empty city. She wants to go to China in September — it’s the closest thing to a goal she has — yet she’s done no preparations, and instead of learning Mandarin she’s studying calligraphy. And she’s real bad at it, too.

There are reoccurring visual elements in the movie besides the vast emptiness: stairs, white columns, a jogger, a red dress, animals… You’d think those were very straightforward symbols, but they’re used too sporadically and inconsistently to hold any meaning. For example, animals. Nina is tasked with both helping out in a pet store and house-sitting an apartment with a German shepherd (a good boy named Homer), a guinea pig and a tank full of fish. The instructions she’s given are absurd, like feeding the dog sleeping pills and putting the guinea pig on a diet. And then there’s a supposedly American TV show always playing in and out of diegesis about dogs living in cages and swimming happily in pools, and it looks and sounds like a video off the political section on the dog version of YouTube. It contains timeless classics like “You are a dog born in the age of consumerism” and “Depression is an evil illness now spreading amongst dogs of every breed, dogs belonging to every social class.” The butter commercial from Crazy Ex-Girlfriend could never. And I wish the whole movie was as surreal as this TV program but unfortunately it’s as bland and directionless as Nina herself.

And boy is it directionless. There aren’t any subplots in the movie, no cause and effect, no acts, no structure, no flow; only scenes that happen, and I can’t even find any reasons for the order in which they happen. The scenes also don’t start or end; they just interrupt each other, not leaving any emotional impact. For example, there’s a scene where Nina sees her future self. She’s on one of those midnight walks with the good boy Homer when she sees a couple being romantic. The woman is wearing a long red dress, and the man is in all black. The shot is wide, so it’s impossible to see their faces, but the woman is obviously Nina:

And the man is definitely Luca. I recognized his ass. I’m not joking, guys. It’s his ass:

Also I was later directed to the website of the photographer who took the set photos, and yes, it’s Nina and Luca.

I never forget an ass.

Anyway, Nina, who at this point hasn’t properly met Luca’s character, Fabrizio, sees herself from the future acting romantic with him, and doesn’t react. We don’t even know if she recognizes herself or him or whether it’s even a real scene or a dream. How are we supposed to empathize with a heroine who isn’t allowed to react to her environment?

Whatever, it’s time to talk about Fabrizio. He plays the cello and he’s obnoxious. That’s it. He first appears as a patron of Caffé Palombini, the real-world café Nina frequents (and buys her cakes at). She’s drinking her usual milk shake and reading. At some point, their eyes meet, but neither says anything, and then Nina gets up and runs after the good boy Homer who decided to take a little stroll by himself. She leaves all her things behind: her milk shake, her handbag, at least three books, a whole stack of paper for calligraphy, and her diary. It’s obvious she’s going to come back as soon as she gets the dog. And yet before her feet are even out of frame, Fabrizio gets up, goes to her table and fucking steals her diary!

His next several appearances are random and sporadic, and it looks like he’s stalking Nina, but by the time of his first actual scene she is following him for some reason. Obviously, he can’t let a woman outcreep him, so he ambushes her:

He tells her blankly, “You’re following me,” but I think this scene deserves better dialogue. Thankfully, we have a whole well of predator/maiden media to pull from.

Though I personally believe this is the most appropriate line:

Fabrizio lets Nina know he has her diary in the dickiest way possible: he quotes from it to let her know that he’s read it. He then informs her that he’ll only give it back to her if she continues following him. And it’s not blackmail; “it’s an agreement.” What an asshole! I’m weeping for the dignified cuckoldry of Joseph.

And what was the purpose of that “agreement” plot point if the next time they meet is by chance? Quirky love interest writing, duh. So quirky that the accidental meeting happens when Nina is walking past a phone booth where Fabrizio is… doing a phone prank? I don’t know, I got nothing. Anyway, he’s annoyed their meeting is unintentional on Nina’s part, but he returns her diary, and I guess they start dating? He watches her sing once with what could only be described as a complete absence of emotions:

In the next scene she watches him play the cello after which they go on a date. Nina is wearing the red dress from the vision, but Fabrizio’s shirt is different. I fucking give up.

Their next (second?) date is a romantic dinner on Nina’s roof, and they’re dancing for entirely too long. She then tells him she’s scared of how much she’s enjoying his company, gives him a ridiculously chaste kiss goodnight and… completely ghosts him afterwards. And if you didn’t dislike Fabrizio before, you will now as he starts calling Nina at ungodly hours (including 5:30 am) and leaving her very whiny and increasingly more passive-aggressive, entitled, and accusatory voicemails. At some point he even leaves a voicemail for the fucking dog! He’s like, “Homer, I’m worried, meet me at the café.” Again, quirky love interest writing: extortion, phone pranks and a voicemail for a dog.

Fabrizio then lets Nina know he’ll be leaving town in three days in case she’d like to see him one last time or whatever. And she never fucking does! In any other movie she’d be chasing through the airport, but here she just drops him like he’s a well-tucked shirt! She tells the kid she’s befriended (she hangs out with an eleven-year-old boy the whole movie, don’t worry about it) that she’s afraid to be “like everyone else”, with a job and a boyfriend, so she doesn’t even say goodbye to Fabrizio. At some point she goes for a walk with the good boy Homer, and Fabrizio is also there, and they just miss each other. Even fate isn’t interested in that romance.

And then all the fascist buildings get covered in gigantic paper figurines, and the red-dressed Nina runs into Fabrizio’s arms. Because of course.

Nina is one of those movies where the main theme — a struggle to grow up — is obvious, but the rest of the elements are a mess only the writer-director could decipher. And I don’t really care. Again, I had to read Japanese postmodernists at university. What I do care about is the male form I mentioned at the start. I know I have no one but myself to blame for my expectations of how the director should have framed Luca’s body or face, but it’s one thing to frame him blandly and a completely different thing to isolate him as the only character (or actor) she’s deeply uninterested in filming competently. Everyone else in the movie gets their fair share of close-ups and decent lighting whilst Luca — whose name is literally second in the credits — gets, um, neglected.

This is his introduction:

These are literally all his close-ups:

Should I even count this last one? What’s with the lighting? Like, this is as well-lit as his face gets:

Oh, the shot is too wide and you can’t see his face properly? Well, tough poop:

Are you kidding me with this shit?

Nina may not be objectively the most terrible of the movies Luca’s been in: I’d argue both Mary of Nazareth and L’ultimo terrestre are worse, as is Slam, whose time’s a-coming. Nor is it the movie where Luca appears the least (The Great Beauty’s literal one minute of screen time is saying hi). But it’s the only movie I have no reasons to watch: it’s blandly shot, poorly structured, badly themed — and it’s actively obstructing Luca’s beauty and charisma. So no matter which film you’ll ask me to do next, at least in terms of the visual component of my posts, we have nowhere to go but up.

#luca marinelli #nina #nina 2012 #sh*tty luca movie recap

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chaoticlarrie · 4 years

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Watching spn for the 1st time in 2020 - Bisexual Dean

or,

How supernatural queerbaited itself into destroying the bi-erasure pit of darkness and i think it’s beautiful (in its own fucked-up way).

(apologies in advance for my crude language)

So I’m still in mid season 8 of spn and haven’t watch the rest but I had some thoughts about the clusterfuck that is Dean’s sexuality.

It seems like Dean was meant to be straight? I don’t think the creators/producers/writers, in the beginning, meant for Dean to be queer. To be honest I don’t even think they questioned it one second. If I’m wrong please correct me. Did the creator, Kripke, ever made a comment about Dean’s sexuality?

So the character is heavily presented as liking girls, wanting girls, banging chicks left and right (and all the girls he meets want to fuck him?? though i get it...). He wants to see female strippers, go to brothels, likes magazine porns, video porns, anime porns...

But at the same time Dean, actually, genuinely, regularly checks out guys ??

So we have : the guys he checks out, the doctor sexy thing, the fetish for male cowboy wear, the seducing of a guy with his words when the lesbian couldn’t do it ?? the siren who lures him by being a guy who’s into led zepplin and it works ????

So the creators didn’t meant for Dean to be queer and apparently the actor neither yet he is heavily queer coded ??

Apparently you can unintentionally be queercoding your own character ?!

Also, all of this is even without bringing up Castiel, so ...

And almost every time we have a brief apparition of queer Dean, you have in the next scene or so a big reinforcement of the “Dean wants to bang chicks” narrative.

And here’s my theory (as I said before, I haven’t seen the whole show yet so I may be wrong here, it’s just an outsider of the fandom pov but i’m open to corrections):

When realizing the potential of queerbaiting that they could do with the destiel situation, they reinforced the queercoding on Dean so the shipper audience could hope for a not totally straight Dean, while the general audience kept perceiving a totally, 100% straight Dean (queerbaiting at its finest, you’ve got to give it to them).

And it worked thanks to a marvelous little thing called bi-erasure. Almost every straight person do not understand that bisexuality is a real thing and not a stepping stone towards more gayer things. (Sadly enough, it’s also the case of a lot of gays and lesbians but that’s another conversation). So in their mind, (the general, straighter, public), as long as Dean was interested in girls, he couldn’t be possibly interested in guys. You could show him eye fucking Castiel all you want, if he reads an asian ladies porn magazine in the next scene, it means he’s straight (bi-erasure is a powerful thing I tell ya).

And if you think that’s not true, that people know about bisexuality and are able to put 2 and 2 together, well you would be wrong. The visibility of bisexuals really improved in the last 3/2 years but here I’m talking about 2013 and before (season 8 and before) and trust me, the kids were not that woke, I was one of those erased bisexual.

I even suspect the creators, writers, producers, not considering that bisexuality was a serious possible sexual orientation and therefore queercoding Dean “risk free” of being perceived too gay.

It probably sounds crazy for the gen-z (and thank god) but I swear that I lived my teenager years in a time were all bi guys were secretly gay and all bi girls just straight attention whores (you can notice how this joyful narrative comes from males being persuaded that everyone secretly want their dick...). Anyway, at the time, the general idea is that a guy who genuinely wants to bang chicks can not possibly want to bang dudes.

And that’s how they made the “totally straight eye fucking dudes Dean Winchester” work.

And here i’m extrapolating cause I haven’t seen the later seasons but my guess is that the years pass, the seasons keep being produced and they just kept the destiel queerbainting to cater to the hardcore fans (and the shippers, in every fandom, are always the hardcore fans, let’s not kid ourselves) without ever having the intention to make it canon.

But in the end, we come to a point where Dean has been queer coded for so many years, his relationship with Cas so emphasized, the general public made aware of the possibility of bi characters, that the only logical explanation is that Dean is genuinely in love with Castiel, and bi, and at this point, not making Destiel canon feels weird and homophobic.

Also, the idea of Dean being a kinda-repressed, semi-closeted, complete disaster bi makes SO much sense considering the character background, upbringing and current environment (like, seriously, the hunter community is not lgbt friendly...). Hell, I live in a big city in europe with liberals all over amongst family and friends and I’m not even fully out yet well in my twenties. You can’t expect childhood trauma, emotionally abused, ultra conservative and “manly” environnement Dean to get his shit together right away when he realizes he likes guys.

Anyway, all of that to say, that I don’t care if Dean is meant to be canonically bi or not, to me he is. Because I identify with the character heavily, and I love him and want to protect him and I don’t take arguments on that. I love the character that was created and evolved throughout the years, no matter if it is what he was meant to be or if it was unintentional (I did not expect to get emotionally involved in my “ironic” watch of spn in 2020 but fuck.)

As always, my sympathy to the spn fandom and my ever lasting admiration for the bullshit they endured through the years.

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funnuraba · 3 years

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A Rough Moral Overview of Archie Comics: Teen Propaganda Machine

Part 1: The 1940s

1941: Archie first appears in a small feature near the end of PEP Comics #22. His popularity builds rapidly, with the audience apparently writing in to express immense interest in the short monthly Archie comic.

At first the Archie story isn’t even mentioned on the cover, but Archie himself slowly starts appearing on the cover, always with PEP’s big star at the time, The Shield. The Shield on the cover is at first much larger than Archie, but he shrinks over time, and after Veronica’s introduction, she and Betty start to feature on covers as well. The Shield continues shrinking...

And by issue #49, the magazine is PEP Comics: Starring Archie Andrews! Archie quickly becomes its own imprint, and the only one of PEP’s lineup that survives into the present day. Ads in the magazine advertise an Archie radio show that was spurred by what was a apparently a massive outpouring of interest from PEP’s teenage subscribers. The concept of teenagerhood itself was a new invention dating from 1944. Archie’s reality included things like school, dating, and modern teen problems like trying to maintain a car and deal with wartime rationing.

