#i am surprised and utterly charmed by how well that works for me narratively | Explore Tumblr Posts and Blogs

nat-20s · 3 years

Text

Part 5 of Wonderful! Au. *boyband voice* banter’s back alright!

Also on AO3

~*~

Jon: Hello everyone, and welcome back to our regular format. If my husband being horribly soppy-

Martin:-hey!-

Jon: -turned you off the how, this should be a refreshing return to formula, though I can’t guarantee there won’t be further horrible soppiness-

Martin, performatively under his breath: -most people thought it was charming-

Jon: -as that tends to happen when one is recording with the love of their life. If last week’s episode is the only one that you like, too bad, I’m back in full form, and should be at least through the rest of the season.

Martin: This show doesn’t have seasons? Due to the whole lack of a narrative thing?

Jon: I was referring to spring.

Martin: Oh, right.

[A beat passes.]

Martin, flatly: Oh. Great goof hon.

Jon, smug: Thank you.

Jon, sincere: Also, before we get properly started, I did want to actually thank everyone who sent well wishes.

M artin: Yes! We got positively inundated with lovely messages, it definitely brightened both of our days. I would even say it was wonderful.

[Jon groans.]

Jon: I am..not proud of the energy we’ve created for this episode so far, and we haven’t even hit the small wonders. Speaking of, do you have a small wonder this week?

Martin: Mine’s bad action movies.

Jon: Really? I had no idea you even liked them, let alone consider them wonderful.

Martin: Okay, so, saying I like them is a bit of a misnomer? It’s more that I like what they can do more than the movies themselves?

Jon: Elaborate?

Martin: It probably comes as a surprise to no one that I’ve tried my hand at a fair amount of mindfulness and mediation techniques. I’ve found poetry and journaling have been helpful for actually processing life events and whatnot, but when it comes to giving your brain a hard wipe and reset, nothing is half as quick and effective as a shitty shoot-em-up. Somethings about 2 hours of cartoonish, pg-13 violence held together with the absolute loosest of plots brings me to a state of mental blankness that would make a monk jealous.

Jon: How have I never witnessed you doing this? When are you sneaking off to go see Micheal Tarantino or who ever films?

M artin: That’s definitely not the right name.

Jon: Martin, dear, I don’t care. And you’re dodging the question.

Martin, fond: I’m not dodging anything. Since apparently we’re getting into it, you haven’t caught me cavorting with a movie involving more explosions than character development lately because I haven’t been. Haven’t needed it, in recent years. Turns out when you’re not crushingly lonely and working a literal nightmare of job, there’s less of a drive to try and escape your own thoughts. Shocker, I know. Still, to anyone out there that feels like their brain is on fire, go try watching a fast and furious. Any of ‘em, it doesn’t matter. Or even better, Chronicles of Riddick. I can’t remember a single goddamn detail of that movie, which makes it perfect for what I’m talking about.

Jon: I have the strong feeling that th is is a “mileage may vary” scenario.

Martin: Well, yeah, that’s this whole podcast. Plus, I imagine that movies like this would cause more stress to someone who cares about, say, world-building or rules consistency.

Jon: I wonder who you could possibly be referring to.

Martin: It’s a purely hypothetical person, love, don’t worry about it. Any small wonders?

Jon: Yes! Particularly relevant to the last week, my small wonder is stripping the sheets from your bed when it’s been too long between washes.

Martin: How very specific. M ost people would just say ‘clean sheets’.

Jon: Well, for one, I’m fairly certain that we’ve already covered clean sheets-

Martin: Shit, have we? Thank god other people keep track of this, otherwise this show would be unbearably repetitive.

Jon: Christ, yes. I typically check the website a good three times while prepping, and every about one out of those three times I find I’m trying to do an topic we did 30 episodes again. Anyway, um, it’s just nice, I think. When you’ve been too busy or sick or away for awhile, tossing the sheets in the wash makes a room instantly seem nicer. Of all the chores out there, this one, at least for me, has the highest reward to effort ratio.

Martin: Hard agree. Especially when the y have that slight funk of having been around to long, getting rid of that is such a relief. Speaking of, we need to change our sheets soon.

Jon: We can do it after the episode. Who goes first this week?

Martin: Considering last week was only me talking, I’m gonna say it’s you.

Jon: Alright, then. My first thing this week is Martin K. Blackwood.

Martin: Absolutely not!

Jon: Oh, you can do a whole episode on me, but I can’t do one little segment on my husband, whom I love very dearly?

Martin: Not while I’m sat here, no!

Jon: So you’re saying you don’t want me to tell the internet that your resolve to be kind even in the face of indescribable cruelty is one of the mot breathtaking things I’ve ever witnessed, or how I find it incredibly endearing when you get so emotional that your voice comes out as a squeak, or even that, on a more base level, you’re very physically attractive, and I could lose entire days thinking about your arms alone?

Martin, audibly blushing, voice the aforementioned squeak: Oh my god, Jon!

Jon, laughing: Then it’s probably for the best that my actual first thing is best friends.

Martin, peaking the audio levels: Oh you absolute bastard! Do you enjoy this? Do you get some sort of perverse sense of entertainment from riling me up?

Jon: Oh, don’t you start. As if you’re not as bad as I am. Maybe even worse.

Martin: That’s not…

Jon: Yes?

Martin: Okay. Maybe it’s slightly true. Really, what is romance for if not flustering your partner with compliments?

Jon, teasing: I certainly can’t think of anything.

Martin: Hush, you.

Jon: No, I don’t think I will.

Martin: Fine. I suppose you can tell our delightful audience about the power of friendship or whatever.

Jon: I would’ve assumed more enthusiasm, considering this segment is still, indirectly, about you.

Martin: In what way?

Jon: In the way that, to the shock of all, you’re my best friend.

Martin, pleased: Oh, is that what I am?

Jon, exasperated: Yes, dearest husband, I wouldn’t have married you otherwise. Though, upon reflection, I knew you were my best friend before I knew I held romantic feelings for you.

Martin: When was that?

Jon, letting out a breath that vibrates his lips: God it was...2016? I think it might’ve literally been the day after you told me about your CV.

Martin: That early? Huh. I wonder if that’s what people were picking up when they said they we were close.

Jon: What people?

Martin: I don’t know specifically, that’s just what Daisy told me.

Jon: Daisy? When the hell-?

Martin: It...was when she was interrogating me? And, because sometimes I have to be a parody of myself, pretty much my only take away from that interrogation was “people think me and Jon are close”.

Jon: Well then. It’s not like they were wrong.

Martin, smug: No, no they weren’t.

Martin, sincere: And you’re my best friend, too.

Jon: I was certainly hoping that you’re in this relationship for more than my good looks and incredible fortune, both in the monetary and luck sense.

Martin: You say that as if you aren’t good looking, which we all know is patently untrue.

Jon: You’re biased. You’d say I was good looking if I were nothing more than some primordial ooze with thoughts about its station.

Martin: I’m being completely objective. If you were primordial ooze with thoughts above its station, you’d be the cutest ooze of them all. That’s just scientific fact.

Jon: I’m starting to think we might be insufferable.

Martin: Starting to? Might be?

Jon:…

[Jon clears his throat]

Jon: What I find wonderful about the concept of best friends is, to me, they’re the closest thing real life has to soulmates. I don’t personally believe that there’s some..grand mystic force that drives people to be tied together in the manner that narrative typical soulmates are, and if there was I don’t think it would necessarily be the kind of emotional, heartfelt bond one would hope for, but I do believe that there’s individuals that get to know one another, and because of that knowledge, they chose to stick with one another. It doesn’t have to be a romantic, which is why I say best friend rather than specifically ‘spouse’, but I would argue that the basis of a strong romance like you and I have, is very much rooted in that connection. A true best friendship is an equal partnership, and there’s a sense of..matched sensibilities and understanding that can be utterly incandescent when it happens.

I also think that having one or more best friends makes living life on a day to day basis both better and just flat easier. The dark times aren’t as dark, and the bright times shine even more. I know from my own personal experience there are events that I..that I don’t know how I would’ve made it through without you. Hell, last week my..recovery period would’ve taken much longer if you hadn’t been there.

It’s an amazing thing to have someone to share things with, both triumphs and burdens. Um, also, according to Dictionary.com, the term best friends in English has been around since the 1200s. Something about that delights me, like, yes, we’ve had this casual way of referring to a Favorite Person for roughly 800 years. That makes it a hold-out from early Middle English. I dunno, it’s one of those things that make me feel overall very charmed by humanity.

Martin, audibly smiling: No, yeah, hard agree.

Jon: What’s that look for?

Martin: Nothing. Just. I love you a whole lot, you know that?

Jon, voice soft: I may have heard you say that once or twice. Per hour.

Martin: Only that often? I really need to be more diligent about that.

[There’s a bet of silence, presumably where they’re making doe eyes at each other.]

Jon: What’s your first thing?

Martin: Oh, um, right. Rats!

Jon: The expression or the animal?

Martin: Jon, have you ever once heard me say “rats” as an expression? Obviously I’m referring to the animal.

Jon: Ah. Should’ve known, considering that what, a third?, of all your segments have been on animals.

Martin: Yeah? And? You got a problem with critters? With creatures? With lil guys?

Jon, laughing: No, no, it’s very sweet. I’m just surprised you never became a vet.

Martin: Oh believe me, I wanted to. But then I learned that it was not, in fact, a job composed entirely of getting paid to play with other people’s pets.

Jon: You had that job, though, didn’t you? I thought I remembered you mentioning a month long stint at a doggie day care.

Martin, sighing dreamily: Best job I ever had. Too bad that place was shut down after it was revealed to be a money laundering front.

Jon: Good lord.

Jon: Martin did you...did you know it was a money laundering front at the time?

Martin:

Martin: Would it make you feel better if I said no?

Jon: Martin!

Martin: I figured it out like a week in, but, like, who cares? The pay was decent and the floor was super easy to clean, which is very much a plus for even a front of a doggie day care.

Jon: That’s...rather a lot. How about instead of getting into that any further, you tell me about rodents.

Martin: I would love to. But first, we have a shoutout!

Jon: Ooo, a shoutout. Does it specify who should read?

Martin: Let me check. It...does...not…..

...

Jon: Martin?

[A beat.]

Martin: Right! Sorry, um. This week’s shoutout is from Tim, to Danny. It says, “Danny! My favorite person who shares genetic material with me! I wanted to say thank you for your podcast obsession from 4 months ago, and specifically for telling me about these marrieds. They’ve gotten me through many a dull hour at the publishing house. Also, with this shoutout, I’ve officially gotten ahead on the Superior [Last Name Redacted] Brother scoreboard, so suck it. Love you lots, and looking forward to your visit next month, Tim.”

Jon: Oh.

Jon: Um. That’s very..sweet? I think? Mostly?

Martin: Yeah, I’d say so. Uh. We have to take a quick break because, uh, someone is..at our front door! Be back with you all in, from your side of things, just a moment.

#wonderful! au #jonmartin #jon sims #martin blackwood #>:3 #shoutouts are their versions of jumbotrons btw

196 notes · View notes

brin-guivera · 5 years

Photo

I have made no secret of the fact that I have become obsessed with The Untamed (if you have seen any of my recent posts you will see how often I manage to bring it up even when it has no relation to the content of the post!)

the untamed

Based on a Chinese BL (boys’ love) web novel by Mo Xiang Tong Xiu called Mo Dao Zu Shi (roughly translated to Grandmaster of Demonic Cultivation / Founder of Diabolism) has become a bit of a global phenomenon since it aired last summer. I was slightly late to the party (I didn’t start watching it until November after it became available on Netflix) but I have more than made up for it since!

I have re-watched the whole series (all 50 episodes!) twice now, plus the Special Edition (which is basically 50 episodes compressed into 20 episodes for international audiences, with more of a focus on the Wei Wuxian / Lan Wangji relationship that was more subtly portrayed in the 50 episode run, down to having to be mindful of Chinese censorship).

Along with the novel and the live-action series, there is also donghua series (an animated version), a manhua (comic book) adaptation, an audio drama adaption and two spin-off movies from the live-action series (one of which The Living Dead has already aired in 2019, the other Fatal Journey is due to release next week).

The series is absolutely fantastic and has completely taken over my life so I thought it was about time I posted a review!

the story

Wei Wuxian, also known as the Yiling Patriarch, is a person who is feared and despised by almost everyone. As a powerful and deadly cultivator, he became known for his abject cruelty and power, causing the deaths of thousands. He was only stopped when he was killed by Jiang Cheng, once almost as close as a brother to him.

However, the truth isn’t quite as simple as the legend makes out. Was Wei Wuxian really the villain he was made out to be? When he is resurrected following a spell by a mentally unstable young man called Mo Xuanyu (who offers his own body in exchange for Wei Wuxian exacting revenge on those who had wronged him), it is unclear what his motivations will be. Will he seek vengeance against those who had once wronged him?

One person who is happy to see Wei Wuxian is Lan Wangji, an upright young man whose heroics have cultivated legends of his own. The two have a shared history and bond that has surprised all who have known them. Can they both clear Wei Wuxian’s name and find out once and for all who has actually been the mastermind behind all of the unfortunate events that have befallen the cultivator world?

the review

Xiao Zhan and Wang Yibo star as Wei Wuxian and Lan Wangji respectively. Both are mesmerising in their roles and I cannot think of anyone more perfectly suited. Xiao Zhan imbues Wei Wuxian with a carefree spirit and boyish charm, completely at odds with the widespread belief that Wei Wuxian is someone to be feared and hated. Wang Yibo is a revelation as the stoic and unemotional Lan Wangji. His ability to convey how he is feeling in tiny micro-expressions is utterly enthralling.

Both actors are compelling to watch and really give life to their characters. The chemistry between them is off the charts. Although nothing can be explicitly depicted due to censorship, it is clear that these two characters are deeply in love. Filled with lots of longing looks, and artful yet powerful interactions, their bond is clear to see for anyone who is looking but sub-textual enough to skirt pass the censors! It’s a masterclass in subtlety.

The cast of supporting characters are fantastic too! Wang Zhuocheng and Xuan Lu are brilliant as Wei Wuxian’s adoptive siblings Jiang Cheng and Jiang Yanli. Wang Zhuocheng has the daunting task of making the hot-headed and stubborn Jiang Cheng likable and manages to succeed whilst bringing a vulnerability to the character too. Yanli is an amazing big sister to Wei Wuxian and Jiang Cheng – supportive and loving, caring and emotionally reassuring. She proves that strength doesn’t always lie in being physically powerful.

I also really loved Ji Li as the seemingly incompetent and weak Nie Huaisang and Liu Haikuan as Lan Xichen, Lan Wangji’s serene and kind elder brother. I would also be remiss not to mention Meng Ziyi as Wen Qing and Yu Bin as Wen Ning – the cutest siblings that ever lived! And of course, I cannot forget Zhu Zanjin as Jin Guangyao – the sly and smooth manipulator that also manages to be completely sympathetic at the same time. Also, all of the Juniors – love them all!! Not to mention Xiao Xingchen, Song Lan, and Xue Yang… the whole cast is outstanding and there are too many for me to keep singling out standouts.

The story is initially confusing for the first two episodes but please stick with it because it gets so good! The first couple of episodes are set after Wei Wuxian is resurrected but then episode 3 flashes back to the past and shows how he ended up becoming (unfairly) the most feared person in the cultivation world.

It depicts his first meeting with the moral and strict Lan Wangji and how these two ended up defying all expectations and becoming soulmates. How they were torn apart again and again, until Wei Wuxian’s untimely demise. This is a story about second chances and overcoming huge obstacles. It’s about friendship and family. Love and sacrifice. It is such a moving story with plenty of action but lots of character moments. The relationships between the characters propels the story and although there is a lot of plot going on, it is at heart a character-driven narrative (my favourite kind!)

to sum up

If you haven’t watched this series yet, I urge you to please, please, please check it out! It is just too amazing not to share with everyone. It might just be my favourite series in recent years, maybe of all-time, along with Deep Space Nine (my other top favourite). The acting is amazing, the story is moving and you have a love story that manages to be so powerful without ever actually being explicit. It is all the sweeter and intense for being subtle in its depiction. Wangxian 4eva!!!

It will tear your heart to shreds but then mend it again. It will make you lose your mind but then turn around and give you hope again. It is just so good. It is not without its flaws, some of the special effects look a bit cheesy at times, but it is easy to overlook in the grand scheme of things.

some additional thoughts and musings

I cannot believe how well Xiao Zhan and Wang Yibo became their characters – it’s actually quite funny when you see behind the scenes videos of the two of them. They are clearly very close in real life but their personalities are complete opposites – Xiao Zhan seems more zen and peaceful and Wang Yibo is a chaotic little gremlin (I adore him!)

