#and then never showing any actual racism or making any full storylines out of said racism

[everysongineverykey]

well, i didn't think much of death on the nile 2022. what's with this trend in recent adaptations of old works trying to make the work "progressive" with some of the most halfhearted stuff i've ever seen? making white characters poc and in the process doing things like recharacterizing a formerly white, now brown financial trustee character into "a slippery snake, no one but [his cousin] trusts him" when the character's crook behavior was not at all apparent to anyone for most of the book and was only revealed towards the end, inventing queer relationships where there were none and handling all their oppressed characters with kid gloves!

this movie features hercule poirot deducing that two women are a couple out loud in front of them while they look on, terrified that he's found out their secret and might destroy them- but of course, since poirot is the main character, he can't be bigoted (never mind any old-fashioned ideals he may have possessed in the books), so all he does is use this as an opportunity to rather pointlessly wax poetic about "people killing for love" even though no one watching with half a brain ever really suspected either of them as being the killer. the problem, though, is that he says all this in front of a stranger. there's a friend of his, who the women don't know, in the room with them, listening to all this. death on the nile has their main character out a closeted queer couple to someone they don't know and don't trust in 1937. the character doesn't use it against them, of course- he's supposed to be a good guy too- but my god, imagine if you were in their shoes! you could potentially make a case for poirot knowing the man wasn't homophobic since they were friends, but that's doubtful, and it's still a really shitty thing to do. and we're just supposed to accept it as a display of how nice, how woke poirot is! i doubt this movie had a single queer person in the writers' room. death on the nile tries really really hard to make you believe it's got thought-provoking stuff in there, but ultimately it's just a shallow cash grab dressed in period clothing masquerading as the brilliant source material.

[hussyknee]

do u really not see the difference btwn writing fanfic on the internet and buying a game whose storyline is actively being written by white supremacists and having the money go directly into the pocket of the most vocal & influential terf in the UK? that's not even touching all of the other racist and offensive bs in her series inc her antisemitism, appropriating first nations cultures, her asian racism, etc? i guess thats why you dont have 'antisemitics dni' on your blog

First, let me be clear – I do not give one single shit about Harry Potter. They are the best memories of my extremely shitty adolescence, I still read fanfic from time to time, but other than that, if I never hear the word "Harry Potter" again it will be too soon. I care about the fact that you clowns are

encouraging bullies and endangering mentally ill marginalized fans

leeching the air from leftist and queer discourse

fuelling a Western culture war that distracts from combating systemic transphobia

making suffering Black and brown communities, who mostly see white and Western trans people, think that trans people don't have any real problems beyond video games

Now, on to your ask:

I said never said not buying the game was the same as writing fanfic on the internet. I said that the furor over buying the game is leading to everyone who had anything to do with Harry Potter, including just writing fanfic, being bullied. I've had to unfollow so many people for reblogging posts attacking people for being in the *fandom*.

Asking people to refrain from doing something to prove that they care, especially demanding that they don't, has never in the history of activism worked. Black people have been speaking out against copaganda shows forever and STILL get harrassed. Indigenous people have been asking people to boycott Avatar and gotten nothing. Some people comply, but more do the thing simply out of contrarianism, and the entire issue becomes a culture war divided along political affiliation. People on the right go out of their way to do the thing, the people on the center and center-left won't really care, and people who identify as leftist divorce themselves even more from the rest of the left as being no better than the right, which eventually devastating results when it comes to actual elections and agitating for political change.

What works a lot better is harm reduction. Pirating is harm reduction, asking the HP fandom to offset JKR's fuckery by making their own merch, promoting indie games and donating to trans healthcare funds is harm reduction. People won't stand for being policed, but they like giving and also not paying for stuff with a clear conscience. You would have raised so much fucking money and promoted so many different things in all this time you've spent giving the game negative engagement clicks and keeping it trending on social media so long after its release.

You keep insisting that people shouldn't be fans because JKR equals her fandom with her own influence. This is called buying into the right-wing narrative. The woman is delusional (I can't think of a non-ableist word atm, and I honestly think that she's not all stable) and you're enabling her and her terf cult. We created the online HP fandom ourselves back in the aughts, before there was any merch, before movie rights were ever sold to WB, a full decade before her advertising machine ever woke up to the fact that an internet fandom existed. JKR has lost relevance for HP fans a long time ago; imagine the slap in the face for her if the fandom starts countering her bigotry by very prominently engaging in trans activism? The JKR terf cult in the HP fandom are a minority, like TERFs themselves (they're only so loud because the right-wing promotes the shit out of them). The vast majority of fans are just the kind of vaguely well-meaning cis people who don't agree with transphobes but are pretty ignorant about trans issues. And I do mean the vast majority, because literally a billion people grew up on her books and only a bare fraction is on social media at all, and even fewer even see the leftist drive to boycott the franchise.

Let's talk demographics. Because of the aforementioned vastness of consumers, the majority of HP fans are cis het, abled, neurotypical Millennials. Because of the way internet penetration works, the majority of HP fans online and even in fandom are white or Western. Leftist spaces mostly attract young and marginalized people, and transformative fandom is full of neurodivergent women and queer people. Which means the majority of people you're reaching are young queer neurodivergent people who have limited economic power themselves. And the people most vulnerable to and impacted by policing and harrassment are trans, Black and brown, Jewish, mentally ill, poor. Do you see the problem? You're policing the very bottom rungs of the socio-economic ladder on the off-chance of maybe influencing a privileged few who might give a damn.

This is literally why we say that boycotts, especially over social media, don't fucking work. Firstly because they penalize the most disenfranchised consumers, it's hard to reach enough people to even explain why they matter, it's hard to keep up with the constant discourse and changing information, and it relies entirely on performance. Someone can stay quiet or nod along furiously to whatever you're saying and then just...go out and buy the thing. Social censure doesn't work when you have the option of not having to face the consequences. Contrary to hellsite opinion, the Fantastic Beasts franchise died because it sucked, and Harry Potter is dying because it's fading from relevance and JKR is being an embarrassment. The wider market doesn't even know y'all exist.

As for the game being racist and antisemitic...you come on my blog, a South Asian who has been in fandom for twenty years, and try to tell me about racism in media???? NINETY-NINE PERCENT OF ALL MEDIA IS RACIST AND ANTISEMITIC YOU ABSOLUTE CLOWN. I'm from South Asia, our children grow up on books written by colonizers! LORD OF THE RINGS is white supremacy! NARNIA is white supremacy! Disney and Marvel is one of the biggest figures in US military industrial complex that razed the Middle East to the ground. It's so ubiquitous that we have to accept the racism and white supremacy as a matter of course to engage with any Western media! And even then fandom is so racist it's hard to even exist in it! We get run out of it when we try to talk about it. You suck on white supremacy every single day you live like it's your Mum's teat! Do you know what it's like to hear whiteys ranting that people who consume this one game they hate are being antisemitic and racist??? While still fawning??? Over cop shows???? And Disney???? And sending Black people??? Death threats??? Over a game???

I don't say "anti-Semites DNI" for the same reason I don't say "racists DNI". Nobody identifies as a racist or antisemite, that's not how systemic oppression works. Radfem and Zionist and Communist are political identities. Radical feminism is underpinned by transphobia and racism, Zionism is currently entrenched in Palestine occupation, Western communists refuse to acknowledge USSR and Global South genocides. See how that works?

Bitch, you didn't just come at me about JKR's indigenous cultural appropriation when I was among the few who were trying to discourage people from supporting Fantastic Beasts back in 2016 and literally got flamed for it. You people did not give a single shit about Natives back then, and you don't give one now. Just like you don't actually care about Jews and never did. I literally never heard about why and how openly alt-right people keep getting this kind of power and position in the gaming industry. Conversations about antisemitism in gaming and antisemitic tropes in entertainment haven't gotten this much traction. No wider revelations about how entertainment media directly funding and promoting social harms. But sure, it's about antisemitism and racism and has absolutely nothing to do with a mess of white queers realizing they can weaponize it like a cudgel against anyone they believe are against them. We know you whites. You care about excuses to take the moral high ground without having to do any self-interrogation or cost to yourself.

Finally, to give y'all one example of where the current discourse around this stupid shit is at:

Fuck you.

[wenellyb]

HAPPY TFAWS Episode 2 Anniversary!

I can’t believe it has been a year already since we got to see Sam and Bucky reunited again and we were riding on the emotional rollercoaster that was the Falcon and the Winter Soldier.

That show tried to fit so many storylines into 6 episodes and one single show which was tricky at times, but it’s actually something I really liked. Because we got to see so many things at once and in the end, they focused on the most important storyline in episode 6, Sam finally becoming Captain America as we were promised.

One thing I really liked in the show and especially episode 2, was the way they portrayed an interracial relationship where one of the character is White, but didn’t try to make the White character perfect and “all-knowing” when it comes to racism. And I’m sorry because I’m going to make a comparison between TFTAWS & Grey’s Anatomy for the umpteenth time but there we go...

One thing I have never liked about Grey’s Anatomy is when they were trying to talk about racism and it involved one of their White main characters. All their attempts have failed because they don’t want to make their White Main characters look bad, so the episodes were always very awkward, and unrealistic, the episode where Amelia talked to Stephanie and then Maggie, the episode where April and Jackson are taking care of a kid that was shot by the police. They really didn’t dive too deep into Amelia and April’s reactions, because I guess they didn’t want to make them look like the “bad guy”, for a lack of better word.

Most of the time, shows or movies with interracial couples rarely explore the cluelessness of the white partner when it comes to dealing with racism, but in real life, most of the time that's how it goes. Even when couples that have been together for years.

TFATWS wasn’t afraid to do that, they weren’t afraid to show how clueless Bucky was, how unhelpful he was and even contributed to the racist abuse Sam endured during the police scene. How humiliating it could be for Sam, for Bucky to just say “Just give them your ID”, when Sam wasn’t doing anything that warranted the police’s inquisition. The show didn’t try to sugarcoat it or make Bucky look good... they showed how Bucky was out of line. Because the truth is... A lot of my White friends would have behaved the way Bucky did, unfortunately. So it felt more realistic to me than whatever Grey’s anatomy was trying to do.

Some of the people might have not really noticed, but it was there and then this came full circle when in episode 5 Bucky said: “I owe you an apology” “ I don't think we understood what it felt like for a Black man to be handed the shield”... The show outright said it and it was such a great scene to me. In ep 5, we got closure for what we say in ep 2 because Bucky was too self-involved until then to even think about what Sam was going through.

TFATWS was the first time I had ever seen an interracial couple where it was acknowledged that the characters are living different realities. Usually interracial couple in shows or movies are portrayed as this wonderful couple in a parallel universe where the White characters isn’t racist, doesn’t have any bias, doesn’t have anything to work on, doesn’t need to progress on some points, Grey’s anatomy did it, but a lot of other shows and movies too, until the Falcon and the Winter Soldier. 

There’s still a lot that could be said about the show and episode 2, but this is is really something I appreciated in the show and particularly in episode 2.

*I know, I know, Sam and Bucky are not a couple, but I guess this works for friends too hahaha

[butwhatifidothis]

For a change of pace I’m going to actually say something nice about a character, and that’s Claude (under the cut cuz it got a bit long and I remember!! that’s a fucking thing you can do lmaooo).

Like, there’s honestly a lot to this character that I find very striking and sadly gets overlooked in favor of either making him a complete joke or a complete/near complete sociopath. I like that Claude initially believes himself to be this beacon of hope to this silly land of Fodlan because of his view as an outsider... and then realizing and acknowledging he’s not, that while an outsider’s perspective takes away the bias of growing up steeped in certain ways it also leaves holes that he just can’t catch without someone showing him due to his ignorance of said culture. He thinks he has Cyril and Rhea pinned down to rights because of course he would, why wouldn’t he... and then he actually talks to them and is shown wrong, and he listens! With Cyril he likes being shown the truth even if it means it puts him and his previous beliefs in a nonperfect light! With Rhea he doesn’t just reject her words even though they blow a giant hole in what he thought of her for the vast majority of the game!

And the way his trust issues are handled, while I do think could have been dealt with better had the route focused on his character more, I still absolutely love it. It’s so subtle but consistent throughout pre ts/post ts VW, how often he “makes sure” the Golden Deer are by his side, how he always has to find the “right time” to reveal his plans to them because he genuinely thinks they won’t trust or believe in him, how he genuinely thought that Hilda and Judith would abandon him if things got too dangerous for them personally (in AM for Judith, Hilda for both CF and AM), how you never really get Claude’s full story anywhere even in the end or the S support (almost like that’s a big source of trauma for him and he’s a secretive guy because of that trauma that doesn’t magically stop being a thing because you wanna kiss him! Congrats IntSys for once you managed to get something kinda right!), how even something like you calling him a stalwart ally is responded with a wink and a deflection saying that you’re just flattering him (because you can’t actually believe he’s a good ally too, right?), but then you see him actually trust someone and oh. Oh man. The difference is night and day. How he pleads with Dimitri to stop fighting and join forces in both AM and VW despite Dimitri being off the fucking walls at the time, how he honestly believed that Dimitri would not only recover from his madness but still come to his aid in AM, hell even in CF he honestly believes that there’s no way Byleth would kill him despite them deliberately forcing the Alliance into the war by invading them, shown by his shock and hurt if you actually do - Claude puts his trust in few people but when he does he does and that’s honestly so indicative of how drastic his trust issues affect him.

You see that growth more blatantly in his supports as well - compare how worriedly Claude deflects Hilda’s observation about his knowledge of how Almyrans see the Gonerils pre ts to him inviting her to meet his parents post ts. Similar with Leonie, how he offers to take her to his homeland, something pre ts Claude would never dream of. 

And then there’s his empathy and compassion! Like often he’s very careless when it comes to trying to discover the truth yes, but when he sees there’s a line he’s going to cross if he does? He steps back, always. His supports with Marianne show this amazingly, with him thoughtlessly stepping on her insecurities, trying to apologize and make her feel better but failing, and then ending with him opening up to her about his own life - something he very, very rarely does - to make her feel less alone with her struggles. His ones with Flayn even say straight up that he dislike forcing secrets out of people, and when he says he’ll give up trying to get Flayn to talk herself... he does. Legitimately. Afterwards he just spitballs theories to her. Even when he sees he’s hitting close to home when he correctly guesses Flayn and Seteth’s relationship he doesn’t push farther than that despite the huge implications of what that means. And this “I don’t like to force secrets out of people” line is backed up by you losing support points with him if you try to dig at Flayn after Remire.

And we know that Claude doesn’t immediately think of the commonfolk in his dream via his supports with Cyril, but damn, when they’re in front of him, when they’re directly in his care? Claude arguably goes the farthest of the three lords to portect them. Mr. “Tactical Retreat” suddenly puts himself in direct danger by painting himself as a prime target for the Empire to attack in AM and CF. He involves none of the other houses and tell his men to retreat should things get dangerous for them (as shown in explore dialogue with CF!Lysithea and what he says if Judith and Hilda die in AM/CF in their respective maps). He calls in the Almyran army in CF and on the Kingdom army in AM - forces with trained soldiers ready to fight, not civilians desperate to live. And speaking of civilians, he evacuates all of Derdriu’s civilians and closes down entry into Derdriu. Even with him planning on retreating himself should things go badly that takes some nards to go through with given how easily things can go badly for him should just about anything go awry; he goes the distance for those under his care.

And also how readily he offers his support and understanding to the more emotionally abused characters. Look at his talk with Dimitri during Golden Deer’s Plea, back at his supports with Marianne, how he sympathizes with Rhea - someone he actively disliked/distrusted for most of the game - once he hears her story.

And yo, man, his backstory? Imma be real, very rarely do I get invested in “racism bad” storylines because so often they fall into “white man bad POC good” black-and-white (lol) mentality, but this? I actually felt this. So rarely is a mixed race person’s perspective shown in regards to racism since it’s more complicated than “whitey bad POC good”. No, both have people in them that are raised with beliefs that breed racism. They’re not evil people, they’re a result of the culture that raised them, and that raised those that raised them, and so on and so forth. He gets that his dream is unrealistic and that it’d take a very, very long time to implement even if it did happen and even then would face extreme backlash from people from both sides, but he believes in this dream. It’s what lets him face on Edelgard in CF despite the insignificant chance he has of winning if he does so, what pushed him to go beyond his familiar home of Almyra into the completely unknown Fodlan, what drives him to aim for Almyra’s throne despite his position as the youngest prince (aka his weak connection compared to his half-brothers).

And like, Claude shares with Rhea in that IntSys dropped the ball on their characters anyway, despite how much thought was put into them. Rhea is stripped of damn near any agency in post ts, non-CF routes and Claude has noticeably less direct attention given to his upbringing compared to Edelgard and Dimitri (and small things like no appearance from either of his parents’, no child portrait, stuff like that). This is most likely due to their routes basically being copy-pastes of each other so it had to be compatible with both characters so both characters had to suffer for it. But like, for what we got? I still love it.

[kitkatopinions]

I'm tired of fantasy world writers being like 'oh, this is my allegory for racism in my fantasy world where actual racism doesn't exist, also I'm going to not do any research on how to properly include said allegory, badly portray it, make my main characters affected by this white or white passing, and then use racist stereotypes later.' Long post full of RWBY criticism ahead.

RWBY is terrible with the Faunus racism they chose to make part of their story. They made the White Fang an evil terrorist group, they made Blake lecture fellow Faunus about how they're the ones actually hurting themselves by using violence against each other, they framed comfortable and peaceful protest as the only good way despite establishing that peaceful protest didn't work, and they made their child slave coded character who literally got branded turn into nothing more than an abusive stalker and then had him killed without ever addressing the aforementioned child slavery. Also, the only Faunus among our main cast now that Sun is gone is one of the most privileged of the Faunus. Blake can pass as a human if she wants to, she grew up fairly rich, she has two loving parents, and she comes from an inherently powerful position as the daughter of the Chief. Having Blake be privileged would be absolutely fine, if she acknowledged her privilege, wasn’t the mouthpiece on Faunus rights, if she wasn’t the only Faunus in our main cast, and if she didn’t repeatedly lecture other Faunus.

On top of that, two of our main cast have been racist (within the narrative of the show) towards our main Faunus character, one of them learns from it (even though that as well was badly handled) and became the only member of Team RWBY to ever call out human's being racist after season three. Oh wait, except the other member of our main cast that was racist that never had it addressed because it was treated like a joke now has yelled at a racist once, in an incredibly tense situation, so I guess her racism is gone. It’s good that it’s gone, since CRWBY is pushing her and Blake as a couple, but it’s frustrating that her racism never even got a ‘that wasn’t funny’ and we never see Yang learn any better, because it feels like CRWBY brushed it off and acted like it was fun and quirky instead of treating it like the casual racism it was. They do a similar thing with Robyn in season seven which came out in 2019, when she calls Marrow ‘Wags.’ Also none of our main cast are ever seen protesting for Faunus rights (sans a two second flashback of child Blake at a rally and a non canon RWBY chibi cartoon.) I don't think Ruby - our main protagonist - has ever even mentioned Faunus rights. In a world where Adam was branded with the SDC logo under fifteen years ago at the most, racism and fighting racism should be a big part of the story, and instead, it's brushed to the side and used for the occasional 'we don't like racism btw' moment now that Blake got rid of a Faunus run terrorist group. To me, this implies that the number one threat to the Faunus… Was the Faunus, and although some humans are still anti-Faunus, no one has to devote their time or energy into fighting for equality. In season 7, Blake doesn’t even attend the rally of the political figure running against Jacques Schnee - who as far as I’m aware, is the only business owner or person in power who has ever displayed anti-Faunus racism in the show. By the way, please feel free to correct me if I’m wrong. It’s been a hot minute since I watched through the show.

Instead of attending a rally that seems very important for the Faunus, Blake goes dancing with her crush. It’s like she stopped caring about politics and rights after the White Fang got removed. That feels so bad. Also, I'll note that most of the actual POC Faunus that can't pass as white in this show are on the bad side (Sienna, Fennec, Corsac, Lionheart, Ilia, Marrow.) And either they die, or they must learn to give up their destructive ways and become better people. I’m not saying this was intentional, I’m saying it’s a pattern, it’s alarming, and the writers should’ve known better.

I believe Miles Luna and Kerry Shawcross have admitted that they mishandled Faunus racism, but first off, it still doesn’t excuse them because they were grown people putting out a product that premiered in 2013 and they should’ve known to do research and do better. But second off, I still feel like they haven't done the research they need to and continue to mishandle the racism by ignoring it when they want to and bringing it up only to let us as an audience know Weiss and Yang aren't racist anymore. They can’t just cut the Faunus from their storyline now, but they can’t just ignore it, and need to actually make it a better allegory. Honestly though, one of the big reasons I'm convinced that they still haven't done any real research on how to properly portray POC or racism is because of how terribly they're handling the Ace Ops.

