#and now the tables have turned | Explore Tumblr Posts and Blogs

sicklyseraphnsuch · 1 year

Text

Ice King to Simon feels like what Fionna is to Finn. There's a base template that was shared between the two but ultimately, they are separate entities that grew and developed in ways unique to themselves.

and this is where the writing gets Rocky, because I genuinely find it hard to read Ice King and Simon as the same person but the characters always treat the two as one and the same

After the big reveal, Ice King is treated like Simon but remixed, except... the way Ice King develops - and look, we spent hours with this character, he wasnt just a joke

In his words, "I am worthy of respect"

The way Ice King's character develops was for Ice King's benefit, not Simon's. Ice King making friends, Ice King no longer kidnapping - neither of those character developments made him more Simon-like. He becomes more and more individualized, forming a personality that felt Very Distinct from the bookish, modest Simon Petrikov.

As much as Simon is the victim in all this, I cant really blame Ice King for being born either. He was just a guy - a mean, lonely guy that with some kindness developed better behavior for the people that befriended him.

Like people are dumping hard on Simon, which sucks. But it's also like Ice King was Somebody's friend. Ice King was Somebody's hero. And it doesn't feel fair to all the hardwork he did for himself to wave him off as a false image.

The problem is he was somebody - not just a Simon reboot. He was somebody period.

So it makes sense that some people in universe (in the audience bc lets be real, Ice King had HOURS of screentime and Simon had maybe one) would mourn him. It just sucks that they keep directing that grief at Simon, and dumping on him as a result.

In my opinion, if it's disrespectful to Simon to be confused for Ice King, then it works the same vice versa.

#simon petrikov #adventure time #fionna and cake #this also loops back to the whole Simon is not understood #i actually argue that Finn does a good job trying to learn more about Simon #whereas everyone else just confuse Simon for Ice King #also i dont think its a good idea for simon to become ice king again bc it hurts ice king as well #ice king doesnt get to be someone whos not simon if simon yields to the crown so he can be born #theyre like conjoined twins that desperately need separate lives away from each other but cant escape each others shadow #ice king was constantly living in the shadow of simon petrikov #and now the tables have turned

69 notes · View notes

jq37 · 2 months

Text

Descendants: The Rise of Red is kind of a bizarre movie to talk about critically because, imo, it almost doesn't make sense to talk about it in the usual terms of good vs bad or enjoyable vs not enjoyable when the way more obvious tension is finished vs unfinished.

Because, more than any other movie I've ever seen, it does *not* read as a full movie. And I don't mean in a "this movie has a cliffhanger" kind of way. The Empire Strikes Back and Across the Spiderverse fit that description. They end on big dramatic cliffhangers that point to a resolution in the third installment.

But Rise of Red just sets all this stuff up and then...ends without concluding anything. It doesn't feel like the first movie in a trilogy (or duology). It feels like the first act of a two-act musical. It very specifically reminds me of the end of the first act of Into the Woods where all the main characters sing the song Ever After about how they all fixed their problems with magic and nothing bad will ever happen to them again and then the narrator ominously says "To be continued" before the curtain drops. But in Into the Woods you know there's a second act and this movie wasn't sold as the first act of a bigger story. Like sure, it has the, "You didn't think this was the end" tag at the end like all the other movies, but those movies were complete, self-contained stories even though they had sequels. This was NOT a full story. It's half of one story.

Like, if we're supposed to take this as a full story, there are so many bizarre choices:

Why did they make sure to mention that Cinderella and Charming fell in love at the ball at the top if it wasn't meant to set up Back to the Future style, "Oh no, I accidentally got my mom banned from the ball so she's not gonna fall in love with Dad and I won't be born" shenanigans?

Why did Maddox very pointedly have that bit about "you could lose your mom completely" if that was never going to come into play? Red never did anything to endanger Bridget or endanger her own birth so it doesn't make sense as a warning in that way.

Why was there all this focus on this Carrie on prom night moment for Bridget if we LITERALLY NEVER SAW CASTLECOMING? Why dance around this moment and talk about it all cloak and dagger with no specificity if they weren't building up to some big reveal that it wasn't as straightforward as it seemed? And like, they leaned in HARD with making Bridget the nicest, sweetest, cotton candy princess as a teen so I need WAY more than, "She got pranked by known bullies she's been enduring with a smile very handily up to this point" to buy that she went from that to "murderous dictator". And even if she did become murderous, I find it insanely hard to believe that she'd include her best and only friend on the list of people she wants to suffer unless there was a betrayal. I find it INSANE that there wasn't a falling out scene at any point in this movie with how thickly they were laying on the admiration and camaraderie.

(Note: And adult Cinderella def has guilty vibes re: the Queen at orientation. Which I know I'm not imagining because it's literally spelled out in the Jr Novelization!)

Before the time travel element of the movie started, I thought they were going for something like they go to the past and realize that Bridget was bullied not by the VKs but by the spoiled royals, and Ella ends up joining in the bullying once she gets with Charming, betraying Bridget and justifying her whole "Love Ain't It" philosophy. Or Ella ditching her at the last minute to be with Charming meaning she has to deal with the monster prank alone and it was the being alone rather than the prank itself that hurt her (though that is NOT a good enough reason to go all off with their heads on your subjects). The fact that, as far as we know right now, it literally was just a relatively mild and reversible prank that caused all of this is just, such flat storytelling, you know?