Also, sending your dog to fight Nazis. (Note: the above are two separate stories; no Nazis ever actually invaded Riverdale. Oscar, Archie’s dog, gave birth on at least two occasions, including during her army tour, and eventually faded from existence.)

At this stage, minstrel-style caricatures of black men appear on occasion in Riverdale (as train attendants and no-account bums who steal clothing out of the trash), and Yellow Peril-style caricatures of Japanese people are a regular fixture in other PEP features like “Captain Commando and the Boy Soldiers”. As a side note, Chinese people are depicted quite differently in Captain Commando. At this point in US history, they were seen as important potential allies in the war against the Japanese. In Captain Commando, they’re drawn like actual humans in comparison to Japanese soldiers. One story shows a Chinese warrior who’s been bamboozled by foolish Buddhist ideals of peace, but finally snaps out of it and gets his followers to join up with US forces in resisting Japanese occupiers. Chinese-Americans were depicted less frequently, but also running in PEP for a time was a rather remarkable depiction (for the time) of a Chinese-American hero: Fu Chang, International Detective. Chinese people would later be collapsed into the Yellow Peril phenomenon in US pop culture and there were some very racist depictions within Archie Comics, but in the 40s there was a different perspective on display for a while.

(Captain Commando and his Boy Soldiers have since lapsed into the public domain; evidently the heroic quality of child soldiers lost its gleam after WWII and reviving the property was never deemed profitable.)

Also in the 40s, many, many stories end with a quite literal punchline in which Archie gets taken out to the woodshed and beaten by his father for causing trouble. This was PEP’s light-hearted humorous fare that apparently spoke quite deeply to a teenage audience of this era. The depiction of corporal punishment is neither “pro” nor “anti”, it’s simply an unavoidable consequence handed down from on high. Archie’s misadventures lead inevitably to physical punishment from an authority figure, no matter how much or how little he’s to blame for things going wrong. Mr. Andrews himself is sometimes a figure of fun during this period, but the 40s and 50s are the time when he most often feels like a self-insert for the writers and artists, who would have been closer to his position in life than Archie’s.

Archie’s position, though, isn’t entirely as the object of abuse. It’s pretty safe to assume that the writers and artists also grew up with corporal punishment and can sympathize with the experience--though they’ve now entered the stage of life where they understand that it was done only for their own good. Archie at the end of these stories is both resentful and rueful; he wishes it hadn’t happened, but there’s no room in the pages of PEP to contemplate a world where it doesn’t have to.

Violence was much more accepted in the 40s, including against the girls themselves--for their own good, in this case, but it’s still jarring to see a man give Betty and Veronica black eyes. Their crime in this case was, of course, being so silly and man-crazy that they nearly drowned him and themselves.

Often the violence was more cartoonish in nature, but it was only in the 40s that you’d see Betty showing up at Veronica’s door with Moe Szyslak’s weapon of choice.

The porter in this panel is one of the kindest portrayals of a black man in this period; the others (and the one depiction of a black woman that I noticed) are frankly unreproducible without heavy content warnings. Also in the 40s, fat and/or ugly women exist only as an object of fun or outright cruelty.

Vague “reducing plans” were advertised in the pages of Archie in the 1940s. This particular method was, as the name suggests, seaweed pills that were also marketed as chewing gum.

You may notice in some stories that the “ugly” and undesirable woman has very nearly the same face as Archie himself; the irony here is very likely unintentional. It’s rarely (seriously) suggested that there’s anything morally wrong with Archie aspiring to a girl much prettier than he is, but an ugly girl expressing interest in any boy is a figure of fun right up into... well, the present day. The Gabby pictured in the panel above her was a semi-recurring character, one of the only plus-size recurring characters ever depicted in Archie. As her name suggests, she was a gossip and one of the undesirable girls, but she was sometimes allowed to be friendly with Veronica or Betty without immediate karmic punishment. She’s also notable because she’s not only one of the only plus-size characters, she’s one of the very few plus-size female or teenage characters. Mr. Andrews, Mr. Weatherbee and Pop Tate all survived the 40s, but Gabby didn’t.

Betty at the inception of “Archie” (the comic) was just Girl. She rather liked Archie and he liked her, and he would try to impress/date her but end up having his monthly funny adventure. But only once Veronica was introduced did she start to gain more dimension, this time as Other Girl. Veronica was rather nice to begin with and it took a short while for them to start getting played off each other as “characters”. There was still little difference. Veronica was always rich and as a result became snooty fairly quickly, but her flaws were the flaws of an object. They existed to create difficulties for Archie, in his struggle to impress her, and Betty was differentiated only by not being snooty.

When Betty and Veronica were allies, it was because Archie had blown it somehow, and they were naturally compelled to be allies by virtue of both being girls. (When they didn’t like each other, it was also because they were both girls, and such was the natural state of being girls.) The panel above--both in the same pose, their identical faces lifted in scorn towards all men--would be echoed in other later stories, whether by chance or by accident.

Their posing in the 40s was frankly pretty ludicrous and transparent in its intentions.

Sexual attraction wasn’t explicitly commented on in the 40s comics in the way we understand “explicit” today, but it’s allowed to exist more openly than in later years. The va-va-voom effect highlighting the breasts would have to become more euphemistic as the decades passed.

In general, there was very little pretense in the 40s.

Artists had no qualms about showing the girls nearly in the nude (I cropped out a panel of Veronica in the bath above), nor about showing adult men leering at them. Even Mr. Weatherbee was occasionally moved by their charms. Generally adult men were “punished” for showing visible attraction, but only in humorous ways. It was more common for the teenage boys to drool over the girls, but the only disapproval shown when grown men did it came from women their own age, playing the role of scold or prudish spinster. There was also the occasional gag in which an adult man was misunderstood as a “masher” or peeper and received undeserved punishment from the supposed target.

There were various write-ups of celebrity activity in the 40s and 50s, and there too the attitudes towards women were pretty much what you’d expect, but even in the late 1940s the realities of life were not entirely veiled from teenage eyes. There was room for what would now be considered adult jokes.

Also in the 40s, Archie cross-dressed, like, a lot, in a way that noticeably vanished once the 50s rolls around. It’s always as a gag, and it’s usually noted that he makes an ugly girl, but in this era it seems to have been an idea that could be poked fun at without threatening the moral fiber of all America by the mere suggestion.

In fact, one semi-famous 1948 story, “The Battle of the Jitterbugs” (reproduced more fully elsewhere) revolves entirely around the girls and the boys competing in a “fair contest’ to see which sex is better at dancing--since boys only lead and girls only follow, it’s impossible to determine who can dance better overall. The obvious solution is for two girls to dance with each other and two boys to dance with each other.

Crucially, the idea is suggested by Reggie, the prankster of the group, framing it as a joke from its inception. Archie, the main character, follows through with it as a means of asserting male superiority. There’s also no possibility that two boys could dance, or two girls could dance, without the conceit of one performing the role of the opposite gender. But in practice, the whole thing does involve a lengthy depiction of two boys dancing together, and indeed, jokingly flirting with each other.

Again, the joke-flirting comes in the form of mocking from Reggie, both en femme and en homme. Archie, the protagonist and everyman, is uncomfortable throughout and finally throws Reggie right out Pop Tate’s door after Reggie goes too far in impugning his masculinity.

At this stage, the usual band of crones step in to punish him for imagined crimes against women, and he finishes the story sitting in bed with a broken leg, making a pronouncement that stands out rather sharply to the modern eye: “Confidentially, Jug! I’m no longer interested in women... or dancing!”

Veronica and Betty are significantly more comfortable with each other. In fact, it’s a rare 1940s story where they don’t quarrel with each other at all! Veronica’s femininity is seemingly unthreatened by the hat and pants, even though Archie Comics would continue issuing dire warnings against women in pants up through the mid-1970s.

It’s hard to imagine they lost after this! The tone of this page is downright celebratory, a rare occasion of early Betty and Veronica working together and coming out the victors of the story, not by one of them winning Archie, but by both of them showing their own skill at something without trying to show the other up. “Battle of the Jitterbugs” is a true rarity in these early years, a depiction of female triumph that doesn’t exactly defy the era’s pop culture as a whole--women were creating their own art even in the 1940s--but it does defy nearly every other Archie story up to the mid-1970s.

#archie comics #archieganda #i couldn't possibly put enough content warnings on this #content warning just about everything

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lady-plantagenet · 4 years

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What hasn’t already been said: The Spanish Princess 2

Episode 2: SOdden (or Sod ‘Em depending on your persuasion)

(Dont know how long I’ll be able to keep these puns up)

Catherine, like this woman, does not really fit into this era. But while this woman seems dropdead cool and at least looks the part, Catherine just...

To all those of you keen enough to have come back for another segment of ‘what hasn’t already been said: TSP’, as opposed to have just been scrolling when you see this - welcome back! (Scrollers you too <3)

To anyone who’s seeing this for the first time: what this is a list of observations, jokes, reactions and criticism which occur to me upon a rewatch. I wait every week until Saturday to do this so that I have had my fill of scrolling through the tag and aggregating what has already been said. I tried doing a whole spoof (here where I gave up 10% in) but tbh a) I don’t know the history well enough b) it’s more time consuming than I thought and c) this series is just not as funny or as crazy as TWQ, so it’s untenable. Having said that: This is not a hatepost. I’m not hatewatching this series and nitpicking on purpose but expressing my honest views and trying to find the good in it as well as the bad.

Without further ado...

First Scenes:

The baby cloth lifting into the ceiling of the chapel had nice ‘myth of the demon countess of Anjou (ancestress of the Plantagenets)’ vibes. I am 100% that was unintentional. I get this impression by the cringiness of the baby’s screams (what’s up with those sound effects? It sounded like a zipper).

Henry gives me such softboi vibes? It’s pleasing to me because it’s making me attracted to him as a viewer, but no good in convincing me this is Henry VIII.

I think Catherine’s exposition about how she feels is pretty ok actually, it’s fitting that she would feel anger.

CHARLES’ FATHER IS NOT MAXIMILIAN, IT’S PHILIP (or rather it was). ~~ A quick wiki search guyz, a quick wiki search. Ughh

Again with the whole everyone acting like Catherine is Queen. Can they cut it out? Also while we’re at it, what was Catherine’s attendance in councils even like?

The music was nice

Post Child announcement phase:

Oof I hate to say it but I lowkey wanted de la Pole back in this mother. Mainly because it would mean more Margaret Pole and by this point I am scared her storyline will fade in prominence now that there’s no longer a Yorkist subplot (showhorned as it was, it was the crowning glory of last season tied with Arthur x Catherine).

More x Maggie Pole and all of it over Seneca and learning :’). I already know this will be the best part of the episode.

‘We certainly know stoicism in our family’ ~ I guess she’s referring to Reggie? Because our boi Clarence was no poster boy for stoicism. Though could she be making an ironic reference to her father~?

Edmund de la Pole Debacle:

Well this convo at least passed the bechdel test.

Maggie and Edmund’s interactions here are touching. I know this plotline was rushed but I think it was just right to bring us back here for 5 min as a mournful throwback to the bygone era to which Maggie Pope belongs to and now continues to do so alone. It is emotionless and you can just feel how the York cause was hanging on by a tired old threat by that point.

Maggie Pole is becoming matronly now and I like this transition.

What bothers me about a lot of fans of Margaret Pole is that what they don’t realise is that she wasn’t all like ‘I want nothing to do with my family I’ll stay low and obscure’. While far more cautious than the likes of her ancestors, she did engage in land disputes with Henry VIII and was an outspoken supporter of Catherine and Catholic. Having her be a woman woth dubious loyalties towards the Tudors is accurate.

Scotland with Meg and Jammes:

LMFAO it’s like they read my mind when I spoke of how much I laughed when Meg was like ‘Alexander Steward you pig!1!!’ last episode.

Nice reference to Aulde Alliance

I like James.

Henry and Catherine on the balcony:

Was she commander of the forces? Was Howard appointed that? Regent she was, ok.

Charlotte Hope’s new hairstyles really suit her!

‘Will you please stop cursing’ agahsjdk ahah

No offence to women (of which I am one) but this comparison between childbirth and war is just... wrong. I know Starz think they are being smart but childbirth is far less impressive than winning or surviving a battle - comparing the two diminishes the bravery of soldiers. YET ,having said that, childbirth is necessary for our society whereas war is almost always futile and by comparing them, it wrongly represents violence as something inherently as natural to us as birth and continuing of civilisation. overall not a smart, respectful or accurate parrallel to make.