They're writing a fantasy show, they aren't tied to real world portrayals of law enforcement, but they went the route of commentating on real world police, corrupt police, and use of excessive force. That's fine. But things are already pretty dicey just starting off because of how they've mishandled and continue to mishandle Faunus racism. Outside of Jacques Schnee and his company and business partners, I don't remember seeing Faunus racism in Atlas (not Mantle, Atlas.) If I'm wrong about that, again, please correct me, I may have missed it. But without seeing actual discrimination against Faunus within the police force, right off the bat, that's a mishandling of commentating on police brutality. But also, other than Clover who is now dead, the Ace Ops are all people of color. CRWBY made their bad cops all not white. Even Ironwood - who is white passing - is voiced by a person of color who has said he believes that James is Chinese American. I'll point out that being a Hunter is pretty much just being a cop with more freedom and seemingly less rules. Qrow (a Beacon Huntsman) goes around destroying public property and comments on how some hunters work outside of the law, and yet it's only the Ace Ops who are held to real world ACAB rules and everyone else gets to be a good cop/law enforcement officer. Ruby gets to proudly proclaim herself a Huntress, Weiss gets to arrest people, Jaune gets told that he deserves his Huntsman license, we've been getting told for seven seasons that Hunters help people and do what's right, and we're given long time Hunters and mentor figures like Oobleck, Glynda, Qrow, and now Robyn is being framed that way, and they back that up. Even training Atlas soldiers like Neon and Flynt are fine and fun. But only the Ace Ops are bad, corrupt law enforcement officers. So that way, we can have the entirely white passing Team RWBY beat up the entirely POC, not white passing Ace Ops. Even though Team RWBY is a byproduct of the same kind of program and even though we’ve seen the police discriminate against Faunus in Vale. If CRWBY wants their allegories to be taken seriously, they need to recognize that RWBY and co are also certified police. Also, it’s really not funny to see people use ACAB as a reason why the Ace Ops are of course bad, but then turn around and simp for Winter, and be like ‘We want Winter to be redeemed, but Harriet? What a bitch!’ Like… I’m side-eyeing that pretty hard.

Speaking of Winter, now she’s in charge of the Ace Ops. But unlike Marrow, Winter doesn’t just look sad sometimes and blindly only follow direct orders without protest. She’s actually feeling all kinds of things, and she’s actually being framed as strong, intelligent, and reasonable. I’m sure no one forgot this, but I’ll note it anyway; Winter is white. Having Winter be the only Ace Op to actually listen to JRY and do things without James explicitly telling her to (although I don’t consider what she did a betrayal or going behind his back) is dicey. They could’ve given this moment to Harriet and nothing would change. ‘This lady typically follows orders, is short tempered, and pushes down her emotions, but she can still recognize a fairly good idea when she sees one and can actually think for herself, so although this isn’t a betrayal, she compromises and lets Team JRY go after their friend.’ Yeah, idk guys, I feel like there was literally no reason to slot Winter in with the Ace Ops to be the lone voice of reason when Harriet could’ve become the new leader and played the exact same role. Instead, Winter gets to have a power move where she puts Harriet in her place. Winter is given actual depth and gets to put down the black woman who the writers have made display nothing but anger for the whole season. The fans rally behind Winter because she was given depth and hate Harriet because she has none, but that’s the fault of the writers. Btw, ‘this black woman won’t show any emotion besides anger’ is a racist stereotype. It would probably have taken like five minutes on google for Luna and Shawcross to have realized that it was a bad idea to write a black woman in any sort of position of power to be constantly angry + hiding her emotions. Elm is in the same boat as Harriet, and I was going to say it’s less severe, but then I remembered that she literally attacked Ren for talking about their emotions.

Look, my point is that RWBY as a show has never handled allegories like racism and corrupt police well, and either they should stop trying and stick to ‘make believe land is just different than the real world’ or start putting in the work and fix this. By the way, I’m not trying to make anyone feel bad for watching or even enjoying RWBY, but I hope people can watch it while recognizing that some of the things CRWBY has chosen to put into their show are destructive and that the creators need to be called out. I’ll continue to hope that most RWBY fans do recognize that RWBY is deeply flawed, but I’ve just been stewing recently about someone who told me that I shouldn’t have expected the show to address Faunus racism in the Atlas arcs because that ended when Adam died.

I want to make it totally clear that I agree with and support ACAB in the real world and I'm not against it being used in fantasy works, I just think CRWBY is doing a poor job of portraying it and many fans are misusing it and it feels disrespectful. This is an actual real world movement with actual real world consequences. It feels very bad to see people use it to argue that the writers who have never handled allegories of racism well can make an all POC group be a destructive, violent, easily controlled, easily beat group of corrupt cops that need a white woman and fellow cop to be the voice of reason.

[yotd2009]

i am curious, as someone who’s only exposure to arthurania was reading jane yolen’s young merlin as a child, would you mind saying why hnoc is a bad adaptation? i’m super curious but no worries if not <3

this has been sitting in my inbox for months bc i kept telling myself i needed to write a full essay with proof from medieval lit to make myself feel smarter.  however, since i’ve recently lost all credibility bc i can’t articulate points to save my life, and since i’ve realized that i could answer this in a just a couple paragraphs, now seems like the right time to answer this ask. sorry for the wait.

under a cut bc length

also warnings for mentions of racism bc this is hnoc we're talking abt and sexual assault bc this is med lit we're also talking abt

the basic problems are pendragon polycule itself, the story beats of the album, the fridging and lack of characterization of morgan le fay, the clear influence of pop culture arthuriana, and whatever the fuck happened with gawain/e.

pendragon polycule is... just not a good take.  there’s a bit in the lancelot-grail abt arthur viewing lancelot like a son (and lancelot not giving a shit abt him).  also arthur knew his parents for years before lancelot was even born.  plus lancelot just Doesn’t care abt him and i can’t stress this part enough.  arthur repeatedly tries to have guinnevere killed, mostly in the lancelot-grail, and guinn didn’t really have any say in marrying him bc she was a teenager.  lancelot and guinnevere is a lot better but that’s not saying much.  guinn doesn’t exactly treat lancelot too well... like at all, BUT it’s not intrinsic to their relationship and is completely caused by medieval misogyny and i’m all in favor of modern retellings saying fuck that.  but also lancelot has multiple pseudo-canon boyfriends (this is med lit after all), and one pseudo-canon husband so like... there were better options.  (also lancelot’s husband is basically in a lavender marriage with guinnevere’s maybe girlfriend who most authors just eventually forget abt as the story progresses).

this next one is a problem with a lot of modern arthurian works bc the inclusion of elayne of astolat is too much to ask apparently.  the grail quest isn’t tied to the fall of camelot, it just happens to be one of the last grand adventures the knights of the round table have.  the event that traditionally sets off the fall is the death of the maiden of astolat/the lady of shalott/elayne of escolat/she has a lot of names, her story has a few variations but usually she either is cursed to stay in a tower and weave and only be able to see the outside world through a mirror positioned across from her window, until lancelot rides by and she rushes to see him out of the actual window and her mirror shatters, setting off her death, or she lives with her father and brothers and takes care of lancelot bc he was injured for a time and she gets to go on adventures to find him and she’s friends with gawaine and she dies bc lancelot rejects her and this version’s a lot more fun but also more happens which makes it harder to explain.  the way her story ends however, is that she dies after she makes arrangements for a glorious boat to drift from astolat to camelot carrying nothing but her dead body and a letter explaining that she died of love for lancelot du lac and the court mourns the death of such a beautiful and young maiden (her age varies a lot but i’ve always read her as a young teenager at most).  but the important thing is, camelot is doomed from the moment she washes up on its shore bc she’s an omen of the end and has symbolic meaning and all that, the maiden of astolat washes up on camelot’s shores, the court mourns the loss of a maiden in her prime and she marks the end of camelot’s prime as well, morgan le fay reappears after being presumed dead and warns arthur of guinnevere and lancelot’s affair, aggravaine and modred conspire to bring lancelot and guinnevere’s affair to light, they succeed but lancelot escapes, guinnevere is to be burnt at the stake and lancelot rescues her, killing aggravaine, gaheris and gareth (gawaine’s brothers) in the process, gawaine drags his uncle and camelot to war bc he was driven mad due to the loss of his brothers, lancelot accidentally kills gawaine, his best friend and maybe boyfriend (i have RECEIPTS), and gawaine forgives him on his detahbed while lancelot and guinn rejoin arthur, meanwhile modred, who practically had the throne handed to him, usurps and invites the saxons in, camlann happens, and camelot is destroyed.  no where in there is the grail quest.

morgan le fay is honestly the most questionable part of the album bc there’s not a single text where she dies.  like....  at least with eurydice in udad she died in the original... there’s no basis for morgan dying.  also she is NOT modred’s mother and anyone who tells you otherwise is a liar, she interacts with him once in the vulgate bc she had three of her nephews over and that’s IT.  it’s a horrible take which originated in the mists of avalon by marion zimmer bradley who is an honest to god monster for reasons i don’t want to trigger tag this post for.  also she’s one of the most dynamic and thought-out characters in the entire canon and they just made her a watered down morgause (modred’s actual mother, morgan’s sister, canonical milf)... there was no reason for it to be her apart from the fact that she’s more well known......

pop culture arthuriana is,,, one of my least favorite things.  no, morgan wasn’t modred’s mother, no, morgause wasn’t abusive but her husband sure was implied to be, no, aggravaine didn’t kill his mother, that was gaheris, he loved his mother, you’re only saying that bc he has a reputation as the “evil” orkney, no, the once and future king is not a good descriptor for arthur, stop making me read it, no, morgause wasn’t the one to initiate the thing with arthur resulting in modred, no, lancelot and arthur weren’t friends, no, tristan wasn’t a self-centered asshole, tennyson is a fucking liar, no, galahad didn’t have sex or want to, he’s one of the first ever explicitly asexual characters out there, no, galahad’s conception was NOT consensual, lancelot was tricked, and no, elayne of astolat wasn’t galahad’s mother, she’s implied to be younger than him.  those are just the big glaring ones, but i swear it’s bc of arthuriana’s reputation as a mythology and the connotations belonging to that word (no one true canon (which is true but there are still things that just AREN’T canon, not completely written down, passed by oral tradition) that causes ppl to see mediocre modern texts and go “oh. well this is abt as close to the original as i’m going to get” and don’t bother to look into so much as malory (who i only name bc he’s one of the most well known medieval authors with the most commonly used storylines, don’t read malory kids, he’s a mediocre-at-best writer even by medieval standards).  the big perpetrators of modern arthurian tropes are the books the once and future king by th wh*te, who is a shitty person and lets it bleed into his writing (which isn’t like... nice to read or anything, seriously why do ppl love this book so much it doesn’t have redeeming qualities), and the mists of avalon by marion zimmer bradley (it’s poorly written, the story is a mess, and mzb is honestly a monster and one google search will tell you that), and unfortunately the writings of tennyson, which are mostly good but he clearly didn’t read the povest (a later text that’s also my favorite, known for significantly improving ppl’s opinions on tristan, isolde and co.) before deciding he hated both tristan and isolde and he has HORRIBLE takes on them.  high noon over camelot is SEEPED in pop culture arthuriana and i think it would have been so much better if the band had read so much as a SUMMARY of the events of le morte.  it’s evident in the song “the once and future king” bc it’s,,,, literally named after one of the worst books in existence.  it’s shown in the morgan le fay thing, and it’s shown in the pendragon polycule thing.  and hell, i think you can even explain away the lack of elayne of astolat with pop culture arthuriana, bc ppl have had bad takes on her ever since th wh*te combined her character with that of ela*ne of corbenic, and the band probably went “huh, let’s write lancelot’s abuser out of this” and they would’ve been right to do so if that’s who elayne of astolat was.

the final big issue is gawaine, the closest thing the genre has to a protagonist, he’s pretty much canon bi and, in some texts, arospec, he’s a dashing knight of great reknown and he derails every romance to steal hearts, commit murder, and make out with every knight and lady mentioned.  and in hnoc he’s... racist.  that’s it.  it’s,,, almost completely unfounded by the arthurian canon and shows a major misunderstanding of his motivations (like i said earlier, he wants to avenge his brothers bc there’s a reoccuring motif of how much the orkneys value family).  i say almost bc in one text it’s his motivations for killing palomydes but i’ve never heard it mentioned by name bc that’s just what it’s known for.  most arthuriana fans just look away from it except when critiquing hnoc but that one text is an outlier, shouldn’t be counted, and i highly doubt the mechs made hnoc gawain how he is bc they found this text.  it’s just a bad text.

hnoc has,,, quite a few more minor issues, such as villainized ladies of the lake (their ONLY crimes were sealing away merlin bc he tried to assault teenage nimue/ninniane (proto-nimue/vivianne from the vulgate), and that one time vivviane/ninniane kidnapped adopted baby lancelot), assigning brain to merlin (y’know,,, the predator who helped arrange the [redacted] of arthur’s mother and tried to assault a teenager,,,) although merlin is portrayed in a positive light throughout modern arthuriana so i don’t think they knew, giving a song to pellinore, who my perception of has been forever altered bc i was introduced to him through malory and the explanation of torre’s conception, which you can just look up “sir torre arthurian” to find out abt if you can’t just Guess, if they wanted a song abt the questing beast palomydes was Right There AND has been associated with the questing beast for longer, but once again i don’t think they knew.

also namedropping a bunch of knights in the fiction is... it Suggests a bigger world full of all these other stories but they just don’t work bc the world of hnoc wasn’t designed in a way where the appearance of half these characters would make sense.  like,, tristan is referenced as dying in the grail quest in the same sentence as bedevere (one of the characters who is known for almost always surviving), but tristan Isn’t one of the knights who dies on the grail quest, his possible deaths (ignoring the potentially happy ending of the povest for a second) are either being murdered by his uncle, king mark (bc mark married tristan’s gf to try and get tristan killed and also to spite him), bc he was driven into a fury bc of tristan and isolde’s affair, or he’s injured and only isolde (the best healer in the world) can save him so he sends for her and if the ship he sent for her is supposed to fly white sails if she’s there, or black sails if she’s not, and the ship flies white sails but his wife (also named isolde) says it’s black sails (the why depends but usually comes down to jealousy), and so he gives up bc he thinks all hope is lost and usually succumbs to his injuries, either way isolde dies of a broken heart over his body.  there’s no way for the tristan and isolde story to play out like it’s supposed to in the world of hnoc, just as there’s no way for any story with gawaine (and Oh Boy are there a lot of stories with gawaine) or pretty much anyone else, without severely altering the canon.

of course, there are still parts of hnoc i like a lot, most of the music i adore and i just like the idea of space cowboys and the secret good hnoc that lives in my head.  and it has one of my favorite characterizations of galahad, even though galahad hnoc is nothing like galahad arthuriana.  it’s not GOOD but i like it and it’s fun to turn my brain off too, and i’ll always value it as my introduction to arthuriana.

also there are modern arthurian tropes i do like such as characters being genre-savvy/knowing they’re fictional/knowing they’ve done this before (which hnoc does wonderfully!) and bedevere-as-the-storyteller (everyone say thank you lord tennyson).

WOW that was longer than expected, i feel very passionately abt this, when i was planning to write a fully sourced essay i meant to include a bit at the bottom with recommendations to get into better arthuriana and i think i’ll keep that in this post.

if you like hnoc for the arthurian music i’d like to suggest heather dale’s arthurian music to you, she does occasionally fall into the trap of modern arthuriana (some parts of lancelot and arthur being close, morgan as modred’s mother), sometimes she’s just wrong (galahad at lancelot’s trial, a lot of tristan and isolde), and her stuff is kinda straightwashed sometimes (sir gawain and the green knight, for example) but i’d be lying if it wasn’t catchy, and it’s not quite as bad as hnoc adaptation-wise.  culwch and olwen is pretty accurate (albeit abridged bc culwch and olwen has SO many tangents), as is lily maid (it’s abt elayne of astolat!).

if you liked hnoc for king arthur... in space! then may i recommend to you my own fanfic? it's not posted yet but the second i finish writing the first chapter i'm going to make a Big Deal out of it that'll be impossible to miss!

if you want to learn abt arthuriana through tumblr-osmosis like i did at first, i’d like to recommend the love of my life @acegalahads, first and foremost (it’s me on a sideblog i’m just obsessed with myself), and i can’t recommend my arthuriana mutuals over there, @/gringolet, @/merlinenthusiast, @/jcbookworm, @/elayneofshalott, and @/elaineofascolat (the elayne urls have been popular recently), also i know for a fact that my mutual-in-law, @/itonje makes great arthuriana posts that i look forwards to whenever i open the tag.

here are a few good reference posts, a quick guide to the characters, a guide to characters of color, and a much more comprehensive intro to arthuriana post with even more texts linked to it.

if you want to ease into med lit, i’d like to introduce you to pre-raphaelite poetry, alfred lord tennyson and william morris are my favorites, although tennyson can’t be trusted with tristan and isolde.  the poem the lady of shalott is basically a rite of passage for arthuriana fans, although when it comes to tennyson’s writings abt elayne of astolat, i prefer lancelot and elaine, which is part of his much larger story, idylls of the king.  for morris, don’t trust what he says abt aggravaine killing his mother, but my favorites of his are sir galahad, a christmas mystery, which sounds like a shitty disney sequel, and palomyde’s quest, which i blame for my love of palomydes (that and the one bit of the povest where he asks tristan to be his greatest enemy and that he wants nothing more, gay ppl,,,,).

if you want to read abt lancelot and his husband, there’s the lancelot-grail cycle, which i believe was taken off of archive dot org and i think i found it on @/tobeisexhausting’s blog but don’t quote me on that.

the povest, which was a religious experience for me and i can’t reccomend enough if you want to like tristan and isolde, is here, i don’t know who scanned it but i think i found it on @/lanzelet’s blog

the dutch texts are just good in general, here’s a link to their section of a(n unfinished) site for hosting various texts by my former mutual @/reynier (who’s no longer on tumblr).  i’d like to recommend lancelot and the white hart specifically bc it’s mainly just just gawaine being gay for lancelot.

if you want older works, here’s my scan of the history of the kings of britain, and here’s culwch and olwen and pa gur.

oh wow this is even longer than i thought it would be so i’m going to wrap this up by saying that i always love to talk abt arthuriana more than anything if you have any questions or just are curious!

[gra-sonas]

On the Season 2 finale of The CW series Roswell, New Mexico, while most of the attendees of CrashCon survived unscathed, many of the beloved characters were faced with choices in their own lives that forced them to make decisions that could set them on very different life paths in Season 3. How any of it will ultimately play out, only time will tell, but for now, there’s plenty of time to speculate while waiting for new episodes.

And in the meantime, we got on the phone to chat 1-on-1 with showrunner Carina Adly MacKenzie about tying up all of the family threads this season, shooting the last two episodes at a carnival, the scene that had to be cut, digging deeper into Max’s alien side, which character is most content with who they are, the importance of the abortion storyline in Season 2, how the plan for Season 3 will evolve, and what fans should make of that shocking final moment.

Collider: A lot of threads get tied up in this season finale, and you really pulled together a lot of the family storylines this season, from the Ortecho family, to the aliens and their family history, to Maria (Heather Hemmens) and her mother, to the Manes men, and even Cameron (Riley Voelkel) and Charlie (Jamie Clayton). Was that something that was always a really apparent theme for this season, or was that something that just happened, along the way?

CARINA ADLY MacKENZIE: That just happened. My only experience, other than working on Roswell, was working on The Originals, which was a show about family, so I think that my storytelling inclination is always in that direction. I also think that the age of the characters, when everybody’s coming into their 30s, that’s when you start to build your family, and you start to examine where you came from and decide where you want to go, as far as the people that you surround yourself with. And so, it just came about organically. I like telling family stories. I think that there’s a complicated nature to the people that you’re stuck with and who you were put here with, and figuring out how they fit in your life and whether they fit in your life is an ongoing process.

These last episodes have a lot going on, between a carnival, a fire, and all of these big things happening. What was it like to set these last two episodes in a carnival, and what were the biggest production challenges in pulling all of that off?

MacKENZIE: Well, I’m glad that we did it when we did it because I don’t think we’d be able to do it in a post-COVID world. Honestly, it was easier than I thought it was gonna be. We had a real carnival team come in and set up the carnival. The cotton candy truck was working and you could go get a fried Oreo in the middle of work. [Michael] Vlamis and I rode the rides, during a break. It was not as hard as it seems. We did have to cut one scene that we shot on the Ferris wheel because it turns out that it’s not that easy to shoot on a Ferris wheel in the daytime. I was like, “But I’ve got so many favorite shows that have Ferris wheel scenes,” and I realized that most of those are in the night because you don’t have to worry about these massive shadows getting cast over your actors, while you’re trying to shoot. But really, it was pretty seamless. Our crew worked really hard. Everyone was in really good spirits and really good moods. We shot all night, on weekends, trying to get that done, but everybody was very happy to be there. It was cool. It was fun. It was a little detour into childhood, riding the Sizzler.

Did you have to entirely cut that Ferris wheel scene that you mentioned, or did you just have to move it to a different setting?

MacKENZIE: No, we had to cut it entirely. After it was shot, we looked at it and it didn’t look like our show. It was a scene between Kyle (Michael Trevino) and Steph (Justina Adorno), so I was sad to see it on the cutting room floor, but it’s hard to strap a camera to a Ferris wheel and send it on its way.

Having CrashCon does pay homage to the original series and their UFO Convention. Was that something that you intentionally wanted to acknowledge?

MacKENZIE: Yeah. UFO Con is a huge part of the culture in the real Roswell, so we definitely wanted to get there, eventually. It was a fun journey, deciding how to tell that story. Comic Cons tend to be inside with a lot of people standing in lines, and they’re not that pretty. So, we wanted to figure out a way to tell the story of this convention, but make it look cool and make it pretty. The carnival idea came up, as a closing night carnival, and it was super fun to film. We had a couple of very, very long, very, very late, and very, very cold nights at the fair, but it was fun for the crew. I think everyone was in super good spirits, and it was a fun way to end our run for the season.