There is so much other content for this series – I am planning on reading the translated novel soon but I am also going to check out everything else along with the author’s other works… will keep me busy for years to come!

Merch for days – I can’t seem to stop buying Untamed-themed merch (check out my STS posts – they are chock full of the merch I have bought week to week!) I am seriously obsessed…

I also have an urge to watch everything Wang Yibo and Xiao Zhan have ever been in (along with the rest of my favourites from the cast) and have been listening to the soundtrack religiously (as well as the individual music the cast have put out whether solo or as part of groups – what a talented cast this is!)

My Twitter feed seems to be less about books these days and more about The Untamed haha!

I might just be crushing slightly on Wang Yibo (and also Xiao Zhan) despite being way older than them both – I feel like a cougar but just look how pretty… 😂

96 notes · View notes

marvel-ousnesss · 5 years

Text

The pirate and the witch (part two)

Word count: 2568 Pairing: Harry Hook x daughter of Narissa!reader

Summary: Y/N, an orphan vk who was taken to Auradon at a young age, returns to her old home by request of the crown prince. However, things tend to go south at the Isle of the Lost.

Warning: Mild cursing

A:/N: Okay people, here's the second part! I'm really enjoying writing this and already working on part three. Feel free to ask if you wanna be tagged and to point out any mistakes or typos that you see. Enjoy 😬

Disclaimer: I DO NOT OWN ANY OF THE DISNEY DESCENDANTS CHARACTERS NOR THE SANDERSON SISTERS. All credit goes to the creators, writers, and producers. Same with the HP charms, credit goes to J.K Rowling.

Part one Mobile masterlist Part three Part four

— So, how was it? — Asks Ben, who's currently sitting on the couch of his and Chad’s dorm, with the brightest grin plastered on his sweaty face. His tourney gear discarded on the floor next to him, I can tell he took it out in a rush right before he called me.

I chuckle at his excitement; kind of resembles a golden retriever puppy. Sitting cross-legged on the simple bed, I stare at the screen of a tablet with the royal crest of Maldonia on its green case. Just parted ways with Harry and, even if it’s hardly four pm, I’m utterly exhausted; but Ben won’t stop calling me until I tell him everything.

— Where to start, where to start,— I pretend to think, scratching my chin with my index finger and frowning my brows. — Being chased by bandits, being kidnapped by wicked witches, who, by the way, may have found a way to practice magic, or having a VIP ticket for Uma’s pirate ship?

— That does sound like quite an adventure, but let’s cover the basics first. How’s the place?

I sigh, setting jokes aside. — Miserable, Ben, whatever you discussed with your father will seem like a children’s tale.

—Something needs to be done about it — he states, — but I’m gonna need your help in convincing my father.

—I’m sure it will be fine, he’s all about second chances, right?

I don’t even know if I completely believe what I’m telling Ben. I remember standing outside of the Royal Courtroom, fidgeting, uncertain of what those who I thought were meant to be good and forgiving would decide for me. The funny thing is that Auradon’s oh so great and just king was the most reluctant to let me be part of his kingdom, claiming that I had an intrinsically wicked nature.

However, I manage to spit my words between gritted teeth— See? You’ll do great.

— I really hope so.

— Look, for now, just sit tight and behold my wonderful narrative skills. We’ll plan our scheme later, — I wink.

— Okay, go on.

So, I tell him everything, no detail spared. Even if it is supposed to be a prison island, it is atrocious to have people living in such conditions. From the poorly constructed infrastructure to the lack of resources that has resulted in people fighting like animals over things such as a rotten apple or half a loaf of bread.

— I’m glad you saw it all first hand, and with all of this, I really believe that we can convince my father to do something about it.

— What I’m most worried about is the embargo that he placed, many goblins are out of jobs because of it, and the malnutrition and sickness here have drastically raised since.— I frown my brows.

— We’ll need statistics to show that, and maybe he’ll abolish the limitations on resources and re-establish the goblins’ jobs.

— Keep talking Mr. crown prince, I only yawn when I’m utterly fascinated.— I roll my eyes and smile when I hear the familiar voice of my second favorite prince.

— Manners, Charming, the grownups are talking,— I fake scold as Chad pops on the screen behind Ben.

— Wow Y/N! Really looking like the evil witch you are— he snarls.

I don’t give it any thought ‘cause a) it’s Chad who’s talking and b) I am dressed in a purple leather jacket and a navy blue top, not to mention my smokey eye makeup. So, I brush him off.

— I miss you too, Chaddy. But, I'd love you to shut up before I go and make you.

—I guess it is true, ‘once a villain, always a villain’.

— Guess it is true, Prince Chad charming, of Cinderellasburg, is even more delicate than his mother’s set of porcelain.

— Seriously, though, don’t let the Isle get to you too much.

— Are you, gods forbid, worried about me?

— Nah, just don’t want real VKs living among us, do we? — when he says this, he playfully punches Ben on his shoulder.

…

—And so, I ended up flirting with none other than Harry Hook in the flesh.

When I utter the word flirting, Chad’s nose scrunch makes both me and Ben burst into laughter.

—Yes, Chad, we flirted, and, dare I say, I enjoyed it. Anyway, after we escaped the cage, we walked together and he ended up inviting me to ‘keep the heid’ back at Uma’s ship,

— I think that may be good for getting to know them, — suggests the crown prince. — You know, figuring out which of them are in worst scenarios.

— Sorry to break it to you, Ben, but it wouldn’t be safe for Y/N to go hang with a bunch of pirates.

Even if our relationship is playful and full of bickering, Chad can get super protective sometimes. It is something that I appreciate, really, but when he smells possible danger, he tends to get worse than my mom.

— I did decline his offer but, seeing that not going would mean agreeing with dearest Chad, — I shrug — I’m gonna go. Right now.

Much to Chad’s dismay, we say a brief goodbye.

— Be careful,

— Don’t let them infect you!

I chuckle at them and hang up. Then, I put the tablet under the bed, grab my cloak, and head out the door.

…

Now closer to the docks, my ears are flooded with the stomping of dancing feet and the cheers of shanties, accompanied by what sounds like a piano and guitar duo. I arrive and cannot help but smile at the sight. Before my eyes, I find some of the most dangerous and vile people of the Isle dancing and singing around a fire that’s set on a barrel in the middle of the ship.

I approach the crowd and, when I catch the first mate’s eye, he stops playing and laughs.

— I knew you’d come. Couldn’t resist m’charms.

I smirk, — just came for a good time, Hook. Don’t you ruin it already.

— Aren’t you gonna introduce me to your new toy? — asks the sea witch, emerging from the crew of pirates, who are now quizzically looking at our interaction.

— I’m Y/N.

— Ooh, the witch, — she inquires. — Harry hasn’t shut up about your little encounter earlier today.

— Hasn’t he? — I quirk a brow at him but don’t even get him to blush.

— Gonzo, — intervenes Harry. — Take over would ya? I’ve business.

The music continues to play and the pirates continue to sing and dance. A blond guy, Gil, I believe, offers me a pint of beer, but I politely refuse. He doesn’t seem to mind, as he drowns the whole thing in one gulp and I quietly chuckle. I proceed to take off my cloak and leave it in the rack, embracing the cold wind. Then, I approach Harry.

— So, are you gonna teach me how to dance this thing, or did you invite me to stand in the corner of the deck all night?

— Are you trying to flirt with me, lassie? — he asks.

— Do I look like someone who’s interested in you? — He’s about to respond but I cut him off, — you know what? Don’t answer.

I grab his hands and pull him to the designated dance floor with me. I’m genuinely curious about this type of music, back home we don’t have anything similar. Next thing I know, he hooks his arm through mine and we’re jumping, spinning and cheering around the dance floor, avoiding a collision with the rest of the crew members.

After a few songs, I suggest we take a break and grab something to drink, so we make our way to the barrel located at the end of the deck.

— Ain’t gaunnie tell me that was yer first time dancing shanties, ‘cause I ain’t taking mince.

He speaks as he fills the first glass with beer and hands it to me, then he scratches the back of his neck with one hand and places the other on his belt buckle.

— Well, believe it or not, it was — I defend myself, fixing my simple hairdo.

— then let me tell ya, yer a natural.

— thanks, — I smile.

He looks at me with curiosity.

— err... I mean, of course I am.

After he fills his own glass, we sit on the front edge of the Lost Revenge’s plank and let our feet hang above the water.

— Why haven’t I seen you 'round, — he takes a gulp of his drink.

I try to do the same but encounter an unpleasant sensation, so I take a small sip and place my glass on the floor, next to me. — I already told you, lone wolf.

—Bullshit. I know the lone wolves, —he claims — easy prey for the crew. Besides, ain’t seen you at school either.

— I don’t go too Serpent prep.

—Oh… you attend the Witch school?

— Not exactly, — I release a breath, not wanting to get further into the topic — but, let’s just say I don’t like having attention on me. How bout you, Mr. first mate, aside from the badass handsome pirate act?

Truly, not to my surprise, he avoids my twist to the conversation. —Ooh, so ya think I’m badass and handsome too…

— Don’t let it get to your head, sailor, no one likes a cocky pirate. — My words come together with a playful side push.

— Aww lass, yer just lying to me in me face, — he whines, — you seem to drool over this cocky, badass, handsome pirate.

A bit frustrated, I exclaim, — Such a dickhead!!! How do they put up with you?

Then, our eyes land on the figure who had just stopped behind me.

— We just do this… — Uma tries to push her first mate off the ship, but he holds onto the railing.

— Funny, captain, — grumbles my date (if one could call it like that) — ya know the crew’s all at my feet.

Uma rolls her eyes, — Yeah, right. The only one ‘at your feet’ is little hellcat here.

At this, he scoots closer and smirks, attempting to place an arm around me, but I slip away. — Don’t get your hopes up, Pirate, haven’t hooked me yet.

Once again, the captain’s voice captivates our attention. — Hey Harry, why don’t you bring me and your new conquest some more beer?

I glance at my half-full glass, — I’m good.

— Nonsense, I insist.— Uma’s gritted teeth hint that she’s not asking out of politeness. In fact, she’s not asking at all.

— Aye aye captain.

As soon as we are left alone, Uma takes the spot that was previously occupied by her first mate, — Don’t know you, so don't trust you. Straight to the point, why would a random wannabe witch like you pop out from nowhere and come to my ship?

My answer is simple and blunt, — If you haven’t noticed, I’m here with Hook.

—That’s not what I’m asking so don’t play dumb with me —, she does her best to stay calm. — Just wondering… haven’t seen you around and, when I do, you have the biggest flirt of the Isle suddenly interested in you, there’s gotta be more to your tale; power, dominance, what d’you want?

My feet swing as I think of a quick response. — Nothing, really. As for Harry, guess I’m that irresistible.

Uma chuckles at my words, but her smile disappears faster than it came.

—Take this as a warning, don’t you dare try anything stupid. Have that in mind and you’re welcome whenever you want. — she mocks, with an overly excited grin. — Any toy of Harry is a friend of mine.

Before I can reply, the shanties stop playing and low, menacing growls are emitted by Bonny and Jonas. We turn around and notice that the two female members of the squad that rules the Isle are now on deck with us.

Mal glides into view, with leather boots hitting the wooden floor. — Awww shrimpy… you threw a party? It kind of hurts that you didn’t invite us.

Uma huffs before standing up and then faces Mal with a demeanor that gives me the creeps. Both Harry and Gil stand at her sides, with a hand on their swords; everyone else takes no time in mimicking their stance. As for me, I stand in the middle of the crowd and begin channeling my powers, just in case.

—You know snooty little witch, you’re sounding just like your mother; a cheaper and less intimidating copy, though.

She did kind of paraphrase Maleficent.

Raging, Mal growls and her eyes emit a bright green glow.

— See? My point exactly.

Now, with more tension in the scene, Harry steps in. — And what a cute little lap dog, — he laughs, approaching Evie. When he gets to her, he deadpans — sit.

The evil queen's daughter refuses to let herself be affected, so she limits her reaction to an eye roll. — Charming, Harry.

— Okay, as much as we’d love to stay and chat, we have an Isle to run. Not that you’d understand, anyway.

On cue, they both laugh and walk away.

— Now, boys.— Mal’s voice is heard through the length of The Lost Revenge, and Jay and Carlos, who must have managed to sneak inside while the crew focused on the girls, kick and spill casks full of water and rotten shrimps all over the ship.

However, their smirks turn into frowns when Carlos’ barrel rolls over and knocks the bonfire down, making the flames take grasp of the wooden floor.

Both intruders and some crew members jump to the water as the fire grows, but I approach it and firmly say ‘aquamenty’. The water shot from my hands extinguishes the fire.

Pirates gasp and Uma approaches me with an expression of simultaneous anger, relieve and, dare I say, gratefulness. — Not such a wannabe, after all.

Harry stands next to her, smirking at me, yet his expression changes when his eyes dart to the damaged deck.

—Still, — he sighs, — the damage is pretty bad. Can you do something about it, doll?

I hesitate — I mean, I could try. But I haven’t perfected that spell yet.

I place a hand over the burnt wood of the deck and whisper — reparo.

Immediately, the floor of the deck restores itself and the broken barrel that previously contained the blaze stands back up. Satisfied, Uma goes to check on her crew.

Mental note: ask about the gang war.

Harry, however, gets a step closer to me and helps me up,— you’d be useful ‘round here, I could get Uma to let you in.

— As captivating as that sounds, I'm not really a team player.

I turn around but, before I can part, he captures my wrist, —yer breaking me heart, dollface.

— We already had this conversation, handsome, you don’t have one of those.

Tags: @aspitefullittlebeing @treestarrrrrrrr

165 notes · View notes

hellsparadiseessays · 5 years

Text

Chapter 66 - The gourd

Disclaimer : As usual, this is Spoiler Central so go catch up if you haven’t done so yet. Also, I’m not Japanese nor Chinese so what I’m explaining here is supported by the research I did beforehand. Finally, English isn’t my native language and lately my brain hasn’t exactly been the most functional so yeah, sorry if there’s typos and some dodgy grammar (yes, this one has been difficult to type, that’s why I tried to keep it as simple as possible). That said, I hope you’ll find this write up entertaining or informative!

There is a neat little detail in chapter 66 I hope you all caught: Rien put the Elixir of Immortality in a small bottle shaped like a gourd. Now you may ask “but Crow, why is it relevant, we often see bottles like that in manga and anime”. Well, it is more relevant than you think, both from a meta perspective (cultural aspect of the gourd in Japan and China) and from a narrative perspective. In fact, Rien *had* to use a gourd for many reasons.

I. The practical use of a gourd

From a strictly practical perspective, the fruits we know as gourds have been used for food, but also as musical instruments or as bottles when dried. The process takes some months for the gourd to completely dry, and the fruit must be turned regularly to dry evenly. Once it’s dry, the seeds in it can be used for a musical purpose, or it can be opened and used as a container. It is even possible to give the gourd a specific shape when it’s growing – the 8 shape being very common, 8 being considered a lucky number (and making it convenient to tie a rope and have a portable gourd). There is a reason why, nowadays, the image of the old but eccentric mentor figure in anime and manga can be portrayed as an old man with an 8-shaped gourd used to keep sake, for example. It all has a practical and cultural basis that can be found pretty far back in time.

II. Symbols of the gourd

The gourd is linked to a lot of symbols, especially in China.

It is commonly used as a charm to ward off evil spirits and bring good luck because of the way it is pronounced. Called *hulu*, it has the same pronunciation as the words meaning “to guard” and “blessing” (both pronounced *hu*) as well as “happiness” (*fulu*). The word for creeper (like a gourd vine) is *màn*, which sounds like *wàn*, the word for 10 000, myriad and forever. As such, gourds and creepers are often associated to symbolise immortality.

The image of the gourd appears often in Chinese mythology as well: used as a boat to escape the deluge, used as a magic tool to trap Sun Wukong (spoiler alert: Sun Wukong didn’t get caught in the end because he’s smarter than that)... And in early Taoism, it is used to describe Chaos (Emperor Hun-Tun’s tale). Indeed, the image of the cosmic egg-gourd that holds Paradise at the beginning and end of time, seems prevalent in Taoism and helps explain the search for balance and immortality: Taoist Chaos is a place and state where all opposites are equal and balanced, where notions like hot and cold don’t exist anymore, where dreams are real and reality is unreal. These concepts are meant to encourage a spiritual journey in oneself to find that paradise. To go even further, the ultimate Taoist body, in its primordial state, should be that of a faceless hermaphrodite with techniques that are frightening to the uninitiated. And I am pointing that last point out specifically because you know what matches that description in Jigokuraku? Lord Tensen’s Kishikai forms.