Meg and prep for invasion + Catherine in her weird armour:

So Margaret dreams that her husband is dead and bloody in her bed. Ughh show you neeed to get more creative. But I did like the whole ‘dreams are how our ancestors talk to us’ line from Angus Douglas.

Re: Meg in her beret... Why is Meg dressed like me going to the London shops in October? Digging the aesthetic but not sure about the accuracy.

Rich of Catherine to bring up Edmund.

Why is Ursula Pole crying??? What is all this to her really?

Did Howard just call the guard... sonny?? Is this some WW2 crossover?

Catherine - James and the tent parlay:

Did Catherine just insult Meg’s intelligence??

Also lmao I’m going to miss James.

Re: Howard saying ‘I’m not going to get insulted by a man wearing a dress’ .. UMMM Starz, you do know that just thirty years ago men were prancing about in dresses and leggings (essentially). From around the middle of the 14th century to the beggining of 16th century (if not earlier), Englishmen were also essentially prancing about in ‘skirts’.

Am I getting a weird cooperation-partnership vibe between Meg and James?

The Battle:

Charlotte Hope looks so good with the helmet, she’d really suit an english hood! Such a shame they won’t give her one!

Ewwww he’s eating mud, why?

Just standard battle scene. They are all the same to me no matter which movie.

Aftermath:

Jesus, I find the whole Meg crying over James IV so heartfelt ‘you arrogant bastard’ for some reason just came out so full of emotion. Can someone please explain why the hell I ship them more than Henry x Catherine?? Like how ??

Awwww Linna is sooooo adorable ughhh. Also this whole Catherine going into armour among all the women crooning over the children gives this adorable sense of Catherine boyish and bloodying herself out to protect their peace, idk. All I have to say is that these series is less eager to pitt women against each other than the previous. I think that’s a step forwards.

Also, good to see Catherine being modest about her victory so Henry can save face. Finally starting to seem like the real Catherine.

‘Go on you dog’ arghh ahah he sounds like some public school rugby lad egging his mate on.

Re: Wolsey cock-blocker; the real Catherine would know it was uncatholic to have sex when you were pregnant. Also Catherine is not technically speaking in confinement if she’s wandering about.

It’s nice to see Catherine sticking up for Howard, she at least learned to respect him during the battle.

I foresee Oviedo having enough of this Christian stuff and wanting to return to the berber domains (I suppose Spain is out of the question)

Knighting Ceremony:

Apparently Margaret Pole herself was made Countess of Salisbury during this same ceremony... right? @houseofclarence

Also Maggie Pole being like: “being a rebel is in my blood, or so they tell me”... gahhh what’s with these shows and the Clarence erasure? Can’t they make one bloody reference to her dad or grandad Warwick? Ugh. Especially with lines like this. Actually? You know what? Ignore my previous comment about the stoic remark and it being an ironic reference to Clarence. I put such subtlety above this show’s writers.

Catherine has a habit of going to the coldest places possible to lose her children...

Haha @ Henry asking Bessie Blount (of all people) where Catherine is.

Conclusion:

6/10

What I’m happiest about is that Flodden got dealt with in one episode because warrior xena Catherine is not what interests me most about this show. Having said that, it was a true shame that James IV died because his were some of the best scenes. This whole show is starting to feel so historical fantasy-ish because the aesthetics are so confused. Granted it’s still pretty (not eyesore like Reign) but it doesn’t penetrate.

I am as always invested in the Poles (and More) but am also starting to get attached to Princess Mary whose actress exudes plenty of charm. This show remains confused with its feminist message because while it shows women being proactive there is so much emphasis on babies that what remains with the mind after watching is this womanish birthdrama, as opposed to a show about struggles which affect both genders.

You might tut at me and say I’m being ridiculous and that it is historically accurate to put so much emphasis on women’s babies and I say that’s swell. I would happily watch a show where that element is strong (most pre 1995 historical dramas are like that with traditionally feminine characters and I gulp them up like sustenance), but if a show promises feminism and women-men being partners I want it to deliver that properly. As I said in my previous post, why do we keep trying to make women engage in acts like war as if such an abhorrent act is the only way to take them seriously? I await the day where cunning, rationality and cool-headedness will be the traits portrayed as feminist ones.

There is nothing else to really comment on... the only potentially deeper message in this is the gender discourse. I am unsure about the accuracy so I can’t speak of the historical value of the interpretation. But what I will say is that though I remain excited for each new episode... I’m just not as invested as I was in TWQ (rewatch every year dont @ me) or TWP despite their many flaws. Some characters pull me in eg Maggie Pole (Carmichael is a bae), Thomas More etc but not the whole cast like TWQ. Anyway... would be interesting to see if anything happens with Lina and Oviedo tommorow as their storyline is conspicuously slow.

#the spanish princess #the spanish princess 2 #fool if you thought I wouldn't jump on the whole 'being a rebel is in my blood' opportunity to bring up Clarence #I was delighted last time when people left comments and stuff #rofl #so yeah #Please please I love discussions and do not think twice before sending me an ask or commenting !#lady plantagenet's series reviews #the dialogue remains a bit trite #the sugared grape counterpart for this episode was edmund's death and the whole ironic reference to Senenca and stoicism #not because the dialogue around edmund's death was particularly poignant but how conspicuously quiet and swift the whole affair was as #...as compared to previous york pretender plotlines left a mournful note #basically I feel like I keep focusing on stuff the show doesn't want me to focus on #and am projecting therefore

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blackjack-15 · 4 years

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Puttering Around — Thoughts on: Secret of the Old Clock (CLK)

Previous Metas: SCK/SCK2, STFD, MHM, TRT, FIN, SSH, DOG, CAR, DDI, SHA, CUR

Hello and welcome to a Nancy Drew meta series! 30 metas, 30 Nancy Drew Games that I’m comfortable with doing meta about. Hot takes, cold takes, and just Takes will abound, but one thing’s for sure: they’ll all be longer than I mean them to be.

Each meta will have different distinct sections: an Introduction, an exploration of the Title, an explanation of the Mystery, a run-through of the Suspects. Then, I’ll tackle some of my favorite and least favorite things about the game, and finish it off with ideas on how to improve it.

If any game requires an extra section or two, they’ll be listed in the paragraph above, along with links to previous metas.

These metas are not spoiler free, though I’ll list any games/media that they might spoil here: CLK, CUR.

The Intro:

In our next Jetsetting game, Nancy travels back from Modern-Day England and straight into 1930s Titusville (aka River Heights 70+ years ago) to help an acquaintance who’s in the middle of two unrelated plots to turn Titusville upside down.

A game famously reviewed as “pleasant but inconsequential”, Secret of the Old Clock tends to be passed over for both praise and censure, famous for two minigames (the sewing minigame and the mini-golf) but otherwise overlooked. It’s a shame, really, that it’s sandwiched in between two much flashier games, as CLK is a wonderfully solid entry into the Nancy Drew series. It pioneers the two-culprit variation on the standard Nancy Drew plot, tackles a new time period, and includes dozens of in-jokes towards the Nancy Drew books.

It’s also the first introduction of Carson Drew as a phone character, which is a lot of fun, and makes sense that he’d show up in the game that includes nods to all things canon. He doesn’t show up again until much later in the series, so it’s nice to introduce him here after hearing about him for 12 games.

As opposed to CUR right before it, CLK takes care to ground itself in a linear plotline, handling its story with relative ease and taking care not to reach too far out of the box. This is one of its greatest strengths, and provides a much better game overall because of it. It’s a simple story, pretty well told.

Though it doesn’t stand up to other more “simple” games before it such as CAR or DDI, it never reaches any of the lows of SCK, FIN, or CUR, and allows the player to be sucked in to its fantastic facsimile of life in the 1930s for teen sleuth Nancy Drew — blue roadster and all.

The Title:

As CLK is a mixture of the first four Nancy Drew books, it retains the title of the first book. As a nod to the history of Nancy Drew, it’s a great choice for the title.

Unfortunately, though the Old Clock does appear and hold secrets, it’s just not prominent enough to deserve the title that it holds. The other three books — The Hidden Staircase, The Bungalow Mystery, and The Mystery at Lilac Inn — are other options, and The Mystery at Lilac Inn would have been the most appropriate title. It doesn’t have the immediate name recognition, which is why they didn’t pick it, but it really is much better and encapsulates the game much better, as the game revolves around the Mysteries that are tied to the Inn.

That’s all I really have to say about that, so onto the mystery!

The Mystery:

Nancy Drew is summoned to the Lilac Inn to help Emily Crandall, the friend of Nancy’s friend Helen Corning, who needs to put her recently deceased mother’s jewelry into a safe, and figures that Nancy’s father would have one.

If it sounds to you like a simple, if slightly contrived premise, then you’d be right.

Once Nancy gets there, however, she finds out that Emily is cracking under the pressure of running an Inn, that her guardian Jane Willoughby isn’t as much help as she should be, and that Emily and her mother were depending on money from Josiah Crowley’s will, which mysteriously only included his recent ESP teacher, Richard Topham, rather than the Crandalls and the local banker.

From there, things go from bad to worse as the inn’s kitchen catches fire, Emily’s jewels are stolen (and partially returned), and voices in the walls start manifesting — not to mention the fetch quests around Titusville that Nancy is sent on and the ridiculous Richard Topham hiding everything about himself other than how pompous he really is.

Nancy soon figures out that this mystery is two-headed, with one side revolving around the Inn itself and the other around Josiah Crowley’s real — and missing — will. Our villains catch on too, however, and Nancy has to race against their suspicion to expose the frauds, discover hidden secrets and identities, and solve the Secret of the Old Clock.

As a mystery, this one really is quite good for its time. Dual villains, each unconcerned with the other, hidden inheritance, Shakespeare references — it’s got it all. Though Jim Archer lets it down a bit in his sheer nothingness, and it functions as a howdunnit with a weird whodunnit beginning, CLK is solid ground after the incredibly shaky mystery in CUR, and it’s a lot of fun to play through.

The Suspects:

Emily Crandall is our protagonist and resident watering pot of CLK who spends the game moping and being Generally Unhelpful. Her mom’s death notwithstanding, Emily’s stressors are the Inn, her lack of money, and her fake-guardian making her think that she’s crazy.

So maybe her total lack of common sense in wanting to call in Nancy because Nancy’s bound to have a safe at home is a result of copious amounts of mental stress. One can only hope so, as by her next birthday she’s the legal owner of the Inn.

Emily actually would have been interesting as a villain, but she, like Jim, just isn’t enough of a presence in the game — which stands out since she’s the closest we’ve got to a main character! She cries a lot, she sits a lot, and that’s about it. She would have had to be a misguided villain, convinced that her guardian (who would have had to actually be Jane Willoughby) is after her fortune…but HER still isn’t up to that level yet, and it’s probably better that they went with a story they can tell wholly and mostly convincingly.

Honestly speaking, Emily, being as she is, is a more successful Linda Penvellyn, which I don’t actually think is unintentional. She’s being harassed and abused by someone who’s basically a family member but is still largely unfamiliar to her, the tie to her remaining family is gone (though Emily’s mother is dead, unlike Hugh Penvellyn), and she is being gaslighted to believe that she’s crazy.

Emily was allowed more agency, more screen time, and more pity by the writers and creators, and because of that, her situation with her Evil Jane is far more obvious to the average player, and she’s treated with far more sympathy than Linda historically has been by the fandom (though recent fan discussion has begun trending in Linda’s favor, which I think is wonderful and fantastic).

Jane Willoughby is, of course, not Jane Willoughby after all, but actually Marion Aborn, proving that identity theft in the 30s was as easy as…well, saying that your name was someone else’s name.

An acquaintance of the actual Jane Willoughby and a petty thief, Marion intercepted the letter about Gloria’s death and Jane’s status as Emily’s guardian and decided to try to cash in on potential cash by tormenting Emily until she signed over the Inn. Exploding the kitchen, stealing Emily’s jewels, and attempting to make the girl think that she was crazy to make her sell the Inn before her 18th birthday (after which Marion would receive no profits).

As one of two culprits, Marion is the more “subtle” culprit and has the more complicated background, but is also the one you have to deal with the most, and thus suffers slightly from being in the spotlight (and thus showing the obviously evil side of her) a little too much. As this game isn’t really concerned with its culprits as a centerpiece, however, Marion’s antics fit right in.

Marion also gets points for being a much more intelligent abusive culprit (contrasting Jane), working hard to make Emily think she’s crazy with a clear goal in mind and even going as far as stealing, then partially replacing, Emily’s jewels to really hammer home the idea that the girl wasn’t mentally well to others — and to Emily herself.