Just when Max (Nathan Parsons) really does have everything that he’s wanted, he seemed as though he was willing to risk it all, in order to keep pushing for answers about his alien side. Why did you want to dig deeper into that, and why is he willing to put everything else on the line, right now, in order to get those answers?

MacKENZIE: When we meet with Max in Season 1, he has very much rejected his alien side. He’s got this whole never be extraordinary rule in his life. Knowing Liz (Jeanine Mason), and being in a relationship with Liz and seeing how inquisitive she is and how much she strives to solve the mysteries of the universe, has really affected him. I also think that, for a long time, he was willing to settle for a life that he was only half living, and seeing Isobel (Lily Cowles), in particular, really come into her own this season, and learn about her background and who she is and who she wants to be, has really influenced him. He’s got a curiosity that he just can’t satiate. Ironically Liz does, too, but their interests are not aligning.

By the end of this season, who would you say is most content in knowing what they need to do next?

MacKENZIE: I think a person who is most content, at the end of the season, is Alex. Losing his father, his renewed relationship with his brother, and the ongoing coming out process that he’s been experiencing, has brought him to a place where he’s figured out a way to be who he is. I think that we’re gonna see him really blossom next season.

I love that you also were able to not only have him find his voice figuratively, but literally, as well, with the song that he sang (called “Would You Come Home”).

MacKENZIE: Thank you. I’m really proud of that song. I wrote it with Leslie Powell and Charlie Snyder, who are really phenomenal songwriters. I’ve been writing songs for a long time, and this is the first time anyone’s ever actually heard one. It was really cool to put ourselves into Alex’s shoes and to direct Tyler in the performance of that, when we were in the studio. I love the way that the montage came together, and I’m very proud of it. I’m really excited for it to be out there. We’re going to release it on all of the various platforms, and all of my royalties are gonna go to the Trevor Project. Hopefully, it’ll do some good for the character and some good for the world, ultimately.

I also have to commend you on the whole abortion storyline this season. Abortion is clearly a topic that TV shows tend to avoid, and when shows do take that risk, they also tend to never say the word. Do you think that this being a sci-fi show and the character being an alien helped, in being able to explore that, or do you think that you would have been able to do that anyway?

MacKENZIE: I think I would have been able to do it anyway. I actually think that it was really important to tell that story in a very human way. The big conflict that came up was the amount of blood that we saw in the episode. There was a suggestion from the network, at one point, where they said, “Can you make the blood iridescent? Can you make it look alien and put the same effect on it that you put on the pods and on the glass?” And I dug my heels in really hard and said, “No, it needs to look bloody. It needs to look ugly. It needs to look like an act of violence. Forcing a woman to essentially perform an un-medically supervised abortion is an act of violence.” And ultimately, I’m really grateful for the studio and the network’s support in that. It was important that it felt very much like a human moment because that’s how we told it. We wanted to say, “Okay, what does this really look like? What does it really feel like, to be a woman in a desperate situation without access to the care that she needs?” I’m very, very proud of that storyline. It was hard and it was scary, but I think that we told it with a lot of love. I was very, very proud of Lily and very proud of Nathan. It was tough, but it was definitely worth it.

I’m guessing that you had a plan for Season 3, before you knew how the world would be changing. Will you be able to hold onto what you wanted to do for the third season, or are you thinking about and re-evaluating everything that you had planned to do?

MacKENZIE: Well, interestingly enough, the writers’ room took a break before George Floyd’s death. When we took a break, we had sketched out an entire season that was built around racism in the police department in this small town. And so, we are looking at that story with new eyes. We’re still gonna tell the story, but the pressure is on, more than ever, to get it right because it feels like the world is tuned into that station right now. So, we’re re-evaluating that, on our storytelling side, and obviously, we are also paying a lot of attention to how things evolve, as far as how we can tell our stories safely. We have a lot of contingency plans for how to sketch out a romance, if characters can’t be touching and kissing, as much as normal. And if we can’t pack our diner and our bar set full of extras, how do we tell stories in those spaces? One of the things that I learned, working on The Originals, from Michael Narducci, who was the showrunner over there for awhile, was that no matter what happens on set, when you’re the showrunner, even if it’s not your fault, it is your problem, and that’s how we’re approaching storytelling. The virus is frustrating. It’s not our fault and it’s annoying to have to re-evaluate the way that we tell stories, but our cast and crew’s safety is really, really important. And so, we are trying to creatively write our way out of a difficult situation, as every writer in town is trying to do right now. As an industry, we’re just gonna have to have to evolve and our audience is gonna have to evolve a little bit. We’ll manage.

Obviously, the end of the finale has a shocking moment, in regard to the aliens. What should we make of that? Is that something that will also be a big part of the next season?

MacKENZIE: Yeah, we’ve got a new character, and he’s around for the long haul, Farmer Jones. He’s gonna have some answers, and he’s gonna really take what the characters think they know about where they came from, why they’re here, and who their families were, and challenge those ideas. Jones’ story of what happened in 1948 is very different from Nora and Louise’s take on the story. We dug into Michael and Isobel’s family in Season 2, and I think it’s time that we do a little exploring with Max and make up for all of that work that Nathan was not doing, at the beginning of Season 2, and put him to work twice in Season 3.

~ CoIIider

[seblaine-rph]

Can we talk about how Gradian might be just as bad as Joie?

If you want to tell me what brought you here with this comment, go ahead. I don’t have any insight on what their dash looks like and I assume that’s why you’re here. If @gradianvillagerp wants to take a look at the info below, they might improve their rp and grow by learning a thing or two. Remember that having a complaint lodged and/or showing you what you’ve done wrong while unaware that it was wrong is not as big of a problem as reacting poorly once you’ve been told. 

Looking at their main, I see they’re 1. using a known abuser as their main mascot and 2. there are multiple problematic fcs on their masterlist. I’m confused by the fact that there are abusers on their masterlist and there is an abuser for their mascot but they have people on their banned fc list because they’re also abusers. So I guess we’re picking and choosing which abusers we like and which are triggering. I’m also seeing 3. ethnicities not matching properly for canon families. 4. They also have Kristen Stewart as an fc, even though she’s asked not to be used as an fc because roleplay makes her uncomfortable. Jensen Ackles is on the masterlist too, and he is an iffy one, just be sure that you don’t use ANYTHING that has ANYTHING to do with his family. As a convention, he said that he doesn’t mind people using his face to rp with, as long as they do not push it on his family. I haven’t looked at the page to see if there are any pics up of him with any of his family, but if family pics were used then there is a problem. 

5. I also noticed that their masterlist is looking like the cast list for 50 Shades of White. There are a total of 5 people that aren’t white on the masterlist from what I can tell, and these 5 people all have very light skin. Masterlists like this make me feel like the roleplay is not at all welcoming to poc and may include subtle racist undertones. Because clearly the entire ooc masterlist prefers to write white. This is the kind of masterlist that makes me think that all of the poc are probably single because everyone’s writing their white faves and wants to ship with their other white faves. I’m not saying that is definitely what is happening, but that is what it looks like, from the eyes of someone who is not white. And this is based on many experiences. I also don’t see any transgender or nonbinary characters and the lack of diversity in general makes me sad. 

That’s the short and skinny of it, I’ll drop some receipts and go into more detail down below: 

Here’s a full list of what I found in just a few minutes on their main:

Cole Sprouse is their mascot and is on their masterlist. The same Cole Sprouse that has sexual abuse allegations, emotional abuse allegations, and a shit ton of privileged racism spouting out of his mouth. Alex Pettyfer is on their banned list for abuse allegations. Lea Michelle is on their banned list for being racist. But Cole is not only on the masterlist, he’s also the mascot for the main? Receipts and fuller detail on him down below, because it’d take too long to get into here and you’d never get to the rest of the problems. 

Dylan Sprouse is on the masterlist. He posted a pic of a girl he dated on Instagram and the caption was “My African Queen”. The girl’s skin tone was very tan, but many would have believe she was a black woman, but here’s the thing she isn’t black and when people called Dylan out of for having his girlfriend pretend another ethnicity, he made fun of them.

FIRST POST, with a blackfishing/blackfaced, edited photo:

The second post after he got called out:

KJ Apa is on their masterlist. He is fatphobic and sexist. There’s this post where he endorses bullying people if they’re fat because it’s “the only way to stop those useless bags of shit dying a fat, early death.” He’s also posted about beer being better than women. 

Vanessa Hudgens is on their masterlist. COVID is a trigger, but the girl that said, “It's a virus, I get it. Like, I respect it. But at the same time, like, even if everybody gets it, like, yeah, people are gonna die, which is terrible but, like, inevitable?" because she was mad she didn’t get to go to Coachella one time is okay to be there?

Jack Falahee is a Berry twin, twin to Rachel, but he’s not Jewish? Why are we erasing ethnicity? The only excuse to go against the Jewish ethnicity here would be by making the character half black, as per the season one storyline for Rachel’s birth, but the problem with that is that his mother would still be Jewish. So he’d still have to be half Jewish. 

Kristen Stewart is on the masterlist, but she’s asked not to be used in roleplays because it makes her uncomfortable. 

---------------------------------------------------

MORE ON COLE SPROUSE, 

because there was too much to put in one thing:

Cole Sprouse: He believes in reverse racism and has used MLK to attempt and justify his beliefs. He’s stated, 

This pseudo intellectual tone is the epitome of white privilege. As a white man not only does he not have right to define racism but to use a prominent Black activist in attempt to validate his ignorance is truly disgusting.  

He also compared BLM activists to cannibalism.

In 2015, some black lives matter activists interrupted a Bernie sanders rally in Seattle to criticize his campaign for paying insufficient attention to issues of criminal justice and race. Many people had their opinions on the situations, however Cole’s one didn’t make sense but also offensive. He hasn’t apologize for this remark and as a white man, he instead chose to educate people on what activism is supposed to be.

He also posted a pretty sketchy tweet about abuse, which reads “ Don’t become so jaded by abuse that your opposition becomes abusive”. This statement holds strong victim blaming sentiment and sounds like he is claiming that his actions were opposition and not abuse which is gaslighting. It should be known also that his very public ex girlfriend has been claiming that he sexually assaulted and abused her, and she’s not the only one with claims against him. 

It is also relevant to note that Cole Sprouse had this to say about a black man: 

He obviously comparing a black person to an animal. Many people have said him and Tyler are actually friends and this could have been an inside joke. No. 1 if it’s an inside joke then it should’ve stayed off the internet. 2. This is the famous excuse that many people use on themselves or to defend their idols, “I’m not racist, I have black friends!!!” or “I didn’t mean it, it was a joke.” It’s just telling of his character, when you think about the other racist remarks he’s mad. 

[chuckclayton]

Thoughts on GMW?

as much as i loved it when i was watching it, i can easily say that it did not live up to its predecessor. there was a lot of potential with the things they tried to cover, but a lot of them ultimately fell flat because they weren’t handled properly, like religion and farkle potentially being on the spectrum. there was also a lot of things that they could’ve covered but didn’t like racism and sexuality. i know people think those are heavy topics for kids, but they’re not. that’s so raven covered racism. andi mack had a coming out storyline. they’re parts of our reality that kids should know exist.

then there’s also all the absolutely fucked up comments about maya and her home life. yes, she was from a poor, single-parent home and struggled trauma of her father leaving at the age of like 5, but did they have to use it as a punchline so often? there was also them saying that maya was only getting good grades and staying out of trouble because she was turning into riley. what the everloving fuck was that about? she couldn’t just be changing for herself? no she had to be changing to see if the boy riley liked was good enough for her. instead of actually acknowledging that the triangle started long before maya “turned into riley,” they invalidate maya’s feelings for him (and in turn his for her). i also take a lot of issue with the writers having maya “revert” back to her bad girl ways by having her hang out with her poor colored friends instead of her upper-middle class (and rich) white friends. like what the actual fuck was that? they basically implied that poor kids of color are inherently bad. 

there was also the fact they lived in new york, one of the most diverse places you can go in the us, and only had 2 characters of color with any sort of relevance. you could argue that there was that ms. burgess and mrs. kossal but they lasted like 1 episode. 

the lack of development for romantic relationships has always bothered the fuck out of me. they never really put any effort into any of the ships, especially not r*cas. like if i wasn’t actively watching the show i definitely would’ve thought they were just friends in season 3. the only couple that felt like one was smarkle (and obviously corpanga) and they didn’t really get developed, they were just written to be more affectionate, which is kind of crazy considering smackle is not comfortable with physical affection. then there’s sh*ty, instead of giving them an actual love story, they invalidated shawngela and threw them together for maya to have a father. they completely erased shawn’s love for angela and said he only loved her because he thought he had to. literally bullshit! he spent 3 seasons of bmw being absolutely devoted to her and they retconned it for something we never actually saw.

last thing i’m gonna talk about is j*shaya. the fact that they gave them the theme of “long-game” and “someday” absolutely makes my stomach turn. he was in college and she was in middle school (and later a freshman in hs). two completely different mental and emotional spaces in life and i was supposed to accept the fact that had the show went on they’d be a thing? fuck no. i don’t care that it was a 3 year ago gap. that matters a lot when one is barely pubescent and the one is embarking on adulthood. it was ugly of the writer to let josh “reciprocate” her feelings when a one-sided crush would’ve worked just fine in that situation.

the show will always hold fond memories for me. it helped me out of a dark place when i was a teen. it gave me a community. i met some of the best people i know because of it, but it was chock-full of issues. i think a part of me will always love it, but i can’t pretend it’s not a problematic piece of media in some ways.

ask me my “thoughts on ______”

[dawnaress]

  MVP of Horror: Rachel True reflects on her experience as the only Black star of 'The Craft'

Rachel True is the first to tell you that she wasn’t supposed to be in The Craft. When the script for the 1996 Goth horror favorite first made the rounds in Hollywood, there were several obstacles that stood in the way of her joining a cast that included rising stars Fairuza Balk, Neve Campbell and Robin Tunney. “I had to fight to read for it,” True tells Yahoo Entertainment now. “My agents at the time were like, ‘You’re probably too old.’” (Watch our video interview above.)

Not only that, but the role that True auditioned for — Rochelle Zimmerman, one of four teen girls at a Catholic high school who form a Manon-worshipping witch’s coven — was written for a white actress. Undaunted, she relied on “smoke and mirrors” to get into the room and ultimately won the part, setting a new precedent for teen movies in the process. “It’s a big movie in terms of my career, but it’s also a big movie for Black people out there,” she says. “It’s one of the first teen movies that wasn’t a Black teen movie or a white teen movie.”

The obstacles didn’t end after True landed the role. If anything, they intensified during and after production as the actress felt herself being marginalized in favor of her co-stars. True makes it clear that she didn’t experience any overt hostility from the rest of the cast; instead, it was the studio and people behind the camera who seemed intent on holding her back. “When we were shooting the movie, I had literally been told by my team to stay away from Fairuza,” she remembers. “[They said] she can get away with stuff, and you will get fired for it. I was literally told, ‘You’re Black, so don’t say, ‘F*** you, mommy,’ like the white girls.’”

She also had to fight for equal attention during the film’s publicity tour. “They put up a poster of the four of us, mentioned the three girls and then skipped down the call sheet, I think, ‘This is how Black actors get underpaid, this is how they get forgotten, and it’s part of why I mouthed off about the publicity back in the day that I was excluded from. At the time, I don’t think my castmates understood; they were like, ‘You’re not as famous as us.’ What they didn’t get is that in the early to mid-1990s, [the studios] excluded the Black person, which meant they were never going to be as famous as you because they didn’t get the press.”

True experienced that exclusion as recently as last year, when she took to Twitter to reveal how a fan convention declined to invite her to a planned Craft reunion featuring Balk, Campbell and Tunney. (The actress credits Balk, now a close friend, with tipping her off about being left out.) “I had my guy call them up and say, ‘You could have the first reunion since 1996 with all the ladies, and they were like, ‘No thanks,’” she says. “My thing is that everything in life comes down to money, and if you don’t want the money [from a cast reunion] then as a Black person, what else am I supposed to think?”

After her tweets went viral, the convention reversed course and the full Craft coven reunited in March 2019. “I’m glad I spoke up,” True says. “Hopefully it opens the door for other people, so that when I go to the conventions it's not just me and maybe one other Black person.”

Racism is a subject within The Craft as well. As originally written, Rochelle struggled with bulimia, but the film’s co-writer/director, Andrew Fleming, revamped that storyline after True was cast. In the finished film, the character’s antagonist is Christine Taylor’s Laura Lizzie, a high school mean girl with a special hate-on for Rochelle. “First of all, Christine Taylor is so nice,” True says, laughing. “People come up to me and say, ‘Was she really racist?’ And I’m like, ‘She’s the sweetest woman in the world!’ I had gone to an all-white public school, so it was a great way to exorcise those demons if you will. It wasn't the first time someone called my hair pubic hair — that's the truth. So to have that in the movie was fitting, I think, as far as how people think.”

During filming, True remembers being uncomfortable with the way Fleming used her skin color as a plot point. “I remember thinking, ‘Do they see Blackness as a problem?’ All the characters have issues, and to me being Black wasn’t an issue; the way other people treat me for being Black is the issue. But once I really thought about when I got older, I realized it’s a good thing they have that in there. We’d come out of a time where we had things like The Cosby Show where nobody ever mentioned racism, and here was a movie that tackled it head on. I do think it’s interesting, though, that the other three characters never say anything about it! Not one of them is ever like, ‘That’s too bad that she’s racist towards you.’ I don’t think they would do that today.”

One other story choice that still rankles her a quarter century later is that Rochelle loses her supernatural powers at the end of the movie, while Tunney’s Sarah keeps hers. “Even in the mid-‘90s they knew they couldn’t kill off the Black chick,” she jokes. “But I was like, ‘Rochelle is more powerful than this! She’s an astral bridge, why is she cowering?’ That’s actually how I felt about that scene.”

Those memories are balanced out by the fun that True had making The Craft, whether it was flying around on harnesses or having a plaster mold made of her face for certain special effects sequences. “I loved all that stuff — I love movie magic. It's why I love being an actor because you put on this character and you get to experience life! I knew there was a lot for me to learn; Fairuza gave me a really good tip, because she was more experienced than I was. For the scene where we licked blood off our fingers, I kind of deep-throated my finger and she told me, ‘Rachel, it’s film and it’s a close-up. Just a small lick will do.’ So she might not have been the friendliest when we were shooting, but she was there to make a great movie. And she makes the movie, right? She’s so intense and fabulous in it.”

True shares other stories about the making of The Craft, as well as tales from her eventful life and career, in True Heart Intuitive Tarot, a boxed set that includes a tarot deck and a guidebook that’s part memoir and part tutorial. “It’s helped me with my career in Hollywood, a town full of smoke and mirrors,” True says of her lifelong interest in tarot. “I use tarot as a therapist — like a shrink in a box I like to say — so that I understand what I’m upset about or what’s going on.”

And with the True Heart book and deck, she’s hoping to instruct other people on mastering the art of reading tarot cards. “People hit me up on my DMs, saying, ‘Can I get a reading from you?’ And I’m like, ‘No, you can’t afford me!’” she laughs, adding that she’s mostly retired from doing public and private readings. “The idea with the book is that you can learn it for yourself... and you can heal yourself.”

The Craft is available to stream on Hulu or rent or our purchase on Amazon, iTunes and FandangoNOW. True Heart Intuitive Tarot is available on Amazon.

— Video produced by Jen Kucsak and edited by John Santo

Read more from Yahoo Entertainment:

[jastersmohnson]

Rewatching Masters of Sex: Volume 4

Season 2 Episodes 5-8

It was around this time in Masters of Sex’s second season back in 2014 when I thought to myself 'when are Allison Janney and Beau Bridges going to come back?'.  They were heavily involved in the advertising for this season, even being invited to the photo shoot.  I personally wonder if the writers thought that they were going to have a larger role in the season than they did or if they knew all along that they were just going to appear in one episode.

With the exception of the marvelous “Fight”, Masters of Sex has been off to a bit of an underwhelming start with it’s second season.  Well, all that is remedied with some of the best episodes of the entire series, starting with “Giants”, arguably the most underrated Masters episode.

"Giants" features an extremely captivating chess game between Bill and Virginia in the first half of the episode, which culminates in the scene at the Park Chancery where--oh you know the scene.

One of my favorite aspects of season two was the focus on racism, and they were able to intertwine Libby into the storyline quite well, seeing where she goes from the start of the season to the end of the season.  The racial undertones are quite evident in "Giants" and "Blackbird" as Masters and Johnson go to work at Buell Greens, which is a storyline far more enjoyable than Masters' brief stint at Memorial Hospital.  The debate to include African-Americans in the study was a pretty captivating one.

While Michael Sheen has been given plenty of Emmy-worthy material so far in the series (whether it be "Catherine" or "Fight" or "Manhigh"), Lizzy Caplan hasn't really been given nearly as much.  I'm not saying that that is in any way her fault; she's amazing as Virginia Johnson, but I don't think she was given as much material to shine so far in the series as Michael Sheen was.  I think it's just how the characters were written, with Bill Masters being so closed off that it seems so poignant whenever he shows his true emotions.  And for what it's worth, I think Lizzy Caplan's more Emmy-worthy performances are in seasons three and four, which is ironic because I'd consider Michael Sheen's to be in seasons one and two.