Knowing all that, it makes sense that Rien *had* to put the elixir in a gourd specifically. It completely suits the theme of the island.

III. What the Elixir is supposedly made of

Now this is the fun part, at least for me, because it’s both amusing and horrific. See, while in the manga we learn that Chôbe’s body parts are essential for the Elixir I’ll never forgive Rien jfc, in the actual myth about the elixir, two rather interesting elements are used to compose that fancy Paradise Potion. I’m straying a bit from the initial point of this writeup on purpose here, but it allows me to expand a bit on a point I mentioned in my previous essay.

See, the Elixir of Immortality is said to be composed of various elements one shouldn’t ingest, such as jade or arsenic. Two curious elements used to symbolise the masculine and feminine aspects are specifically used: mercury for the semen, and cinnabar for the menstruation blood (balance of Feminine and Masculine, I think you get the point now). Now Cinnabar is a vermillion stone which, once refined, turns into mercury. Interestingly enough, I wouldn’t be surprised if this stone was the basis for the Philosopher’s Stone (often envisioned as a glass-like red stone in its purest form, just like cinnabar ore). Now, ladies and gentlemen, have you ever heard of *mercury poisoning*?

Because the Elixir of Life is basically “how to poison yourself 101” from a modern point of view, and mercury poisoning is especially not fun to deal with. Now what happens when one gets mercury poisoning? Well, here is a little list of the symptoms: peripheral neuropathy (movements and vision are affected, with a loss of coordination and of peripheral vision), painful sensations of burning and itching, discoloration and shedding of the skin, memory loss and insomnia... Potentially leading to coma and death if left untreated. Organic mercury (methylmercury) is especially vicious when it comes to poisoning, since it’s an element notoriously that builds itself up in the food chain. Wondering why pregnant women are advised against eating fish? This is the reason why, and fish and whales are closely watched for that reason as well. Interesting fact: the character of the Mad Hatter in Alice in Wonderland is based on hatters being poisoned by the mercury they used for their work. Furthermore, the loss of coordination may make one look drunk... Coincidentally, the Eight Immortals are traditionally associated with a certain martial art imitating the movements of a drunk person. I’m not saying there *is* a link, but it knowing what we know, it may not be totally unfounded, right?

If you are curious, I suggest you to check about two interesting modern cases of mercury poisoning. The first one is the widespread poisoning in Minamata (Kumamoto prefecture, Kyushu) in the 50s, that led to the name Minamata disease for mercury poisoning (a second case happened in the 60s in Niigata prefecture, Honshu). The other case is the poisoning of Karen Wetterhahn in the late 90s, which led to a tightening of the regulations concerning the manipulation of mercury, especially with the use of special gloves that are completely impervious to mercury – thus reducing the risk of poisoning through the skin.

And with this, we’re done with this short essay! While it’s not much compared to what I’ve been producing until now, it was interesting to do all of that research! I was aware of Minamata disease thanks to the lore masters of Bloodborne such as Redgrave or Aegon of Astora and their research about mercury, which has a major place in the game. However, I was not familiar with it to the extent of knowing about its references in Chinese myths, so it was yet again an occasion to generally improve my knowledge about stuff that’ll be utterly useless for my daily life! But hey, it’s what makes it so attractive.

For my next write-ups, I’ll have the long-awaited Criminality and Misery essay, as well as a Chôbe rant (y e s) I’ve been thinking about this past month. I guess I’ll do this one first to get it out of the way? I don’t know, I did wanted to at least have the first part of C&M out of the way before Sunday (because this part makes me think about the Aza bros a lot and I end up depressed everytime so I’d like to have it out before we see them again in the manga)... Yeah guess I’ll work on both stuff in parallel and try the insane bet of getting them out before Sunday. Besides, the Chôbe rant shouldn’t be too long, it’ll be mostly the explanation of a trope often used in literature that, I think, matches with Murder Bae perfectly.

Sources

Symbols of the gourd and the creeper

Myth and meaning in early Taoism: the theme of Chaos (Hun-Tun), by N. J. Girardot

Sacred gourd myths

Mercury poisoning

The poisoning of KW

#jigokuraku #hell's paradise #tensen #elixir of immortality #mercury #mercury poisoning #gourd #chinese culture

2 notes · View notes

cougarforcenty · 6 years

Text

hung the moon...

a/n: some of you may dislike the ending as its a bit of a cliffhanger. i couldn’t make up my mind. may write a second part to this one. feedback is glorious + nourishing fruit.

summary: noah + the new costar who hates him get stuck in a precarious situation. costar’s faceclaim is the beautiful zazie beetz.

word count: 2638

warnings: none

You couldn’t really place it. You didn’t know what it was about him, or the general idea of him, that you found so untoward and irritating. You had enough self-awareness to realize that it may be the complete makings of your own neurosis and natural distrust but you just couldn’t shake it.

Everyone positively loved him. He had the cast and crew practically eating out of his hands. The girls in hair and makeup laughed at all his silly, menial jokes. The director showered him with compliments and tempered direction. Your co-stars would retell stories from the nights you went to bed early about some stupid prank he pulled on someone.

All in all, it seemed like you were the only one not fully on the Noah Centineo train.

But really, that was completely okay with you. You didn’t have the time or energy or mental capacity to be sucked into the false charm of another male co-star.

Been there, done that, didn’t even get a t-shirt.

At this point, you wanted to focus on your craft; wanted to truly harness your emotive propensities. You wanted to give a stellar performance and then get onto the next set, with a completely new group of people and hopefully not be cast alongside the world’s next biggest heartthrob.

You hope that your reticence with him isn’t coming off in your scenes together. You try to play it off as how your character would organically feel in a situation of love triangle proportions. You watch the dailies and can see that slight sheened veneer you put on when your characters are entangled. Whether emotionally or physically, or in the most difficult of spaces when both were required.

You’d skipped out on the suggested bonding practices that predated production and have maybe said 5 words to him directly when not in character. Though he’s tried numerous times to bridge the gap.

You continued to tell yourself it wasn’t unprofessional, you were simply protecting yourself. You wondered if your faux indifference would make for awkward promo after the film’s end but hadn’t thought that far in advance.

You were an actress after all. You knew how to fake it so you weren’t actually that concerned.

But this was the first time on one of your only days off that the director wanted you to meet her at a new location prior to shooting there.

Your reverence for her work made the inconvenience well worth it. Even in the middle of a very chilly fall in New York.

While waiting for the elevator doors to open in a rickety old building, you see Noah approaching.

You hadn’t realized you had both been called for this specific task. You’re instantly annoyed and pull your jacket around yourself snuggly.

He looks just as surprised to see you but doesn’t say anything.

You wait for the elevator in complete silence which seems to be taking literal years to make it down to the first floor, the little illuminating button almost taunting you with its beaming.

Finally, the doors slowly open and you walk in, he follows you a few paces behind.

He casually leans against the opposite side of the elevator and watches you push the button for the 7th floor.

“You know what this is about?” Noah finally says loosely, you can feel the weight of his gaze on the side of your face.

You shake your head lightly.

“It’s cold today,” he offers.

He’s talking about the weather and you want to die. You want to just vanish into a million little pieces.

You hate talking about the weather. You hate small talk with a passion that rivals little else.

Small talk was a waste of energy and vocal undulations.

You offer no verbal response.

Suddenly, the elevator jolts, sending you toward the button panel and then immediately stills.

Your ears start to ring as you immediately realize what just happened. You can tell Noah is saying something but you can’t make it out.

“No… no, no…” you mutter as you hit the panel. You try the emergency button, nothing. Then you hit any button in a desperate attempt to get the elevator moving again.

You feel your stomach drop when nothing happens.

“Shit,” you kick the bottom of the door which causes a jolt of pain to shoot through your foot.

You remember he’s there when you feel his hands brushing yours away from the panel.

“Don’t do that, you’ll only jam it,” Noah explains, calmly.

You angle away from his touch.

“Don’t touch me,” you mutter. You almost think you said it in your head until you look at him and realize his expression has gone from concerned to confused.

“You’re right,” Noah admits quickly, he takes a step away from you. “I’m sorry. I shouldn't have touched you.”

Pain radiates from you booted foot.

“Fuck, that hurt,” you complain, attempting to put weight on your foot.

“Yeah, well elevator’s are made of steel,” Noah remarks as he takes out his phone. “No service.”

“Ugh,” you mutter as you squeeze your eyes shut against the ever impending reality of your current circumstance. You quickly glance at your phone. “Damnit!”

You repress the urge to throw it against the closed steel doors.

“What did I do to deserve this?” You demand to the unmoving metal.

“Someone will notice the elevator isn’t working,” Noah reasons gently. He’s retreated back to his corner.

“In this damn near deserted building?”

“Right.”

Silence looms as you attempt to slow your racing heart by pulling some deep breaths.

“How are you so calm?” You accuse.

He shrugs. He’s studying you. The way he sometimes did. The way he did when you were on set, or running lines with someone else or at dinner with the entire cast. You’ve caught him quietly contemplating some aspect of you and always immediately acted as if you didn’t see it.

You had a feeling he was always trying to silently figure you out.

But you weren’t budging. You refused to fall for whatever guise he operated under.

“I just don’t feel the need to freak out,” he offers simply. “It’ll start working again.”

You huff and continue to glare at the elevator panel.

Of course the universe would conspire to have you stuck in an elevator with this man. That’s exactly what type of track you were on personally.

Even if your professional life was flourishing, your personal life and emotional safety weren’t necessarily corresponding.

“I can take a look at your foot if you want,” Noah offered loosely.

“Does that line typically work for you?”

“Don’t really have much occasion to use it,” he countered without missing a beat. “Can’t say that I’ve seen many women kick steel elevator doors.”

“You aren’t a doctor,” you exclaim. “You wouldn’t even know what to look for. It’s fine. I’m fine.”

“Okay.”

You silently stare at the doors, willing the elevator to start back up again. You really need to get out of there.

“Hey, listen… if I ever did or said something to offend you, I’m really sorry,” he offers evenly.

You still can’t look at him but you feel momentarily bad until you realize that this softness, this unending affable posturing that he seemed to be angling at wasn’t gonna work on you.

You’ve been a sucker before and those days were long gone.

“You didn’t offend me, Noah,” you begin carefully. Your anxiety still looming at the reality of this enclosed space. “I just don’t buy it.”

“I’m sorry, what? What don’t you buy?”

“Your whole schtick. The act,” you respond. “The effortlessly charming ‘nice guy.’ The internet’s boyfriend. Maybe everyone else eats it up, but I see right through it.”

There’s silence on the tail end of your claim. You almost want to look at his expression after your admission but feel it better to keep your attention outward.

Then you hear a small chuckle and you’re instantly infuriated.

“When did you become an expert on ‘schtick’s’?” He questions. “Is it a class you can take?”

“Fuck you-”

He completely bypasses that remark.

“Do you typically so easily pass judgment on people without knowing them or is that a specific distinction I get the privilege of.”

“I don’t need to know you to be able to peep your whole game,” you retort.

You finally do look at him. His arms and legs crossed, leaning against the elevator. The way he’s holding his body reminds you of the easy posture of someone who looks like he’s lying down while upright. Utterly relaxed. His gaze is unflinching.

“There is no game,” Noah corrects. “I’m not the way I am for any type of personal gain.”

You laugh now. You think that maybe mirroring his own reactions will somehow allow you to calm down and make you less unnerved by his own ease. Because all it’s actually doing is making you more irritated.

“No gain? Besides everyone thinking you hung the moon, right? Okay.”

“You’re wrong,” he offers simply.

“That’s doubtful.”

“It’s actually unfortunate that you’ve relied so heavily on this narrative that’s a complete fabrication,” Noah responds. “Because if you hadn’t, then maybe we’d actually be friends or at least civil and you wouldn’t be standing in a stalled elevator seething because of some misguided hatred.”

“Oh my God,” you lament loudly, turning back to the elevator and banging on the door. “Let me out of here!”

“That won’t help.”

“Please stop talking.”

“Sure.”

He goes silent and the silence is almost worse than hearing his incessant gabbing.

You feel a well of emotion come up dissimilar to the anger and terror you’d been trying to mask since the elevator stopped.

“You men are the fucking worst,” you mutter, not even to him directly but you know he hears you.

“What’s his name?”

“Who?”

“Whoever has you out here distrusting complete strangers,” Noah ponders.

“Names, plural. Your kind are real winners,” you remark, taking a deep breath in an attempt to try and subside some of the sadness creeping in.

“I’m sorry.”

“Stop saying that. You are also not a complete stranger. You have a very public persona.”

“As do you,” Noah reminds you. “Or one that’s been crafted around your relationship at least, but unlike you, I don’t necessarily believe it.”

You prickle at that. Just the mention of your ex sends you to another realm you can’t really occupy in such close quarters. You feel like the elevator is much too small for all the vitriol you hold for him and your memories.

“I’m not talking to Disney channel’s wonder child about any of this.”

“You’re mean,” he observes lightly. But he doesn’t actually seem offended. Which is weird to you.

Were you trying to break him? Trying to rile him? What were you actually doing besides internally screaming for something?

“But maybe not as much as I originally thought,” Noah continues thoughtfully. “If I’m honest, it sort of hurt my feelings that you were so kind to everyone else. I tried not to take it personally. But more than mean I think you’re hurt.”

“Please do me a favor and don’t ever fix your mouth in an attempt to psychoanalyze me again.”

You look up at the elevators mirrored ceiling and let out a primal scream. Once it’s out, you bend over, bracing yourself with your hands against your knees, just praying that the elevator will start working.

You silently count to 10 with your eyes squeezed shut. When you open them there’s no change.

You feel worse.

“We’re gonna die in here,” you say desperately.

“We will not die in here,” Noah assures you.

“What do you know?”

“It’s a shame our characters don’t hate each other,” Noah offers thoughtfully. “You’d have a head start.”

“You’re not important enough to hate, Noah,” you exclaim bitterly.

“Ouch.”

You feel yourself vacillating between anger, fear, sadness, and panic. All emotions you don’t want anywhere near this man you’ve kept at an arm's length.

“Will you stop looking at me?” You’ve felt his eyes on you intermittently the entire time and the longer that continues, the more unnerved you become.

“Where else am I supposed to look?”

You can tell he’s trying to be playful. Which is maddening and also a bit sweet because you momentarily forget you’re freaking out.

“Anywhere else.”

“I’m looking at you because you’re trembling,” Noah offers gently.

“It’s fucking freezing.”

“Hey, look at me,” Noah requests after a moment. It takes you a full 7 seconds to bring yourself to do as he says.

His gaze is so gentle and innocent, you almost feel like you’ll burst into tears just looking at him.

“I will not hurt you.”

Those words hit you with every ounce of sincerity they are uttered alongside.

You instantly believe him and you’re pissed about it.

He straightens and walks toward you. Which is only about two paces in that elevator. His hand’s tentatively on your shoulder and it’s only then when you physically feel just how much you are shaking.

“Is this okay?”

You nod your head wordlessly. He outstretches his other arm and with the most subtle movements, wraps you into a light hug.

You lean against him instantly, your body finally being cued to relax for the first time since the elevator stalled. Your hands come up and grasp the sides of his jacket, your ear against his chest.

He tightens his arms around you as you sink further into his warmth.

“Your heart is racing,” he mutters.

“Anxiety,” you sigh. “How are you so warm?”

“I don’t know, I just run hot.”

Being in his arms feels so good. You want to believe it’s just his body heat and the lack of your own but it’s something else. Something that pulls at the pit of your stomach and knaws at your conscious.

If someone would have told you, even 12 hours ago, that Noah would be holding you in this moment, you would have laughed in their face.

Maybe you were wrong about him.

That realization makes your heart drop and all the myriad of emotions that well up in you are steeped in regret and embarrassment.

He’s being so sweet to you and you’ve been nothing but a pain in the ass.

You feel your eyes burn with tears as you wrap your arms completely around him beneath his jacket.

“I’m sorry I’ve been such a bitch to you,” you mutter. You attempt to school your tears but they won’t be reasoned with.

“It’s okay.”

“It’s not okay,” you exclaim against his chest, your voice breaking. “I have such a shitty track record with charming men, I just clammed up. I didn’t even get to know you on a basic human level and that’s so embarrassing. I’m so sorry.”

The tears are flowing now and you feel absolutely mortified.

He pulls back briefly just to peer into your face. He wordlessly wipes away your tears and envelops you back into his arms. This only makes you cry harder.