Richard Topham is a self-proclaimed ESP expert and everyone-else-proclaimed dick who ended up somehow being the beneficiary of Josiah Crowley’s will, despite his spoken intentions to leave it to the Crandalls and Jim Archer. He also has a very obnoxious cat named Uri, voiced by a lovely cat named Carl (though I bet you were expecting me to say Jonah Von Spreecken — never fear, he shows up as the Tubby Telegram guy!)

Richard is our other culprit, guilty of falsifying Josiah Crowley’s will when no one could find the original, leaving most everything to himself rather than to the Crandalls or Jim Archer as Josiah wanted. A slight throwback to the 1920s obsession with spiritualism that itself was a post-war reaction to massive death, Richard is as sleazy as they come, testing Nancy for an “inferior mind” and taking advantage of every situation in order to come out on top.

As a culprit, Richard’s technically the one with the bigger crime, but is overshadowed by the plotline with Emily and Marion and is thus a little forgettable, even though it was his actions that started this whole mess in the first place.

Finally, Jim Archer is the local banker who’s not having too good of a time during, well, the Great Depression, where hundreds of banks (and dozens of bankers’ hearts) failed. Promised a boon by Josiah Crowley, he, like Emily, is left in the lurch after the false will was presented. Jim was also a fellow student with Carson Drew at law school, but turned to banking as a career instead.

Despite his office being the location where Nancy finally figures out the mystery of the titular Old Clock and where she discovers that “Jane” is actually Marion, Jim really doesn’t have much to do in this game. He gives Nancy the dreaded sewing minigame and reminds the player that the stock market crash was a recent event, but other than that has very little impact.

Jim would have been a poor choice for a villain — he just doesn’t have the personality or impact necessary — as the only storyline readily available would have been him doing Dirty Deeds to keep his bank afloat…except for the fact that if he were a villain, his bank would have been doing fine, with no need for the will anyway.

The Favorite:

My favorite moment in the game, odd as it might seem, is the CB radio conversation-slash-puzzle. It’s so rare in these pre-Nik games that we actually get to see the lives of those not really related to the case/mystery and get a sense for the world spinning on despite the incident, and this is a great example of that done right.

Like the “freezer moment” mentioned in my Danger on Deception Island meta, this moment where Nancy can see how Josiah Crowley’s life has impacted people for the better, rather than the main game where so far his death has made everything worse. It’s a wonderful moment, and honestly the game is worth replaying on the merit of that alone (though there are many wonderful things about it).

My favorite puzzle is getting down into the secret passage (and all of the puzzles within the passage). It’s a ton of fun to find hidden passages that aren’t full of Deadly Traps or human remains, and the whole Creepy’s Corner puzzle is delightfully campy and awesome.

The best location in the game by far is the carriage house, where the aforementioned conversation takes place. Beautifully lit, nicely hidden away in stages, and the only place that doesn’t feel like a 1960s set of a 30s period piece.

I love this game as homage to the original Nancy Drew titles; though they’re changed somewhat to suit both a video game style and the take on the original canon that the video game universe took (such as making Nancy’s mother’s death at 10 as it was originally, which was the smartest move they’ve ever done).

Video-Game-Style Nancy’s far more like her original 30s version than the sanitized, “fashion-ized” version in the 60’s rewrites — a fact that becomes more and more clear as the series goes on — and it really does show here, as cowboy-cop Nancy wrangles not one but two crooks.

Speaking of, the last thing that I’ll mention in this section is the fact that there are two different culprits, each uncaring of the other. In a game series that was originally only supposed to be 12 games long (meaning CLK would be the last one), this is a delightfully fresh take and it makes untangling who did what a lot of fun and makes CLK different from most games before it.

I’ll talk more about this in later Nancy metas, but the shift from “one crime, one culprit” to a more “spread the guilt” approach really makes the games go up a level or two in enjoyability and in complexity, and CLK is a great example of how just having two culprits really makes the game much more fun to play around with.

The Un-Favorite:

All of that being said, there are some things in CLK that I really don’t love.

The sewing puzzle is honestly the worst; it’s hard with a mouse and nearly impossible with a trackpad, it’s tedious, and it doesn’t matter for the rest of the game, which is probably the worst part given how much effort it takes. It’s a puzzle for a puzzles’ sake, and doesn’t tell us anything we don’t already know (we know Jim’s not doing well; we know it’s the Great Depression, etc.), not to mention not rewarding the player nor Nancy for the effort.

My least favorite moment in the game would have to be Nancy’s first encounter with Richard Topham. Nancy’s autonomy is usually respected in both the 30s original drafts (less so in the 60s re-writes) and in the games, and Richard’s comments about lesser minds and his little test are, even with Nancy’s snarky comment about him in her diary, frankly out of place.

They don’t serve as a “relic of the times”, they don’t make us hate Richard more than we would have for stealing money from people who are literally drowning in bills and debt…and as much as the Nancy Drew books and character are feminist rather than Feminist, it’s honestly not great to have both his ‘clients’ during the course of the game be women that he treats the way he does.

It wasn’t necessary to have him behave the way he does, it contradicts the Spiritualist movement (which was most popular among women to a startling degree, and male Spiritualists tended to treat their female clients very well because that was the bulk of their clientele), and it doesn’t tell us anything new about him, because Nancy and the players already know he’s a fake and a blowhard.

The Fix:

So how would I fix Secret of the Old Clock?

The first and biggest fix I’d make is to include a strong storyline about Spiritualism. As noted several times above, Spiritualism was a huge force in the 1920s, and a period piece set in the year 1930 should necessarily reflect that. Quite frankly, all the nonsense about Jim Archer’s wife should just be cut and replaced with a big Spiritualism puzzle of some sorts.

I’m not saying a séance — no need to retread MHM — but an actual nod to Spiritualism (and through it, the first World War, which given Nancy’s age of 18, would have happened when she was a child) more than just “and this character is a psychic of sorts, don’t really think about it” would improve the game and ground it in its time period. Other than the references to money troubles and the ease of identity theft, there’s not much to ground CLK in its period, and I really think a Spiritualism storyline would aid that.

And if Spiritualism is involved, Richard becomes a more present, more serious character — and a more serious threat. It also opens the opportunity for the two plotlines to intersect — is Emily being driven crazy by stress, an enemy, or a malevolent spirit (which could even be supposed to be her mom, should they want a slightly darker turn)? Richard might visit the house to ensure there are no ‘malevolent presences’ around — and ensure that Crowley didn’t hide his will there.

It wouldn’t become a ‘haunting’ game; it would instead work on the aesthetic of familiar spirits — something that would be explored more fully in the next game.

I know this has been said, but I can’t emphasize enough that the sewing puzzle should be cut, even if there’s nothing to take its place. It’s a perfect example of the wrong puzzle, the wrong controls, and the wrong side-quest at the wrong time. I’m also not sure why they made Jim Archer a middle-aged banker rather than Helen Corning’s fiancée, but that’s too small a change to really bother with.

The other important change I would make is to change CLK from a weak whodunit — our culprits are already clearly the culprits — to a strong howdunit, which is what it really wants to be.

The beginning can stay the same — Nancy’s journey, Emily’s mother’s death, Richard’s faking of the will, Josiah Crowley’s death and promises, etc. — but introducing Richard Topham at the Inn, there to ‘visit’ and offer condolences and because he sensed Heavy Psychic Energy and wondered if it was coming from the house or from Emily. Have Emily tell Nancy in confidence that the other reason she called her in was because she’s either going crazy or being attacked on all sides, and the game can proceed on from that point.

Because the villains aren’t secret or even quasi-hidden in plain sight — save for Marion’s identity theft — it’s a much more natural shift to a howdunit than other games. Emily’s living in fear of Marion, running the Inn, and the possible Malevolent Spirit that may or may not be her mother haunting her through the Secret, Secret Passageway in the Inn, and Nancy’s suspicious of Richard Topham who inherited all of Crowley’s wealth, of the ‘hauntings’ of the Inn, and of the missing will and the gifts Josiah left behind.

Those two plotlines alone are enough to carry the game, especially including the Edutainment section on Spiritualism that would tie in with Richard Topham (and possibly include Emily’s mother having an interest due to her husband dying in the war), and so Jim Archer just isn’t needed as much. Whether he stays in the game in an even more reduced role or whether he’s replaced by a ninth-hour character in the form of Emily’s actual guardian, the real Jane Willoughby, is up to personal preference (though I personally like the second option).

Like all the Jetsetting games, CLK begins with a small problem that snowballs into larger and larger consequences. By emphasizing a Spiritualist plotline (culminating with the technology-based ‘encounters’ Josiah had with his CB radio friends), trimming down the fat with Jim Archer, and selling CLK from the beginning as more of a howdunit than a whodunit, CLK would improve enough to be more than just a good game, and become a standout of its era — as befitting the start of the titular teen detective.

#nancy drew #clue crew #secret of the old clock #nancy drew games #CLK #nancy drew meta #long post #my meta #video games

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shotsbyshae · 5 years

Text

Coming Soon: Living Proof

Pairing: Steve Rogers x Reader

Summary: The case you and Steve are on brings about your worst nightmare.

Song: Living Proof by Camila Cabello

Part of the Hunter Steve Series

Where did you come from, baby? And were you sent to save me?

Home.

It has never been an actual place for you.

It never really held any meaning.

Until him.

At some point he became home.

And that scares the hell out of you.

This won’t last.

Eventually, he will have to go back – make amends.

He’s still Captain America.

But where will that leave you?

You’re stretched out on your stomach across the lumpy motel bed, elbows propping you up with your laptop in front of you. The room is unusually quiet, because the two of you are researching your current case.

Well – Steve’s researching.

There at the table, feet propped on the edge as he balances the chair on its back two legs. Scrolling the tablet in his hand, unaware your eyes are watching him from just over the edge of your laptop screen. The blue t-shirt clings to him and you can see the unintentional flex of muscles just below his tan skin as he moves his arm. He’s absent-mindedly chewing on the end of a pen, drawing your attention to his mouth. His bottom lip, a full, pale-pink, velvety plush, begging for attention.

The chair lands back to all four legs on the ground with a snap and your body jerks in surprise at the sound. You’re unable to hide the smile on your face as you glance up to find Steve’s eyes glaring at you.

Busted.

“You know that smile drives me crazy,” Steve says calmly as he places his tablet on the table. “How am I supposed to get anything done with you over there, looking like that?”

The smirk on your face widens as he stands up, approaching the bed, one finger closing your laptop slowly, “Well, how am I supposed to get anything done with you looking like that?”

***

“What are you doing here?” you question the hunter as he approaches where you stand in the kitchen, glancing around the interior of the building curiously, obviously impressed with his surroundings.

“Where are we?” the man asks.

“The compound,” you reply, looking at the blood bag in your hand remorsefully. “In New York. Apparently, my worst nightmare.”

“How is this your worst nightmare?” the confusion apparent on Dean’s face as he opens the refrigerator to scavenging its contents.

“Because Steve’s here,” you say quietly.

“What were you thinking!” a voice booms from the hallway and Dean closes the door slowly as he watches a clean-shaven Rogers, silver star on the front of the dark uniform he’s wearing, storm towards them. His hair is shorter than the man the Winchester had been with moments ago and he’s looking at you with such contempt that the green-eyed hunter has to remind himself not to interfere.

“I was only trying –” you try to respond.

“You’re fucking reckless,” Steve’s words are sharp and venomous. “And a liability to this team. I’ll be discussing your transfer with Fury this afternoon.” He looks down at the bag in your hand. The look of disgust on his face feels like a knife in your chest. “There’s no place for someone like you here.”

You swallow the lump in your throat as he storms away, fighting back the tears that are burning your eyes. Dean steps closer to you as you glance over to him, your voice breaking as you say quietly, “That’s who he should be – Captain America.” Your eyes move back to the blood bag in your hand, a tear slipping from the corner of your eye. “But he hates who I am.”

Tags: @sagechanoafterdark @cake-writes @mom---nicole @soleilxetxlune @sleepingspacedragon @caffeinated--writer @marvelfansworld @shikin83 @jennmurawski13 @letsby

#steve rogers #steve rogers x reader #steve rogers fanfiction #Hunter Steve #Hunter Steve Series #avengers fanfiction #dean winchester #supernatural crossover #monster of the week #marvel #mcu #fanfic

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dontcallmecarrie · 5 years

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Are you planing on ever making By Dawns Early Light into a full blown story? ... And is Thanos an issue in this AU? I think you havent mentioned him in it so well, I wondered?

UMM. *looks over what I’ve got in that tag, and winces*

geez this thing’s longer than some of my actual fics, when did that happen?

Here’s the thing, though: this AU’s meant to be a writer’s-block-buster. Which, if the current evidence is anything to go by, has been a resounding success.