But what I'm trying to say is that all that changes with "Blackbird", in which Lizzy Caplan delivers a truly breathtaking performance, arguably her finest in the entire series.

This second season is so thematically deep that I discover something new each time I watch it.  I actually never really understood that subplot of Masters being interviewed by those African American journalists until rewatching that episode this time, and hats off to the writers for such a rich subplot.  Seeing Bill confront the editor in that room was probably the first time we see Dickhead Bill Masters emerge.

That's right, ladies and gentlemen, Dickhead Bill Masters is the nickname I'm giving Bill for these middle season two episodes, wherein Bill Masters behaves so appalling that he earns the title of dickhead.  And also, considering what we learn later on this season... I like the irony.  And Dickhead Bill Masters is center-stage in "Asterion".

"Asterion" is my favorite Masters of Sex episode, and to be honest, it's not even close.  That A+ I gave to "Fight" was more out of respect to the ingenious writing, it's not my all-time favorite episode.  "Asterion" is an artistic, thorough, elaborate, and often uncomfortable episode, acting as a standalone that manages to fuse Season 2A to Season 2B.  

Which leads to my shock that "Asterion" is one of the lower rated episodes of the series on IMDB.  That being said, IMDB also has "Party of Four" rated higher than "Matters of Gravity", so it's probably not the best indicator of quality.

But yes, Dickhead Bill Masters is in full force in "Asterion", making Virginia feel bad about herself and basically calling her a bad mother, in perhaps the most evil thing I’ve ever heard the character say.  Goddamn, Bill.  Why don’t you just suffocate the kid while you’re at it?

“Asterion” features several great Bill/Libby scenes.  The scene at night in their bedroom where Libby reveals she wants another child, and, more especially, the scene where they fight whether or not to take his mother’s money.  After the scene at the end of “Blackbird” where Libby and Bill kind of share a moment, “Asterion” is the point where the Masters marriage is fractured beyond repair.

My favorite scene of the episode might just be the ending at Johnny’s birthday party.  The seeds being laid for the treating-sexual-dysfunction storyline, Libby and Virginia foreshadowing next seasons lakehouse trip, and the powerful ending between Bill and his mother.

"Mirror, Mirror" really feels like the second episode of a season, making minor developments on new storylines introduced in the season premiere (or in this case, "Asterion").  "Mirror, Mirror" is notable for being the first episode where Masters and Johnson begin attempting to treat sexual dysfunction.  This surprised me last time I rewatched the show.  I thought that they were working to cure sexual dysfunction from the very beginning.  I didn't realize it was something introduced in the second season, and it's very smart how they intertwined Bill's own dysfunction with them beginning this line of work.

One thing that always irritated me about criticism towards Masters of Sex season two onward is the argument that “the show needs to go back to focusing on the study”.  Even when the second half of Masters of Sex was airing, with all this powerful character-building and Masters & Johnson taking on sexual dysfunction, I would read comments from critics and viewers saying “yeah, but when are we getting back to the study?”

This argument has always infuriated me.  Masters of Sex has always had excellent characters and told a captivating tale with Bill and Virginia, yet these people just believe that the show needs to be more like a wikipedia article on orgasms?  Not only that, but “the study” was pretty much done with the first season.  How much more could they exhaust that storyline?  Moving on to sexual dysfunction was the natural step forward.  And yet I’d still hear people complaining about them not working on “the study”, which is also such a vague term that it also infuriates me for that reason.  It’s always seemed to be just a cloaked way to say that the show was never as good as it was since season one.

I’d also like to say that it took me until the end of season three (the first time I watched it) to realize that there was a difference in the Masters & Johnson Clinic set.  I have to say, I greatly prefer the office they used in the second season.  Maybe it’s just the wall color--I like the yellow more than the blueish-grey of seasons three and four.

And perhaps it’s just the fact that I recently got one of those cinnamon brooms and started getting into the fall spirit, but this second half of season two has a real fall aesthetic towards it.  I think it’s the color palette: the yellow walls of the Park Chancery and the clinic, and maybe the fact that in terms of the timeline, these episodes take place in October 1960.

Next installment, we close out season two, which includes two Amy Lippman episodes!  I must have died and gone to heaven.

Giants: A

Blackbird: A

Asterion: A+

Mirror, Mirror: A-

[dustedmagazine]

Zeal & Ardor — Stranger Fruit (MKVA)

It would be true in any number of ways to say that Zeal & Ardor exist partially because of racism; it would be more specifically accurate to say that Manuel Gagneux’s music under that name sprung from the seed of a failed racist provocation. Gagneux (who, yes, is black) used to post anonymously on 4chan soliciting unlikely genres to splice together, and one day he got the combination of black metal and what you might call black music, if you were avoiding the racial slur the actual respondent used. Gagneux ignored the intent behind the comment and started thinking, eventually settling on one question: Given how people elsewhere have reacted to the imposition of Christianity on them by oppressors, couldn’t it have been just as likely that the African slaves brought over to America would choose Satan as Christ? The resulting blend may sound more interesting in theory than in practice, but on 2017’s proof of concept Devil is Fine, Gagneaux showed that in the right hands it made for fertile ground. Now, with a six-piece band (although aside from some drumming by Marco Von Allmen, these studio versions are for the moment still all Gagneux all the time), an expanded running time and palette, and an intensity equally infused with the horrors of the past and the continued relevance of discussing (say) lynching in 2018, on Stranger Fruit Gagneux has made one of the best metal records of the year.

One way you can assess the 16 brief, tightly-constructed and dynamic songs here is by how much they cross-pollinate the sturdy, aggressive metal that courses throughout the album with other sounds, techniques and timbres. The opening combination of “Intro”/“Gravedigger’s Chant” tilts towards raging atmospherics and work songs, whereas something like “Row Row” takes a similar starting point and proceeds full-tilt towards something thrashier and “Ship on Fire” gets so bombastic it brings in Latin chants from The Book of Abramelin (elsewhere demon summoning and Hermetic magic, as well as good old LaVey, get nodded to). But throughout Gagneaux keeps one eye on building an actual coherent world, one with stakes, and one where our narrators may have rejected the religion imposed on them, may even seek revenge, but are consistently up against something bigger than they are.  

“You Ain’t Coming Back” pivots around Gagneaux’s increasingly vehement insistence on the line “so don’t let anybody tell you that you’re safe,” delivered with the furious intensity of someone who’s seen too much to believe in whatever tentative peace is being offered. The title track pounds away forebodingly on the twin sentiments of “there’s a storm out there” and “they’re out there looking for you” while “Servants” looks forward with grim hope to the day the tables are turned, the only certainty being that plenty are going to be up against the wall when the time comes. And the closing “Built on Ashes,” deliberately crafted as a bittersweet summation to a consistently exhilarating album that is just as consistently about very unhappy things, about lives warped and inadequate solutions and oaths of vengeance against an oppressive system that maybe can’t be beat, keeps coming back to some lonely certainties for everyone; not just that you’ll die alone, but that “we never said you’d come back home.”  

Throughout these songs, the blends of styles is such that after just a few listens it doesn’t feel like a hybrid, it feels perfectly natural, even obvious. Gagneaux has a flexible, powerful voice and ably handles everything from crooning to shrieking, and the blues, soul, and gospel influences threaded around the blast beats, string distortion, and anthemic construction of the songs never feels distracting or like window dressing. And the subject matter, while it remains more of an emotional and thematic through line that it ever attempts the concept album conceits of creating a set of named characters and a coherent, traceable storyline about what happens to them, resonates strongly. About that original prompt, Gagneaux has said “the ultimate fuck-you is actually making something good out of such a silly suggestion.” With Stranger Fruit he’s gone even further than that; he’s made something powerful, something that amid all the ritual and esoteric language and bloody events foregrounds the humanity of these imaginary, unnamed people and their real world brothers and sisters in a way that’s far more effective and unforgettable than most metal bands will manage to be on any subject. That Zeal & Ardor sound great is impressive, and reason enough to give them a listen; that they might make you want to do something about the many crimes of our ongoing history is crucial.  

Ian Mathers

[runa-stuff]

Here be spoilers!

My jumbled thoughts on season 4 and the differences now that we’re on Netflix.

Alright, I’m somewhat back to the land of the living after binging season 4 two times. I have never been this emotionally drained after watching a show/movie. So much PAIN.

Things I loved and other thoughts:

- That opening song! I never liked that song but this version I adored!! Those lessons are paying off, Tom flippin nailed the high notes.

- The focus being on the characters instead of the case. This season makes it very clear how much fox pushed for this being a pure procedural. I mean we knew that the lucifer team had to fight for every scene that had nothing to do with the case of the day, but look just HOW MUCH! Most of the time during s4 I even forgot there was a case going on, and most importantly, the case’s sole purpose were to enrich and advance the character’s own storyline. It felt organic instead of forced.

- The costumes. They all looked so bloody good this season.

- The fight scenes were out of this world!!

- More supernatural stuff!! For once Lucifer was allowed to show he is more than human! He has more freedom because Chloe knows now, yes, but he was never allowed to show his strength before at all, except for the occasional door-handle crushing or chain ripping. That car scene was everything! Let him be a BAMF every once in a while, he’s the rebel angel!!

And Demons! More of that please! Love the zombie-esque way they handled the possession business.

Also Lucifer starting that boat cracked me up. Of course, he can turn everything on. 😂

- Things like racism, police-violence and mental issues being acknowledged and taken seriously.

- The way the triangle was handled. After the Pierce fiasco I was very, very worried about this being another generic love triangle. Honestly it wasn’t even a love triangle in my eyes this time, because it was painfully clear the whole season there’s only one Lucifer loves. It was more about him being torn apart by what Chloe and Eve represent, and that was brilliant.

The women didn’t “fight” over the guy. All of the involved characters learned from it, and it didn’t end with Lucifer “choosing” either side of him, but with him realizing that he wants to be HIMSELF. That he shouldn’t have to choose a side and change for others.

- Deckerstar! THAT AXE-SCENE!! That was intense and charged  and holy carp, all I can think of is: if she had wanted to push that axe down, he would have let her, wouldn’t he? He is vulnerable around her, and every time he chooses to be around her he puts his eternal life in her hands, and Chloe finally knows that. Ahhh! There were so many amazing scenes between them. Both their hearts got ripped wide open again and again, and it brought them closer than ever.

I also love how they keep playing with the fact that he’s vulnerable around her (the bar fight, him flinching when he slips with the knife before realizing Chloe is not there etc). Crying about the ending scene later.

- Chloe babe!! She’s back in the game! Lauren killed it this season, she was finally allowed to shine. Her post-reveal journey to acceptance was handled perfectly (I know many liked to believe she’s gonna accept and love him for what he is like two seconds after seeing his face, but that’s the stuff of fanfics).

I don’t wanna see anyone shitting on her because of what she almost did! Her whole world was turned upside down and she was manipulated in that vulnerable time, if you wanna shit on anyone, shit on Kinley. I’m so proud of her breaking out of that and realizing Lucifer ‘is who he is’, after all. The most important thing is that she didn't do it, in the end. And maybe that wine glass breaking was a bit of divine intervention, because the music being loud enough to break it alone would mean she’s at the very least deaf now. (don’t overthink it, I know) just rewatched the scene and saw she actually topples the glass over so nevermind.

- Lucifer finally found his brain again. I was getting tired of him getting more and more stupid and regressing for no reason. Also that dark velvety edge is back in his voice.. my voice-kinky ass is very happy with that, since his voice somehow got higher and higher with each season lmao. Oh and that scene at the end of 4x08 in Lindas office. Holy shit, guys. Tom ripped out my heart, trampled on it and threw it into the trash. The growth in the last few episodes!! And how is no one talking about the voices-in-his-head bit?

- My devil kink has been fed very well. Phew. Perfect eye-flashing moments, and use of distorted voice.

- STEP-SATAN HAS RISEN. Seriously that was awesome and cute. And finally some acknowledgement that he DOES love that little urchin too.

- Dan. Some of those scenes were painful to watch for my Douchifer heart. I hope he is the next to get into the Know… I don’t see any other way for him to change his opinion on Lucifer again any time soon.

- That whole Baby plot line? I usually hate baby plot lines with a passion, but this one wasn’t so bad. 'Aminidiel’ still cracks me up though. Still, my least favorite part of the season I think. Not a fan of Remiel either. That felt a bit wasted, probably because of time reasons.

- Eve. I was skeptical because there was way too much focus on her in the promos, but she is super cute. She also tackled some fe/minist themes that I believe has a lot of potential for the future. I hope she comes back next season, Mazeve all the way!

- Michael and Lilith hinted!! Very interested in the tension I smelled between Amenadiel and Michael, and more of Maze exploring the feelings for her mother please.

- The humor. It’s a bit darker, but still like we know and love it from past seasons. I’m still giggling over the “he got tired” pun. Heh.

- I am now more convinced than ever that at least one of the writers is very familiar with fanfiction, because some of that stuff was grade A fanfic material. Hell, some of the stuff WAS almost straight out of fanfics I read, and that I had never imagined to see on screen! I love it!

- The CGI was.. nice actually. At least the devil bits. So crispy. The wings were consistent this time and pretty good too. I’ve always been proud of this show going the full on CGI way instead of the lazy/cheap supernatural-way, as I like to call it (no offense, I loved that show back in the day), so I’m not complaining about weird wings and stiff movements too much anymore. I don’t expect Legion level wing fights ( https://youtu.be/Mp6aKCE3jSc ) but I do wish they would make the feathers look a bit less looking like.. plastic. A bit less feather-duster, at least - a proper look at real wing anatomy wouldn’t hurt. Ok I shut up about that now, I promised

- Tom Ellis’ new devil-bod. Thanks Netflix. But they didn’t overdo the nudity either, it was just right.

- Sex positivity! Open relationship! Bi! Yes! Just disappointed Lucifer still didn’t get to snog a willing man properly. What’s the hold-up? Once again only women kissing other women on screen. Not that I’m complaining about Mazeve or that Eve/Ella kiss. Damn, Ladies.

- THE ENDING. OH MY GOODNESS, THE ENDING. Final episodes of Lucifer have the tendency to build up and up and up until you think this scene HAS to be the climax of the episode, but it’s NOT. Because there’s always one more scene that punches you in the feelings until the end (and you know it’s gonna happen when a way too amazing song starts playing). And boy, did they deliver again.

I knew Lucifer is going to say something stupid the very moment I saw his face at the beginning of the scene. I could fangirl over Tom’s incredibly expressive face and eyes all day long, but I’ll spare you. I just KNEW, you know. Lauren killed it again, I felt every bit of pain and despair from both of them. I have never been/will probably never be in love in my life, but I imagine what I felt during that scene is somewhat what love feels like. It hurt, man.

A bit of angsty goodbye love-making would have had the perfect timing here and made it all the more bittersweet, but we can’t have it all.

Earlier I had the thought that Chloe probably feels guilty about conspiring with Kinley… would be cool if they used that next season when she’s going to drag his devilfriend out of hell. Also very much looking forward to some Hades + Persephone vibes - because it would be stupid to drive them apart again.

All in all I think the cancellation really was the best thing that happened to this show. I believe it would have only gone downhill on fox with the amount of episodes and all the restrictions and hiatus. Iirc, the cast themselves said they always felt like the ugly duckling there with how the show was treated. On netflix we finally have promo, freedom and a storyline how the writers imagine it. I’m so proud of this fandom, and I can now safely say that the month with barely any sleep was worth it (even though it made me kinda addicted to twitter, damnit).

I hope netflix doesn’t wait too long with the renewal - while I have no doubts we’ll get s5, I still hate this in-limbo feeling lmao.

[zayadriancas]

What do you think are best and worst written episodes from each season of degrassi & why?

I don’t have a reason (or at least not a good reason) for all of these, but:

Season 1:

Best: Jagged Little Pill, Coming of Age

Worst: Basketball Diaries. Idk it was a boring episode and I hate that Spinners ADHD was used as a plot device then never mentioned again.

Season 2:

Best: When Doves Cry, Shout, Karma Chameleon, How Soon Is Now, Dressed in Black, Tears Are Not Enough

Worst: Hot for Teacher. It’s not very memorable and idk it just felt like an uneccesary filler plot

Season 3:

Best: Father Figure, Never Gonna Give You Up, Don’t Dream It’s Over, Our House, Whisper To A Scream

Worst: This Charming Man. Again it wasn’t very memorable and it just made Sean look like more of an ass, like they began that plot in Gangsta Gangsta but they just made him look worse in this episode instead of expanding on what was really going on with him. Thankfully they redeem him later but idk this episode just felt weird. And the subplot was boring and not memorable

Season 4:

Best: Mercy Street, Time Stands Still. Back in Black, Voices Carry, Secret

Worst: Bark at The Moon and Goin Down The Road. BATM was an unnecessary filler episode with two unnecessary relationships starting and GDTR just felt unrealistic and stupid and contrived idk it was weird especially the Kevin Smith stuff

Season 5:

Best: Turned Out, Redemption Song, & Our Lips Are Sealed

Worst: I Still Haven’t Found What I’m Looking For & Together Forever. TF because the Liberty having her baby plot was so rushed and barely shown & this was the only time the pregnancy was actually from her POV.

Season 6:

Best: Eyes Without A Face and Free Fallin

Worst: Honestly pretty much every other episode lmao but If You Leave, Sunglasses At Night, True Colours, Here Comes Your Man, Don’t You Want Me, & Crazy Little Thing Called Love. HCYM because they screwed over Sean’s character for no real reason, tried to make Peter look good when he wasn’t, and the plot itself was just plain stupid. And neither of the subplots were likable. If You Leave just made Emma look like a bitch and was unnecessary drama and it made Dylan look like a bad guy again for no real reason (I never liked Dylan but they just made it worse in this episode and tried to make it seem like Marco was being irrational). CLTCL further damaged Sean’s character and the subplot was just filler cuz it never was mentioned again even though it actually did have potential. DYWM was actually a good episode for Alex even though it was heartbreaking but it still could have been written better and honestly my main reason for putting this episode under worst is because of the subplot. Emma’s “pregnancy scare” and Sean suddenly leaving again was so rushed and horribly written. I don’t really have a good reason for the other two episodes.

Season 7:

Best: Standing In The Dark, Live To Tell, Death or Glory, Hungry Eyes

Worst: Got My Mind Set On You, Owner Of A Lonely Heart, Dont Stop Believin’, Love is A Battlefield, Broken Wings, We Built This City, & Talking In Your Sleep. GMMSOY was one of the most boring episodes of Degrassi that I’ve ever seen. I never liked Derek but they just made him and Danny fight over a girl that was never mentioned again and Danny actually faced racism which is serious but that’s never mentioned again either. I know filler episodes exist but this one was one of the worst I’ve ever seen. The subplot made it worse. Emma/Damian was such a rushed and unnecessary relationship. Owner of A Lonely Heart was barely memorable either. I feel like all of Marcos plots in the later seasons were badly written/unmemorable. And I love Janny but their relationship was really rushed too. Don’t Stop Believin was just weird. I understand what the writers were trying to do but there was no reason for Ellie and Marco to make out/almost hook up to realize they were too dependent on each other. It was just really awkward. I don’t hate the episode but it just wasn’t written very well. Love is A Battlefield just made Paige look like a diva and was a bad write off for Alex’s character who went through so much development. Alex did nothing wrong but they tried to make her look like she was inferior to Paige and that’s not the first time they did that either. That’s the main issue I had with their relationship. And the subplot was an unnecessary filler. There was no reason for her and Damian to start another relationship only to end it in the same episode and then have Manny accused of being racist. It was so stupid. I don’t really have a reason for Broken Wings, it was just boring and not memorable. We Built This City just made Liberty look bad for no reason and made me wonder again what anyone saw in Damian and why his character existed. This class deserved a better graduation episode. & Peters subplot was random and boring and unnecessary, I mean they probably had no idea Shenae would be leaving when they wrote this plot but they have Darcy begging him to stay only for her to leave like 3 Episodes later. Peter could have just left and then we wouldn’t have had to sit through Pia or any of Peters other boring plots. Talking in Your Sleep was bad writing partly because Paige/Griffin being interested in each other was rushed but mainly because the whole HIV thing was never brought up again. I know there wasn’t a high chance of Paige getting it but still it just felt like they didn’t care enough to explore this plot further and Griffin wasn’t even a relevant character so they probably wouldn’t have done this plot to its full potential anyway, which sucks.

Season 8: (ugh why does mobile app keep spacing things so far apart?)

Best: Causing A Commotion, Jane Says, Heat Of The Moment, Lost In Love, Heart Of Glass, Fight The Power, Didn’t We Almost Have It All, Up Where We Belong (most of these are for the main plots, the subplots in Heart Of Glass, Fight The Power and Jane Says sucked)

Worst: Uptown Girl & Degrassi Goes Hollywood. I know DGH wasn’t meant to be realistic but it still could have been written a lot better. They had Paige turn into a total diva even though acting isn’t even what she wanted to do in the first place and it just tainted her character for no reason. What makes it worse is they had Paige specifically tell that Hayley girl or whatever her name was that she’d never treat people as bad as she treated Paige, but then Paige ends up treating people just as bad anyway. As for Manny’s plot, it was great to see her dream come true at the end but the whole teacher/student relationship cane out of nowhere. I know Manny didn’t play a big role in Season 8 but we still did see her throughout the season so even though that relationship should have never happened in the first place, they should have built up to it at least. Ellie’s plot was the only one written decently but that wasn’t enough to me up for half of the movie being awful. Uptown Girl was equally unrealistic but this wasn’t some special movie so it really had no excuse for being that way. Mia becoming a model was a terrible uneccesary storyline and the fact that she slept with the Tom guy but still got to keep the job didn’t add up. I know it wasn’t publicly revealed until later and I know Danny and Leia didn’t say anything but still. It just was stupid.