Where did this deep generosity come from? Why was he so willing to freely give it?

“Shhhh,” Noah offers, resting his cheek against the top of your head. “It’s okay.”

“It’s so fucked up,” you cry into his chest. You don’t know where these tears are even coming from, or why you feel safe enough to unload them with him in this moment.

There’s a lot there that you haven’t even begun to speak of.

He’s back to wiping your tears away and his eyes look like the most delectable mixture of honey and amber and you feel certain you’re in the Twilight zone because all you want to do is kiss him as your eyes flick toward his mouth.

But you wouldn’t dare… it feels like too big a stretch and you aren’t that brave.

#noah centineo #noah centineo imagine #noah centineo fic #tatbilb #to all the boys i've loved before #peter kavinsky #peter kavinsky fic #fanfiction #one shot #sierra burgess is a loser #jamey #the stand-in #swiped

135 notes · View notes

theonceoverthinker · 6 years

Text

OUAT 3X05 - Good Form

I remember loving this episode, but it will be GOOD to FORMulate an opinion on it once and for all!

...Thank you, thank you! I’ll be here all week!

But really, this episode has a ton going on from character work to backstories to points made about toxic masculinity. And if you want to hear more about all that, go right under that cut!

Press Release

With the deadly Dreamshade coursing through David’s body and close to death, Hook takes him on one last journey to find a sextant that could help them decipher a map that would lead them off Neverland. Meanwhile, in the Fairy Tale Land that was, Killian Jones - aka Hook - and his brother, Captain Liam, sail off under orders of the King to find a powerful indigenous plant on an uncharted land that could help heal any injury.

Main Thoughts - Characters/Stories/Themes and Their Effectiveness

Past

The story in the past segment is incredibly simple, but as I’ve said before, simple is good. It’s the finer details of the story that come together and turn it from serviceable to truly great and fortunately, this episode has that in spades.

”If this is a poison, it won’t just end a war, it will obliterate an entire race.” I do like that throughout this story, the villainy is kept with those that truly deserve it: The King and Pan. It would’ve been easy to villainize Liam for not listening to Killian and overestimating his own abilities against Pan, but the writers understood that he just made a mistake. He wasn’t a bad person, but made a bad decision and didn’t deserve his death (I mean, he probably deserved some type of bad death because of what happened with his last crew, but that episode wasn’t written yet). Liam’s death is framed correctly as a tragedy and something that a young man would do, especially when exposed to the “magic” of Useless Machismo Island (My new name for Neverland because holy fuck, there’s so much freakin’ machismo).

I love how literally all of Killian’s men stay by his side. It’s an amazing show of Killian’s leadership abilities, as he displays qualities like charisma and passion in ways that people listen to. It also shows a lot about Liam. Liam may have screwed over the last crew he worked with, but he definitely cared for his own.

Killian’s ending speech works so well. Throughout the entire flashback, it really looked to me like ending of Killian becoming a pirate for noble reasons and “good form” was going to lack the character consistency between the Killian we see at the end of the flashback and the suave sort of jerkass we see in “The Crocodile” and “Devil’s Due.” And that was nagging me throughout the segment as I watched it (As I’ve mentioned before, my Season 3 memories are not that hot apart from some select scenes and the broad strokes of the stories and arcs). But Killian’s speech does a great job of showing his hotheadedness. It’s not just enough to fuck over the king. Killian is taking his rage over Liam’s death on the whole realm, or at least the lands ruled by that same monarchy. I’m so glad that this was included because it reasserts Killian’s character that he has going forward -- noble, hotheaded, dramatic, and a leader.

Present

”You’re not here out of any nobility. You’re here for Emma.” I like how the theme of this segment is somewhat disproving this. By that, I mean that while Killian’s motivation for helping IS ultimately Emma, we see the form that his helping takes shape and it is in fact one of nobility (I know this gets a smidgen into shipping and I usually save that for the bottom and it is mostly there, but just indulge me here because I’ve thought on this for a while). Killian’s efforts, as he believes, will not help his chances with Emma. As far as he knows, David, if kept alive, will continue to keep pushing them apart. This is evidenced by Killian’s clear surprise when David gives him the credit and subsequent toast following their return to the campsite. He helps David for her, but so that she will have a father and a better shot at her son, not so that he will have a better shot at her.

The narrative makes a good point of differentiating Pan and Killian from each other. Unlike Pan who spoke in riddles while mentioning the effects of the Dreamshade, Killian was specific. Before giving David the water, he explicitly laid out the consequences of drinking it, demonstrating actual honor.

I also like how David points out that a lot of their current situation is in fact the result of Killian’s assholery. It allows for David to be granted more nuance then “I don’t like you because you’re a pirate” since it’s honestly been a while since these events occurred. Like, I remember it, but the current story trajectory has made some of Season 2’s events somewhat distant and bringing that back up is appreciated. Without that, this segment would’ve felt way too on Killian’s side but because it’s here, David’s distrust of Killian is not as frustrating for the viewer to sit through.

I am so glad that Emma sides with Regina over whether to remove the Lost Boy’s heart or not and it is framed as an ultimate positive. It falls in line with her rage and dismisses Snow’s shitty ass platitudes. All of the frustration that’s been building in Regina has been building in Emma too and she’s not about to let a tangible means of results in getting at the very least a message out to Henry go away. And it is honestly so worth it. The mirror call is beautiful and energetic and the smiles that the scene leaves off on after the it’s completed is one of the most satisfying moments in the entire arc. When people talk about how dark magic can be used for good, this is one of the better examples of this.

All Encompassing

I know that this is probably one hell of a stretch, but I can’t help but feel like this episode as a whole is taking a sledgehammer to toxic masculinity. Men (David and Liam) not listening to other men (Killian and Pan) is what puts them in their shitty situations but clear communication (Killian being upfront about the water and Liam telling Killian his plans for the king) are resolutions. Neverland really is a land of toxic masculinity. In addition to so many men not listening to each other, we see with the Lost Boys that they have no problems getting violent with each other, using each other, and not apologizing for it afterwards, with Henry acting as a contrast for their behavior because of how he was brought up in Storybrooke.

Insights - Stream of Consciousness

-Opening shots in this series that start with the moon are incredible!

-”Not bad.” My thoughts exactly! Neal did a good job with those wooden swords!

-”Don’t you know the best thing about being a Lost Boy? You never apologize.” Then you guys are just flat out rude! Fucking toxic masculinity. Neverland SERIOUSLY needs to rename itself Useless Machismo Island.

-”I also know what it’s like to lose hope.” Okay look, the way this line was delivered really didn’t work for me. For one thing, it IS wasting time and Killian is usually not one to do that. For another, I didn’t like him stepping in her way. Look, you know I love CS and I’ll be having fun down below by the end of the episode, but that didn’t do it and part of this rewatch is emotional honesty. Part of me thinks that that works because Killian’s almost manufactured attempt to bond fails whereas the more natural one at the end of the episode succeeds, but I still didn’t like the moment as a whole.

-Damn, I love shots of the Jolly Roger that show off its impressive length (Innuendo somewhat intended). It really is a magnificent beast of a ship. And listen to the score in the background. The brass section beautifully plays this triumphant sea-themed melody!

-Wow! I think this is the most crewmates in terms of numbers that we’ve ever seen on The Jolly Roger! I don’t know if they just wanted a lot of navy men/pirates for this episode or because they wanted to show the dangers of being a pirate. I counted during Killian’s ending speech and there were at least 15 guys there!

-”And drunkenness leads to bad form.” This line is great because we see Killian trying so hard to be good (To an almost comedic and cartoony degree for me personally) and is especially made more effective because of our insight into Killian’s adolescence as a slave.

-Anyone notice the extra-as-fuck drop of the rum bottle into the harbor? XD

-”My little brother.” “Perhaps you mean younger brother.” Okay, I LOVE this line in canon, but the fandom has utterly RUINED it for me through its sheer OVERUSE in fanworks. I can’t read a single Brothers Jones or CS fic featuring Liam and NOT see this exchange. It’s not like there aren’t other overused quotes I see, but just that one seriously needs a rotation. *Ahem* Pardon the tangent.

-”A Hero’s journey.” I’m just picturing Killian thinking about how he and Liam started off at the bottom of the world and are now so close to heroes.

-”You’re never gonna get her. I’ll see to that.” David, Emma is a grown woman. Fuck off with the machismo!

-Okay, Killian is my favorite character at this moment purely because he is not having ANY of the machismo bullshit David keeps throwing his way. He’s playing caretaker and nurse proudly!

-I like how literally EVERYONE on that ship besides the lieutenant knew what the fuck the Pegasus was. Like literally EVERYONE! The fuck?

-Damn, when you look at the Roger from the bottom, it’s even bigger. No wonder it’s a pirate ship! It’s got such a big booty!

-There’s something so awe-inducing about a pirate (Or navy, at the time) ship soaring through the sky and I’m so glad that this comes back during “Save Henry.” The contrast of the clouds and the ship is so whimsical and childlike and wonderful because of that.

-Can you even see stars during the day, even with a sextant?

-”Tell him grandpa loves him.” You should probably specify which one, David. After all, “you can have more than one [grandfather].”

-*Watches Daddy Charming hug* I’ve read it before, but Josh Dallas is in fact, dad shaped.

-*Watches that Lost Boy hunt a pig and then remembers how that went in “Lord of the Flies”* Thank you, Snow!

-”Henry did [Nicked the kid’s cheek].” I love how the second he says that, Emma and Regina go into this “What the FUCK did Pan do to our little boy?” mode.

-”At least you got to say goodbye. Most people don’t get that much.” Damn, that line is powerful with hindsight. Even David drops his machismo because he knows something is up.

-”He was a thief and a liar.” To be fair, David, at the moment, you’re the one lying. I normally don’t subscribe to the “heroes are hypocrites” mentality, but this is a rare hiccup in that.

-*Killian steps up in the present and down in the past* Have I ever mentioned how much I love the segues on this show? Well...here’s another great one. See also: Unconscious bodies segue!

-Wow. The first daytime shots of Neverland are so breathtaking. The way the sun shines through the clouds and the jungle/mountains lurk in the distance is stunning! And the beach is just flawless! Fantastic camera work!

-Killian, I love you, but you just can’t rock the ponytail, bro. Short hair is your friend.

-You know, something I realize: Killian’s pretty freakin great at reading people! He can immediately tell that Pan isn’t full of shit in the past.

-I like how Killian puts up no rebellion at the idea of talking to Pan. Even though they’re on opposing sides, he knows Pan can kill them all with the snap of a finger and he’s not about to risk that.

-”Emma would never leave her son.” “She did once before.” FUCK. YOU. PAN.

-”Have a drink. You know it always helps you think.” Pan is just savage af in this episode. He’s pulling no punches!

-Liam, no! Don’t succumb to the machismo! Not like this!

-I’m not sure about how I feel about Emma tipping so close to the edge of strangling a Lost Boy, but this “What the FUCK did Pan do to Henry?”-induced rage is really well acted!

-Fuck yeah, Regina!!! Mirror magic used for good! *High fives*

-I would hardly call that goading, Pan!

-Operation Cobra Rescue. I liked the innocence of Operation Henry because Regina made it, but I like that Emma has her own name for it too.

-Killian really rocks that face mask. Someone make a sexy dark doctor/serial killer Killian fic, a’ight?

-”That you were stubborn, yes. I gathered that rather quickly.” I LOVE the Captain Charming banter here.

-I love Killian’s smile. So much. And his little wink.

-Mama Swan’s got some convictions when it comes to Henry!

-Damn, the ladies were ready for one hell of a fight before David and Killian showed up! Just look at those battle poses!

-That little nod Killian gives David after David tells everyone “what happened.” Awww! THE BROMANCE IS ALIVE! CAPTAIN CHARMING IS ALIVE!

-”Mates.” Emma, you are too fucking adorable.

-I love how immediately following the kiss, Emma has a plan developed to stop them from getting questioned by everyone! Smart as a whip!

-Killian! I know Neverland sucked, but a flying ship is never a bad thing!

-I love that Killian gets hyper defensive when Pan mentions Neal’s name. Like “don’t mention his name, you little shit!”

-I don’t know whether to praise this final scene for being a great fake out of Killian potentially abandoning the goodwill he built up or annoyed because once again, this ending means nothing. It’s literally just exposition. That said, I like the expedience, so I’m willing to forgive it.

Arcs - How Are These Storylines Progressing?

The Mission to Save Henry - We finally get a message out to Henry!

Henry Not Believing in His Family - This storyline frankly sucked and I am so glad it’s over. Henry’s belief in his family and the question of whether or not it would hold (Besides having an obvious answer) was in no way engaging. The circumstances that brought on any possibilities of him not believing in his family were contrived and hardly related to his character. Additionally, the writing for it as a whole was inconsistent. One scene has Henry towing the line of losing faith in his family and the next has his steadfast. One scene has him fighting or dancing and having a good time and the next has him apologizing and being a pacifist. This isn’t character complexity. It’s weak character writing. I know I didn’t bring up this segment before, tough that’s only because it’s so freakin’ short and yet it’s given this huge amount of emphasis. Watching it again, I can’t fathom why the time wasn’t spent focused on Henry and Wendy meeting and becoming friends with Pan pulling the strings on both sides, like we get soon afterwards. That would’ve been much more focused and served as an effective story that played into Henry wanting to be a hero and showed more of Pan being an evil bastard. Hell, there could even be a connection made between Neal and Henry because of Neal’s friendship with Wendy. It actually baffles me. Did they just not have Wendy available for the first six or seven episodes? Did they not want to pay the actress?

Killian’s Redemption - Killian takes his first big step forward into redemption here. He risks his life to help a man who dislikes him. It feels like a very good build up that’s been happening with him since the Season 2 finale. Also, ”You’re good at surviving.” I like how Killian takes this concept that Pan presents to him and thoroughly flips it throughout the rest of the series.

Regina’s Redemption - This is a relatively smaller instance, but it means so much. At the end of the call with Henry, Regina says “We love you.” Call it a hunch, but just a season back and she would’ve said “I” and not “We.” And Emma actually returns that, calling Henry “our” son in their next scene. That’s a far cry from the “my son” arguments of Seasons 1 and 2 and it fits perfectly.

Favorite Dynamic

David and Killian. David and Killian’s bonding feels very natural to me and as that’s the heart of the episode, it was one of the two most important things that they get right. And thankfully, they did! Killian is put into a position where he’s in the right, but it is made clear why the respect that comes with that needs to be earned. Killian and David works together to do what they each think is their own greater good in their own way creates this really engaging friction that is fun to watch. Their banter has a good rhythm to it and can be funny at times, particularly when they’re talking about their brothers.

Writer

Christine Boylan and Daniel Thomsen take their first whacks at Season 3, and it’s really good! Like many of the best OUAT episodes, the past and present segments act as a bit of a mirror in regards to the broad strokes of the story. It’s not super subtle or anything, but what it is is concise. Additionally, the dialogue was great, with only Snow having lines that are intentionally trite. Everything else feels natural for the individual characters.

Rating

Golden Apple. What a wonderful episode! It really is. Just like “Nasty Habits,” the story and character work is incredibly tight. The nuance of who Killian is and was gets delved into and challenged, doing a great job of fleshing the character out. Additionally, for an episode that did little to further the story of saving Henry in the grand scheme of things, it did an incredible job in not making that feel like that was the situation with its character progression and a good ending to an arc that didn’t deserve such dignity.

Flip My Ship - The Home of All Things “Shippy Goodness”

Captain Swan - While not off to the strongest start IMHO, this episode’s CS goodness grows fast! First, while David attempts to ward off Killian from his attempts at courtship, Killian remarks that she’s a grown woman who can take care of herself. Second, even though it was a lie to keep the truth about David’s condition at bay, Killian is very genuine about his concerns over Henry’s mental state. Third, Killian IMMEDIATELY responds to Pan’s offer to let he and Emma escape the island by pointing out that Emma would never leave Henry. Fourth, Emma actually stays behind to chat up Killian after the rest of the group has gone their separate ways and I was grinning like an utter buffoon here! Fifth, Emma makes the mood playful with the “mates” line. Sixth, THE KISS! Killian looks blown away by it, the frozen state of his hand showing how unexpected it was! But when he catches up, BOY does he catch up! And Emma’s so passionate with it too! Not only does she initiate it, but just like her father with her mother, her lips are like a heat-seeking missile of love! It’s incredible!!! And that kiss LASTS for a good few seconds! It gets a wonderful score to it! They almost look like they’ll continue it! Even when it ends, they’re both fuckstruck by it. The feelings consume them!