However.

As of right now it’s just that, a thought-and-snippet-writing exercise, because there’s a lot of things that’d need tweaking before I’d even consider posting it on AO3 [aka my inner perfectionist strikes again].

Again, this is mostly just me messing around with a fluffy tumblr-exclusive [for now, anyway] AU because this feels smaller stakes than if I were to round this up and make it into a full-out fic.

Also, in regards to the second part of your ask: not exactly. By Dawn’s Early Light is, at its core, a fairly fluffy self-indulgent AU, which for me is also code for ‘nobody dies if I can help it’ and ‘if the MCU can have a Gary Stu villain then I can do what I want, Deus Ex Machina-levels of fixits included’.

How? Simple. By nerfing the heck out of him, while also unfridging as many other moms as I can, with a side of I-have-yet-to-forgive-the-writers-for-pulling-this-bs-seriously-what-kind-of-writing-was-that.

Here’s how the entire Thanos situation would go down, in By Dawn’s Early Light (spoilers for a fic I have yet to write):

First, let’s take a step back, shall we? This is, among other things, a timeline-crunch AU. There’s a lot going down in a very compressed time frame [originally just because I wanted Howard to still be around just for Tony to be able to punch him, but now I’m invested in this so time go the full nine yards, buckle up everyone].

So. The entire situation around Maria Stark and Tony and Bucky’s been covered fairly well, but to sum up: when Howard turns out to be an abusive asshole of a husband, his wife smiles at him and promptly turns around and burns both SHIELD and Stark Industries, revealing HYDRA and Obadiah Stane’s double-dealing ahead of schedule [unintentional fixits ftw]. In the chaos, Bucky manages to escape and joins up with Maria and Tony as they go in hiding.

Ripple effect that didn’t get mentioned: Hank Pym sees this shit going down, realizes that the most famous missing child in the country is about the same age as his daughter, and decides to not aim to be Absentee Father of the Year. He ends up being a tad overprotective, sure, but is way more involved in his kid’s life and Hope Van Dyne grows up with at least one (1) parental figure in her life, so…there’s that.

Things happen, and the timeline for bringing Janet back gets moved up somehow, right around when the Avengers assemble.

Note to self: adjust part of Scott Lang’s origin story in this? Compare whistleblower laws of that time era, alt. entrance for him could be him somehow helping Tony hide because BDEL!Howard’s the type of petty and vindictive asshole who’d pull some strings if he found out this rando interfered with his search somehow.

Bonus for giving Scott and Hank something to commiserate about, later on, and would also have Tony and Co. feeling indebted to him [which would result in a lot of shiny prototypes and records being expunged, later on, probably]

…though that might be a bit much. Hmm.

Reason to bring Janet back: I do what I want also I think the MCU fridged moms because otherwise they’d be too powerful

Ripple effect that didn’t get mentioned, the second: since this is also the AU where moms get unfridged, Frigga’s going to be derailing the plot from her corner of the galaxy.

Also, since I finally watched Ragnarok but was a mythology nerd as a kid and have a passing knowledge of the comics, time to revamp how Hela fits into this universe.

Okay, she’s still murderous and powerful and ruthless.

Only, turns out there’s a very good reason for it: she was one of Loki’s students [iirc she’s his daughter in the myths, that’s the best I can come up with atm] before Odin saddled her with the thankless duty of being the watchkeeper of Asgard’s enemies and prisoners. As in, Odin just straight-up went ‘hey you look pretty talented, here, I now hold you responsible for this entire goddamn realm of assholes and creeps, if any get out we’re all screwed’.

Which is something Hela absolutely did not sign up for, but she’s now just about the only thing standing between said realm of undesirables and her home so she stays put […also maybe Odin sealed the only way back? Maybe? Idk].

It didn’t help that in the early days, these ruffians thought they could overpower her and escape to wreak havoc. So she had to kick everyone’s ass six ways to Sunday, until they finally accepted her as the head honcho of this dump and as someone Not To Be Fucked With.

Thus, why Hela’s known as the goddess of death and ruler of Helheim.

…and it’s also why she accidentally came to Thanos’ attention.

(Because why the hell not, as if her day wasn’t bad enough Odin you owe her big time—)

Thanos, of course, is in love with her carnage and seems to be the kind of guy who doesn’t take no for an answer. Hela just wants to be left the alone but can’t tell him to fuck off because if she did, she’d risk leaving her home open to attack from enemy agents, which is how we get the story behind why Thanos is known as the madman who courted death.

[Hela: fuck you and the horse you rode in on shoo you bastard and take your stupid flowers with you—]

Thanos was on one of his especially annoying ‘let me woo you with the ashes of this one civilization!’ kicks [Hela: ashes. How romantic. Not. Leave me alone already.] when some of the Dark Elves snuck out and killed Odin.

Hela…is only pissed she couldn’t have done it with her own two hands. Also slightly embarrassed that the Dark Elves escaped in the first place, and relieved that it was only Odin who’d kicked it because his wife had seemed pretty nice, the one time Hela’d seen the lady before she’d been drop-kicked to this hellhole.

Also— apparently she now can leave this place? Sayonara, bitches.

Thanos is very displeased when he doesn’t find her standing guard over Helheim when he returns.

Displeased enough to get creative, as far as courting gifts go, and think that if she didn’t like rings or jewelry, well, maybe this Lady Death would appreciate a shiny, fully-assembled Infinity Gauntlet instead.

well…let’s be honest, if it weren’t for his ‘don’t take no for an answer’ thing, you’d have to give the guy props for trying. Nothing says ‘I love you’ more than ‘here have this item of absolute cosmic power’, amirite? [just kidding]

Hela now has mixed feelings about Asgard. Before she was crowned Queen of This Dump, she’d been a student of magic, had been used to certain things. There’s quite an element of culture shock to be had, now that she’s back. It’s the first time she’s seen sunlight in thousands of years, and also there’s a lot of systemic changes going on now that some of Odin’s dirty secrets are coming out at last. Turns out she’s not the only one who’d been pressed into duty: some of Loki’s other students[/children in the myths] came back with stories of the same. Fenrir was apparently voluntold to be the guardian of the Reality Stone, Jormungandr had apparently been busy on Midgard […which now had a school of Mystic Arts? Pfft. Overachiever], and the more Hela thought about it the angrier she got.

Especially when it turns out that her teacher had been mocked for suffering a breakdown and was also tortured by the creep who’d been flirting with her for millennia [Everyone: wait what Hela: I am going to KILL THAT BASTARD NEXT TIME I SEE HIM].

However, thanks to Frigga being Frigga and having a crazy-high charisma stat, Hela is still mostly willing to play ball with everyone else on Asgard. Despite her not being happy with how ungrateful the general populace acted [oh, magic’s just ‘tricks’? Here, have a fireball TO THE FACE I FOUGHT MONSTERS WITH THESE TRICKS FOR MILLENNIA].

So when Thanos shows up again, he gets one-shotted by Hela, who’s very very pissy about her vacation being interrupted.

Because this planet has sunlight and hot chocolate and punk rock and she’s got centuries’ worth of time off and she is damn well going to enjoy it.

…aka why Thanos is a bit of a non-entity in this one. Again, fixits are the name of the game for this AU.

#I got an ask!#replies #Naught replies #By Dawn's Early Light #thinking aloud #My writing #behind the scenes mini fic #in which fixits happen #canon went screwy years back here's my attempt to fix it

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theshortwavemystery · 4 years

Text

NOTES FROM WATCHING THE FIRST EPISODE OF “RIVERDALE”

1. Riverdale is a bizarre town that seems cut off from everywhere else, temporally straddled between an eternal 1950’s—more accurately a 1950’s stuck in an endless repetitive loop. But it takes place in the late 2010’s. Even so, the decor in the town is vintage, and the characters recognize this. The activities of the kids are vintage. the internet and cell phones exists, millennials are named, but it doesn’t seem to matter. something is very weird here, as if all these people are ghosts. all the stock scenarios and characters are here, which is to be expected for a teen drama, but there’s an exactness, a literalism, that is too perfect to be unintentional. 2. what is this world? it seems to be a staging of a certain inertia in american culture, which changes in superficial ways—technology, new TV shows, music new taboos—but all if this somehow serves to reinforce, or justify a return to the “leave it to beaver” universe. 3. any reminder that these are modern kids—their frequent references to contemporary TV shows like Mad Men for instance—only serve to increase the spooky vibe. everyone in this town seems to be low key crazy, making the show feel like twin peaks but written by what’s left of your local shopping mall. 4. the show’s script is constantly making fun of itself to the point that we seem directed by it to avoid taking the drama seriously—it is perhaps a smoke screen, like the haze of the presumably northwestern woods that seem to surround the town (it is filmed in Vancouver). the gay best friend is named as the gay best friend, establishing him as a living archaism—i felt bad for him after this. 5. plot points are shown to be cliche—the fake lesbian kiss, once scandalous in the 2000’s, is brushed off as false and an erasure of real lesbians. the script fools us, indicating it means to aim for more intelligent territory. and yet, veronica’s confrontation with cheryl, her tough girl speech, where she reveals her vulnerability as a rich girl fallen from grace but also stands up for betty—this goes without an ironic comment, even thought it is also a cliche, but a more contemporary oneq—the “mic drop” moment. so we see how the naming of particular cliches, employed ironically, serves to hide others the show is earnestly employing. 6. veronica says she needs to be redeemed for her father’s crimes, how is that fair. 7. archie’s desire to make music seems like a stand-in for a recognition that he’s gay. they cover this up by making his character straight but i don’t buy it. because his music itself clearly doesn’t matter. this is similar to the dead poets society where the kid kills himself obviously because he’s gay and he’s afraid his dad will disown him. why? nobody kills themselves merely because their dad shames them for doing theater. the reason is simple: theater is already such a humiliating and abject thing to love that you have to be totally shameless to even start doing it. once you become a theater kid your dad has lost you. in the second episode, the gay friend of betty reveals that he agrees with me here. 8. archie is the decentered center of the show, not a particularly interesting character so much as a holding container for female desire/fantasy. he’s dumb, cute boy who’s kind of artistic and kind of jockish, but the complex psychology belongs to betty, veronica, cheryl so far—all plotting, calculating characters, whereas archie just wants to enjoy himself and be liked—and to be fair, these shallow needs get him in plenty of trouble, but they’re simple needs. but this is always what archie was, even as a comic book character. he’s kicked around like a football like a more jocular charlie brown. 9. archie’s problem is identiied as the problem of "all millenial men", who need to be told what they want—but this is really everyone’s problem. what makes the girls/women different is that they don’t care that they don’t know what they want—they just act on feelings, and try to make the world match up with the feelings. archie thinks he ought to know what he wants, and then do it. but the women, whose desires as women are not even encouraged from day one, are free from this tedious problem. this is why archie is the one who has to be the moral authority regarding his mutual witness to the murder with the hot teacher, while the hot teacher is only afraid people will find out she fucked a student. veronica brushes off archie’s identity crisis as a false dilemma, critiqueing the categories of “jock” and “artist” and insisting he can be both, and anyway who gives a fuck? but this whimsy and indifference toward boundaries can get devious with veronica, who is betty’s friend one second and hooking up with archie the next. 10. although women are still often denied full subjectivity in literature, in real life it’s always been the opposite—men tend to forego personality development in favor of power or the illusion of power, and end up more shallow, rigid and fragile, more prone to the whims of their entourage. they never really have to become anything in particular--masculinity functions like a hive mind. if male relationships superficially appear to have less friction, it is only because men are brutally conformist and end up with little personal to argue about, usually coalescing around some common interest and not prone to discussing their respective inner lives--except, occasionally to defensively deny their existence. so-called "sensitive" men only do this in more devious ways--it's obvious that jughead is the most devious character we've met so far. women, in contrast, are each a hive mind unto themselves, compelled to construct an array of selves, carefully deploying them to get by in a world structured by the male gaze and booby-trapped by the machinations of other women. this complexity is of course terrifying to men who either submit to it as a fetish or suppress it— and one way of accomplishing that suppression in literature is to create stories where the men are supposedly complex and the women supposedly shallow and dependent wholly on men--the typical gaslight job of the mediocre male writer. this is clearly a show that, whatever its other blindnesses, is not going to let that happen. 11. we are told through veronica that archie is more dangerous than he looks. why doesn’t the show want us to figure this out ourselves? this feels ironic on the writers' parts, another winking use of cliche. 12. everyone’s problem is a cliche—archie’s father pressures him to do sports to get into college, he wants to do something else. betty’s mom is controlling and betty is a people pleaser who already in the first episode explodes about how perfect she has to be all the time and can’t she just do something for herself for once? 13. the music is annoying and cloying but it also grounds the contemporary nature of the show, because of its peculiar sense of melodrama, which is endemic to this time period, and the neoliberal overvaluing of the self. 14. the video on this show seems filtered into oblivion, or photoshopped or otherwise conspicuously treated. just like the self-awareness of the script, it contributes to the sense of unreality. 15. more self-aware cliches: archie and betty grew up next door to each other—they’re stuck in a feedback loop of being the ____ next door. cheryl describes herself as the queen on stage at the dance. 16. classic literature is referenced oddly—betty loves toni morrison, even though by the end of the episode, we have been introduced to zero black main characters. is this self-aware critique of white fetishization of blackness? and there's also thornton wilder’s “our town”… veronica suggests that the high school is part of the lost epilogue from “our town”—wilder also presented a transparently fake and timeless town to stage his existentialist story in, one in which horrifyingly, dead people remain in a liminal space between death and life, vainly trying to communicate with the living they can still see. 17. every celebrity/media reference is bizarre. a thin veneer draped over an unchanging reality. "Riverdale" seems not so much about the dark underbelly of suburbia, but about the idea of suburbia is the dark underbelly itself. a murder has to happen because someone has to bring death here, lest everyone become paralyzed by their immortality. 18. archie’s “making a deal” with the hot teacher is way more erotic than anything he’ll do with b or v… why is this happening at the Dance lol, unless we are to read it this way? they have shared the most precious thing in this town, death... why does archie love the teacher and toy with his peers? because they can't give him death. clearly archie is blackmailing the hot teacher into continuing the relationship, but he does so seemingly unaware of his own motives. he lives in the age of youtube tutorials, he doesn't need music instruction. and here is another paradox of the modern gender binary--men think they don't know what they want, but unconsciously they know what they want--they receive their instructions from the Borg Queen of masculinity and pursue it ruthlessly, whereas women end up thinking they know exactly what they want, but unconsciously they don't, because it's fractured amongst their afformentioned hive of selves. This is why both traditonally-socialized genders are completely right in saying the other is full of shit. 19. “we have no past” goes the song josie sings—and maybe this is america’s problem—the past is empty, the past of ordinary suburbia, interrupted only occasionally by wars perhaps but untouched by cultural progress—and because we have no past we can have no present, only an empty recycling of the same void, the same problems, the same catharses—new episodes of the same show. we live forever at the cost of never changing. is riverdale a socially critical prestige drama LARPing in the ironic costume of a CW teen soap??? 20. all the characters are trapped in a carnival haunted house ride. the theme: adolescence. 21. cheryl’s party—brett kavanaugh could have been at this party 22. jughead is the narrator, and i like the idea that this is all in jughead’s head, which is why it’s so unstuck in time aesthetically, so stylized and knowing. and it's no wonder he's the most popular character, because he represents the writers themselves, and fandom is to have an illusion of a privileged relationship not so much with the characters, but with the property's creators--and to be hyperinvested and, if necessary, hypercritical of their choices. 23. the gay hookup is interrupted by the presence of a corpse—a classic trope in teen horror but it’s interesting to see it with a gay pair. it’s as if in the clash between the perpetual 1950’s aura and the contemporary references and morality, a gruesome surplus appears, the specter of homophobia. which, incidentally is a corpse of a man guilty of a sexual act that is still considered taboo—incest. a corpse symbolizes the death of innocence for a hetero couple, but for a queer couple it can’t just be that—it also must evoke the threat of actual murder. which makes this a very different moment. 24. jughead says riverdale has changed—but it has only been revealed to be what it always was—"full of shadows and secrets", as jughead puts it. he must be putting us on—this place is way creepier than Sunnydale, and that place had actual demons… but this is often what a change amounts to—not the addition of a new trait, but the acceptance of one that was already there. 25. jason blossom is a ginger like archie and he therefore seems tied to archie in a unique way. he dies on july 4th, given some fuel to my reading as a show with something to say about america’s self-image. 26. all the parents are single parents or in strained, unhappy marriages in this town. this us realistic, but that should tip us off: what in the show has been realistic so far? debuting in january 2017, "Riverdale" seems retrospectively shaped by the trump era-a teen drama not about the undead, as buffy was, but a teen drama which is itself undead, fitting for a president who also wished to raise the dead, and also what had never lived. riverdale’s preservation of the old “great” america is superficial—indoors, a very contemporary isolation and alienation reign, in contrast even to the desperation of actual 50’s suburbia. 27. is everyone dead already in this show? is riverdale purgatory? is that what explains its being unstuck in time and drenched in fog? but i’ve been to small towns in the northwest that look like riverdale—nothing has been updated since 1954. in order to seem fake, riverdale has to be even faker that real life, even more uncanny—and that’s a tall order.