Season 9:

Best: Shoot To Thrill, Why Can’t This Be Love, Waiting For A Girl Like You, Somebody, & You Be Illin

Worst: Just Can’t Get Enough, Close To Me, Holiday Road, & Degrassi Takes Manhattan. JCGE handled Peters meth use terribly. It was so rushed through and felt pointless. Close To Me tainted Janes character for no real reason by having her cheat on Spinner. Holiday Road just made Emma into controlling girlfriend when they could have instead just focused on the fact she was hiding that she flunked out of college and how hard it was on her. Degrassi Takes Manhattan was just…a mess. Between the rushed, random, unnecessary and pointless Spemma marriage to Janes boring plot, it was just awful. Nothing about Spemma made sense, the writing was awful, it was the most rushed relationship I’ve ever seen. This movie was a train wreck.

Season 10:

Best: Purple Pills, What A Girl Wants, Breakaway, Hide and Seek, Chasing Pavements, Halo, Drop The World

Worst: Love Lockdown. I liked the two subplots but the Holly J/Declan plot was awfully written. I can understand Holly J. not wanting to start anything by admitting that she thinks she was raped and instead just wanting to say she regrets what happened, but the fact that Declan pressured her and didn’t listen when she said no does qualify as rape but they let Declan get away with it which is disgusting. Sure, Declan may have not realized what he was doing but that doesn’t make it okay.

Season 11:

Best: Boom Boom Pow, Idioteque, Take a Bow, Paper Planes, Can’t Tell Me Nothing, Hollaback Girl, Smash Into You

Worst: Love Game. I just hate how they wrote Clare in this episode.

Season 12:

Best: Zombie, Waterfalls, Rusty Cage, Never Ever

Worst: Come As You Are & Walking on Broken Glass. The whole situation with Katie and Drew was written so terribly. They worked so hard to make Katie look like the victim. Yes it was wrong of Drew to cheat on Katie, & he should have been honest and upfront from the beginning about wanting to break up, but what Katie did was way worse. Yet they don’t show everything that happened so we’re made to believe that Drew just “had sex while drunk and forgot because he blacked out” and we’re supposed to think he’s so terrible for dumping Katie after they “had sex” though he made it clear he didn’t wanna be with Katie anymore, he wanted his first time to be sober and with Bianca, there was no way he consented to having sex with Katie, he was too drunk and honestly that whole video of Drew cheering about having sex was so contrived. At the end of the first part of the episode he just says “I did it” which could have meant that he thought he broke up with Katie. Then he falls down the stairs and hits his head, then regains conciousness and looks confused but keeps jumping around and dancing but it’s never implied that he thought that he had sex or that he did have sex. Yes we see him and Katie kiss but that doesn’t automatically mean sex and either way kissing does not equal consent. The next day Drew is completely confused as to why Katie thinks they’re back together, it doesn’t matter why he doesn’t remember, what matters is it’s clear he didn’t want it to happen. So they just created that part of the video to make Drew look like he “wanted it” even though 1) HE WAS TOO DRUNK TO CONSENT 2) It was clear he never wanted to have sex with Katie, he went upstairs to break up with her, even telling her he lied about Courtney to get him to break up with her cuz he wasn’t happy. Katie thought that just cuz Drew said “he might be dead if it weren’t for her” that somehow meant he didn’t want to break up, even though when she was saying all that BS about how he shouldn’t be able to make decisions about their relationship on his own, he just sat there with a dazed expression on his face. He never said he still wanted to be with her. 3) Drew would never talk like that if he were sober. It’s just like Zoe saying “do you think I’m sexy” when she was blackout drunk and assaulted. Drew didn’t even remember saying or doing any of that stuff just like Zoe didn’t and she obviously didn’t want it either. So yeah. Come as You Are & Walking on Broken Glass were both terribly written. The only good part of CAYA was Maya’s plot. The other reason WOBG was terrible aside from the Katie/Drew stuff was also terrible because Eli acted like such an entitled ass and even though Becky was ultimately wrong for being homophobic, Eli only changed the play to spite her even though he said otherwise, and before she was revealed to be homophobic he was totally condescending and rude to her. Eli didn’t deserve to be the director because he acted like he was the only one who was allowed to be in charge of plays. I’m not really saying this was badly written because it made sense for Eli’s character, it just annoyed me. Oh and, Tristan pretending to be Maya to talk to Cam and when Cam finds out, he says he will never be friends with either of them but that’s completely forgotten later. I think the whole plot of Tristan impersonating Maya was dumb but the plot itself wasn’t bad writing it just was a bad idea but the part about Cam saying they’ll never be friends was inconsistent writing.

Season 13:

Best: Unbelievable, How Bizzare, My Hero, Enjoy The Silence, The World I Know, Better Man, You Are Not Alone, Believe

Worst: About A Girl, Cannonball, Honey, Black and White, Who Do You Think You Are, Barely Breathing, Spiderwebs, Sparks Will Fly, & Thunderstruck. The main reason of course for Honey is Adam dying and the fact that it was so poorly written. But also because the Maya/Zoe/Miles drama was so cringeworthy. And they tried so hard to make Alli/Leo look like a good relationship for several episodes and I know abuse isn’t always immediate but in this episode and in episodes prior they try so hard to make it seem like Alli and Leo have an epic romance and by the time we see Leo become aggressive for the first time it feels underwhelming, like it’s obviously heartbreaking and they do better with the abuse storyline in later episodes but idk the writing was just really weak in this episode. With About A Girl, again I hated the petty Maya/Miles/Zoe/Tristan drama, & Adam impersonating Becky was stupid and felt honestly out of character. With this episode & with Cannonball, they had a great opportunity to explore Connor being asexual but it’s dropped after these episodes and just used as an excuse for relationship drama. Cannonball also sucked because of Adam crashing into a tree of course which was such a sloppy way to write him out of the show, he deserved better.  With Black and White, they all the sudden had Winston try to ruin Drew’s presidency and have something against him even though Drew never did anything to him. They tried to make us feel sympathy for Winston even though the way he treated Drew was out of line. Who Do You Think You Are & Barely Breathing were both awful because the plot of Dallas getting kicked off the hockey team and developing a drinking problem wasn’t even from his own point of view. The storyline had great potential but they fucked it up by not making it from his point of view. Then the Maya/Zoe drama was so ridiculous. Both of them were in the wrong for different reasons. What Maya did was awful and she definitely deserved punishment for it, but Zoe also deserved punishment and the way they tried to make her look innocent pissed me off so much. With Spiderwebs, the Drianca break up was so rushed and random and written so awfully. I can understand if Alicia couldn’t or didn’t wanna come back but it could have been written better and it was pretty clear that they only broke them up so Drew could be free to have ridiculous relationship drama plots, even though none of those relationships lasted long (or even happened in the first place like Clew) and all of those plots just dragged Drew’s character down. Drew and Drianca deserved better. Then there was the Eclare plot. Clare took Eli back so quickly even though he made little to no effort to earn her trust back. And then we have Alli supporting Clare taking Eli back even though Alli herself has been cheated on before and she used to strongly dislike Eli and had even more of a reason to now. I could also say that the cheating plot in BOW was written badly but honestly Eli doing shitty things doesn’t surprise me but in Spiderwebs the whole thing was badly written. Clare deserved better. With Sparks Will Fly, Clew finally is about to start an actual relationship after several episodes of build up only for Eli to show up, thus Clew doesn’t happen. What was the point of building up Clew if they were just going to keep bringing Eli back? Then there was the Zig/Maya/Miles triangle, that had both guys acting like assholes and they had the episode to make this episode about why Maya was so scared of rejecting Zig/hurting Miles but instead they made it about relationship drama, yeah they had Maya say “I can’t be with a guy who scares me, not again” and “last time someone I cared about disappeared they never came back” but we don’t see Miles even react or care about those statements which is one of the many reasons Matlingsworth sucks, he never truly cared about her feelings. Yes Zig was an ass in this episode too but he’s proven to care about Maya’s feelings on more than one occasion despite making a lot of mistakes. Miles only ever cared about himself. With Thunderstruck, I didn’t hate the episode but it was badly written. We’re supposed to believe Drew and Becky are romantically interested in each other even though in past episodes they were just shown to be friends. Yes, they spent a lot of time in the woods together in the last episode but nothing about it was romantic. Even though they were friends throughout most of the season, they were never super close yet somehow Drew suddenly knows all this stuff about her. I can buy him being attracted to her, but not actually having real feelings with her. Everything about Drecky was rushed and unnecessary. Then with the Maya/Zoe plot, Zoe and Zig suddenly are interested in each other, again yes they spent time together in the previous episode but nothing about it was romantic. Then, despite Maya supporting Zoe at her trial and them being on better terms, she hates her again all because Miles almost cheated on her with Zoe, even though Zoe was literally out of her mind drunk and was assaulted the same night. Yes Maya was mad at Miles too but Miles was really the only one who deserved blame in this situation. I can understand why Maya was upset, especially because Zig agreed to go to the dance with her after already saying he’d go with Maya, but the way she acted was immature whether she was drunk or not. Yes, Zoe was never a good friend to Maya but Maya still acted irrationally. And Zoe saying she was trying to be Maya’s friend all year was bad writing as well because that was total bullshit and not true. Then the Eclare plot, Clare conveniently hits her head, has to go to the hospital, misses her interview, all the hotels are booked so she has “no choice” but to stay with Eli. Hmm, how convenient. Then the random ass revelation of Clare being pregnant at the end. Which of course leads into more terribly written plots for season 14.

Season 14:

Best: (You Drive) Me Crazy, Wishlist. Get it Together, Give Me One Reason, & The Kids Aren’t Alright

Worst: Anything involving Degrassi Nudes and Clare’s pregnancy in the first half of season 14. Most of the episodes really only suck because of those plots, like they’d be fine otherwise without those plots. It was hard to pick a specific episode. I also didn’t like Finally, I hate how badly Drew was screwed over throughout this episode when he did nothing wrong, and I hate how Imogen and Jack briefly reuinite only for Imogen to once again feel like she has to do everything to please Jack whereas Jack puts in little to no effort, and then they break up again. There was no point in any of that, and once again Imogen loses her girlfriend on the prom/graduation episode :( I know it was Imogen’s choice both times but like with Fiona it was because she didn’t want to hold her back and also because the writers wanted to bring Imogen back for another year. Imogen deserved better honestly. I also felt like the Hunter plot was out of place even though I did like the plot, it didn’t really fit in this episode.

Season 15/NC season 1:

Best: YesMeansYes & ButThatsNoneOfMyBusiness

Worst: NotAllMen and ThisCouldBeUsButYouPlayin. With NotAllMen, I felt like the whole plot with Zoe thinking David was her dad was a bit random and also felt unrealistic, like it would have been great if Zoe had a real plot about finding her real dad but idk, it felt poorly written. and then they have Gracevas kiss and still Grace isn’t honest about her feelings. It would have been great if Grace actually returned her feelings, but seeing where the next episode goes, they didn’t need to tease us like that, it was fucked up. Then there was Frankie’s plot. It was clear Frankie was struggling and instead of going deeper into that, they have Jonah think he knows Frankie, being condescending and rude to her, and having Frankie’s friends guilt her into staying with them even when she wanted to try and go make a difference and volunteer. Jonah had no right to treat Frankie the way he did, it was uncalled for, but somehow this is the build up to their relationship which never needed to happen, at least not the way it did. Frankie could have been given a real depression storyline but instead it’s all about boy drama. I know they also do this in three other episodes of the season but this particular episode’s plot was the most poorly written. TCBUBYP was awful because of the contrived cheating plot that instead could have been Zig talking to Maya about his insecurities, or if he had to talk to Zoe she could have just been there for him as a friend, there was no need for them to hook up, and the fact that Zoe recorded it was even more disgusting. And then of course setting up Gracevas only for Grace to not return Zoe’s feelings and randomly say she likes Zig which made zero sense. Everything about this plot was contrived and awful. It just tainted Zaya, Zig, Grace, and Zoe for no real reason and they couldn’t even write it in a way that made sense.

Season 16/NC season 2:

Best: ThatAwkwardMomentWhen & BuyMePizza

Worst: TheseAreMyConfessions & ThrowbackThursday. & ToMyFutureSelf. TAMC because Grace liking Zig was obviously forced and it was extremely awkward, and the way Grace treated Maya was out of line but we’re supposed to feel sympathy for her and she never even apologizes (like maybe she did off screen but I doubt it because anytime someone screws Maya over they rarely face consequences or apologize, or if they do its not sincere). There’s no real explanation aside from Grace’s illness why she acting the way she’s acting, but her illness is no excuse to treat Maya like crap and it doesn’t explain why she lead Zoe on either (you’re my best friend I tried for you isn’t a good excuse), And her liking Zig was so random and made no sense and it was obviously forced. ThrowbackThursday was badly written in my opinion because the alumni’s lines mostly felt forced and awkward and they deserved more screen time. And while it was great that the writers wanted to bring attention to the BLM movement, Tiny getting suspended wasn’t because he was black, and then they don’t even have the storyline from his point of view. I know that they brought up that Frankie barely got in trouble for her racist banner, they should have done the plot about that with Shay leading the protest, or they could have had Tiny fight a white kid who went to their school and have Tiny receive more punishment than the white kid if they wanted the plot and protest to make sense. ToMyFuturseSelf just made Grace seem like a bad friend and her reasoning for being on Zig’s side for most of the episode even though she called him out the most after he cheated on Maya made no sense. And they just made Zig look even worse in this episode for no reason. The other plots were just boring and hardly memorable.

Season 17/NC season 3

Best: Honestly all of them

Season 18/NC season 4

Best: Obsessed, Fire, KThxBye

Worst: I thought the Zig/Esme/Frankie plot in FactsOnly was poorly written but the rest of the episode was great

[iluvtv]

“I Sleep in a Bed but I’m Homeless” and other contradictions in terms

Last month Donald Glover curated a media moment. He hosted Saturday Night Live while his alter ego Childish Gambino simultaneously appeared as the musical guest. All the while (to much social media fanfare) he dropped a music video chock full of divisive commentary on racism in America. In my opinion this wonderfully creative and crucial social commentary rattled the masses far more than I think they should have. I'm startled by the possibility that one could "be here now” and still be surprised that This is America.

Point being though, that during a spring weekend’s naughtiest hours in 2018 Glover did what he did best — worked. And in doing so his art (as it is wont to do) challenged us. In just a little over and hour this legendary genius gave us everything he has to offer. He made us laugh, taught us something and kept up his now signature cocky air. Reaffirming that while he will provide his brilliance for us to share and learn from it is not exactly for us.

In an incredible New Yorker interview by the fabulous Tad Friend earlier this year Glover explains; “If ‘Atlanta’ was made just for black people, it would be a very different show. But I can’t even begin to tell you how, because blackness is always seen through a lens of whiteness—the lens of what white people can profit from at that moment. That hasn’t changed through slavery and Jim Crow and civil-rights marches and housing laws and ‘We’ll shoot you.’ Whiteness is equally liquid, but you get to decide your narrative.” For the moment, he suggested, white America likes seeing itself through a black lens. “Right now, black is up, and so white America is looking to us to know what’s funny.”

But before we go that deep, early in that SNL episode there was his monologue. Through this caricature of himself Glover pokes fun at the man he presents in this interview. By claiming there is  "nothing he can't do" while failing at everything, subsequently puking into a clarinet and repeatedly bringing up his rejection from SNL  many careers ago, he delivers audiences a humbler version of himself. This is notable because even if the farce is egotistical what he's actually playing is failure. Was this by a cast writer's design to mock his arrogance or did he write every word himself?

Neither would surprise me. After greedily consuming Atlanta’s first season (Hulu why must you wait so long to give me new FX seasons?) and then studying the media image Glover presents I see he is his own anomaly.

Confident, worried, scared, brave, untouchable and sensitive. Through his thoughtful creativity he has (for the most part) been given permission to be whomever he wants.

We all will agreeably, eagerly (and even gluttonously) accept all of it.

He didn’t always believe this would be possible. When he first pitched Atlanta he was certain this wouldn’t be the case at all but FX surprised him. In the New Yorker interview the producers explain:

“The parts that you’re worried we’re going to think are too weird—lean into those.”

From its onset I suppose Atlanta can be read as sad. A sort of devastating drama on race and poverty and violence. And while this is clearly a trap story there is  an almost inexplicable, deep seeded sense of satire that feels both simultaneously impossible to pinpoint or ignore.

In imagery and experiences (which more often than not trend more towards metaphors than reality) Atlanta challenges me. I just can’t get enough but I also can't help but feel like most of the time I don't totally get it. And this is just the tip of the iceberg in the long series of anomalies which like Glover himself comprise Atlanta. At the end of the day am I just too white, slightly too old (and more to the point un -hip) or was this confusion just the purpose?

FX Chief John Landgraf explains to the New Yorker, “Donald and his collaborators are making an existential comedy about the African-American experience, and they are not translating it for white audiences.”

There is a consistent underlying dichotomy in all of Atlanta's odd stories and part of it I suppose is an assumed understanding between the white coastal viewer and Glover that we are only partially in on the joke.

Presenting this dichotomy, Atlanta begins introducing Earn (Glover) and Van’s (Zazzie Beetz) relationship which while terribly charming is equal parts fleeting.  Seconds into a relaxed and loving scenes their relationship just as quickly turns contentious.

We watch this pattern repeat again and again.

The pilot episode continues in this vein introducing relationship dynamics before revealing a storyline or history.

We meet Earn’s fed up parents. Friendly enough but annoyed that their adult son is always asking for money, oh and also that he doesn't flush.

Earn: "That wasn't me."

Mom: "That was you. I checked. You better start eating some real food and not all these candies and cookies..."

We are introduced to my favorite character, Darius (Lakeith Stanfield) wearing only an apron while baking cookies. He also has guns and a butcher knife.

We witness the first of many racial power dynamics as Earn takes his cousin Alfred’s (Brian Tyree Henry) tape to a white DJ “buddy”, hoping if he can get Al’s alter ego Paperboi radio time he'll be able to convince his cousin to give him work representing Paperboi. It is here we see some dumb white kid front as though he is "hard" using language he would never use in front of any black man he found intimidating. Because Earn is not intimidating. In the face of this obnoxious DJ Earn is unassuming, friendly and essentially desperate all the while ignoring the terrible behavior of a stereotypical white millennial’s crude attempt to impress his "nigga" while completely refusing to throw Earn a bone by spinning Paperboi's first single. It is noteworthy throughout this season just how child like un-intimidting the character Glover has created for himself is. 

Later when Earn manipulates things in his own favor he asks an older black janitor if this rude white DJ has ever said "nigga" in front of him.

The janitor is stunned by the very thought!

But this is who Earn is. Friend describes it as such: “Atlanta” broke rules that most viewers hadn’t quite realized were rules. In comedies, jokes are underlined by closeups, but Atlanta’s camera stayed aloof, serving not as an exclamation point but as a neutral bystander. The characters didn’t have histrionic reactions to the problem of the week; they just gave up a little more. Earn was an antihero, as is now customary, but, unlike Don Draper or Walter White or Olivia Pope, he wasn’t an expert in anything. He wasn’t a great manager or a great part-time boyfriend or, for that matter, a particularly promising human being. Curiously boyish in shorts and a backpack, he wasn’t even active, the minimal standard for television characters. He didn’t seem to do or want anything. He just watched and flinched and got yelled at to grow up.”

The episode ends with the show's first of many very obvious forays into existential surrealism. The way Atlanta plays with fantasy is very fresh and new and brave and often completely impossible to fully comprehend forcing me to wonder why I only took a handful of philosophy courses in college?

But aren’t those courses just an antidote of the privileged white youth’s confusion?

That and marijuaina.

Again, Friend  addresses this discussing Glover's complete willingness to fail where other black television revolutionaries are wary.

“This sensibility is singular yet recognizable. Just as John Cheever’s epiphanies and apologias were stamped by drink and Paul Bowles’s hallucinatory quietude by hashish, so “Atlanta” ’s vibe is molded by weed. There’s a goofiness to the action, a dreamy awareness that reality is untrustworthy right now, but hold up, try this edible. Recognizing that quality, Lakeith Stanfield told me, “I decided to play Darius as a high version of myself. And now he’s become all the fantastical elements of Atlanta condensed into one person—this gateway to Freakville.”

Half way through the pilot we find Earn on a bus with his sleeping daughter opening up to a well dressed black man in a suit about feeling like a loser. "Am I just there to make things easier for winners?”  he asks.

The man sits listening patiently on this bus seat, all the while making a Nutella sandwich. "Just a symptom of the way things are," he explains to Earn "actual victor belongs to those who simply do not seek failure."

He forces a bite of his chocolate bus sandwich on Earn and then just as quickly disappears, only the tub of Nutella remains.

And abruptly the episode closes where it began, realizing the reason why the first scene was so confusing is only because it was actually the end. None of these characters were lying or being intentionally evasive, rather the drama which opened Atlanta had not yet ensued. And while it is still rather unclear, on some level even the whitest and most sheltered kids (those who can comfortably say the N word around very specific audiences) understand this rhetoric just enough and those who grew up in the trap world of Atlanta could probably write their philosophy dissertations on the scene.