Snowing - If you’ve ever needed to be convinced of Snow and David’s love (And you very likely haven’t), look no further than the way David kisses and talks to his wife in this episode. Knowing that he’s gonna die, he leaves as much on the table with her as possible, kissing her forehead as well as lips AND telling her he loves her. And when he recovers, David’s lips are like fucking heat-seeking missiles, going right for his wife’s lips and putting EVERYTHING into that kiss. AND the one afterwards! It’s romantic and sexy as hell!

-----

Thank you for reading this and to the fine folks at @watchingfairytales! Just one more day before NJ OUAT CON! Woo-hoo!!! I’m going to try to get the last review for the week (“Ariel”) out tomorrow (Or queue it up for Friday), but if not, you’ll get FOUR reviews next week!

Damn, I’m seeing Gil (Prince Eric) soon. I can’t wait to be...part of his world.

Season 3 Total (39/220)

Writer’s Scores: Adam and Eddy (9/60) Kalinda Vazquez (10/40) Andrew Chambliss (10/50) Jane Espenson (10/30) David Goodman (10/40) Robert Hull (10/40) Christine Boylan (10/20) Daniel Thomsen (10/30)

Operation Rewatch Archives

#ouat #once upon a time #watching fairytales #ouat 3x05 #ouat rewatch #jenna watches ouat

16 notes · View notes

blamebrampton · 6 years

Text

Eurovision 2018 final

And now, 12 hours after the rest of the world, and startlingly unspoiled, I hit the finals! I’ve not been recapping the touristy bits in the ‘postcards’, but if you’re thinking about visiting Lisbon, or Portugal in general, get to it; it’s utterly gorgeous. I’m hoping for somewhere in the top 10 for Jess, and I wouldn’t mind seeing Denmark win. They won’t. It’ll be someone awful, I just know it.

We open with fado music and it is pretty bloody splendid: melodic twanging steel strings and a heart-rending woman’s voice singing a song that is almost certainly of woe but resilience (my Portuguese is terrible). There are no unattractive people in this broadcast, it should be mentioned. Yet another reason to visit!

Another hot fado female vocalist, this time with drummers. She sounds more political, but again, I have no idea. I do know that Portugal is a country that has an amazing tradition of vocalists and narrative music, and I think we are seeing it shown well tonight. I like this a lot better than the usual blather from presenters. Though I like the women, they are admirably quick at moving things along.

And now some local DJs. Look, it was never going to stay glorious. Flags go past. There are many. We are welcomed to the grand final and the crowd goes wild. Hello contestants, I’m thrilled you get a moment in the sun before the horror of the contest descends. They are all smiling and lovely and I hope they all go on to have happy lives. Denmark are actually amusing! Bless their hairy hipster hearts!

You know, I can honestly say that everyone I’ve heard in this final can actually sing and on that basis alone, 2018 is already a good year.

The presenters are back. NCIS is dressed like a Goth prom queen, Blondie is wearing a beaded shower curtain, Saintly is cosplaying a tall Kylie Minogue (I loathe the fact I need to specify Kylies these days) and Little One has come dressed as an entrant from Greece. I actually know all their names now, but they’re longer, so it’s nicknames for me, I’m afraid.

I’m not going to repeat performance notes from the semi finals, but if you’ve missed every other piece of Eurovision commentary, a. Well done! b. What the hell are you doing here? c. I’ll let you know if anything new happens.

Ukraine, Melovin, Under the Ladder. Now I’m not focusing on the madness of the staging, I can mention that he and his backing singers are selling the hell out of this one. I like it a lot better the second time around, and the vocals are tight. It’s still a totally nuts Dracula moment, but if it wins I will not be at all upset.

Spain, Amaia y Alfred, Tu Cancion. Arena full of people holding up their lit phones. Young people singing to each other from opposite sides of the stage. It’s all very sweet. Now they are holding hands. Now they are hugging. Keep it nice, kids, you’ve got two minutes to go. They are lovely, but so wholesome that I feel listening to this song represents 100% of my daily intake of Vitamin C and roughage. Nice climbing crescendos and key change towards the end. Big lights, earnest singing into each other’s faces… this is a song that speaks of carefully studied microphone angles and breath mints. Bless.

Slovenia, Lea Sirk, Hvala, ne! This is the one that stuck with me since I last saw it, but more for the snappiness of the staging and performances than for the song itself. They are enormously charismatic and the choreography is very well put out there. She changes it up tonight and tells them to stop the music and has the audience sing the refrain with her, which I really liked and thought much more successful than the fake cut in the semis, even if the chap in the audience the camera cut to was clearly wondering what the hell was happening and whether he had accidentally eaten the wrong brownies before he headed out tonight. I’m keen on these girls and hope they do well!

Lithuania, Ieva Zasimauskaite, When We’re Old. Sweet whispering song girl is back. She remains sweet and whispery. She and Joanna Newsome would make a lovely duet. Her voice is genuinely delightful, though there is a little more assist in the reverb than she needs: makes it all sound a bit more Jared Leto than is optimal. But I quibble, she is a delight. Her husband comes to join her at the end again and she seems deeply moved. Bodes well for their future.

Austria, Cesar Sampson, Nobody But You. I resent Cesar’s bad T-shirt more than in the semis, because he is a hot young man and we should be allowed to enjoy him in all his loveliness and that plasticky bit is very distracting. The backing vocals in this track are probably the best in the whole contest, and he has a beautiful voice that I hope to hear more of. In a perfect world, John Legend writes a better version of La La Land in which this chap and his best friend come to LA to pursue their dreams and both succeed without hurting each other. It’s actually a decent song, it just sounds like a lot of other decent songs. But his performance is something very special.

Estonia, Elina Necheyava, La forza. She is lovely, her frock is lovely, her voice is lovely, this song is not going to win. Which is a shame, because I would like to see the ECS back in Tallinn. If they had a European Frock Contest, this would be douze points from everyone.

Norway, Alexander Rybak, That’s How You Write A Song. He is a super chap and I hope he does win Eurovision twice, but if he does it with this song, I will be looking at the countries that vote for it with thinly veiled disdain. This is the sort of song that would have had Paula Abdul dancing with an animated cat in the 1980s. But I will say that it is lovely to have him back so that Nigel Kennedy will finally have to give up any idea that he’s the hot young man with the violin. The crown, which was never really Nigel’s, is clearly Alexander’s.

Portugal, Claudia Pasqoal, O Jardim. Pink hair gets an extra 10 points from me to start with. Sounds like London Grammar, in both tune and delivery, but since I love them, that’s fine. Her frock is a nice wrap-around black number with thigh split. She’s joined on stage by a woman who looks a bit like Kirsten Stewart, and the two of them are in fact much cooler than practically everyone else in the stadium. That was a nice soft song that you would wrap up a big night or start a romance with and I liked it a lot. I want to see it in the top five, but not winning, because it’s too expensive to do this two years in a row!

The presenters make a knowing reference to the queerness of Eurovision and it comes off as an inside joke not an arch piece of commentary, and this is the point at which I accept that I have fallen for their charms and will never be free of this annual horror.

United Kingdom, SuRie, Storm. We’ve done something unusual this year and sent someone good. It won’t help, but it’s a pleasant change. More pink hair, with a sort of Annie Lennox hair and jumpsuit arrangement. I hate to say this, but this song is actually pretty damned good. What the hell? We’re usually awful. The staging is admirably simple and the performance is a cracker, and there is some fuckwit invading the stage to shout something and WELL DONE YOU, YOUNG WOMAN, you held that together amazingly! She is in fact bringing it even more strongly, even though the incident clearly affected her. How amazing is she! ‘Some absolute cockhead’ is the Australian boy commentator’s description of the stage invader and he is 100% on the money.

They skip to the green room with Little One while they deal with the stage invader situation and she is talking to vampire boy from the Ukraine who offers to bite her neck and talks about his personal brand. If he doesn’t have 100,000 followers on Instagram and a YouTube ‘presence’, I will be very surprised.

Back to the show!

Serbia, Sanja Ilic & Balkanika, Nova Deca. This song remains as OTT and epic as in the semis with costumes and wailing mysticism that puts me in mind of nothing so much as one of those epic episodes of Xena that your girlfriends used to trot out in the 90s to talk about when lesbian subtext becomes text. It’s classic Eurovision and if it wins I will be thrilled.

Germany, Michael Schulte, You Let Me Walk Alone. It’s apparently a song to his father, who died when he was young, and it’s got a hell of a dose of the Ed Sheerans, from the hair to the singing style. It’s saved from the annoying side of the Sheerans by the personal message, which comes through strongly. Though it’s a little unfair in the ‘you will never know, because you let me walk this road alone’, unless his father took his own life. Just saying. Exactly the right mix of sentiment and ten-year-old newness that could win, thanks to a very strong performance.

Albania, Eugent Bushpepa, Mall. I was surprised by how much I enjoyed this song in the semis and I am still surprised about it now. It’s everything I would usually mock, including a safe 80s chord sequence and handclapping, but it somehow works superbly and he looks a little nervous, yet has an actually superior classic rock voice, instead of the standard ‘thinks is great, is OK’ frontman. I think the dungaree drummer, who has done both of his straps up tonight, has won me over.

France, Madame Monsieur, Mercy. It’s political! And about refugees. And my French isn’t good enough to follow it entirely, but she is all the children, her name is Mercy and she is fleeing war and is alive and she needs our help. It’s actually a cracker of a tune, and the Jean-Paul Gaultier outfits are the classiest of the evening. Far too attractive for this shindig.

Czech Republic, Mikolas Josef, Lie to Me. I think what troubles me most about this song is that I keep expecting Will Smith to appear. Much as in the semis. They are perfectly good, it is just not my cup of tea. Nice little flip at the end, and the dancing is excellent. Bless em.

Denmark, Rasmussen, Higher Ground. I’m putting this out there: I think I want these guys to win. But it’s entirely based on the fact they are singing about pacifist vikings and I have mentally built them up into a rejection of toxic masculinity in favour of human decency and manliness meaning things like facing your fears and having integrity, which I can get behind. If there is a MeToo/Weinstein moment for any of these chaps, I’m coming after them with an axe. I do like a Wailing Medjeval Epic though.

Australia, Jessica Mauboy, We Got Love. Jess is gorgeous and she loves a crowd, which is good because the crowd loves her. Every lovely thing I said about her in the semis remains true. Alas, it also remains true that this song could be better. But it’s grown on me. We may be powerless to bring down the US government, and its lesser evils the UK and Australian governments, but we’ve got love and regular elections, and New Zealand, and it will be OK in the end. She’s a champion and I hope she makes the top five!

Saintly and Blondie are back mocking social media and rightly so.

Now NCIS is eulogising the first winner of the Eurovision Song Contest, Lys Assia, who died at the age of 94 in March. For five seconds. There’s efficient and there’s cold, ladies.

Finland, Saara Aalto, Monsters. This is the other song I want to win, though I have to confess I wouldn’t mind if the UK won, after SuRie’s amazing turn. But Saara’s voice fills the stadium and sails up and down the scale. Still with the Annie Lennox Bondage Backup Dancers, which makes two tributes to Scotland’s finest Oscar winner in the one show. I’m slightly less convinced by the song the second time round, but the performance is great. Her backwards death dive at the end is a cracker!

Bulgaria, Equinox, Bones. This song remains all about the girl’s Heey-yays for me and nothing has changed. It’s another one that is very good, just not for me. Cup of tea time! Good lighting at the end. T2’s Turkish Apple is definitely the right tea for tonight!

Moldova, DoReDoS, My Lucky Day. Kids, I am all for polyamory, but it should be based on mutual communication, not sneaking about. It turns out well for them, though, and it’s a fun song.

Little One is here with the audience and everyone is Very Drunk. I think she is trying to pick up a tall British girl, and I like her even more.

Sweden, Benjamin Ingrosso, Dance You Off. This is a favourite with the punters but not with me. Soz, Ben.

Hungary, AWS, Viszlát Nyár. It’s the lovely Lordi Lite lads and while I respect his vocal cords for surviving the sustained abuse, I am skipping through this one as it’s getting late here and there are hours of judging to go.

Israel, Netta, Toy. The Aussie commentators have mentioned that she would have broken a stage invader and I think this true. She looks as though she would have enjoyed it, too. I feel you, Netta. The chicken bits are a bit distracting, but she sells the hell out of this and it’s bright and bouncy. Another one I won’t mind winning. Also, more pink hair. I was clearly two years ahead of the curve on that one.

The Netherlands, Waylon, Outlaw in ’Em. Apparently, Waylon is cool with people who don’t really like country. Which is good news. I do like country if it’s Johnny Cash or Dolly Parton, but yeah, on this one we’re just going to have to quietly share a beer and talk about something else, Waylon. You’re a good chap and your band is excellent, so if you win I won’t be upset, even if I still don’t like this song. It’s just my taste rather than there being anything objectively bad about it. Hang on: turns out the band are the dancers. They are going off and taking the piss in epic quantities and I like it quite a bit more after that.

Ireland, Ryan O’Shaugnessey, Together. Apparently China cut the broadcast of this one due to the gay backup dancers and Eurovision cut their contract in response. Well done, Eurovision! This song remains sweet and beautifully performed, with the backup dancers really carrying the whole show. But there’s not a lot to it aside from the lovely staging.

Cyprus, Eleni Fouriera, Fuego. Another one I will not be surprised if it wins. Spectacular combination of song and performance, with fabulous backing dancers/singers (again, the best combo set). If Beyonce came to Eurovision in disguise, this would be her performance, and I am reading the whole thing as a tribute to Queen Bey, which is pretty easy given that practically every aspect of it references her. She is nervous as hell at the end, but the performance was stonkingly good.

Italy, Ermal Meta and Fabrizio Moro, Non me avete fatto niente. Written in response to the bombing in Manchester, this is a strongly serious track from a country that can often be flippant at Eurovision and in the first thirty seconds we see the passionate political engagement that explains the entirety of Italian politics. It’s a strong piece and well performed, including wailing hero notes towards the end and overlays in the various languages of Europe declaring defiance to terrorism. I think it might be in with a shot.

Presenters have had a costume change. NCIS is Morticia Addams, Blondie is Meryl Streep circa 1988, Saintly is Sophia Loren circa 1968 and Little One has come as a Glomesh handbag. Oh, holy moly, it’s recap time before the votes. We learn that SuRie was invited to perform again and has decided not to. Bless her toughness! I am fast forwarding through this as life is too short.

Blondie’s cleavage is plunging to her belly button and I am just impressed by the amount of double-sided tape holding that outfit together. The interval act is local musicians, who are splendid, but I need to get a few things done while I listen, so you go and download it from the official site. Worth your time!

Another recap, more fast forwarding. Australia’s commentary team are doubling as the royal wedding commentators and I think I might actually catch that on SBS as it would be a bit of a giggle. It’s Australia’s multicultural channel and I love it because it’s full of international films and news, but I have an American friend who refers to it as ‘That channel where your government gives you free soft porn.’ Mate, it’s Swedish film and you just need to expand your horizons!

Blondie is with the audience and she has found some Irish people who are delightful. And now they are doing Portuguese pop culture things that go over my head, and recapping Junior Eurovsion, which is like Senior Eurovision, but with more sedate images and sober contestants. The Junior winner sings a little of last year’s Senior winner, which is apparently a new condition for entry into Lisbon as every man and his dog as been trotting it out. Saintly presenter might be a little drunk, you know.

NCIS and Little One are in the Green Room, introducing Salvador Sobral, last year’s winner, and he’s looking a bit healthier, which is good! Still as fey as ever, but find your schtick and stick with it, I say. Lovely new song, you should download it, too, as I need to put a load of dishes on, so won’t be describing it. Ah, he’s had a heart transplant. Excellent! That is good news!

He’s joined by the legendary Caetano Veloso and they (Caetano for the most part) sing last year’s winning song and it’s quite lovely. Salvador is visibly moved by the whole thing. Where is his sister? Apparently he’s been slagging off some of the other songs and it’s caused an upset, but seriously, Sir Terry Wogan made a career out of that and there are thousands if not millions of us who do it on an amateur basis, so why should he miss out?

Little One has some fans pretending to do some last-minute voting, and she has been the hardest working presenter. I hope that tall British girl she was chatting up earlier has a cold bottle of gin and a big cake for the two of them later tonight, she’s earned it!

Jon Ola Sand says votes are ready to go! Jury votes first.

Ukraine first: 8 The Netherlands, 10 Israel, 12 France.

Azerbaijan, 8 Hungary, 10 Serbia, 12 to Albania.

They are FLYING through this.

Belarus, 8 Norway, 10 Austria, Australia is nowhere at the moment, 12 to Cyprus!