#riverdale

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rwbyconversations · 5 years

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Why Oscar’s writing has been disappointing

Stories rely on their characters. You can tell a grand, sweeping narrative that spans continents and timelines but if you don’t give a rats ass about the people at the center of these events, viewers won’t care. Stories with high kill-counts like Walking Dead, Game of Thrones and Attack on Titan rely on audiences forming an attachment with characters very quickly, so that the possibility of their sudden death is all the more painful for the viewer. Long story short, if you can’t make an audience care about your character, it can be hard to keep them interested.

RWBY has overall done a fantastic job at getting people to fall for its cast; I’m a case in point with how hard I’ll go to bat for Emerald and Mercury. But be it the obvious choices in the main cast, the wide array of villains to obsess over. The fandom even has a few eccentric folk who stan for people not seen in years! (shoutout to CFVY fans, who knew you’d get rewarded over the whole Coco in Chibi thing by getting a book?) But rather unfortunately, while one character has managed to earn a fanbase happy to see them get content, the writing has consistently failed one particular character, through constant refusals to allow them the screentime they deserve and often putting it in the wrong places when they do get morsels of time to shine each year.

Oh no, not you. I’ll get back to you before this hiatus is out.

... actually why are his gloves orange of all colors? And what’s with the banages, is he planning on cosplaying Dazai from Bungou Stray Dogs at an Atlas convention during the off-season?

Yeah, no, I’m talking about Oscar Pine. First introduced in Volume 4, Oscar has now been a part of the main cast for half of the show’s runtime. In that time Oscar has developed psychosis, met a ticket-punching man, got stuck in a house for a month, fought a teleporting staircase man, was involved in a train crash, bought new clothes, and stole military property.

Notice something? Nothing in there mentioned Oscar getting character development. Or rather he does... but it’s always offscreen. Oscar is infuriating in the sense that he has a lot of wasted character potential to be one of the best characters in the show- a simple but efficient design, great voice work from Aaron Dismuke and a charming personality that makes him a likable hero. But in spite of that all, Oscar constantly get the shaft when it comes to his screentime showing him developing from his problems, and each volume so far has had Oscar be faced with a trial that would make for a truly fascinating character arc, only for him to get over it while the camera’s focused elsewhere. And that’s what I’m going to focus on in this essay- I’m going to go over why I think Oscar’s writing has been consistently mishandled, and my hopes for the character in Volume 7.

God damn I don’t like doing this, I want to like the farm boi most of the time

1) Volume 4: All these voices running through my head, I’m on fire, face burning red

Oscar is introduced very early in Volume 4- as in, he’s in the first episode and is the eighth character we see onscreen after the villains. Oscar is in fact, if you don’t count Ruby’s character short, present in Volume 4 before the title characters. His first episode is... a lot of nothing, mostly just Oscar doing some farming. Oscar’s introduction does a good job telling us a bit about his character without him saying much- he’s prone to daydreaming while working on the farm, clearly not enjoying himself and his work. It matches up with what we learn later, that Oscar dreams of becoming a hero. It’s a stock motivation, and a stock background, but a simple and effective way of setting up a hero who desires the chance to prove himself in the wider world. His intro scene is a nice, quiet beat between the dark opening of Evernight and Salem, and the more frantic action of RNJR fighting the Geist. But overall the time the fandom was wondering what was up with Oscar- he wasn’t in the OP and nothing had set him up before now and yet here he was, getting focus before the main girls.

It takes until Oscar’s second appearance, three episodes later in Family, that we get the real reason for his importance- Ozpin’s in his head, but it would take another three episodes, in Punished, for this to be elaborated on in an unintentional Christmas gift from Rooster Teeth; Ozpin’s in his head due to their Auras and souls merging thanks to Ozma’s pact with the Archangel Asshole a few centuries back, and now Oscar is starting to act like an Assassin’s Creed character with all the memories that are in his head that he didn’t create. It’s a cruel irony for Oscar- Ozpin plays on how Oscar wants to be more than just a farmhand to try and get him to go to Mistral, but Oscar’s body language and face make it clear that this wasn’t how he saw himself getting some new life choices. Rather tragically, Oscar finally gets the chance to be part of something bigger but the manner in which it’s offered to him is anathema, as it’s coming from a literal voice in his head who claims to be a dead headmaster, and more importantly, he was never offered a choice- this was thrust upon him, a young 14 year old child who never asked for this burden of responsibility. And the last shot of Oscar in this episode already has him cracking under that burden, stuck on his knees and unsure what to do.

(also btw Oscar’s Aunt tells him to clean his hands but Oscar’s model has gloves on all the time, so... how would he clean his hands? Or does he read books with dirty gloves? Eww)

It’s an interesting place to leave Oscar, at the metaphorical and and spiritual crossroads, and means the viewer wants to see Oscar’s next actions and the deliberation between the easy, boring life he knows or risking everything on a voice in his head telling him to try his chances in the big city. Sounds pretty interesting, right?

Not to the writers, unfortunately. Because when we next check in with Oscar three episodes later during Kuroyuri, Oscar’s already on the road to Mistral with his backpack all ready to go. That deliberation, the consideration, Oscar eventually choosing to trust Ozpin and go along with his plan? All done offscreen. Similarly, Oscar goes from treating Ozpin’s voice as an irritating thing to be annoyed has been chucked out a window- now out on the open road, it doesn’t “feel crazy” anymore. It just feels like such a cheap way to handle Oscar’s writing- rather than show his development naturally, it just fast-forwards until it reaches a point where it skips all that. And unfortunately, this isn’t the first or last time Oscar is victim to the writers fast-forwarding through his development moments. Given how much of Oscar’s arc hinges on this crucial first step, it just seems inane to me that of all of the potential Oscar scenes to cut... him coming around on Ozpin and making the call to leave was what got the cutting room floor. Especially since nothing in his Kuroyuri scene was all that essential for Oscar in contrast, barring setting up the the mystery Hazel and Ozpin’s past.

Oscar doesn’t appear again after his encounter with Hazel until the finale, when during the montage of Ruby’s letter (that consists of half her dialogue this season) we see Oscar on the train to Mistral, which really only caused a problem thanks to all the people who used it to ask why RNJR didn’t take a train. He also appears in the post-credits scene, meeting Qrow at a bar and asking for his cane back, the volume ending on Oscar extending the cane experimentally.

Being blunt, I feel like Oscar should have been cut from Volume 4 and just introduced in Volume 5 with the bar scene. Volume 4 already had to juggle far too much in RWBY and Cinder’s plots, and adding Oscar to the mix unfortunately meant the screentime for some characters had to suffer- especially Yang. His time this season ultimately goes nowhere and only gives him a basic background that most fans would have already guessed from his character design, and the already wobbly Jenga Tower that was Volume 4′s screentime didn’t need more blocks thrown on top. I like a fair few things in Oscar’s arc, but it’s content that ultimately I’d have been fine having left on the cutting room floor. Hell, if nothing else, Oscar’s first scene should have ended with Ozpin’s reappearance, that these are two separate scenes is mind-boggling and left the fans wondering what the hell was Oscar’s purpose for weeks.

Oscar’s debut arc has its ups and downs, much like the volume itself. His intro scene and argument with Ozpin are both well-executed and show the viewer the vocal dynamite of Dismuke’s performance or just set up his base character, but for every good thing to come of Oscar’s arc, it’s fraught with issues- most notably, his scene of choosing to leave his home being omitted and beginning the unfortunate tendency for Oscar to get the short end of the stick when it came to development and agency, which undermine his choice to leave. But overall, Oscar built himself a small but dedicated fanbase with his debut volume, even immediately shooting up to become a potential target for Ruby’s affections in the fandom shipping wars. It was a rocky start, but surely now that Oscar was going to have his plot merged with RNJR, he’d be able to handle his screen-time more effectively, right?

Right?