As an audience we continue to ride out their drama into episode two. Conveniently, the coinciding moments of Alfred's arrest and his radio debut have vaulted him to instant fame all while housed in the relatively newsless space of jail.

When Darius comes to bail him out even the cops ask if they can pose for selfies with Paperboi. A beautiful moment of social commentary on race, class and most importantly fame.

Meanwhile, not-famous and mostly useless Earn stays stuck in jail which lends itself to one of the saddest satirical series of scenes I have ever seen. Think  Orange Is The New Black but really, really funny or maybe really, really miserable and also just so exactly where any of us (even the more privileged white girls) might end up for a few hours after a really, really bad night.

Fortunately I never have but I will take Atlanta at it's (sur)real(ist) word.

When Earn is told by the guard he cannot sleep he is baffled.

“Everyone sleeps."

To which he is told, "If you wanted to sleep you should have thought about that before you came to jail."

This dysfunction is further magnified by the token insane guy who apparently gets locked up on a near weekly basis. While his absolutely pathological behavior at first prompts laughs from the rest of the men waiting in lock-down they also  all just sit there and quietly watch as the guards kick his ass and drag him off to solitary.

To the repeat offenders this is normal behavior.

Earn, like myself seems less comfortable with this violence.

Meanwhile, Alfred due to newfound Paperboi fame is suffering his own violent satire.

On a walk through his projects he sees a kid with a toy gun shooting at his friends. They are playing a game of pretend in which the male child is Paperboi.

Alferd observes this. The kid, through clear admiration of his alter ego pretends to shoot down his little girlfriend. She feigns death just as the children's mother comes out to yell at the children, asserting to these small black bodies that they should "just say no to guns"

Overwhelmed, and clearly experiencing a myriad of emotions from the last 24 hours Al approaches the family and argues to the children that "shooting people ain't cool." At first the mother is stand-offish and annoyed at his presence but once he admits he is the very same rapper whom they are make-believing about the mood shifts. Instantaneous hilarity ensues as she is suddenly very interested in this infamous man. Momma comes on hard posing Al with the family for photographs. She is genuine comic relief "now one with my head on yo chest," she says as she snuggles in. And even Al who was out for a walk to escape the fresh madness his single has suddenly created seems calmed -- his comfort level with being viewed as violent has shifted now that it is getting him some pussy.

Likewise, the mother is now completely comfortable with the children playing “guns”, clearly sending the message that fame and more specifically hip-hop fame excuses violence.

This hypocrisy so clearly mirrors that of the prison guards from earlier and sadly represents America’s reality. If everyone from the single Mothers in the ghetto to the police are down with rappers using guns it must be OK, right? And folks were even remotely shocked by Gambino’s music video which debuted nearly two years later?!

The episode closes when Van finally bails Earn out of jail. It is unsurprising really that it is left on the woman to pull through and protect the men. I find that this aspect of American reality is more often acknowledged in African American and other ethnic popular culture than in white. This is too bad really, as it is a remarkable reality which women are tremendously under-appreciated for. I too have bailed a boyfriend out of jail. I watched him walk out of the police station arms in the air, proud of his day.  He also never came with me to Salinas to collect the title of my car which I lost to the county in the bail process (its a complicated when you are only 21 and haven't owned anything or held a job for longer than 2 years).

Appropriately, the credits run to Bill Withers' "Grandma's Hands," subtly noting the importance of the matriarch through a beautiful song. This also solidifies Atlanta's role as one of the best television soundtracks I (the generally music ignoramous) have ever bothered to notice.

As the audience grows more comfortable with the odd (yet perfect) stylings of Atlanta we venture into episode three armed and ready to address poverty as it pertains to immaturity. In real life Donald Glover and I are the same age but somehow he plays Earn much younger. Pop Culture Happy Hour Pod Cast discussed this episode at length, pointing out that the pathetic date Earn organizes to impress Van is actually just a very young man's attempt at romance. They argue that this scene would likely play out quite differently for the couple ten years later. Then again, Glover himself might come back at this  this theory; pointing out the story he is trying to represent here is "the trap" and the assumption that the only thing which keeps Earn so completely suffocated by an up-selling, self-serving waiter is time is just a white, educated NPR audience being only marginally clear on the concept. I can see both sides to this particular coin while (as a white, educated NPR listener) also continuing to ascertain that Earn's overall behavior reminds me more of my 20 year old sister’s than my clique of 30-somethings (whom I consider millennials only due to some made-up falsehood of a technicality -- we are very clearly The Oregon Trail Generation).

Anyhow, this frozen-in-time youthfulness (as a means to escape poverty while actually perpetuating it) is already well established in our protagonist and immediately reinforced as the episode itself opens with him ordering a kid's meal at a fast food joint. No dice:

“I Didn’t get title of daytime manager by passing out discounts," the proud black girl behind the counter explains.

He begs for a water cup instead and settles on stealing diet coke from the fountain -- eyeing the hispanic janitor with a daring glance. He walks away in his short shorts in the rain and backpack, emphasizing either his pathetic-ness-- or just child-ness.

And as I so often did 14 years ago in the middle of the day he heads to Alfred's where they smoke blunts and play video games.

OK I didn’t play video games but my productivity level was essentially on par.

And somehow while reliving our own boring youths through this mundane existence of an ordinary day audiences are still terribly entertained.

Darius, our scene stealing, wonderful guru of a roommate irons in his bathrobe, pulling a gun out of a cereal box. "Just so you guy's know there's probably a bullet in here somewhere, “ he warns.

 A drug selling story arc evolves between Alfred and Darius which in a more mature moment Earn is wary of due in large part to his cousin’s new-found notoriety (but how else are they supposed to make money?)  however, because I am a white girl and the drug story in this episode just gets so fucking dark and also I can only bombard you with so much information I will instead focus in on the terrible date which Earn attempts in hopes to assuage Van's whining about his irresponsible behavior.

No dice

She's wary from the get. Even tries to refuse his invite at first but he begs:

“Can I at least buy you dinner and watch from the other side of the room? I can even get one of those corny ass dudes you like to eat it with you.”

He continues, mocking the guys she likes by mimicking her (always a good strategy when you’re trying to prove you are the preferred choice): “‘I love your energy. Your dreads are in a bun’ “

The two accuse each other of being their own worst black stereotypes.

“I’m in a bed but I’m technically homeless and love it,” she mocks back.

They giggle. Something about their terribly unromantic connection is just so terribly romantic. Or maybe I just really, really like when guys make fun of me?

There's a brief scene involving the gun between Darius and Alfred where Darius solidifies himself as my favorite character, absolutely proving unequivocally that the most simple men are also the wisest. He explains to Alfred that his “assumed perversion of the word daddy stems from his own fear of mortality.” sheer and idiotic genius. An utterly true and hilarious savant.

Meanwhile, the date Earn has finagled is not going according to plan. WIth only $63 in his bank account and promises of a decent happy-hour dashed he is just in a hipster restaurant in a bad neighborhood, springing for a valet, with a date who is luxuriously lapping us each and every ploy from their server to raise their check.

When Earn, trying to lower their overall bill in spite of Van's pricey picks asks for a "Miller High Life in a can," the waitress responds,"ooo we've got a hipster!"

Yes, us educated, white NPR listeners sure as fuck did try to appropriate poverty through the hipster movement, didn’t we?

You can get a $17 trotter hot dog at the bar around the way from my house.

Likewise, Darius and Alfred's drug deal has also gone all wrong. They have been led to the middle of nowhere only to find a gang of black men with chains, drinking Hennessy and hanging out in front of a luxury camper van chilling around a campfire. Here the woods are a stark juxtaposition from their familiar life in the projects and yet the forrest is surprisingly more menacing. Nothing safe about unfamiliarity -- particularly when guns are in the mix. However, even with a tied up guy crying in the corner there is this unshakable element of satire, ever present yet so difficult to explain or maybe even understand. An impending doom of hilarity is the omnipresent mark of all Atlanta scenes.

But just as the episode grows darker and all of our protagonists’ immaturity increasingly complicates their situations the resourcefulness these young men have learned growing up without means also manages to save them.

At the end of the day nobody wins -- and the best laugh is when the homeless guy working as the restaurant’s (off market) valet runs into the fancy restaurant to warn a random white man in an expensive suit that his car is being towed prompting the two polar-opposite gentlemen to race outside in excited collusion.  This sudden impromptu camaraderie is just a downright hilarious aside.

But in a true test to it’s sitcom roots, Atlanta holds to the rule that come episode four nothing much is really permissible to change so in spite of tremendous havoc nobody really loses. At the end of the day Earn solves the problem of the expensive date by reporting his debit card stolen and Darius and Alfred don't die.

Maybe even the homeless valet got a tip.

In both a sitcom’s writers room and in the trap, everybody's just trying to survive.

The following episode The Streisand Effect continues this exploration of survival. We peer through the lens into  fame and notoriety wondering if success built through any means necessary, driven by the sheer desire to survive can ever really be deemed ethical.

Oddly, the querry reminds me of one tackled by a completely socially unconscious show — the Friend’s episode where Phoebe and Joey argue the existence of  truly selfless good deeds in The one where Phoebe hates PBS.

The Streisand Effect centers a similar debate through a racially ambiguous asshole internet "celebrity" (aka troll) who causes an all out twitter feud (which Alfred brings to real life).  Meanwhile  an interesting story line between Darius and Earn play out as the two explore what one’s existence means when you are truly just surviving pay check to pay check.

There are other episodes I love more and will focus more energy into analyzing but here are a few of the very best, most stand-out lines:

Old bartender: "Guy was Smoking a swisher with no weed. He gave me the creeps."

Darius: "Chinese people short because of Genghis Kahn, look it up!"              Earn: "In what? The racism book?"

The aforementioned troll (Zan) to Alfred (who is accusing his internet game of being pretty fucked up): "All a gang, we all just hustling"

Alfred: "I have to rap, I'm making the most of a bad situation."                          Zan: "You’re exploiting your situation. All of us are exploiting to make money"(hilarious scene ensues with Zan filming a paid child to spout filthy rhymes and deliver pizzas).

And if you are interested, this moment is discussed in greater depth on Fresh Air where, Brian Tyree Henry explains what this trap means to him.

We close with Earn teaching Darius that poor people don't have time for investments they need to eat today. This is a poignant moment where their friendship is solidified, poverty is explored and human nature vs. exploitation is left undecided.

Personally, I tend to agree with both Alfred and Zan’s views of exploitation though admittedly Alfred’s actions are certainly carried with far more integrity.

If you are particularly dense but have made it all the way to episode five, Nobody Beats the Biebs, you will no longer be able to ignore the absurdist tactics this show is employing to fuck with our perceptions of race, appropriation, stereotypes and popular music culture. 

The episode takes place mainly within a high school gym at a celebrity basketball fundraiser for Atlanta’s Youth. Paperboi has been invited to participate in the charity game and Earn of course attends as “representation”. Noticing a gorgeous successful news anchor there to cover the event, Alfred ditches Earn and sets off to pursue a date (or at the very least an on-air interview). She immediately staves off both advances, letting him know that she knows him as “the guy who shot someone.” He insists that isn't really who he is and invites her to get to know the real him, "I'll let you interview me someplace real fly like Bennihana," he offers to which she retorts that she and her fan base aren't into the “gangster thing”, and blows him off fairly easily as the commotion of "Justin Bieber's" arrival has distracted the masses.

At first I assumed that Justin Bieber was one of the white guys in this entourage but as a feud ensues between Alfred and JB you realize that in the fantastical world Glover has created Bieber is in fact just black. Or at least appears that way to us. After watching the whole episode I can't definitively pinpoint why Glover created this racial fluidity. Was it a point about racial appropriation, common perceptions and stereotypes? Or was he just trying to fuck with his audiences? I can only assume that most of Glover’s surrealist style is designed to achieve all of the above (and more). Anyway, this Bieber who may be just as black in appearance as Paperboi, is definitely not just one in the same. Other than his outward appearance the Bieber Fever is the same douchey, successful, unapologetic and handsome man I assume him to be in real life (admittedly I know zero about Justin). In Glover’s world though he can pee on the floor in front of everyone and the general opinion of him is not even slightly affected. He is the Golden Boy pervious to social optics and to him (much like to the pretty newsgirl) Paperboi is "a nigga who blew  other niggas brains out…” although he adds the operative “cool!" to the end of this statement. As the episode develops Alfred's hatred towards this pop sensation grows and they wage war on the court. Afterward Bieber offers  a press conference full of "sincere" apologies for the fight. All really just a marketing ploy for his new song called "Justice," (a title with more irony than I care to unpack here).

Meanwhile, Earn and Darius are also confronted by stereotypes and racial profiling. 

Earn encounters a successful music agent who mistakes him for a different black man whom she believes destroyed her career. In an attempt to seek revenge on this man she at first is very kind. She invites Earn into an elite circle of producers it is all very posh and excellent for networking and Earn laps it up, happy to play along with her confusion as long as this woman’s racism serves his needs. The rewards are seemingly high enough that Earn can turn a blind eye, joining a very specific brand of self loathing by embracing  the fact that he is participating in one of the most frustrating and oldest stereotypes out there: "all you people look the same.” It isn't until she accuses him of undercutting her and pledges to ruin him that he tells her he is not in fact Alonzo to which she retorts. "I'm going to make sure you die homeless." He certainly seems to be on this path.

Darius' day is equally bizarre and yet also totally conceivable. His storyline is so unique I can't help but marvel over where the inspiration came from. It seems safe to assume it must be rooted in someone’s real life experience. Perhaps a news story that was mostly overlooked? I digress, he paints a dog (which it seems worth noting that in addition to being quite the homemaker Darius is  a talented artist and his room is full of these supplies). Darius rolls up his painting and goes to the shooting range where he uses his art for target practice. Harmless enough, right? Not quite, a collective panic ensues. A white man calls Darius “psycho for shooting a dog” and tells him he has to leave, to which Darius explains that “a human target is just as specific as shooting a dog.” Which just seems pretty accurate to me. A Mexican guy joins in the bickering, he points out to the white guy that he shoots at Mexican targets. Stating more truth spurs further anger and an uprising is vowed. Darius tries to explain that dogs in his ‘hood are “fucked up (not cuddly pets)” but the range’s manager interrupts the men’s arguing with a shot gun,

“I told you rules before you got here ain’t gunna let you start no shit” he leads out a very patient Darius.

This scene is so fucked up.  Its rhetoric on arbitrary rules and categories is so important while remaining on brand with the show’s satirical edge. It magnifies the fact that the laws of a black man with a gun are so, so different than that of a white man with a gun takes a very different and slightly less sinister spin on the all too familiar police shooting unarmed black men storyline. We also get a close look at how Darius is observed and judged. A recurring theme of Atlanta is the simultaneous invisibility and hyper-visibility of the impoverished and minorities.

The episode ends with Black Bieber's aforementioned ”sincere" apology, explaining he's been trying to be too cool lately which has lead to hanging with the wrong crowd. He offers his new-found commitment to christ and uses autotune to premier his new song, Justice. In the back of the crowd, frustrated and over it Alfred returns to his day’s start and gives picking up the anchor another go. She returns with the lesson we’ve witnessed all of our protagonists scrambling to learn for the past 30 minutes” “let me give you some advice, play your part. People don’t want Justin to be asshole they want you to be asshole. You’re the rapper. That’s your job”

So, in sum this episode features….

Black man kicked out of shooting range

Black man mistaken for other black man

Black rapper unable to escape media’s perceptions of murderer in spite of being recognized as an “Atlanta Celebrity”.

All the while a rich white musician is able to chameleon himself into an infallible black superstar for a bit of extra street cred.

There is a lot to dissect here, but I’ll let an ethnic studies course can take it from here...

Episode 6, aptly titled Value is the first one to really feature Van's story and give women a voice. I was immediately interested to see if a woman took the reigns in the writer's room on this one because even the tone is so different.It didn’t take much digging to find this from Joshua Alston over at the A.V. Club. 

“Glover started off strong before a single frame was shot by bringing in staff writer Stefani Robinson to assist on the script, the first to give a writing credit to someone whose last name isn’t Glover. It seems like a little thing, but it makes such a huge difference to know that someone with insights about how black women communicate contributed to an episode that mostly consists of black women communicating and miscommunicating.”

It feels easy to  proclaim that the tone employed in Value lacks the humorist sensibilities applied to other episodes but I have to wonder if that’s an oversimplification. Perhaps I just found Van's story so horribly relatable (she seems to have the same dumb (re:bad) luck as myself and the series of unfortunate events which befall her here may just feel less satirical when you’ve felt the hardships yourself? Maybe a black man from the trap in Atlanta wouldn't find other episodes this season as funny as I did? Maybe I'm being sensitive? (Though that doesn't really sound like me to be honest). Or, maybe while very, very good this episode just wasn't meant to punch the gut in the same manner a jokey man-centric 30 minutes does. Maybe Glover isn’t ready to tackle female satire. I'm not sure and it seems like all these assumptions could get me in trouble so in the interest of not putting my foot in my mouth (or pulling a Van) I’ll move on....

This episode centers around the drama which ensues when Van's old friend comes into town. Actually, in this case (as is often true with childhood girlfriends) frenemy is a better term. This gal-pal plays companion to NBA players which subsequently allows her to lead a very posh lifestyle. She is baffled by Van's far more humble life and makes her judgements very clear by stating straight off the bat the following three rather insensitive points:

“Sometimes I wish I had a kid and then I'm like ew, no." (preach sista!)

“Back in the day you would have made fun of yourself for still fucking with Earn.”

and 

“Black women have to be valuable. NBA players fuck with me because I provide a service. I am worth it. I am cultured, intelligent...."

the implications here are thick and seem to cut very deep.

Anyway, as a passive aggressive fight inevitably ensues Van's girl does eventually bribe her back into frenemy territory, insisting they make up over a joint. They hotbox the bitch’s fancy-ass car and at first seem to be reliving the good old days but as is apt to happen when you hang out with narcissists (particularly in our social media obsessed times) eventually Van finds herself being forced into snapping pic after pic of her social-climbing friend who is dead set on getting that absolute perfect insta-shot. I have zero patience for this behavior. Actually, every girl who has ever made the mistake of forcing me into this game has quickly fallen out of my good graces.

Ultimately, the mess that ensues for Van because she casually decided to hit a joint a few times with her disaster of an old friend is totally comparable to multiple series of my own disasters. Fortunately for both myself and Van (we’re similarly industrious and independent young women) we do manage to pick ourselves up by our bootstraps and move on. But, for a minute suspend your disbelief that I too could create this sort of disaster and let's discuss Van's mess:

She awakens the next morning to a cell phone reminder that today is “drug test day.” This of course prompts an insane rampage as she attempts to figure out where to get “clean urine.” When both Old Friend and Alfred fail her she realizes she has a whole garbage pail full of her baby's diapers. A true renaissance woman Van creates a complicated process to extract the pee and tapes a condom full of her daughter's urine to her own thigh. In a flowy dress she heads off to school (making it clear for the first time that she is an educator of some sort).

The storyline then takes a quick veer from the very normal baby-pee-condom situation prompted by a basketball “prostitute” to a  fellow teacher who approaches Van. This woman is beyond frustrated with one of her student’s. A  brief aside ensues regarding a black child who has come to school in white face to fuck with his teacher (who is so mad she begs Van to help her deal with him so she "doesn't get arrested for beating his ass,”). It is a sharp return to the previous episode’s discussion of cultural appropriation, reminding viewers how inescapable race wars are for Glover.

Van declines to help her friend, she is on a mission after all. But of course, things don’t quite go as planned. A bit of physical comic relief ensues when she can't untie the condom of pee. She tries to rip things apart with her teeth which of course results in pee spraying everywhere (except of course in the cup for urine sample).

Desperate Van just admits to the principal that she smoked weed.

This is definitely something I would do.

When you’re honest no-one can fault you, right?!

Wrong.

Dissapointed, the principal explains that the county can’t afford quarterly drug tests anyway so after the initial one required for hire the samples aren’t actually sent anywhere.

Of course.

She levels with Van, “everyone smokes weed. The system isn’t made for these kids to succeed and you gotta shake it off somehow. I get it. But unfortunately you’ve admitted your drug use to a government employee and now I have to fire you. To cover my own ass as well as the schools’”

She gives Van a hug and one weeks notice.

Defeated Van, an inexperienced druggie tries to get more weed from Alfred who tells her she's “sloppy as fuck.” Which after the day she has had is just truth.

The episode closes with the same kid still in white face smirking now in Van’s class.

Again, somehow the female battle of race and class explored in this episode feels more sad to me than the male saga we’ve seen play out thus far

The closing shot of the sinister child in white face and my own history is undoubtedly playing into my interpretation. I will admit here that I have two equally stupid stories of being fired for absolutely absurd things that make zero sense. Once for rolling a blunt by request for my boss. A swisher of marijuiana which I didn't smoke and only procured because he asked.  Another time a 28 year old woman claimed I was sexually harassing her. In neither case was I truly guilty and yet somehow believed that an overcompensated apology could fix things with the higher-ups. At the end of the day though everyone is just interested in covering their own asses. Again, this probably could be presented far more satirically and at times I am able to give these stories a bitingly funny spin — but not with the regularity one might assume.I suppose what I’m getting at is I know what it's like to essentially be so inexperienced with getting in trouble that you can't tell when to just shut your goddamn mouth. I also think that this assumed guilt is such a female burden. It is a subsequent and frequently overlooked side effect of the ancient historical annals of sexism. Perhaps if we can learn anything from “mansplaining” it is to always just take the position that everyone else just doesn’t get it. But then also just keep our mouths shut.