San Marino, 8 Sweden, 10 Germany, 12 to Israel. He’s chattier than the others.

The Netherlands, 8 Sweden, 10 Austria, 12 Germany.

FYR Macedonia, 8 Serbia, 10 Cyprus, 12 ESTONIA! YAY

Malta, 8 France, 10 Italy, 12 Cyprus, which is starting to pull ahead. Australia still nowhere.

Georgia, 8 Austria, 10 Estonia, 12 Sweden, who take the lead. Meh.

Spain 8 Austria, 10, Israel, 12 Cyprus. UK still on 0, which is for once entirely unfair.

Austria, 8 Sweden, 10 Germany, 12 Israel, who pop in front. It’s a big battle tonight!

Denmark, 8 Austria, 10 Australia, THANK YOU! 12 to Germany.

UK, 8 Bulgaria, 10 Israel, She cracks onto Jon Ola and I respect that, 12 Austria. Not a sausage to Oz, you bastards.

Sweden, 8 Australia, 10 Austria, 12 Cyprus.

Latvia, 8 Estonia, 10 France, 12 Sweden.

Albania, 8 Bulgaria, 10 Cyprus, 12 Italy!

Croatia, 8 Moldova, 10 Israel, 12 Lithuania. The UK has 4, which is not enough, but there we go.

Ireland, 8 Germany, 10 Bulgaria, 12 Cyprus. Nothing for Oz. I’m reading this as a protest against Peter Dutton’s appalling treatment of refugees.

Romania, 8 The Netherlands, 10 Spain, 12 Austria.

Czech Republic, 8 Sweden, 10 Ireland (nice!), 12 Israel.

Iceland 8 Israel, 10 Albania, 12 Austria. Denmark is down on 7, alas.

Moldova 8 Bulgaria, 10 Israel, 12 Estonia!

Belgium, 8 Sweden, 10 The Netherlands, 12 Austria, which is terrific given how good his voice is!

Norway, 8 Austria, 10 Sweden, 12 Germany.

France, 8 Germany, 10 Australia, Merci!, 12 Israel. They and Austria are creeping ahead.

Italy, 8 Denmark, 10 Germany, 12 Norway.

Australia, 8 Estonia, 10 Germany, and Ricardo Gonzales’s Aussie Portuguese accent is a cracker. 12 to Sweden and FUCK YOU ALL the Australian jury. This is how we get Turnbull and Dutton.

Estonia, 8 Cyprus, 10 Lithuania, 12 Austria.

Serbia, 8 Italy, 10 Germany, 12 Sweden.

Cyprus, 8 Italy, 10 Moldova, 12 Sweden and you are all clearly drunk. The jury votes are all over the shop.

Armenia, 8 Israel, 10 Moldova, 12 Sweden.

Bulgaria, 8 Czech Republic, 10 Lithuania, 12 Austria.

Greece, 8 Sweden, 10 Moldova, 12 Cyprus. I typed that 30 seconds before she said it. No need for correction.

Hungary, 8 Austria, 10 Albania, 12 Denmark! YAY! The Vikings go off! They are chuffed.

Montenegro, 8 Moldova, 10 Albania, 12 Serbia. Big surprise!

Germany, 8 Ireland, 10 Austria, 12 Sweden because they are all drunk. But Austria is still ahead!

Finland, 8 Sweden, 1o Bulgaria, 12 Israel.

Russia, 8 Israel, 10 Sweden, 12 Moldova; look, they were fun.

Switzerland, 8 Lithuania, 10 Estonia, 12 Germany.

Israel, 8 UK THANKS, 10 Sweden, 12 Austria.

Poland, 8 The Netherlands, 10 Germany, 12 Austria.

Lithuania, 8 Sweden, 10 France, 12 Austria.

Slovenia, 8 Cyprus, 10 Austria, 12 Sweden.

Portugal, 8 Austria, 10 Albania, 12 ESTONIA! Oh, Portugal, you are so delightfully odd. I love you guys.

That’s it for juries, but we have the popular votes to go. Australia currently in 12th, Denmark and UK nowhere, which is cruel on both counts. Austria in first place, which I think is down to a great performance. Sweden second, probs down to the drink. The Israel song is third, which I think will go up with the popular vote.

Jon Ola Sand is back. He says the public votes are exciting. Here we go! They are reading them out from lowest to highest.

9 to Australia. Fuck the lot of you. Unless that’s a protest against Australian refugee policy and black deaths in custody, in which case, fair enough. 18 to Portugal and Spain 21 Sweden YES! Good! Sorry, I mean, Oh well. 23 Slovenia 23 Finland Rude. Should have been more. 25 UK Very rude! Should have been lots more! 32 The Netherlands 58 Albania A joke. The people are morons. 59 France Ripped off. 62 Ireland 65 Hungary 66 Bulgaria 71 Austria NO!!!! WOE!! Sorry, mate. You were triff. 75 Serbia Should have been more. 84 Norway 91 Lithuania 102 Estonia 115 Moldova 119 Ukraine Fair, they deserved some points for that show. 136 Germany Surprised it wasn’t more, he’s rather good. 180 Denmark I’m good with that one. They are stoked. 215 Czech Republic 249 Italy and they are also thrilled. 253 Cyprus I think she is both heartbroken at not winning and thrilled at not bankrupting a Cypriot TV station with the cost. ISRAEL HAS WON! (though I missed how many popular points they got. More than 253)

(This will be a tiny bit awkward if the whole Iran war thing kicks off. Maybe this will be the kick up the bum that Netanyahu needs to pull his head in. I would very much like my friends in Israel to have fewer things to worry about, so not starting wars seems like an excellent idea.)

Netta is thrilled, the ladies are a little drunk, Jessica Mauboy has snuck off to party with the Irish mob and fingers crossed Mr Austria’s phone is already running hot with people who want to put that glorious voice with better songs. But keep the backing singers. They were ace. Netta sings us out and we are DONE for another year. Goodnight, Eurovision. Why can’t I quit you?

6 notes · View notes

meupila · 7 years

Text

Blade Runner 2049 (2017)

Seen on October 6th 2017 in a 2D cinema.

A beautiful film, powerful story, and immersive experience. It left me feeling like its protagonist– exhausted, confused, and yet somehow at peace.

I am certain there was symbolism that went way over my head, but I thoroughly appreciated what I was able to register. The theological parallels with the figures of the savior, the holy virgin, and the immaculate conception pushed my expectations along subtly but surely. I was as devastated as K / Joe (Ryan Gosling) when I found out that I would not get to follow the path of the hero after all. The question seemed to become: if you are not the hero of the larger narrative, what is your role?

K, much like the audience, becomes a witness to a miracle. When it becomes clear that he himself is not the miracle, he must choose either to fight to preserve it or to sink into indifference/nihilism. Either choice would be understandable in his circumstances, and both would make for relatable stories, but Blade Runner 2049 takes us down the path of fighting for a larger cause– a path shared by many characters in the film. Sapper Morton (Dave Bautista) fights to keep hidden the story of the Replicant birth; Rick Deckard (Harrison Ford) leaves his loved ones to protect the miracle they'd created; Lt. Joshi (Robin Wright) desperately fights for social order; Niander Wallace (Jared Leto) is keen to transform civilization. They are all driven by a grand vision larger than themselves.

Therefore, the climactic fight between K and Luv (Sylvia Hoeks) is significant not only in the lives of those involved but also as a conflict between self-preservation and self-sacrifice. By this point, K's motivation is mostly devoid of ego, while Luv's main concern remains to be "the best of the angels". Somehow, Luv's shameless egotism made me sympathize with her– there is some of that in all of us. Perhaps by fighting her to the death, K completely kills what remains of his own ego. Perhaps by watching it, we experience part of that too, and this may explain why I was on the edge of my seat during this fight, unable to pick a side, and dreading either outcome. The encounter is visceral and genuinely tense, with the water pulling everyone closer to their death, relentless and impersonal. The blue and yellow hues from the fallen vehicle were a creative way to light this crucial scene, making the struggle all the more ethereal.

The cinematography (Roger Deakins) and visual effects were stunning throughout the film. In retrospect, the range of landscapes presented to us is remarkable, but during the film, they flowed naturally. Every moment was filled with marvelous detail, but worldbuilding never overshadowed storytelling. The vast cityscapes, mind-bending architecture, deep colors, and the wondrous reflections that lit so much of this film all seemed but backdrops to a powerful central narrative. In between being utterly lost in the emotional and personal, I would suddenly become aware of the amazing world underneath.

I have yet to research the extent to which Ridley Scott was involved, but it is obvious the film owes a lot to Denis Villeneuve's clear vision as a director, and to a good script by Hampton Fancher and Michael Green. The mojo is consistent, the structure is creative, and it's clear these filmmakers didn't take us for fools.

The acting was excellent. Mackenzie Davis as Mariette had a magical significance about her, and the overlaid performance with Ana de Armas as Joi was visually striking as well as emotionally potent. Armas completely sells the character of Joi, a disembodied entity that is totally genuine in its desire to be, to have a body, and to please K. The fact that Joi is a mass-produced product does not change the sincerity she projects, nor how easily we and K buy it.

Robin Wright as Lt. Joshi was very much human, with her arrogance and sensitivity blatantly exposed. Her final moments with Luv were painful to watch, and for a moment Wright embodied all of us in the face of the unyielding machine. When she downed that glass of whiskey, she knew what was coming, and so did we. In contrast, Jared Leto as Wallace was somewhat opaque and obscure, but I suspect this is how the character was intended to be. We get a glimpse of an overwhelming ambition and idealism driving him, but it felt distant and cold to me– human, but not in a way I liked. This should not be surprising, as after all there are very few Niander Wallaces in the world, and their calculated vision must be alien to most.

Harrison Ford, returning as Deckard, appears fairly late in the film and adds a reluctant charm, grounding the film at a point when it could have easily gone off the rails. He plays someone who has made tough choices and has long since learned to live with them. I wonder what a day in the life of Deckard would have looked like, drinking whiskey with his dog and tending to his bees amidst the surreal ruins of Las Vegas. One particular scene especially owed its poignancy to Ford's powerful performance: when Wallace throws into question Deckard's life and love as pre-determined and devoid of meaning, we get a long close-up of Ford's face and witness a sequence of subtle transformations. The terror that flickers across his eyes, and the weight that sets down upon him, and the inexplicable strength that he somehow musters to speak the words, "I know what's real," were thrilling to watch and a perfect vessel for my own experience of those same emotions.

The soundtrack (Hans Zimmer, Benjamin Wallfisch) and overall sound design worked wonders, completing the feel of the universe and driving home the dread and hope. I felt some kind of rage writhing beneath the music, subtle and powerful, and it hinted at the unimaginable inner experience of K and the Replicants in general. Who is to say what it is like to be an artificially intelligent bioengineered being? I have no idea, but rage is a primal experience I find easy to imagine in others.

Ryan Gosling's task of portraying K's utter fury and desperation cannot have been easy. Like Pinnochio, K is tossed between the lures of pleasure, dreams of family, and a quest for the truth. His relationship with Joi is fragile, touching, and tragic. His anger and hope in finding a father figure, Deckard, is ultimately baseless and heartbreaking.

On the one hand, his character is ultimately an alien– something entirely non-human; at the same time, his struggles mirror an experience that humans have utterly monopolized: the journey of defining oneself and one's path. The only reason this film works at all is that we can relate to K, but the main reason it works so well is due to the uneasy reminders that, in the end, he is not one of us.

There was a sense in me that his experience cannot possibly be authentic – a feeling clearly shared by K himself, who is constantly reminded that he "has no soul"– and yet I was convinced that those same feelings in me would be as valid as can be. As his doubt slowly seeped into me as well, I began to wonder about my own human experience: what makes it authentic?

In some sense, Blade Runner 2049 explored not so much what it is like to be an AI, but what it is like to be human. Perhaps the writers hid a jewel in an inconspicuous joke quipped by Deckard in the casino– when K asks him if the dog he lives with is real, Deckard smirks and says, "Why don't you ask him?"

13 notes · View notes

nothingneverforever · 5 years

Text

Yesterday (2019)

When I’d just seen the trailers and promo stuff for Yesterday, there was some great excitement in me. I loved The Beatles years ago, I mean, I really really loved them, I’ve got about 15 books on them, borrowed my mom’s credit card to shop online for DVDs of all their original movies when I was 14, etc etc, so Yesterday’s premise added up and seemed to look like something I’d enjoy: Danny Boyle, mysterious ultra-niche alternate reality in an otherwise utterly regular world, some kind of deadpan irony about the whole situation…

Then it came and went in cinemas and I never got down to seeing it. So I watched instead this film review by DazzReviews on Youtube, titled “Yesterday Missed A MASSIVE OPPORTUNITY (SPOILERS)”. It’s a short and simple analysis of key weaknesses of the film, being that its actual contents greatly pale in comparison to its great potential. Even without watching the film, I understood Dazz’s gripe because even seeing snippets of the film bored me. It is such a unique, and almost cute idea afterall: a blackout causing selective loss of memory in every single individual in this world (save for 3, later to be discussed) where post-blackout, The Beatles and other cultural/social phenomenon do not and have never existed. Our protagonist, who pre-blackout was a struggling singer/songwriter, then decides to release Beatles songs from his memory as his own, thus gaining global popularity and attracting immense adoration. It’s not novel, perhaps reminiscent of time-travel narratives idk, but it’s still fun right?

Yet even after watching this review video and understanding the film’s flaws and being able to imagine how disappointing the film would have been, watching it in full for myself was still an upsetting experience. Google tells me that Yesterday is of the ‘Drama/Fantasy’ genre, which gives me a good starting point for my critique: how utterly un-fantastical it is.

Our protagonist Jack Malik is LITERALLY the most vanilla, ungrateful, boring, not-alive, nothing-at-all, annoying, pathetically male (in terms of tantrum-throwing and ingratitude) character I have ever seen. None of this is hyperbolic, his character literally sucks so freakin much omfg, absolutely devoid of any redeeming or even remotely INTERESTING qualities at all. In fact save for maybe one scene (which I will talk about below), I don’t think there was another single second in the entire film where we saw him smiling. This is not to say that he’s portrayed as especially tortured or depressed in demeanor, merely to indicate his absolute dearth of warmth and personality.

Meanwhile, it becomes clear as the boring film progresses boringly that Yesterday is in fact nothing more than a love story. The cute Beatles twist is merely a device to show us how Jack and his “love interest” Ellie (inverted commas cos their love sucks omfg I cant imagine that ANYONE viewing it is convinced) were in fact meant to be, with Jack’s momentary superstardom existing to show him that all he ever wanted was his old life, the one with Ellie (even though they were never together because THEY ARENT EVEN MEANT TO BE IN THE FIRST PLACE OKAY….). But, just as Jack’s character itself is flawed and awfully written, our female protagonist Ellie is SOOOOOO early 2000s. Just think of the most typical stock supportive, sweet, pretty, unfailingly kind and patient female whose presence is taken for granted etc etc… So her stock sweetie pie female character coupled with the most unbelievably charmless and unlikable male character make for the most unshippable couple you could possibly imagine. We are supposed to be charmed by her obvious-to-everyone-except-him love for Jack, supposed to have our heartstrings tugged by the singular scene of teenage schoolgirl her standing by the wings of the stage with hearts in her eyes while teenage schoolboy him sings a most soulless rendition of Wonderwall but it literally does absolutely nothing. The means has not met the end! This is a grossly uninspiring love story and there is no fantasy whatsoever!!