But! All of this makes way more sense if this is meant to be the first act of a single contained story. And I don't wanna be all "Pepe Silvia, secret good 4th episode of Sherlock" about this but I did see this picture:

Which seems to indicate that this was written as a Part One. Which, if so, idk why they wouldn't advertise it that way but whatever. The point is, if that's the case then it means that we're potentially in bad pacing territory rather than straight up bad storytelling territory. Because this isn't a bad place to be halfway through your story:

The heroes, warned that time travel is dangerous, have gone back in time to change the heart of a brutal tyrant before she can stage a coup. They seemingly succeed in their mission and when they come home, everything is great! But then, the side effects of time travel start to catch up with them. Chloe realizes that, in breaking the vase, she prevented her mother from going to the ball and falling in love with her dad (who was conspicuously absent from the final scene btw) which means she's starting to be forgotten and erased from the timeline. And Red realizes that though this new version of her mom is as sweet and kind as the teen she once met, she's a complete stranger to her (fulfilling the Hatter's warning that she could lose her mom completely). So they have to go back in time once more to make sure the Ella and Charming fall in love again, perhaps at the cost of whatever bad thing that happened to Bridget happening again and bringing back the original version of her future self. But, now with more context of how her mom became that way, Red can now talk to her mother and persuade her to give people another chance.

Boom, that gives us time to go back and hit everything we haven't yet hit. We can pay off the time travel tropes that were set up but not explored. We can go to Castlecoming which feels so obviously set up to be the centerpiece of this story (like, come on, Back to the Future literally does the school dance thing. This is Time Travel Storytelling 101). We can actually get info about what the prank was and why it affected Bridget so completely.

(Note: This is a side thing but it really strikes me as so crazy that Bridget would so SUCH a big 180 here. Like, I know the Queen of Hearts is a silly, goofy, campy villain, but she straight up murders people and there's no way to get around that if we're taking her out of the surreal story she comes from and putting her in a (comparatively) grounded story. If I wasn't doing a betrayal plot, I would make the twist that the spell that turned Bridget into a "monster" didn't just have a physical effect, it had a mental effect and it magically twisted her personality to be the way it is now. So they broke the physical half of the curse, but neglected the other half and it's been festering the whole time, turning her as evil as she was sweet. Because like, a simple physical transformation isn't that big of a deal to have such heavy security--Bridget made cupcakes with a transformative effect and that was totally fine. I'm not saying that that's what's gonna be the case. I just think it would be an explanation that makes sense for why she changed so crazy much that makes more sense than a simple prank or even a betrayal. Her mom wasn't even evil! How did she go from zero to murder without even an evil mom to push her onto the path? But I'm super digressing right now.)

(Note #2: OK, one last thing. The trap on the book presumably would have hit the VK's and trapped them in Merlin's office regardless of what Chloe and Red did, right? That's like, net zero influence on the timeline. I genuinely can't tell if that's a straight up plot hole or set up to be like, "Oh no. Actually when she said that she was turned into a monster in front of everyone it was meant in a less literal way." Like she was just made to look bad and that was the real thing that pushed her over the edge. Like idk. It really feels like the only thing they really did that would change the timeline was get Ella banned from the dance and presumably out of the way where she couldn't hurt Bridget. OK NOW I'm done.)

Anyway, my point is that this is not how I would have structured my movie and I think this was a super weird way to go into the second era of Descendants movies, but they can still tell a complete story if that's their plan. I'm genuinely really curious to see if this pans out to be a fairly competently told story that just happens to be split over two movies or a complete fumbling of the narrative bag because it could really be either at this point and it's fascinating to me.

#rise of red #descendants #descendants rise of red #descendants the rise of red #i have never seen a dcom paced like this #uma DOES say that messing with time has consequences which gives me a glimmer of hope that they're going for a 'we have to go back' thing #but idk I've stopped assuming that writers know that they're doing #if I was ending this movie on this note here's how I'd do it #I'd have it end the same but when red and her mom are dancing I'd have one lingering shot of her being a little uneasy #and uncomfortable with this new version of her mom #and I would show chloe happily reuniting with her mom but then pan over to another part of the room and show that like #a portrait or s/t that had charming in it before now just has ella #or maybe something more subtle like something he placed on a table or something earlier in the movie isn't there anymore #just a little thing to be like 'don't worry we know what we're doing'#that would give me a lot more confidence #I was so sure that Chloe was gonna find Cinderella and she was gonna turn around and be like 'who are you?'#*that's* how you do a cliffhanger #and then in the next movie we could have had the tension of 'yeah we saved your mom from being evil but now mine doesn't know I exist'#listen there's a lot of ways they can handle this #they just need to pick literally any of them #last thing:#in the Jr. Novelization #the line is that the prank turned her into a *giant* during the dance #not a monster #i wonder if the giant prank was an 'eat me/drink me' wonderland ref before it was changed #also there is a world where they changed it from giant to monster bc they wanted to do s/t with the monster body/monster personality thing #but that is TOTALLY veering into pepe silvia/secret good episode or sherlock territory lmao #for the record I did not buy it I checked it out from the library #I'm not above buying jr novelizations (i happily own the disenchanted one)#but I'm not into descendants like that

45 notes · View notes