Episode 7, B.A.N has got to be the most hilarious, perfect, wonderful episode of Glover's premier season (and pretty much of all television of all time). I feel fairly confident saying its everyone's favorite. B.A.N which stands for Black American Network is (simply put) a fictional television episode called Montague; a black spin on a Donahue-esque late night “news” show featuring Alfred as one of it’s guests. The "fake news" premise on this show delves into the complexities of identity in our touchy PC culture and is in its own right more than enough to ensure side gripping hilarity. However, it is the commercials interspersed throughout this episode that really cinch the deal.

But I’m getting ahead of myself.

The subject of the Montague episode, “how accepted sexuality is affecting black American Youth and Culture” features a panel made up exclusively of Paperboi and the head of “Trans Issues.”  Ummmm..... really? I’m already laughing

Alfred is being called out by Montague and asked to explain a comment he made on twitter, quoted by our host as such: “y’all N words said I was weird for not wanting to F word Kaitlyn Jenner."

He is asked if this makes him transphobic? Alfred is complacent, admitting that while he gets what they're saying she (Jenner) just isn't "important to me".

The white trans expert explains Paperboi is coming from a culture of exclusion and power; the black community has issues with power and masculinity more than transphobia. She calls him out on the layer of fluidity in his raps to which he uses the same line he used in response to the challenges posed earlier by the racially ambiguous internet celebrity, Van: "I'm just trying to get paid." The ultimate premise of this show is, after all, escaping the trap life.

Cut to commercial break.

And here is the gold:

Commercial 1: Black guy in a bodega being up-charged for a can of Arizona Iced Tea. The tagline: Arizona: price is on the can.

Commercial 2: A masquerade party filled with fancy black people drinking Mickey's forty ounce bottles out of champagne flutes. Tagline? Mickey’s: You're drinking it wrong.

Yes! This appeals to all my senses. I remember when I was 19 and 40 ounces, Conan O’brien, Swisher Sweets, 7-11 sandwiches and a bit of homework were evening staples.

Now back to our regularly scheduled programming:

A Montague correspondent is reporting on scene regarding a “trans-racial” black teenager (I kid you not) who self-identifies as, yes, a 35 year old white man. Ummm..... I hope you’re laughing now too.

As a black teenage boy he had always wondered why he wasn't getting the respect he deserved, "then it hit me,” he tells the reporter, “I'm 35 and I'm white."

Obviously.

We cut to scenes of our trans-racial teenage adult pretending the projects are the suburbs of Colorado.

He explains his Mom just  doesn't get it. Cut to her explaining, "I'd love to wake up and say I'm Rhianna but I 'aint"

Which as a white woman I’m going on brand with the appropriation I mentioned earlier and I just have to say: “preach sista!” If I get to come back as anyone in my next life I sure as fuck hope its Rhianna. Sometimes I ask myself what would Rhi Rhi do? and then I remember to just do me.

But I digress, our teen’s response to his mother’s dismissal is to explain that they don't "realize race is just a made up thing" and he doesn't believe in labels. Unwilling to accept this “reality” he is presently working on getting (yes) racial transition surgery while also stopping trying to convince others he's not "us". Ummm....

Rather than argue he tries to show his community he is not one of them by doing incredibly stand-up white male things like turning black guys into the cops.

This episode came out years before the recent onslaught of social media documenting black people having cops called on them  for doing very questionable things like sleeping in their own dorms but I still challenge you not to be laughing hysterically by this point.

As great as this storyline is though, who can complain when it's time to return to commercials?

First up a commercial break for Swisher Sweets (looks like I too was a trans-racial teenager). In the commercial all the actors are emptying the guts of their swishers to enjoy in between filming sets. Duh.

Quickly though, I want to admit that I am not doing this insanely perfect 30 minutes of remarkability justice —please watch! In the meantime though I return to Montague’s panel….

Paperboi admits to the audience he is afraid of being persecuted by the audience and does not feel comfortable speaking his mind. Our female white expert accuses him of being unable to have intelligent dialogue without spewing profanity (proving his point, of course). Montague continues by asking Al if he hates trans people because of his lack of a father.

If your head is spinning and you’re feeling ready to throw down you aren’t alone but Alfred handles the insanity with unbelievable levels of eloquence. He explains, ”It is hard for me to care about this because no one cares about me as a black man. Kaitlyn Jenner is just doing what white men have done since the dawn of time which is whatever the hell they want. Why should I care?"

He goes on to question where the tolerance is for him?

And yes, this is the crux of it.

It is far easier to speak out against intolerance when you are privileged.

The white expert agrees with his point but as is talk show nature Montague  keeps egging for the drama.

All getting a little too real? No worries, we have a commercial to lighten the emotions.

Or is it just more sad truth?

First up we have a commercial reminiscent of the 1-800-psychic infomercials of my youth. A perfect example of selling an ideal to the impoverished rather than a reality, and media assumingThe poor are an easy target as they are so desperate for a solution out of poverty they can easily be taken advantage of. Sadly, gullible.

Or maybe it is me that’s sad and I just don't believe in magic-- perhaps my cynicism is the problem?

A man (I believe the same guy from the bus in episode one) is offering us “the answers we deserve.” He goes on to talk about chakras and crystals and the power to make his customers rich.

"Call now and you get a free juice and Nutella sandwich" he proclaims.

And now I'm even more in love with this episode.

Cut to a Dodge Charger commercial concerning divorce settlements which is too complex to describe but also totally accurate and finally the episode’s piece de resistance -- a fully animated Coco Cruncherz commercial with a “black Trix bunny" being beaten up by a cop because he is trying to steal the kid's sugary morning treat (which is of course just for kids). As the kids plead with the cop to stop he argues that age old tag line Coco Cruncherz is for kids -- harking again back to my youth and Saturday morning cartoon days when the innocent commercials with a rabbit stealing breakfast was not nearly as menacing (or realistic).

And just like that with a seemingly sweet cartoon we have jumped the line from dangerously sinister satire to downright sadness. Nobody wants to see a cartoon cop beat the shit out of  a black cartoon  bunny especially in front of a bunch of cartoon kids.

And yet its still so funny and important.

Close commercials and we circle back to our black teen dressed like a white man. Alfred can't stop laughing at him "You look like Fellon Degeneres!"

But don’t feel sorry for this misunderstood teen to soon. When the trans expert welcomes him, the kid uses his new platform to spew his own stereotypes, explaining that marriage is meant for a man and woman and men can't turn into women. So while he believes in racial fluidity he is totally close-minded to gender fluidity.

Obviously.

This episode and how it speaks to acceptance of other cultures is fantastic but the commercials and the garbage peddled to lower classes and minorities specifically is crucial. If I was an American Studies High School teacher I think I could develop an entire semester’s worth of curriculum on these 20 minutes.

Episode eight, The Club features our motley crew at a club and clearly miserable about it. As a woman whose personal anthem is George Thorogood and the Destroyers I Drink Alone I couldn't possibly find this more relatable. The only reason why Alfred, Earn and Darius are even at the club in the first place is because Paperboi is being paid for the appearance.

Since I’ve already managed to drone on for close to 10,000 words and supplied an overwhelming amount of both series and personal anecdotes, for this episode briefing I’ll do my best to just take a moment or two for a quick review of a few standout moments and trust that you, dear reader, now have obtained a certain level of Sylvie’s Mind Mastery to elaborate on the now all too predictable consensus:  this episode is just as fabulously funny, sad, complicated and littered with omnipresent issues of social status as the next.

And now in side-splitting surrealist summation:

Earn on the dance floor with subtitles for his thoughts: "somebody smells like Wendy's Double Stack.

Darius showing the crew instagrams of a famous guy in the ‘hood who has a very fancy invisible car. Noteworthy: I thought Darius was just gullible at first but I clearly underestimated Glover’s dedication to metaphor. If you’re still confused by media’s dark comedy, magical realism, social commentaries on race (a new and now thanks in large part to Glover a very dominant genre) don't worry so am I.

Earn gets drunk enough to feel powerful and demand the money owed from the owner for Alfred's appearance and subsequently vomits all over him (sounds about right).

Darius has trouble getting through security after he steps out momentarily to blaze. Rather than put up too much of a fight he goes home to eat cereal and play video games (I'm pretty sure we will get married in season 3). 

Alfred and Earn go to beat up the club owner for trying to rip them off (by now vomit free). After the boys finally obtain what they are rightfully owed they leave the club, at last drunk enough to be  in a decent mood. While laughing and talking about getting food  they are startled by gun fire. People start to run but most of the crowd is maimed anyway as a man seated seemingly on nothing floats by (in an invisible car, clearly) and mows down the crowd.

This is so complex -- Donald Glover has completely lost me and yet I am obsessively curious. What does this mean? What does it say about our culture? Did he just think it was funny? Does the invisibility represent the utter bullshit of an expensive car? It must somehow tie back to status and violence but what is he saying exactly? I’m wary to even venture a guess.

Either way, The boys escape to Waffle House for a post mortem with Darius. The men are still drunk and laughing, moods still surprisingly upbeat though if you know anything about Southern Culture the very fact that this restaurant is still serving speaks volumes of the gravity (or lack thereof) of the violent incident. Things shift toward somber though as the local news streams through in the back ground. A story reporting the incident clearly lays suspected blame  on Paperboi. 

"Fuck the club," says Alfred.

Indeed.

Last year Juneteenth was finally brought into the average modern white person's rhetoric through a "holiday special" for the masses from the very funny (and carefully cultivated to expand mainstream America's mind) Blackish.

Atlanta's take on the holiday is of course slightly more subversive. Certainly due to its non-network and later time slot it is more carefree and able to cater less  to the masses. Nonetheless, I am certain that Atlanta’s episode managed to bring a bit of awareness even if the show -- unlike Blackish -- made zero attempts to educate the ignorant on what Juneteenth is exactly.  It doesn’t matter though, because well... Wikipedia... Glover is smart to assume that his audience is woke enough to use their pricey smartphones to look up whatever they don't already know. Maybe I should learn to employ a similar tactic.

Anyway, on Juneteenth Earn leisurely wakes and bakes in some random girls' bed. When his alarm goes off he is rushed into reality, panics and dashes out. Cut to him and Van in the car where she is very unimpressed that he is stoned which plays out in a passive aggressive fight over the automatic windows in her car. Although we don't know where they are going or why, it is made quite clear that this is an important outing for Van, and that Earn is complicity playing along basically because they have a child together.

They arrive at a fancy house, with a fancy valet and a fancy black woman named Monique answers the door. "happy Juneteenth," she proclaims and then proceeds to humble brag her home "we have so many bathrooms!”

Her white husband Craig makes a grand entrance also proclaiming "happy freedom day."

This is already a very strange party.

Earn retreats for drinks which he orders from a very condescending bartender in an African print bow tie.

"Emancipation Eggnog?" asks Earn "It's June!"

To which the Bartender replies "nigga do I have to explain alliteration to you?!"

Earn takes his beverage and wanders through the looming home finding the white husband, Craig’s office does nothing to alleviate the strangeness. The room is full of black art which Craig painted based on one of his favorite Malcolm X quotes. He explains to Earn that black musical artists are a product for white American consumption and appropriation. He pours them some Hennessy and is baffled that Earn hasn't been to Africa and also does not know where exactly he is from.

Just a side note all this has inspired my own bit of spinoff commercial satire: We all know by now that gene testing companies can provide a great deal of knowledge for White Europeans but usually lack the same insight into an African person’s roots and thusly all their televised advertising features a white person drinking whiskey in the Irish pub of their forefathers or celebrating an ancestors Viking victory. I think it’s high time someone (Preferably Glover and not me because I’m clearly far busier) wrote a commercial with a black person talking about the slave ship he learned his great great grandmother was shackle on etc etc.

Anyhow, Craig employs a specific style of appropriation (seemingly bred from his own white insecurity and guilt rather than ignorance or hate) to black shame the unassuming young man he has invited to drink in his home.

Earn retreats, whispering to Van that the party feels "very eyes wide shut." (Which I myself hadn't yet noticed but once brought to the periphery realize  could not be more accurate). Frustrated that Earn hasn't embraced her thing she asks him to “just once pretend that they aren't who they are so he doesn't blow this opportunity” for her.

He responds by bringing on what I’d like to classify as his very best "douche" (I know , I know, this is not the PC term) in order to impress the "very cultural" uptight, wealthy black people this party is full of.

Van seems to be binge drinking which, as is apt to happen eventually leads to a retreat for a bit of an overwhelmed bathroom cry.

Afterward she winds up outside with Monique who finally starts to reveal actual elements of her own humanity. "You don't think I know how crazy my husband is? Treating black people like a hobby?" And there it is — the thing I have been grappling with as I’ve attempted to blog this season of Atlanta over the course of a three-plus month period. At the end of the day it is safe to assume that the best I can really do is just repeat their story and really I have no shot at successful analyzation. Craig’s overwhelming analyzation is enough.

Van asks Monique if she wishes she had someone to confide in to which Monique responds with this equally telling quote. "It is redundant to be both black and sorry in the world."

With nowhere else to go they return to the party to find Craig performing a poetry slam on Jim Crow in front of his black guests’ and this is when shit hits the fan....

The party’s crew of valets find Earn and attempt to give him their sister's underwear to pass on to Paperboi (I can't even begin to understand why a brother would agree to this for his sister and I refuse to believe my ignorance is cultural). The gesture may be gross but it is relevant to this story's evolution because they have outed Earn as Paperboi’s “manager.” Monique's husband increases the awkwardness by bringing up the shooting. Oddly if memory serves this is the first time since episode two that the series opening incident has been directly referenced. Or maybe it isn't weird at all, maybe the whole point of this surreal show is nothing can be taken seriously enough to carry over to the next episode. Isn’t that the rule of thumb for sitcoms anyhow? Needless to say for the time being the fact that Earn is somebody and not the nobody Monique had assumed seems to make her quite uncomfortable to which Earn responds with spite. Fed up by a full day of clear hypocrisy he proclaims the very real observation that “this is all wack, its not real life and they are all dumb.”

Van rather emotionless attempts to drag her partner away, making it clear she knew  this all along.

“Stop stunning on me about culture,” Earn shouts. “I’m not going to go back to Africa to discover my roots cuz I’m fucking broke. Stop being so black-able!”

We cut to Earn driving home. He promises Van (with eyes closed next to him)  to call Monique in the morning to apologize.

Van opens her eyes demands he pull over and when he does she climbs on top of her man and starts banging him right there in the drivers' seat. In spite of it all they are young, have a baby and I think most importantly she is more attracted to his authenticity than the party's grandeur and faux behavior. The screen zooms out on the lovers in the middle of nowhere with the haunting lyrics of Chain Gang from Sam Cook and nothing seems so well earned and genuine than the freedom these two young black humans have to express their complicated love outdoors in Atlanta in June. Or maybe I'm just being romantic. So far as I know no one is actually  allowed to have sex in their cars outside of their own garage.

The season finale like many episodes starts with Earn waking up in someone else’s home. While this is a recurring start I somehow missed the trend until now. Perhaps that is attributable to the fact that our finale stresses the relevance of Earn’s homelessness. In this scene he is uncomfortably situated in a bean bag chair and being chastised for fucking up whomever's house he has crashed at.

“Where's my jacket?" Earn manages to ask a few times but the homeowner is too distracted with the destruction Earn has caused. So Earn leaves and calls Alfred who also has no idea where the jacket is. This is clearly a bummer for Earn but great news on my end. The missing clothing means we have some 20 odd minutes  ahead to enjoy Earn retracing the steps of a wasted night. This is a plot premise I have adored ever since Ashton Kutcher spoke to my very sensible 17-year-old- stoner- humor in Dude Where's My Car. I haven't watched the film in years and I know it gets a bad rap but I'd be hard pressed to believe that it doesn't stand the test of time. Since this is Atlanta though the surrealism is even more omnipresent than similar story arcs. 

As Earn travels through his home-town (True to its name Atlanta has remained one of the most crucial characters throughout the season) he notices that everyone is dressed as cows. He asks a stranger why the costumes "Free chicken sandwich day nigga,” he’s told

Duh.

So Earn gets his sandwich and in true Dude form heads to the strip club to see if his jacket might be there. Maybe Glover was also a fan of this fine film— we are the same age after all.

A wonderfully awkward and funny scene ensues where Earn tries to describe one stripper who might have his jacket to another stripper.

Largely unsuccessful (how does one describe one generic stripper to another?) the girl is more preoccupied anyhow, her focus being on getting herself cast in a Paperboi video.

Defeated, he defers to last night’s snapchat stories to recall where he went next. Had this technology existed 15 years ago maybe the Dudes also could have found their cars in 27 minutes.

Frustrated by his snaps, Earn instead goes to chastise Alfred for his inappropriate "stories" but Al explains social media is important work. "Rappers make money on appearances" to which Earn reaffirms it is a bad idea.

Darius chimes in "That's black people's number one problem, they don't know how to have fun."

"I don't think that's our number one problem," Earn says to which I laugh out loud. 

And then I laugh again just reading my notes on this episode. And then again during editing. I am proud of Earn for this comment. For the most part he tends to be slower than his buddies when it comes to off the cuff quips.

In a stalemate, Earn defers to ridesharing apps. And even though I'm pretty sure Uber does not actually work this way Alfred is able to call last night's car to try to locate Earn's jacket. Yes, this affirms it, late 90's technology or the lack there of is the only thing that made Dude realistic (to which of course I  understand it still wasn't at all but... y'know....).

Alfred agrees to pay the 50 dollars the Uber driver demands for the chore but is annoyed that he is back to bailing out his cousin. They sit in the car stoned and discuss Jamaican food in a relatable way that will make any stoner smile.

Then something big finally happens for Alfred. Something that could carry over to season 2 or slide into another dream like fantasy never to be mentioned again (both viable options given the strikingly realistic and terribly fantastical world Atlanta has created). Earn gets a call from a famous rapper, Senator K, requesting Paperboi open for his upcoming tour

But before they can get too excited Alfred says "something here is off" and tries to bail. Just then an undercover van pulls the group over.

The group of black men are then patted down for seemingly no reason and asked if they are tring to purchase illegal things from the driver.

Just a jacket they claim.

A small chase scene ensues and the Uber driver is shot down.

And now there is a dead man wearing Earn's jacket.

Earn looks devastated he tells the cops he left something “in there. Can they check the pockets?”

No dice.

So Alfred tries to cheer him up, gives him a roll of cash -- his 5% on the tour deal, affirms that Earn finally “did good.”

But Earn just awkwardly walks away, defaulting to his defeated little kid look in his short shorts and his backpack. He Stops briefly to dump a rock out of his shoe and then goes to Van's and cooks a family dinner. It is a brief sweet moment, interrupted by a friend stopping by to drop off Earn's key. "I've been looking for this all day." he tells him. The proverbial “car” has been retrieved.

Finally at ease Earn and Van retreat to the couch where he gives her the roll of cash. He really does want to support her. There is another sweet moment as the two lie on the couch laughing at how bad of a drug dealer he would be and she asks him to stay but again like a kid he and his back pack leave.

There is something sweet and promising here. A rarity in this funny but often self-defeating show.

Rather than use his friends and family Earn steps out— finally on his own for the night.

He goes to a storage unit and opens it with the key he spent the day looking for. We finally see that Earn is not entirely without a home. This lonely unit with a couch is what he has and clearly why he is consistently waking in other people's spaces. He takes off his shoe, and we realize he wasn't dumping a rock at all but using his sneaker as a bank. No matter, weather shaking out a pebble or stocking cash taking his shoe off in the street earlier must have been Earn’s first sense of relief this season.

[briangroth27]

The Get Down Part 2 Review

I enjoyed the second part of Netflix’s The Get Down and I’m sorry it ended up being the last. This show was exciting, engaging, and completely outside what I normally watch—I’ve never been a big fan of the 70s, disco, or hip-hop—but I loved it and found a new appreciation for all three. I’ll definitely miss these characters and this aesthetic, but I’m glad they found a way to wrap things up in a (mostly) satisfying way. Unlike other reviews I’ve read, I didn’t have a problem with the release structure of this season. Dividing it into “Parts 1 and 2” didn’t throw me at all, first because it’s just branding and second because I always felt Part 1 had a solid beginning, middle, and end. It also had a cliffhanger to leave you wanting more, just like any other show’s season finale. With the new cartoon sequences and the time jump, Part 2 feels so different stylistically that if they had been released together, it would’ve felt jarring and weird.

Full spoilers...