Honestly how is this even a Danny Boyle product? But then again… Zhang Yimou, boasting the incredibly genius Raise the Red Lantern (1992) on his resume, also did The Great Wall (2016) so I guess even heroes have the right to bleed or even the best fall down sometimes or something. OMG WAIT I just googled the film again and not only is it directed by Danny Boyle but also written by Richard Curtis LOL wtfffffffffff okay this is the worst film ever seriously

Early on just after the global blackout thing, before Jack becomes the huge superstar that he does after his music (“his” music) is released into the world, when he first decides to use the songs of The Beatles, he is cajoled by his parents into performing for them in their humble living room. (by the way his parents are played by Sanjeev Bhaskar and Meera Syal who I have LITERALLY seen in about 1000 British TV shows and movies by now… idk maybe Yesterday was intended as a semi-ensemble cast film? Since there are other “appearances” by other known faces… ok whatever.) I guess this scene of him, superstar-to-be, sitting down at his piano in the claustrophobic living room with his parents exaggerating their domestic inclinations and comforts (by holding their cups of tea and settling themselves into their sofa-chairs etc) is meant to be comedic, we’re meant to laugh at how his parents have no idea the genius that is about to be released unto the stratosphere embodied by their all-great son Jack Malik, and it’s a predictable scene: his parents get disturbed by the bell and other things in the first 10 seconds of his performance, so Jack has to begin Let It Be 4 times over and never gets past a few lines… and okay, it’s funny because they are treating Jack’s “performance” as such because he has never before produced anything worthy of actual attention and has never performed in any manner that has demanded any respect given that he was an absolutely mediocre singer, but the scene is ruined by how Jack was written to have to react. Instead of taking it in his stride and recognizing that his parents are taking it so lightly because they have no idea how big the song is going to be because they have had no reason to expect anything great of him before, Jack throws a big fucking tantrum and asks why they cannot and have not respected the greatest song to ever be written etc etc… and okay, maybe this was intentional because we are to infer that Jack’s reaction is a projection of his own insecurities about releasing entirely unoriginal songs as his own, perhaps he has doubts about whether they would do as well as they did when The Beatles themselves released them, perhaps he has doubts that he is the right person to do this at all, anxieties and fears about being able to get away with it all… Sure, but I don’t want to give the writers the benefit of this doubt. If I were to watch the scene with my eyes and ears and not my brain, all I’d see is a dumbass manchild with a temper and ego problem incapable of accepting responsibility for the decisions he’s made, plus being unnecessarily cruel and disrespectful to his simple parents who want only to support him, if superficially. Basically, he’s dumb and the worst protagonist you’d want for a romcom.

But let it not be said that I am an extremist with my views: there was one sub-plot that showed promise and that made me think perhaps there was more to this film than the nothingness it had conveyed hitherto. When Jack played in Moscow, as an opening act for Ed Sheeran, we saw the haunting face of a large man in the crowd, carrying a knowing look in his eyes. It gave us a great sense of unease, seeing his concerned face contrasted with the throng of pretty girls screaming their hearts out (you know, à la “Moscow girls make me sing and shout”). Then later we see an English lady (played by the iconic amazing Sarah Lancashire who I know and love so so much from Happy Valley), who like the Russian man, carries the same speculation in her sharp eyes, as she sees Jack manically making his way through Liverpool, visiting key landmarks like Eleanor Rigby’s grave, Strawberry Fields, Penny Lane etc because, as she says to him later, “you cant write songs about places you’ve never been to”. So anyway, this odd pairing make up the only 2 other known humans in the world who for unexplained reasons also remember the existence of The Beatles, and thus recognize that Jack’s positioning of the entire Beatles discography as his own original work to be fraudulent.

So we as audiences who hardly care for this dumbass Jack but have still held on to some hope that the film would bring us some element of surprise and karma for this annoying fraud (whose singing voice by the way is literally the most forgettable ever), we would have loved nothing more than for Jack to face the sound of music (as Mother Mary comes to him). But instead of, I dunno, chopping his head off or outing him to the world, the mysterious duo thank him for bringing their much beloved Beatles songs back into the world, the whole who has forgotten them. They thank him for doing justice to the memory of the greatest band of all time, and together the duo and Jack dance and cheer in a side room minutes before Jack goes out to perform for the biggest crowd he’s ever played to. It’s just… lame and not even a satisfying easy way out. Oh remember above when i said there was literally only about one scene of Jack smiling, this was it. And he only smiled because obviously he was relieved at not having his secret revealed to the world by these two..... ughhh WE DONT WANT TO SEE YOU HAPPY!! WE HATE U!!

Okay haha I shall end this as I do all my other ‘reviews’… by saying that I’m lazy already and cant really be bothered to continue but shall conclude by proclaiming that this film sucked… not in a remotely camp or quiet or interesting manner either. It was just boring and bad and of great disrespect to the music of The Beatles.

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

Omg I have just attempted to read some actual reviews of this film and some actually think it’s ‘charming’ and ‘surprisingly moving’ and that the leads have ‘chemistry’………….. that’s literally the fakest thing I’ve ever heard lol bye bye!

0 notes

nellie-elizabeth · 7 years

Text

Supernatural: The Big Empty (13x04)

This season is kicking serious ass. I love it so much I cannot even tell you. Let's just dive right in!

Cons:

My complaints are really minor. There's a moment at the end when Jack steps in and saves the day, but the special effects looked pretty goofy. They did this sort of subwoofer sound effect and slow-mo and his eyes glowed gold and it was just kind of hokey.

Pros:

That's literally my only complaint. I sat there for a second trying to come up with something else I disliked, and I couldn't.

The main story involves Sam, Dean, and Jack hunting down a shifter who is disguising himself as lost loved ones before killing his victims. They think they've found the culprit, a therapist named Mia, but she proves her innocence. She is a shifter, but she uses her powers to give her patients a chance for closure. Turns out, it's her terrible, abusive ex-boyfriend, Buddy, who is also a shifter and who is trying to take away her happiness. The shifter gets the best of Mia, Dean, and Jack while Sam is away following up on a lead. It looks like Sam is going to get shot when he walks in the door, as Buddy has the whole situation rigged, but Jack manages to access his powers in time to save the day.

First of all, I like that the plot was simple and straightforward. We didn't need five different twists, we didn't need too many detours. Dead people are killing living folks. Ghost? No. That's ruled out. Shifter? Yes. The first shifter they find? No. I was almost waiting for yet another double cross, and was pleasantly surprised when it never arrived.

And speaking of, I really liked Mia! The moment when Sam realizes she's a shifter, and comes bursting into the room with a gun, was the perfect subversion of expectations. Sam and Dean both hold a gun on her, but she explains her innocence and the boys actually let her explain herself. They've certainly come a long way from shooting monsters on sight! And I loved the parallels that this created with Jack. Mia has learned to believe that being a "monster" isn't everything. It's not what you are - it's what you do with that. I was really pleased that while the disgusting, abusive Buddy got the ax, Mia lives to fight another day.

Jack is... just adorable and precious in all ways and I want to adopt him? I love that Sam and Dean are taking on pseudo-parenting roles with him, albeit very unwillingly in Dean's case. Sam accuses him of being like their father was, and Dean shoots back defensively, wondering if there's a problem with that. Both Sam and Mia point out to Dean that Jack is clearly scared of him, and just wants his approval. There's such a sad echo of Dean's own desperate seeking of approval with his father. It seems pretty clear that Dean can't look at Jack without being reminded of what he's lost, but by the end of the episode he throws the kid some praise, telling him he did a good job when saving Sam and Dean's life. This is such an utterly fascinating dynamic and I can't wait to see where it goes from here.

One of the highlights of the episode is Jack and Mia's private moment, where Mia shifts into the shape of Kelly, to give Jack the chance to talk to her and hold her and feel as if he's with his mother for the first time. This was just so emotional in every way shape and form, and the acting was spot-on.

Then you've got the Sam and Dean dynamic going on. The two of them, along with Jack posing as their little brother, go to therapy with Mia to try and figure out what's going on with the deaths in town. It's meant to be just for show, but Dean lets his resentment out into the session when he accuses Sam of being delusional for not admitting that Mary is dead. Sam lets out with one of the key reasons behind his grief - Dean was the one who had the relationship with Mary. Dean's the one who remembers her from when they were little, and Dean's the one she connected with upon her return. How is Sam supposed to accept that he's lost the chance to have a real relationship with his mother? He storms out of the room.

Now, in any other episode of Supernatural, Sam and Dean might have a fix-it conversation at the end and things would get a little better, but in this one, the outburst literally happens in front of a therapist, who calls Dean out in no uncertain terms: "you just made your brother so upset that he had to leave the room." In the end, we do get that fix-it conversation, and it's even more heartbreaking that you'd imagine. Dean apologizes for being a dick, and then Sam reveals an awful fear - what if Dean is right, and Mary really is dead, and he's just been in denial? Dean says he doesn't want to hear that - "I need you to keep the faith for both of us, because right now I don't believe in a damn thing." Dean admitting that he's hit rock bottom and he's willing to accept help from Sam is just such a critical turning point for their character arcs this season. I'm all about it.

This episode's title is "The Big Empty," which of course refers to the subplot with Cas that I'll be talking about next... but it also refers to the theme of grief that's prevalent through the episode. It's notable that nobody in the main plot ever mentions Cas' name. On the surface, the grief in this particular story is centered on the loss of mothers - Jack grieves for Kelly and Sam and Dean grieve for Mary. Jack learns that Sam wants him to help save Mary, and he's all on board for the plan, while of course Dean doesn't believe it's possible. We get all of these conversations and moments to talk about grief and the emptiness and lack of faith that comes with it, and meanwhile the specter (not literally in this case) of Castiel is hovering over the entire episode. We know he's not really gone, but on earth he's just left an emptiness.

Okay. Misha Collins. You're amazing, dude. This week, he gets to pull out yet another character, playing The Empty as a manifestation of the nothingness that came before the creation of everything. It's just a black nothingness, infinite and older than time itself. I love the idea of a place where eternal sleep is really a thing. It's not Heaven, but it's not Hell. You're just... done. And the manifestation of the Empty is eternally asleep as well, that is until Cas wakes up (thanks to Jack's powers) and starts disturbing his beauty rest. Cue a series of scenes where the Empty tries to get Cas to just give up and go back to sleep, and Cas stubbornly refuses to do so. In the end, we see Cas wake up, apparently back on Earth.

The Empty had this weird accent and this sort of jittery sense about him that reminded me a little bit of Crazy God Cas or Casifer, but not enough that it was just a copy of either of those things. Misha did a great job of creating a properly sinister yet still undeniably charming entity in the brief time we had with the Empty. The character creation was also good from a writing standpoint. It makes sense why this guy wouldn't be a mover and a shaker in inter-dimensional politics or power struggles. He's made of nothing and he'd just like to be nothing for the rest of time. Cas being awake is messing with that for him.

You've also got the fact that Cas' first guess when asked why he's awake is that the Winchesters must have made a deal to save him. He's not sure what's up, but the minute he has awareness of himself, all he wants is to go back, because Sam and Dean need him. The Empty tries to get through to him with self-loathing, telling him he's a worthless burden, that there's nothing waiting for him back on Earth... he says some stuff about knowing Cas' inner soul, and mentions knowing "who you love," which my shipper heart reacted to quite violently. Jury's still out on that one, though - it's possible the Empty was talking about Kelly. Or, I don't know, "humanity" or some crap like that. Regardless, the most incredible thing about all of this is that it doesn't work. Cas does not waiver in his desire to escape from the Empty, because he knows that his family wants him to come back. This is such a big step for Cas, who just a few seasons ago was allowing Lucifer to possess him because he didn't think he was worthy of helping out in his own right.

I've seen some rumblings in the interweb worrying that the figure we saw at the episode's end was the Empty, and not Castiel. I definitely see the worry, but I'm really hoping, for the sake of selfish desires and narrative building, that this is Cas, truly back from the dead. They created such a cool concept for the Empty, a creature of nothingness that just wants to sleep. It would be weird if that creature popped into the mortal realm for no good reason. And also, we've got the scene transition, where Dean tells Sam that he doesn't believe in a damn thing, and then literally the next shot is Cas appearing back in our world, pretty much ordained with the sole purpose of restoring Dean Winchester's faith. I am just all about that.

So... there you have it. This was an excellent episode. I'm enormously pleased that Jack seems to be sticking around as a more permanent figure in the season instead of jumping in and out of the story like so many cast members have in the past. I can't wait for Cas' return and all the epic reunions!

9.5/10

#review #supernatural #supernatural review #spn #13x04 #the big empty

2 notes · View notes

juushika · 8 years

Text

This is my list of the best media that I consumed for the first time (but was probably not published) in 2016.

Books

I read 128 books in 2016 and, unusually for me, almost all of them were new. It was also, independently, a great reading year. As such, this list is particularly long.

Imperial Radch series by Ann Leckie. This was as good as the hype, but not always for the reasons I was lead to expect; the genre and setting is far-future space opera, but plot and investment are character-driven, and it was the ancillary experience and Lieutenant Tisarwat's violet eyes that really kept me engaged. This series is satisfying on the levels I value most.

Steerswoman series by Rosemary Kirstein. This isn't the first fantasy-which-is-actually-sci-fi genre crossover I've encountered, but it's by far the best. The genre-bending is fundamental to the narrative, but also to the protagonist’s PoV, as she uses and creates the scientific method, applying it to a reality which exceeds her comprehension--and which bleeds over into plot twists which exceed the reader’s expectations. I haven’t been this impressed by a book series in a long time.

Dreamsnake by Vonda N. McIntyre. Something like a sibling to the Steerswoman books, with a similar worldbuilding premise but a smaller focus--it's less about redefining knowledge of the world, and more about fostering knowledge in order to improve life on the local, private scale. It’s soothing and valuable.

Witcher series by Andrzej Sapkowski. In particular, Blood of Elves--but this series entire lives on this list because of Ciri. The Witcher franchise is problematic, from its sexism-as-worldbuilding to its flawed balance of politics to plot. But while I rarely become attached to book characters, I am inordinately attached to Ciri, and to her family and those motivated by her. She's central. The books forget, sometimes, that that’s all I care about (and the games sometimes forget it entirely), but when the pieces align to star her I am in love.

The complete works of Octavia Butler. This isn’t the year that I began reading Butler, but is the year that I read most of and finished her work. I rarely find myself in such active conversation with an author, and as much as I’ve critiqued her for her style and occasional limitations, I’m blown away by what she achieved, and by the fact that her work is so compelling and complicated, so ambitious and successful in precisely the ways that matter.

The Goblin Emperor by Katherine Addison (Sarah Monette). This is the most feel-good that a novel has been while still leaving an impression on me--because it’s not frivolous or simplistic, but rather is about the stubborn effort to do good creating real good in the world: a particularly cathartic, empowering variety of wish-fulfillment

Hild by Nicola Griffith. This is half a story, and a laboriously intimate one at that--a gradual coming of age, dealing with issues of gender and faith and identity, the private and political; it took me a little to warm into it, but having done so I loved it--Hild’s PoV is incredibly immersive.

The Sorcerer of the Wildeeps by Kai Ashante Wilson. What an experience! This is yet another SF/F mashup (it was a good year for those), but this is a particularly tropey one brought alive by the vivid and powerful use of dialect. This is a novella that feels bigger than that, that feels more distinct and dynamic than its page count.

Every Heart a Doorway by Seanan McGuire. I don't think the plot in this was entirely successful--but I love the premise so unreservedly as to recommend it on that basis alone. This is portal fantasy meta, looking at the afters and in-betweens of those who visit other worlds (and paralleling the reader experience of existing within/without fantasy), conjuring a bittersweet longing unlike anything I've experienced. I've always loved this genre, but didn't have a framework for my feelings about it until reading this book and:

Fairyland series by Catherynne M. Valente. I am of mixed opinions of this work, too. I love the first book beyond reason, but I don't know what the series as a whole lives up to it--the travelogue aspects grow stylistically repetitive, and on a technical level these come to feel rushed. But all the books have something charming to offer, and there's something sincerely valuable about the relationship between September, Halloween, Maud, Mallow, and the Marquess. Their dynamic is subtextual and complicated, and in ongoing conversation about portal fantasy, identity, and self-determination.

Silently and Very Fast by Catherynne M. Valente. My favorite of Valente's novella so far. I'm surprised by how well her mythological and fairy tale imagery builds upon an AI premise, and by how concrete the AI is. There's a lot of depth in this little space, and it's particularly evocative, even for Valente.

Honorable mentions in books

Alphabet of Thorn by Patricia A. McKillip. This isn't the best or most important McKillip, but I love its tropes to pieces (especially the way that the interpersonal dramas resolve) and it’s probably my favorite of the McKillip novels I've read so far.

The Pattern Scars by Caitlin Sweet. I was sincerely impressed by this book, by its intimately-integrated magic system and the unforgiving, unsettling complexity of the interpersonal dynamics.

Multiple novels by CJ Cherryh. I'm continuing to read a lot of Cherryh, and I've yet to be disappointed by any of her work; her combination of deceptively terse writing style, intimate relationship dynamics, and worldbuilding concepts consistently hits on tropes that I adore.

Black Iris by Leah Raeder (Elliot Wake). New Adult isn't a genre I thought I would ever care about, but I care a lot about Wake's contributions to it, and Black Iris is the novel which has spoken to me strongest so far because its angry, intimate depiction of mental illness is cathartic and sincere while meshing well with the heightened passions which are a marker of the genre.

Video Games

Neko Atsume. I came late to this bandwagon, but it was worth the wait; what a charming, pure experience, and somehow even cuter than I expected. There's not really a lot to say about Neko Atsume, but I love it.