Volume 5- Two for one on meatsacks

Volume 5 is Oscar’s worst volume so far, being blunt. It’s a lot of people’s worst volumes though (Cinder, Ruby, Weiss, Mercury, Adam, mine) that at least he can share the load. It doesn’t help that he’s not in half the damn thing because his body is being used by Ozpin to regale the audience with expositon that makes them actively yearn for the sweet embrace of death... or just the return of the World of Remnant shorts. Oscar’s first scene in Volume 5 is just a recycling of the Volume 4 post-credits scene, which raises the question of why the scene was used in Volume 4. I don’t think it’s even touched up, they literally just copy-pasted it. Much like his first scene in Volume 4, his intro scene this volume is intercepted by comedy relief- last time it was Jaune’s miserable attempts at being a strategist, this time it’s Drunkle Qrow.

... You know, this scene ages poorly in hindsight given how just one volume later Qrow’s alcoholism is treated with ice-cold severity.

Episode 3 follows up on this and gives us Ozcar’s first major scene of the volume, and unfortunately also sets up their dynamic this volume. Oscar gets some awkwardly charming moments with Ruby but overall the scene is dominated by Ozpin taking over for the first time and explaining his reincarnation powers alongside setitng up RNJR’s plot for the season- “training.” An episode later sees the entirety of this training, with Oscar and Ruby engaging in hand-to-hand combat and Oscar getting a lore dump from Ren (in hindsight this is novel not just because they’re outside during it but Ren’s the one delivering the infodump and not Ozpin). Ozpin barely even factors into the episode barring some fisticuffs and a generic speech at the end. But the scene is overall just pointless to the narrative beyond loosely setting up Jaune’s own Semblance unlocking, and this is the last we hear of RNJR “training” for the upcoming trials at Haven. Hell, even though the story makes a point of noting Oscar still hasn’t unlocked his Semblance, that still hasn’t come up two years later. This scene really only pays off in one immediate way:

This is Ruby’s sole contribution to the Battle of Haven after getting KO’d by Emerald outside of just yelling orders for offscreen fights, and all this helped do was begin to convince people that “MERC’S A BAD FIGHTER WITHOUT EMERALD.”

Lighting the Fire’s training scene is one of Oscar’s only major scenes where he interacts with RNJR to boot for the entirety of Volume 5, and it’s quite sad that nothing really comes of it. It just serves to highlight how little Oscar interacts with the other kids, as most of his dialogue this season is just as Ozcar.

Necessary Sacrifice then, should be great on paper. It’s an entirely Oscar and Ruby scene with Ozpin only chiming in at the end. It has Oscar confronting Ruby and himself on his fears and how Ruby can put up a brace face, and Ruby finally gets to open up a little about losing Penny and Pyrrha at Beacon. But the scene just falls flat on its face and botches the execution. Putting aside Ruby’s own problems in this scene (her speech feels incredibly pre-rehearsed, as if she spent hours practicing it in the mirror to ward off anyone actually prying into her life). Oscar’s anger and fear come out of left field with nothing setting this up in his prior scenes this volume. Ruby needed a scene where she talked about losing Penny and Pyrrha, but it should have been during Volume 4, with Jaune. Having it now with Oscar feels like the writers apologizing for having Ruby get shafted for screenitme during Volume 4... during the volume where she gets shafted by literally everyone else. The scene is frustrating to me, it could and should have been a lot better (musically at least I love the reprises of When It Falls and Lets Just Live), but it just feels like a hasty patch note. Oscar doesn’t really develop from the situation and his fears are just forgotten for the rest of the volume.

Oscar then proceeds to basically sit out Volume 5 barring Chapters 11 and 12. I still don’t get why he wasn’t part of the dinner scene with RWBJNR, since it would have been so very easy for him to be part of the dinner and get the chance to interact with the rest of the kids. Oscar wants to be a hero, so let him... actually interact with heroes his age. Have him brought up to speed on the crazy adventures the team have, let them get to interact with Oscar without having to deal with his backseat driver. You could even make something tragic of the scene where Oscar is forced to go away so Ozpin can take over, and the team’s faces fall flat when Ozpin gets right to talking shop which leads to the YOU TURNED THEM INTO BIRDS exchange. But otherwise, the rest of the House scenes revolve around Ozpin talking. The kids talk past Oscar, and again, you can very easily make something tragic of that as Oscar could grow to resent Ozpin because none of the others see him as himself, just a puppet on strings. But again... Oscar’s just not allowed to develop onscreen in this show.

And perhaps the worst thing about all this is that whenever Ozpin actually is called out on his tactics, one of the most pressings ones in his possession of Oscar,a 14 year old boy, is never used as fuel. Granted, yes, Ozpin has no control over who’s his next host but surely someone, somewhere is going to opine how morally bankrupt it is that Ozpin essentially conscripted a child not even old enough to get a learner’s permit into his eternal shadow war. It’s times like this that my theory that Jaune was going to be Ozpin’s original replacement before the backlash to Jaundice made them backtrack looks more and more possible.

The Haven Battle episodes quickly have Ozpin force control away from Oscar, but it’s not like Oscar did much before then anyway other than serve as the conduit for another lore dump on Hazel’s backstory. He doesn’t try and learn why Leo defected and manages to trounce the headmaster so well one wonders how the hell Leo got put in charge of a combat school. After that, Ozpin takes over (and we admittedly get some of the coolest fighting in the actual Battle of Haven in Ozcar vs Hazel) and Oscar only briefly returns in the last seconds of the finale to drop the sequel hook that they need to get the lamp to Atlas.

Volume 5 is just a bad season for Oscar- this is the one time we don’t get his eternal phantom of offscreen character development because it’s not fair to say Oscar has any development in Volume 5. He’s immediately forced to the back to serve as a projector through which Ozpin can put the audience to sleep, most of his actual scenes are irrelevant or just feel like a waste of time and he basically sits out the entire finale. It’s just infuriatingly incompetent writing- we’ve gone from Oscar being a waste of time in Volume 4 to just being a waste of a character in Volume 5 who barely gets to express himself. Little is done with Oscar that could not be achieved by putting a tape recorder beside a lampshade and calling that Ozpin’s new host. Volume 5′s bad for a lot of characters, but at least most of the rest of the cast had good seasons beforehand to show how well they could be handled or written. Oscar didn’t have that, and while ultimately the blame was placed more on Ozpin for hogging the time, Oscar’s critics began to grow and he was derisively seen as just a plot device to let the writers bring Ozpin back and serve as a mission marker for the heroes. One more bad season for Oscar could spell the end to his character ever having a warm reception among the fans and critics. Drastic action would need to be undertaken in order to regain trust in Oscar.

3) Volume 6- Tossing out the baby with the water

So the big plan to give Oscar some screentime... was basically cut Ozpin out of the story entirely. Oscar is almost entirely himself after the fourth episode, it’s the longest run of episodes with Oscar as himself that we’ve gotten in the show to date and Ozpin doesn’t even surface until the finale. There’s a lovely line of Oscar’s in episode 4 that finally lets him address some of the fears and concerns he should be rightfully worried about- “I’m just going to be another one of his lives, aren’t I?” Oscar’s tone is just so bleak there, it works super well and it was nice to finally see Oscar expressing human emotions. It even my cynical heart hope that Volume 6 would finally see Oscar get the limelight he had been denied for two years running.

But then the ball is just dropped hard. Oscar’s left in a background role for the Brunswick episodes, stuck working on a tire while RWBY encounter the Apathy. What’s already a somewhat rushed resolution to the whole plot of “RWBY express concerns about going onward to Atlas in light of Jinn’s revelations” now leaves Oscar, the guy carrying Ozma’s soul in him, out of the moment. He just gets to be tired and tell Blake to make food if she’s hungry.

Argus at least alludes to putting Oscar in the driver’s seat for his own solo arc where he explores the city alone after Jaune physically assults him (why didn’t anyone stop Jaune from hurting Oscar two people saying Jaune’s name with all the concern of someone stubbing their toe just feels cheap). Even though I was cold on the episode as a whole, Dead End did set up the wonderful idea of an Oscar episode, one where he maybe forces Ozpin to come out so they can talk frankly for the first time in two volumes. Maybe they could even rip off Avatar (some more) and have Oscar meet Ozma himself, using his conversation with the two as his own chance to rally onwards and decide to bring the fight to Salem. It could have been a really sweet moment of him backing Ruby up in her desire to keep going, the two forming a mutual bond of bolstering each other’s hopes as they carry the burden for their team.

But no. Because I can’t have nice things, in an otherwise near-perfect episode where I actually got Mercury and Emerald screentime and the lovely Pyrrha statue scene (which I low-key feel like Oscar should have been a part of but that’s a subject for another day), Oscar just gets over his issues, buys a new outfit and dodges past his problems, getting to develop past them, off-screen, for the third time in a row.

As far as I care, Oscar stole the money for this costume from either Qrow or Jaune and I don’t care if Miles says to my face he earned the money legit, I’m keeping that headcanon. Also, why are his gloves still orange? They don’t fit the rest of his costume.

If there was anything that got cut from Volume 6′s final half, I’d bet money on it being Oscar’s solo arc. Kerry himself has admitted during the RWBY Rewind for the finale that stuff got cut, and it’s very likely (going off comments from Miles that The Lost Fable was a huge resource drain) that this content was going to be part of the entire episode that was cut (Volume 6 initially had 14 episodes but around Christmastime this was remedied down to 13). It’s actually downright insulting and infuriating that Oscar got the shaft again, especially when Volume 6 finally seemed to be addressing the issue of Oscar never getting growth or focus. He was free of Ozpin, and with Ozma’s history revealed it was the perfect time for him to embrace the past forced upon him and resolve to become a hero. But no, the episode count went down so we had to wave goodbye to Oscar’s agency again.

Just think of how beneficial it would be for Oscar to actually confront his sorta-not-really ancestor, who may have had to watch as soul after soul gets consumed for him. Has Ozma ever had someone tell him none of this was his fault? I feel he needs it.

If I was a more suspicious person I’d say it almost feels deliberate, that someone on the writing team doesn’t like Oscar and is purposefully keeping his growth offscreen out of childish spite. But three volumes in a row now, Oscar’s growth has felt artificial and fake, and leaves him feeling like an afterthought. I know it’s not a problem of RWBY not being able to write new characters well, just look at how fleshed out and beloved Maria was after just her debut season. But Oscar just can’t catch a break and it’s frustrating to watch. In a volume that otherwise made huge strides in solving many of the pre-existing issues in Volumes 4 and 5, that 6 still refuses to treat Oscar with anything other than mild apathy is just mind-boggling.

Like, what was even the point of having Jaune say Ozpin was just pretending to be Oscar? To make Jaune look irrational? To plant the red herring in the viewer’s minds? The rest of the volume itself shoots the idea down hard, and it feels like it was going to be used during Oscar’s potential cut scene, but again... it was cut. I can only go off what’s in the volume and unfortunately, Oscar in Volume 6 is only marginally better than he was in past Volumes. Bless his heart, Aaron is trying to save this character but the writing itself is dragging Oscar down every chance it can get.

4) Volume 7- The potential breaking point

Oscar’s character is currently in a make or break spot, and Volume 7 will either finally solve his growth issues or this will be it and his fandom will reach a boiling point. The worst thing is, it’s a very easy solution to fix Oscar.

Just put his character development onscreen.

That’s it, the golden answer to all of Oscar’s problems is to just stop cutting his development and agency short. Oscar has potential to be the most tragic character in RWBY- someone who wanted to be a hero, only for the responsibilities to be forced on him without his consent. He’s someone who the rest of his companions oftentimes don’t see as a person, just a walking telephone to their boss. Imagine how dehumanizing it would be, especially after Qrow’s “Don’t lie to him, we’re better than that” line? Imagine being someone effectively living on borrowed time because sooner or later, your consciousness will be absorbed what makes you you will be but a distant memory? Oscar could easily be a shining example of character growth, he could easily have a great arc of learning to deal with the burdens of Ozma’s struggle, of being the target of Hazel and Salem’s ire when he did nothing to earn it. But it needs to be soon, or all the potential in the world won’t be able to save Oscar.

Perhaps Volume 7 will have a flashback to Oscar in Argus having that confrontation with Ozpin and getting his new outfit. Perhaps Ironwood will be mistrusting of Oscar claiming to be Oz, and Oscar will have to step up and prove he is who he says he is. Qrow never apologized to Oscar for punching him, so an apology would serve both Qrow and Oscar’s arcs as Qrow reignites his spark to fight. A potential confrontation with Salem where Oscar may try something the previous Oz lives didn’t could work wonders for Oscar. Volume 7 could still easily have Oscar get spotlight, but with how many plates the season is already planning to spin (Tyrian and Wattts going to Atlas, Cinder and Neo going after Ruby, Weiss dealing with her family, Ruby learning about the Silver Eyes with Maria, a likely return of Faunus racism for Blake and Yang, Atlas class warfare, the token reminder that Pyrrha died so Jaune, Ren and Nora can be sad, etc.) I’m already accepting that Oscar is the most likely candidate to get the boot again. It’s happened before, and I try to avoid being a sucker who falls for the same thing over and over. Definition of insanity and all that.