After The Get Down Brothers’ victory at the end of Part 1, they’re reveling in their success while trying to build dream lives for themselves. Zeke’s (Justice Smith) struggle to identify himself in light of his (and everyone else’s) dual lives through his Yale application letter was a perfect encapsulation of this, while also serving as a nice reminder of what happened in Part 1. That duality was a great build off of Zeke giving a speech promoting Ed Koch (Frank Wood), but then immediately running off to perform for the very people Koch was against. The pull between Zeke’s future at Yale/his internship with Mr. Gunns (Michael Gill) and his future as a musical superstar formed a strong backbone to Part 2, and I imagine the looming choice between disappointment now with a good future promised by Yale/Gunns and a dream life granted by music in the present that might have no future is one a lot of people can empathize with. My circumstances aren’t anywhere near as dire as Zeke’s, but I certainly struggle with working towards my dream career or giving up and settling for a routine 9-to-5 job that has financial stability. I think the show did justice to this struggle, but it could’ve been a bit more fleshed out (though Part 2’s shortened episode order may’ve truncated that arc). Zeke’s clear discomfort with navigating the casual racism at the Yale club but still wanting to keep his hopes of college alive despite Shaolin (Shameik Moore) showing up—and then choosing Shao when things got way out of hand—was great to watch. I liked that Zeke stood up for Shao and didn’t rat him out to Gunns, even though it meant giving up his shot at Yale and the internship. That defense made their final split at the end of Part 2 even more heartbreaking, when Zeke discovered Shao had allowed Boo-Boo (Tremaine Brown, Jr.) to sell drugs. It was smart to make their connection to the drugs Shao was pushing not just a way to get rich, like Boo-Boo was trying to do, but a situation that could actually get Shao killed if he stopped, which made it much more complex than Zeke—whose quitting over this felt totally right—wanted to see. Zeke and Shao’s final fight felt perfect and tragic (and was perfectly acted by Smith and Moore), and Zeke scoffing at Shao’s real name when the “kung fu superhero” blinders were finally off was excellent. I feel like Zeke fully understood that even though he’d been best friends with this guy, Shao wasn’t going to stop dragging him into his world (whether it was Shao’s choice to do so or not) and Zeke couldn’t save him, so he had to save himself by cutting Curtis out. I really liked the reversal of the end of Part 1 that the destruction of The Get Down Brothers created: there, he chose rap over the system, but here he bails on his music to go back to Yale.

It would’ve been interesting to expose Zeke to the punk rock scene after Gunns’ daughter Claudia (Julia Garner) discussed it with him. I get him not wanting to explore it after they kissed since it was so closely tied to her, but it would’ve been a neat to at least get his thoughts on it. If the series had more time, rock’s war with disco could’ve made for a good obstacle for Mylene’s (Herizen F. Guardiola) career as well and the musical divide between Claudia’s interests and Mylene’s career would’ve made them direct rivals in an interesting way. That said, I’m glad Zeke came clean about his kiss with Claudia to Mylene instead of trying to hide it for an extended period of time, which helped to defuse the potentially explosive drama it might’ve otherwise caused. Their fight over her saying she was single on TV felt a little too well-worn: it would’ve been more original to subvert expectations and have Zeke understand the demands of public images himself, since he’s somewhat famous too. Regardless of that cliché plot point, the show definitely had me rooting for Zeke and Mylene, even knowing that something tragic was racing at them. Smith and Guardiola had great chemistry and totally sold their romance in both their happy and harder times. Zeke talking Mylene down from Misty Holloway’s (Renée Elise Goldsberry) excellent “Backstabbers” attack was one of those great moments between the two of them. I also loved the knowing goodbye she gave him when she told him she was leaving at the end of the season; that she didn’t repeat “forever” when she said she loves him was heartbreaking. However, the renewed hope that fills Zeke while doing his poetry in his impromptu studio session—the beginning of his recording career, no doubt—was the perfect reaction to his heartbreak. In the end, it was just him and his rhymes, and that’s not only supremely fitting, but a nice segue to the flash-forwards of adult Zeke (Naz) rapping alone on stage. Zeke’s poetry with his future self was very well done (and extremely well-acted) and makes me tear up every time I watch it, while overlaying it with Mylene’s “See You on the Other Side” was a very cool mirror of the Get Down Brothers sampling “Set Me Free” for their battle at the end of Part 1. Reuniting Zeke and Mylene at the very end was extremely fulfilling—I’m choosing to believe that silhouetted trio was the actual Soul Madonnas, not just a tribute—and gave their romance something of a happy ending. Even if that isn’t them, or if it’s not supposed to imply Zeke and Mylene finally got back together, I think he was still waiting for her—and maybe only for her—just like Francisco (Jimmy Smits) waited for Lydia (Zabryna Guevara). No matter what, Zeke and Mylene will always be connected by their music.

Mylene’s journey away from gospel music and into a more sex-laden atmosphere worked really well as a parallel for her growing up and moving beyond the confines of her religious upbringing, even with as blatant as her father (Giancarlo Esposito) being a literal preacher was. I did appreciate and enjoy Mylene finally getting out of that situation with her dad before he died, though, and Guardiola was great at portraying Mylene’s attempts to break free as well as her confidence when it came to taking hold of her group’s future. I also liked the internal drama within the Soul Madonnas that was stirred up by Yolanda’s (Stefanee Marin) concerns about them becoming too sexy, but I thought it should’ve lasted longer. As I’ve seen pointed out elsewhere, her return to the group an episode after ratting out the plans for their sexy show was jarring. I felt like that was a major missed opportunity for Mylene to step up as leader to work out a solution all three of them felt comfortable with while also digging into Yolanda and Regina’s (Shyrley Rodriguez) perspectives more. Personality-wise, Mylene was already a good balance between Yolanda and the more fun-loving, assertive Regina, and it would’ve been great to see her become the balance within the group as well. Seeing her step into a leadership role within the Soul Madonnas would’ve not only given her a new struggle (one that paralleled Zeke and Shao’s fight for the future of the Get Down Brothers, now that I think of it), but would’ve better built her arc towards taking control of her career from Roy (Eric Bogosian). Had Mylene gotten the chance to show him and us that she could handle internal dissension and be a strong voice within the group through the Yolanda incident, it probably would’ve sold Roy agreeing to her terms a bit more. Standing up to him and threatening to walk out of her contract—and Roy caving—may have been unrealistic, as others have noted, but I still liked that she got that moment. Given the necessarily rushed nature of the season, Roy having the sense to keep his talent happy was an emotional win I can get behind, even if it doesn’t make business or real-life sense. 

The other thing I would’ve liked to see in regard to Mylene is where she sees her music going. “See You on the Other Side” implies she won’t fully transition to the full-on sexy thing, but is she content to only do ballads? We know she greatly admired Misty Holloway (at least until Ruby Con), so did she want to be the next Misty or something original? Where does her artistic instinct take her, and what kind of music does she want to be making? Would she have considered pioneering a new style? Would she have tried to dabble in punk rock as that started to challenge disco (and rock ultimately defeated it)? That would’ve been a cool way to pit Mylene’s style against Zeke’s (and Cadillac’s (Yahya Abdul-Mateen II)) in a potential Part 3, give her an entirely different sort of challenge as she tries to adapt to that style, and create an entirely unexpected way to wrap Claudia back into the storyline; maybe she could’ve inspired Mylene to try out what’s out there, since early punk rock was inclusive of women. Of course, those all feel like Part 3 developments. In Part 2, I still would’ve liked to see more of her opinion of what her music should be.

I liked that Mylene and Shao fighting over Zeke’s future gave a much more personal stake to the hip-hop vs. Wall Street nature of Zeke’s two potential paths. That the two of them were the most important figures in Zeke’s life and were fighting over him gave that triangle an interesting aspect that could’ve been fleshed out more, but I liked what we got. I could easily buy that Mylene’s barb about Shaolin being romantically interested in Zeke was more than just an offhand insult. So many characters commented on his and Zeke’s friendship as something more than platonic, like everyone was seeing something he didn’t see (or didn’t want to admit) himself, that I think the writers were definitely hinting that he’s gay or bi. Even Fat Annie (Lillias White) gives a knowing smile when Shao says Zeke isn’t his boyfriend. Shao also immediately understood what was going on between Dizzee (Jaden Smith) and Thor (Noah Le Gros), even though when he “caught them” they weren’t doing anything remotely sexual, which to me implies he's been there, even if he doesn’t want to admit it. Though their friendship was real and he definitely depended on Zeke to provide lyrics to his music, so of course he wouldn’t want to see Zeke head off to Wall Street, I think Shao really might’ve loved him. Perhaps the superhero ninja persona he crafted wasn’t just to cover up the fact that he had no one, but to hide his true identity as well. After all, the only person he really lets his walls down for and tells his “secret identity” to is Zeke. Of course, you can share your deepest truths with your best friend just as easily as with the person you love without it meaning you love your best friend too, but in this era it seems telling that Shao’s ultra-masculine alter-ego only comes down for Zeke in a desperate effort to make him stay.

It’s sad that Shao didn’t ever seem to have had anyone and needed Zeke a whole lot more than Zeke needed him. That made their split all the more heartbreaking. The push and pull over who was actually leading the Get Down Brothers—Zeke or Shaolin—worked well to build their growing conflict to the breaking point. Once they were there, I thought it was a beautiful and heart-rending note to have Shao resort to a Fat Annie movie when Zeke tried to walk away from him. Speaking of Fat Annie, Shaolin falling into dealing angel dust was disappointing given how strongly he’d only cared about being a DJ in Part 1. It’s tragic that moving it for Cadillac was the only way to keep his music going, particularly as it directly led to the end of his DJ career. It’s even more tragic that Shao ended up staying with Annie to protect the rest of The Get Down Brothers after getting even Cadillac out of her grasp. As sad as that is (and Moore sold Shao’s defeat perfectly), it felt like an earned end for him and satisfyingly explained why Fat Annie would let Zeke and the others get away. I wish we were getting a Part 3 to show him escape her grasp.

Adding Dizzee as a secondary narrator was an interesting choice, but it would’ve worked better if the show had honestly and more deeply explored his secret life. That would’ve justified and smoothed over the feeling I got that he was so unconnected from the main plot this season. Aside from Dizzee getting yelled at by his parents (Karen Aldridge, Ron Cephas Jones) alongside his brothers, Get Down Brothers gigs, and accidentally taking the tainted angel dust, it felt like he was existing in a slightly different show that didn’t really reconnect with the rest of the plotlines. As I’ve seen pointed out elsewhere, Part 1 had him doing his own thing too, but still made his connection to the rest of the plot a lot cleaner and more important when he introduced “Set Me Free” to the real tastemakers of New York and made it a hit. Here, even when he collided with the subplots of other characters, like taking the supposedly very dangerous tainted angel dust, he just got a little sick for a minute (which was weird in and of itself) and then continued doing his own thing. That said, his narration and the cartoon segments played into not only the heightened reality of Part 1, but the comics and 70s cartoons the guys would’ve been into as well. I like the interpretation I’ve seen elsewhere that (most of) the cartoon sequences are idealized versions of what the characters were experiencing, like the animated scene that follows their victory at the unity concert where all their comic book alter egos are reveling in their success before the real world comes crashing down around them and their dreams. That was probably the most successful use of the cartoons. On the other hand, there were some animated sequences that were literally just a character arriving at/leaving a building, which felt awkward and pointless. There didn’t seem to be any thematic reasoning for those moments to be animated and the transitions between real and cartoon characters were awkward and disruptive when used that way.

The biggest disappointment about Dizzee’s arc this season was how shy the show was about his burgeoning sexuality. I expected much more to Dizzee coming to terms with being either bi or gay and they literally didn’t even dare speak that love’s name, which was a bizarre choice for a season that also featured Ruby Con and numerous drag queens. It was weird that Dizzee and Thor weren’t able to ever kiss, even when they were painting each other. Dizzee inferring that Boo-Boo wouldn’t ever understand what he was going through was perfectly tragic (and it was a very well-acted scene by both of them), but I wish we’d gotten to see him take a chance and tell his little brother the truth. It would’ve opened Dizzee’s arc to the rest of the characters and Boo-Boo (and the rest of them) trying to deal with it could’ve been a solid dramatic arc. At the very least, a scene with Shao giving Dizzee some comforting words (whether Shao is into guys too or not) would’ve been great. Since Dizzee didn’t tell anyone, feeling (and animating himself) as an alien made a lot of sense and worked, and Jaden Smith conveyed the pain of knowing he couldn’t share his secret very well. I thought for sure this Part would do an AIDS storyline given the time period and the impact it had on the gay community and that would’ve been a powerful, important story to tell. I’m not sure I could’ve handled that level of heartbreak given everything else that went down in the finale, but I did go into Part 2 expecting tragedy heading for Dizzee and Thor. However, what the show gave us instead felt pointless and needlessly mean. My impression was absolutely that Dizzee got hit by the train and that was not a satisfying conclusion to his story at all. Not only did they not let him kiss the guy he was in love with, but half the gay couple gets killed? Come on. The two of them never fit into flamboyant stereotypes about gay guys, but “bury your gays” is an even worse cliché. It felt like a cheap shock that didn’t need to happen. I don’t think the series would’ve had any less of an impact had they just been happy together and it didn’t gain anything by (maybe) killing Dizzee.

Comparatively, Boo-Boo and Ra-Ra (Skylan Brooks) didn’t get much to do this season, and that’s a shame. Boo-Boo’s stint in the drug trade was certainly unexpected and it was disappointing to watch him get wrapped up in that lifestyle, even if all three Kipling brothers’ reaction to their parents grounding them for the drugs they found was funny. Like Shao’s predicament, it was tragic that it was the only way he could see to raise his social status. Regardless, Brown, Jr. clearly had a blast as Boo-Boo briefly hit the high life with this dangerous gig. Boo-Boo’s ultimate arrest was sad and shocking; maybe I was “stuck on hope” or looking for a Hollywood ending, but I didn’t actually expect Boo-Boo to end up in prison. Along with Dizzee’s apparent death, that definitely brought the fantastical nature of the show back to the ground with a stark reminder of the realities of life. That could’ve easily upset the tone of the show, but I think it worked.

I liked Ra-Ra thinking about the future and dabbling in making what The Get Down Brothers do truly profitable and long-term. His sojourn into the Universal Zulu Nation territory was a cool introduction of that style and I liked that he wasn’t welcome because The Get Down Brothers had been marked as drug dealers. The positive culture there was a nice counterpoint to what we’d seen so far and I wish the show had time to explore it more via Ra-Ra’s perspective. I wish it weren’t so animated though; if the animated sections are to be considered the characters’ dream worlds, why is the real salvation from Fat Annie the gang finds in Ra-Ra’s trip animated as well? At first that felt incongruous, but perhaps it’s because the guys aren’t really saved from Fat Annie at all. They get out of her contract, but she still gets Boo-Boo arrested and they still break up. In any case, I wish we’d gotten more of Ra-Ra this season. Brooks brought a great, distinctive energy to Ra-Ra and I would’ve liked to see more of that. Trying to woo Tanya (Imani Lewis) on the phone was so funny and sweet, and this half of the show could’ve used a bit more of his innocence and optimism. I also would’ve liked to see where his forward-thinking got him in the future. He’s one of the main characters and deserved at least a hint at his destiny. 

Cadillac’s love for video games and disco made for a really fun and unique gangster, while his desire to go to space was a great, unexpected reveal! I’m sure Abdul-Mateen II had an absolute blast playing this character and he’ll definitely remain one of the most memorable parts of the show. It was awesome that even Cadillac felt like he got a complete ending to his arc in Part 2. I liked that the unity concert actually changed Cadillac’s mind and got him to successfully break free of Fat Annie. Agreeing to let the Get Down Brothers go after Shao acknowledged their common bonds of abuse by Fat Annie and their desires to be free was a great moment and I really liked both characters at that point. I loved that he’s going to use his freedom to work on his own music, even if his time as a music producer never felt fully fleshed-out in either Part of the series. However, that may have been the point. His revelation about not ever really focusing on his Super-High Voltage Records label all this time felt like a wake-up call to people with goals everywhere: he’s gotten nowhere on his dream at least partially because he never really buckled down and tried. For me, that was a surprising connection to a character who seemed like he’d be completely nefarious and unrelatable at first! I would’ve liked to see him struggle to make it as a producer as Disco died in a potential Part 3. That said, there were a few bumps in the road for Cadillac’s development. It seemed like there was a bit of disconnect between the end of Part 1 and the beginning of Part 2: I felt like he was far more prepared to get revenge on The Get Down Brothers at the end of Part 1 and thought he already knew where they’d gotten their sound system and records, but that reveal was saved for Part 2. It’s possible I misread his moment watching them perform at the end of Part 1, though. His continued obsessive “love” of Mylene was creepy and didn’t amount to anything, so I don’t know why it needed to persist beyond Part 1 (or even past the pilot). On the other hand, I’m so glad that neither that nor Mylene’s producer Shane’s (Jeremie Harris) somewhat teased interest in her ever became anything. I didn’t need to see her sexually used or abused by some skeevy adult in power.

Besides, Mylene’s father using her was enough. As blunt as a man of God trying to keep his daughter holy was, it was cleverly twisted by Ramon trying to exploit Mylene’s career to increase the standing—and the trappings—of his church. I liked that his ambitions became just as gaudy and “godless” as he feared Mylene’s career and soul would become, hurting himself and those around him in the process. His presence even actively drove her to the drugs he feared her fame would expose her to, like when she used cocaine to calm her nerves when he showed up at the Ruby Con. As strong an example of how much impact he had on her as that was, however, it was a somewhat bizarre one-off moment (perhaps in an expanded season, she’d have her own drug problem to parallel what Shao and Boo-Boo were doing). On the other hand, his controlling nature extending into beating his wife felt cliché and unnecessary. I hated him so much in the end that I didn’t care he died; in fact, I was happy to see him go. That said, I wish there’d been more fallout to his suicide than Mylene overcoming it as a survivor (though a strong Mylene is always a good thing). While Ramon probably became the villain of his own story without realizing it, Fat Annie reveled in her ill-gotten empire. She was a great villain and the implication that she’d been abusing both Shao and Cadillac made her feel evil in a far ickier way. I’ve seen people say killing the cat was too much, but I think they did it to prove she really would kill more kids. Perhaps the writing could’ve given her some more dimension and motivation, but she never felt like a one-note character to me (possibly because her performance was so entertaining). I liked that Francisco was finally revealed as Mylene’s actual father and the fact that he “slept alone” since 1960 was sweet. Though it was a little rushed and sidelined, his end felt earned. I feel like we should’ve gotten more of Lydia’s reactions to everything happening with the two men in her life, as well as her daughter’s career, in far more detail than we did. I also would’ve liked more from Jackie Moreno (Kevin Corrigan) than the couple of songs he wrote for Mylene and his support in the contract renegotiation scene. He seemed like such a presence in the first half the series that it was odd he was so sidelined here. It would’ve been nice if more had been done with the three kingdoms of Hip Hop pioneers—Kool Herc (Eric D. Hill, Jr.), Grandmaster Flash (Mamoudou Athie), and Afrika Bambaataa (Okieriete Onaodowan)—as well before they came together to save the kids from their contract with Fat Annie. If we’d known them better, seeing them unite for this moment would’ve felt like a bigger deal. 

I liked the way the teens’ success in Part 1 segued into the manipulation of that success by the people behind Zeke and Mylene in Part 2. That made for a surprising (if inevitable) bittersweetness to their wins at the end of the first Part while giving them new battles to fight that didn’t feel like retreads of the first half of the series, even if many of the same players were involved. For example, the dance/rap-off between the Get Down Brothers and Cadillac’s disco music at Les Inferno was really entertaining and a great restructuring of Zeke and Cadillac’s dance-off over Mylene in the pilot. Fat Annie’s record contract for the Get Down Brothers worked well as a plot for me and I liked that the final rap battle wasn’t just about freeing themselves from that contract, but about proving that using a band just isn’t the same. That said, I really liked the gut-punch reveal at the end that the first hip-hop record did use a band. That sort of historical irony played really well, and had the show continued it seems like that sort of thing might’ve been the battle of a potential Part 3: as I saw pointed out on IGN, it’s ironic that Mylene is such a disco revelation too late in the game for that genre, while The Get Down Brothers arrived on the hip-hop scene a bit too early. I would’ve liked to see the characters navigate the changing trends in music and it’s a shame we won’t get to see more of their stories. Having so many of the main characters meet bad ends was sad, but felt real (even if I’ll never buy that dark/depressing is inherently more “realistic”).

Although I liked a lot the new songs, none of them matched “Set Me Free” or The Get Down Brothers’ winning mix from the end of Part 1 except “See You on the Other Side.” That one had a lot of emotion packed into it and was perfectly used to wrap up the show. The remix of Gonna Fly Now (the Rocky Theme) was cool too; it’s also used directly after they win the Unity Concert and right before their dreams are crushed; like Rocky, they go the distance but don’t really get to win. I loved the heightened reality this show lived in, while the Soul Train-type show Platinum Boogie was a fun bit of 70s atmosphere and I loved how outlandish the Studio 54-esque Ruby Con nightclub was, both thematically and design-wise. The truly creepy and unnerving intro to Episode 4 was very effective and surreal; so effective that I’m not sure the rest of the club or the episode lived up to what the intro promised, even if it still mostly worked. The use of stock footage from the real-life 70s intercut with the glossier night clubs and modern film quality still plays very well too. This world was so unique and well-constructed that it feels like we lost something special with the show’s cancellation.

I’m going to miss The Get Down, these characters, and this world. The actors were excellent across the board and I can’t wait to see more of them in their future projects. Despite some missed opportunities for exploring the characters more (mostly caused by the truncated season), this was a great, satisfying conclusion to the show. In regard to actual events, these 11 episodes may be fictionalized and softened (from what I’ve gathered from other reviews), but they’re still an entertaining insight into an aspect of history I never knew about. If you never gave The Get Down a chance, it’s definitely worth checking out!

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