5) Conclusion

Oscar is... I hate to say this again, but infuriating to me writing wise. He has so much potential as a character in terms of his growth but despite having had main character status for half the show’s runtime now, it’s hard to really care. Oscar keeps getting the short end of the stick, and if it turns out that the whole reason he got shafted for years was because of M&K’s mystery fetish, I might actually throw a chair out a window.

What makes it worse is that Oscar is not a character with no hopes of being salvaged! There is a very easy way to remedy the problem and it’s just to let him have his time to shine and develop offscreen. Flashbacks covering the lost events such as his leaving his farm or gaining confidence in Argus (or even giving Oscar a character short specifically to address these issues) might be belated and feel like damage control- let’s be fair, after Adam’s short this wouldn’t be the first time they resorted to doing damage control in their shorts- but it would be a step in the right direction and show the team are committed to working to salvage Oscar. But they want to do it, it has to be now. If Oscar leaves Volume 7 suffering from the same problems, he might as well get killed off in Volume 8 because that will be it for his character, no one will defend him and Oscar will fully become the heroic Cinder in that no matter what, you can rest assured they won’t get onscreen development from anything that happens. In the meantime, all I can do is hope that this time, things will work out for the farm boi. There’s a goldmine of a character here guys, someone’s just gotta put the work into finding the first nugget.

In short, Oscar can be a great character, if the writing lets him become it onscreen. But until then, it’s going to be a frankly depressing journey to get there.

Thank you for reading.

#rwby #oscar pine #ozpin #ruby rose #rwde #rwby analysis #ozma #salem #james ironwood #hazel rainart #aaron dismuke #rwby4 #rwby5 #rwby6 #rwby7 #jaune arc #qrow branwen

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twiststreet · 5 years

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Serenity Now (2019): I was having a shit night/weekend, but I was over by a movie theater after a bunch of nonsense, so I wandered in and decided to go with the new Anne Hathaway - Matthew McConnaughey movie. The word on this movie was semi-intriguing. I hadn’t read any of the spoilers-- I just keep seeing headlines going “WTF is this horrendous piece of shit?? It’s got the dumbest twist ever” which appealed to me and the mood I was in. (None of the Oscar movies I want to see were playing-- I’m not seeing Green Room 2, and the only other choice left really was the Kid Who Would be King, which I want to see sometime having liked Attack the Block, but it felt a little unseemly being a middle-age man by himself watching a little kid movie... Especially because I planned to masturbate during the movie, so people could’ve gotten the wrong idea if I was doing that during a kid’s movie).

Or I was curious how dumb it could get since I saw the trailers, and the trailer just made it look like that Woody Harrelson neo-noir movie Palmetto, which I always thought people didn’t remember. (That was the one where Woody was in a car yelling “Yes Yes Yes” after having had sex with, like, Gena Gershon or Chloe Sevigny or something, before some routine neonoir nonsense happened...).

Is it a horrendous piece of shit? Yes. Is it bad in at least an “oh my gosh” way that’s kind of entertaining? I would say for myself, yes, though the audience I got seemed pretty angry afterwards. It was so inept in its execution of a bad idea that it kind of ended up being at least amusing. Plus, the actors were mostly very serious about their art, so it was often intensely funny, in the best, unintentional way. The great thing, it’s not trying to be a bad movie-- they really thought they were making something meaningful here, and that ends up being *hilarious*. Does it have the dumbest twist ever? No. I didn’t know the twist going in-- I saw the articles but didn’t bother to read any of them, because who cares. But the twist is just very pedestrian, and I guessed the twist just from seeing the headlines, just by imagining what kind of pedestrian twist would garner that kind of reaction from mediocre-brained online film critics (though to be fair, it must be a very unique experience to see this movie not knowing there’s a twist in it, I’ll say that). The dumbest twist ever, I’d still go with that John Cusack / James Mangold movie Identity... Just off the top of my head... I mean, sure, The Village. Right this second, I’d go Identity over The Village...

(It’s not so much as the twist is crazy as the plot as a whole... like if you described the story out loud, it’s... why would anyone make this? Some critics overstate that though, and are like “How did these actors ever say yes to this” but... I get how this movie got made: the kind of people who make the decisions about these kinds of movies don’t know the kind of people who would know what a bad idea this movie is. That part’s pretty simple. It’s just anthropology. Anne Hathaway doesn’t know any nerds-- she just said, like “they’re making a movie about sinful things happening on boats? *I know about that from my life and immortal photos that have been taken of my life, photos that are a treasure for all humanity.*” I like that gal generally, and I think it’s nice that she was into making this, so I’m not going to judge her all harshly for not knowing that she shouldn’t have done this... And the writer-director was some guy with a long enough resume where they bet on his resume...).

That being said, I don’t think I have a particularly amazing imagination, but even that being the case, before the movie explains what it’s about, I really enjoyed trying to guess what the twist was. I can pretty much guarantee your guesses will be about 10x weirder / better than what the movie’s got, and I thought that part was really fun, just getting to let your imagination run wild like that...

Also, I think people who overfocus on the twist are missing that everything else in this movie is just as nutty. There’s two full minutes of Matthew McConnaughey swimming naked underwater, and they put the camera in a place where you constantly see his head next to his own ass...? I’ve never seen anyone’s body take that shape outside of a Marvel comic before). Or jesus christ, there are about a half dozen scenes of Diane Lane staring at Matthew McConnaughey out a window, muttering to herself about he has to find her pussy... cat. What was going on with Diane Lane in this movie?? I mean, they kinda explain that but ... Not enough!!!

Or Jeremy Strong is in this, and he is ... like, not full-on Keifer in Dark City, but I think with a little nudging, he could’ve gotten there. Or how many Matthew McConnaughey scenes feel like those car commercials he was making. There’s a scene of him just going out to a cornfield (a cornfield... on a tropical island...) to talk to himself, that... Or just how many times Anne Hathaways says “Daddy” in that movie... Or just all the dialogue about fish-- so much fish dialogue, or... I seriously don’t know what Matthew McConnaughey’s character was trying to do exactly for the last, oh, 50 minutes or so.

Matthew McConnaughey’s character has sex for money in that movie. And in another scene, he has to tell another man that he named a giant tuna “Justice.”

On some level, I am as curious about the work the filmmakers did on this movie and the choices they made and how they talked the money people into supporting those choices, as I was after seeing Spiderverse. I don’t know. I am entertained by talking about all of this. I could really go on and on and on and on. I’m having a not-great weekend, and next week’s looking like a turd, so ... yeah, put me down for very entertained, actually.

#movies i saw in 2019

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artloveharmony · 6 years

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Vanityfest – DAY 3: SERENDIPITY or DESIGNED

From the start of Vanity’s story I have wondered how much of it was planned in advance. I know soap opera stories are plotted well head of the actual writing. It’s like a jigsaw puzzle, fusing plots and character/relationship development (if you’re lucky) into short term and long term story arcs. Therefore, fundamentally, trapping Charity and Vanessa in that cellar was thought through and outlined. But was it strictly for the purpose of expanding Vanessa’s sexuality, or did they know this would be the first step in their long term plans for Charity as well?

Although I find the idea of serendipity intriguing, my stronger instincts tell me that everything happens for a reason – whether it is of Universal/Godly design, or of our own making – intentional or unintentional. In this case, there are just too many connecting dots within Charity and Vanessa’s story for me to believe that it was entirely random and simple “luck” and happenstance. While I’m sure not all the pieces were known from the beginning, there was enough to go on which allowed them to quickly take advantage of the good fortune that did manifest as the story progressed.

I invite you to follow me as I lay out my theory that Vanity was carefully designed by the writers, piece by piece, over an extended period of time, for a very important purpose: the revitalization and renewal of a long-standing, beloved character.

Firstly, according to producers, it was decided back in 2014 that they would explore Charity’s past in greater detail than they had previously, but circumstances (Emma’s maternity leave) put that story on hold. However, before she left, they introduced DI Mark Bails as someone she knew from her childhood (such as it was). At the time, Charity shared with Debbie that he had groomed her and abused her as a teenager, though she didn’t go into much detail. To accommodate Emma’s leave, they sent Charity to prison, after she did several legitimately criminal acts (however justified).

Upon her return in 2016 the groundwork continued to be laid, the key element being that she bought half of the Woolpack and became co-landlord and barmaid. This put Charity at the center of village life, interacting with villagers on a regular basis, including characters she hadn’t previously engaged with much before. She had always been a gobby person, but now she was able to use her snarky wit to its greatest affect.

And yet, as an ambitious business woman, being a barmaid was not enough to keep her attention. Her family was also faced with pending tragedy as her granddaughter Sarah had become ill. To help her, Charity concocted some outrageous schemes, her prime métier. One of which was to execute a jewel theft with the help of ex-con Frank. This led to a twisted plot of revenge, providing the most significant connection between Charity and local vet Vanessa, Frank’s daughter.

Even though Charity and Vanessa had little to no contact with one another, from the time Vanessa arrived in town to Charity’s scheme with Frank, they were living in the same village and new all the same people. Each of them had their respective reputations, for better or worse, and they each were well aware of the other. No doubt, had they wanted to, the writers could have found another way to bring Charity and Vanessa together, but having Charity as barmaid, and Vanessa steaming about her interference with her dad’s relationship, the stage could not have been set up better to create the most seemingly random encounter – which I conclude was not so random.

Vanessa had been having her own developing journey, including falling in love with her best friend Rhona, and later an 18 year old young man, Kiran. She had a one-night-stand with her other best friend Moira’s son, Adam, which lead to a “who’s-the-daddy” scenario when Vanessa become pregnant. Ultimately Kiran was proven to be the father, but he felt unable to be a proper dad, so he left town.

It was a rocky start for single mum Vanessa. Her son Johnny was born prematurely and was in hospital for weeks, creating a disconnect between her and her child. In time they found their connection and Vanessa became a devoted mum. Then in 2017 Vanessa helped her bff Rhona get justice, when she fought back and got her rapist husband Pierce sent to prison. Connecting all these experiences together, combined with Vanessa’s temperament and loyal/caring/healing nature, it almost seems inevitable that she would be the one chosen for the fateful task ahead.

In order for Charity to open up and reveal her traumatic past, and then to actually deal with it in any healthy way (if indeed they intended her to find some healing), she needed someone she trusted enough to confide in. Even before the confession, Charity herself needed to be in a place where she would be willing to open up about her experiences.

The Charity who returned from prison was the most wounded Charity to date. Her ordeals with Jai and Declan, and her time in prison, created the most armored and defensive Charity we’d ever seen. Even before she was convicted, her dealings with Bails during the Home Farm fire investigation was that of a woman completely shut off from her emotions. When she tried telling Debbie about her experience with Bails we saw a glimpse of the pain he’d caused her, but the minute Debbie shut her down, not wanting to hear her mum’s story, Charity closed the box again.

Jump ahead to her scheming ways with Megan and Frank and we saw a woman lost. She had no direction, no focus, emotionally shut down. She was grasping at whatever and whoever she could, creating chaos at every turn, biting back at everyone, friend and foe. Bringing Mark Bails into play with THAT Charity would not have generated a healthy story in any way shape or form. Charity was completely alone, not trusting or relying on even her family. A different Charity had to develop if she was going to face up to her past and find a way forward: the story goal the writers had decided to tackle.

Thus, the decision was made: bring someone into Charity’s story that would bring trust and hope into her life; establishing a foundation upon which they could begin their true exploration of her character. Vanessa became that person. How they came to this conclusion we may never know, but as I pointed out above, she was a perfect candidate. The best part being, it would come out of nowhere. It would be a completely new, fresh relationship, which was absolutely essential for this story to work.

TO BE CONTINUED…

Please note that I know absolutely nothing about how the writers made decisions, when, and for what reasons. I don’t know them or have ever talked to them. Although that is certainly something I would kill to do.

Everything I’m offering here is my own speculation based on what I’ve seen on the screen and bits of gleaned from interviews. It is very possible I am completely wrong about everything. I have a tendency to over analyze, so simply take this as my crazy musings. Nothing more.

#Vanityfest #Vanityfest 2018 #charity x vanessa #artloveharmony

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