Deemo. Far and above the best rhythm game I've ever played, in song quality, aesthetic, narrative, and gameplay--the latter in particular is so natural, genuinely like playing a piano. I love this game to pieces and listen to the soundtrack all the time, yet I've never heard anyone talk about it. Please give it a try.

Overwatch. Is this art, no; but I have been playing 90min/day since launch, so that's something. I appreciate the changes Overwatch has brought to the genre and the active role Blizzard has taken in expanding and balancing it. It wouldn't be my pick for game of the year, but it’s important enough to earn that.

Pokémon Moon. This, frankly, would be my pick for game of the year. It benefits from the engine development of Gen VI, while continuing the narrative trends from Gen V--it looks fantastic, the UI and battle mechanics are great, but most importantly I cried three (three!) times while playing SuMo. The narrative has leveled up, the character development is phenomenal, and I treasure it.

Stardew Valley. This is a love letter to the farming and life simulator games that it draws from, and it almost exceeds them--I admire the depth and refinement of this game, and it's such a satisfying, soothing experience, exactly as it's meant to be.

Dark Souls III. The micro-level of this release, the cinder construct, isn't my series favorite, although I love the characters in this game; but on the macro-level, drawing the cycles of each installment together and to a close, Dark Souls III is incredibly fulfilling. I also appreciate the reintroduction of more varied enemy types and refinements to the combat system.

Honorable mentions in video games

Deus Ex: Mankind Divided. This is as beautiful as I wanted it to be, but not quite as weird as it needed to be--I miss the push-pull of the body horror in Human Revolution. But what a fantastic graphic engine, and the characters and plotting live up to series standard.

Visual Media

Critical Role. This monster of a show has without exaggeration been a life-changer. It's a huge investment of time and such an unassuming medium, but the payoff is intense. The live creative process has an innate energy, and the cast's obvious investment in character and narrative is contagious. It ate me alive this year, and I regret nothing.

Stranger Things. I wanted Stranger Things to be a smidge less neat (plotwise, especially the ending), but in all other ways adore it, from the conversation between genres to the unexpected but indulgent aesthetic to the character acting. I've rarely been so utterly consumed by a show, to the point where coming up for air between episodes made the real world feel surreal.

Jonathan Strange & Mr Norrell. I expected to like this, but was surprised by how sincerely I enjoyed it; the character archetypes combining to develop complexity and depth translates well to a miniseries, and despite TV-quality effects this is an aesthetic and speculative delight.

Black Mirror "San Junipero". I can give or take Black Mirror on the whole, but I treasure this particular episode, both because I think it's one of the better realized of the series in terms of plot delivery and because victorious WLW was balm to my soul, especially in the face of so many dead queer women in television.

Penny Dreadful. The series takes a definite downturn by the third season, but the overall experience was worth it, in part of the surprisingly robust gothic retelling, delightful aesthetic, and found family tropes, but mostly because of Vanessa Ives and Eva Green, without which this would be half a show. The intimate depiction of her vulnerability, intelligence, competency, and honesty was particularly valuable to me; this is one of the few supernatural metaphors for mental illness which I've found successful.

Star Trek: The Original Series, and movies 1-5. I grew up with every Star Trek except this one, and had a cultural impression that TOS was corny and misogynistic--and it is, a little, but it holds up much better than I was expecting and has fundamental charm and value, both as franchise starter and in its own right.

Red vs Blue. I never believed I could be so consumed by a machinima comedy series, but the humor works and the eventual scale of Red vs Blue--its convoluted plot, surprisingly well-developed characters, strong pacing, and fantastic animation--is incredible.

Honorable mentions in visual media

Cosmos: A Spacetime Odyssey. I had never watched the original Cosmos; this remake has some redundancy/direction issues in the middle but is on the whole all I wanted, vast and terrifying and beautiful, but also accessible, even personable.

Ravenous. The gayest narrative about cannibals that isn't Hannibal-related, and so delightful--and it only improves on repeat viewing, where the tonal shifts can be anticipated. Great imagery, fun acting, and such explicit cannibalism-as-metaphor violence-as-romance; it's become one of my favorite films.

The Falling. I love quiet little movies about gender, female experience, coming of age, and illness; this was my favorite of those that I watched this year (but see also: The Silenced), perhaps because it's the most convincing: an intimate, vaguely idealized, unsettling portrait of British girls's schools and female adolescence.

#Juu reads #Juu plays #Juu watches #reference #too many to tag #brief mentions of: sexism tw // homophobia tw // character death tw // mental illness tw //#long post // like such a long but I can't really apologize for too many good media to recommend; 2016 was shit but I had a lot of escapism

7 notes · View notes

recentanimenews · 4 years

Text

Bookshelf Briefs 6/19/20

A Centaur’s Life, Vol. 18 | By Kei Murayama | Seven Seas – If you enjoy the way that the series can turn on a dime and drop you into any genre, this volume may disappoint. There’s very little of the weird sci-fi horror aspects of it, and they’re mostly gathered towards the end. Instead, we get the kids, and a lot of the kids. They’re cute! They’re bratty! They’re learning how to be better centaurs and sheep people and other types. We get to see Himeno be impressive and yet also a bit of a dimbulb, there’s more yuri text and boob jokes, and there’s some other fun gags. It’s sweet, but it also feels rather sparse. After taking the series into dark places, it now feels wrong when the series isn’t going there half the time. Balance it better in the next book. – Sean Gaffney

Faded Picture Scroll | By Fujitobi | Futekiya (digital only) – I have no clue how this earned a rating of two chili peppers (Futekiya’s system for indicating a title’s steaminess) because it is one of the cutest, most wholesome boys’ love stories I’ve ever read. When Ryuta was little, he was saved by a young exorcist named Izumo who promised to take him adventuring when he got older. When they meet again, Izumo regrets his promise but Ryuta proves he can be useful by helping to save an incredibly adorable fox spirit named Yamabuki. Over time, these two lonely guys grow closer and ultimately fall in love. Their journey to domestic bliss is sweet and the many comedic moments (mostly Yamabuki, but not always) have a distinct Rumiko Takahashi feel to them. I was utterly charmed and am looking forward to reading the other Fujitobi title on the site. Very much recommended! – Michelle Smith

Komi Can’t Communicate, Vol. 7 | By Tomohito Oda | Viz Media – Romance is not particularly important in this series right now—we’d need a strong rival character for that to happen, and we don’t have that at this point. Plus Komi, while she has improved tremendously, still has issues just communicating with others from day to day, so it would feel mean to throw a love life on top of that. That said, while we can see all of her newfound friends do their best to get her involved in their fun (even Yamai… ugh), it’s Tadano who clearly understands her the best, knowing her likes and dislikes, and also clearly having a crush on her but knowing not to push at it too hard. This series can be quite funny (Komi’s mom is a stitch), but works even better when it’s heartwarming. – Sean Gaffney

Let’s Kiss in Secret Tomorrow, Vol. 3 | By Uri Sugata | Kodansha Comics (digital only) – I was expecting this series to end with Saya and Yuto’s secret relationship coming to light amongst big drama, but instead, that moment is treated as almost an afterthought, as Sugata-sensei is more interested in delivering a moral about learning to love yourself, forgiving yourself for past mistakes, and having the courage to try again. The end result is optimistic rather than preachy, and I loved that the final image is not some swoony embrace between our two leads (who are, it is gratifyingly emphasized, also each other’s best friend) but a smile from the girl who instigated some shit and whom Saya has opted to befriend. This series surprised me and I would definitely be interested to read more from this mangaka! – Michelle Smith

My Hero Academia: Vigilantes, Vol. 7 | By Hideyuki Furuhashi and Betten Court | Viz Media – Long time since the last volume, and therefore I was initially a little grumpy that it focused on Captain Celebrity, who’s basically a shallow American All Might. But then we get to see his past, showing that while he’s a ‘dumb jock’ he’s still good at heart, and his ex-wife, who’s terrific (and also, as it turns out, pregnant). We also see, after his farewell event is hijacked by terrorist bad guys and their raptor monsters, that he can be a good guy even if it’s not winning him fame and fortune. Unfortunately, he may not survive into the next volume, though given that’s he’s currently with our hero, I think he’ll be OK. This remains a good, somewhat darker prequel to the main series. – Sean Gaffney

Natsume’s Book of Friends, Vol. 24 | By Yuki Midorikawa | Viz Media – This volume is a gift to me. I’ve long said that I love the friendship between Natsume, Tanuma and Taki (OK, yes, I ship it too), and here we get a Taki-centric story followed by a Tanuma-centric story. The Taki one involves her college-age brother returning home. He’s more of a skeptic, but is also avoiding their house for some reason. And there’s an “I entrust you with my sister’s safety” gag that’s great. The Tanuma chapter is a bit more serious, and involves possession, but it also touches on one of the running themes of this series: two yokai who want to talk to each other and are unable to do so due to death, separation, or what have you. This comes out infrequently, but I always adore it. – Sean Gaffney

Queen’s Quality, Vol. 9 | By Kyousuke Motomi | Viz Media – The arc wraps up here, with those who have died going to a more peaceful rest and those who have not died going back to cleaning really hard. The best part of the book is where Fumi is given the choice: she can save the girl Kyutaro loved as a girl, but lose her memories of everything since then… or she can save herself, and kill the memories of the girl Kyutaro loved. It’s one of those choices that seems hard until you think about it, which is why it’s slightly frustrating that most others before Fumi made the wrong choice. Fortunately, Fumi makes the right choice, and doesn’t even need the help of her boyfriend. Oh yes, they’re dating now, and get in some good kisses. An excellent shoujo series. – Sean Gaffney

The Quintessential Quintuplets, Vol. 10 | By Negi Haruba | Kodansha Comics – This volume is a LOT. Ichika is still being amazingly aggressive, Miku is being aggressive whether she wants to be or not, and Yotsuba just wants everyone to get along like they used to. But that’s not going to happen, as Futaro points out—picking one thing means not picking the others, and that applies to life as well as romance. The romance ends up with Miku as the seeming winner here, though there’s minimal forward progression, and Futaro revealing he’s not as ignorant of everyone’s feelings as he pretends. That said, the reason this volume is a lot is the cliffhanger, where we finally found out which of the quints has been dressing up as Rena… and which one was Rena from the past. This is terrific romantic comedy. – Sean Gaffney

Sweet Time | By Weng Pixin | Drawn & Quarterly – Collecting comics that were originally created between 2008 and 2017, Sweet Time is Weng “Pix” Pixin’s graphic novel debut. Pix is an artist from Singapore who utilizes a variety of media and methods of expression. The fifteen comics in Sweet Time demonstrate Pix’s striking colorwork, providing examples of both drawings and paintings. While the individual works aren’t necessarily directly related to one another (although there are several series of diary comics), the collection as a whole explores themes of longing, desire, and impermanence. Some of the narratives are more abstract while others are more linear in their portrayal of changing relationships and human connection. Many of the selections included incorporate autobiographical elements, providing the collection with additional layers of realism and reflection. Pervading Sweet Time is a sense of intimacy and melancholy, beautifully rendered in colors that are sometimes surprising but never jarring. – Ash Brown

By: Ash Brown

#Anime #News #Manga Bookshelf

0 notes

thesnhuup · 4 years

Text

Pop Picks – June 15, 2020

What I’m reading:

I am almost in despair for the way the pandemic has reduced my reading time, some combination of longer days, lack of plane time, and mental distraction, I think. However, I just finished Marguerite Yourcenar’s magisterial Memoirs of Hadrian, a historical novel, though I hesitate to call it that because A) she would likely reject the term, B) it is so much more, and C) it stands among the towering pieces of mid-century literature for so many. It’s that last point about which I feel so sheepish. As a reasonably well-read person, how did I miss this one? It is a work of stunning achievement (don’t miss her exhaustive bibliography or end notes), highly refined style, and as much philosophy as anything else. It won’t be for everyone and you have to power through the first chapter, but it is a remarkable book. I’m intrigued to use it as a reading on leadership.

What I’m watching:

When I can finally turn off the computer screen, I find myself drawn to the television screen for its less demanding passivity. Pat and I absolutely reveled in the ten-minute installments of State of the Union (Sundance Channel), written by Nick Hornby, one of my favorite writers. It is stunningly good – witty, smart, warm, painful, and powered by the chemistry of its two utterly charming leads, Rosamund Pike and Chris O’Dowd. It’s just two people – funny and smart – trying to salvage their marriage and talking, in ten-minute snippets, in a pub and no one writes dialogue like Hornby. We devoured it. If you asked me to watch two people talk about their marriage for 100 minutes, I’d have said “no thanks.” But this was sheer, unequivocal delight. And because all great comedy is closely related to tragedy, there is more substance and depth and complexity here than sheer delight might suggest.

I don’t usually do two recommendations in my categories, but we also watched Spike Lee’s Da 5 Bloods. It is long, flawed, and uneven – but Spike Lee remains one of our most brilliant directors and Delroy Lindo already has my vote for Best Male Actor for his Shakespearian performance as one of the four buddies who go back to Vietnam to reclaim treasure, find the remains of their friend, and address the trauma of the war they fought then and the war fought against them as Black men in America. Even flawed Spike Lee is better than 95% of what makes it onto the screen and while made before George Floyd’s death, it feels so well suited for the time. Powerful.

What I’m listening to:

Protest music. Chronological and cleaned up for listening at home (if we could include the f-word, it would be a lot longer (see Nipsey Hussle or Kendrick Lamar), Pat put it together and you can find the playlist here: https://open.spotify.com/playlist/3z1W5Dbfcn7F9LBFcayTqa?si=u2oxkMTkSFef7_sQy3cNXw

Archive

April 1, 2020

What I’m listening to:

Out of nowhere and 8 years since his last recording, Bob Dylan last Thursday dropped a new single, the 17-minute (the longest Dylan song ever) “Murder Most Foul.” It’s ostensibly about the murder of President John F. Kennedy, but it’s bigger, more incisive, and elegiac than that alone. The music is gorgeous, his singing is lovely (a phrase rarely used for Dylan even in his prime), and he shows why he was deserving of his 2016 Nobel Prize in Literature. It’s worth listening to again and again. The man is a cultural treasure and as relevant as ever.

What I’m reading:

The Milkman by Anna Burns, the 2018 Booker Prize winner, felt like slow going for the first bit, a leisurely stream of consciousness (not my favorite thing) first person tale of an adolescent girl during “the troubles” in 1970’s Northern Ireland. And then enough plot emerges to pull the reader along and tie the frequent and increasingly delightful digressions into the psychology of terror, sexual threat, adolescence, and a community (and world) that will create your narrative and your identity no matter what you know and believe about yourself. It’s layered, full of black humor, and powerful. It also somehow resonates for our times, where we navigate a newfound dread. It’s way more enjoyable than I just made it sound. One of my favorite reads of this young year.

What I’m watching:

I escaped back in time and started re-watching the first season of The West Wing. It is a vision – nostalgic, romantic, perhaps never true – of political leadership driven by higher purpose, American ideals, and moral intelligence. It does not pretend that politics can’t be craven, self-serving, and transactional, but the good guys mostly win in The West Wing, the acting is delightful, and Sorkin’s dialogue zings back and forth in the way of classic Hollywood movies of the 50s – smart, quick, funny. It reminds me – as has often happened during our current crisis – that most people are good and want their community to be a better place. When we appeal to our ideals instead of our fears, we are capable of great things. It’s a nice escape.

February 3, 2020

What I’m listening to:

Spending 21 hours on airplanes (Singapore to Tokyo to Boston) provides lots of time for listening and in an airport shop I picked up a Rolling Stones magazine that listed the top ten albums of the last ten years. I’ve been systematically working through them, starting with Kanye West’s My Beautiful Dark Twisted Fantasy. I just don’t know enough about hip hop and rap to offer any intelligent analysis of the music, and I have always thought of Kanye as kind of crazy (that may still be true), but the music is layered and extravagant and genre-bending. The lyrics seem fascinating and self-reflective, especially around fame and excess and Kanye’s specialty, self-promoting aggrandizement. Too many people I know remain stuck in the music of their youth and while I love those songs too, it feels important to listen to today’s music and what it has to tell us about life and lives far different than our own. And in a case like Twisted Fantasy, it’s just great music and that’s its own justification.

What I’m reading:

I went back to an old favorite, Richard Russo’s Straight Man. If you work in academia, this is a must-read and while written 22 years ago, it still rings true and current. The “hero” of the novel is William Henry Devereaux Jr., the chair of the English Department in a second-tier public university in small-town Pennsylvania. The book is laugh aloud funny (the opening chapter and story about old Red puts me in hysterics every time I read it) and like the best comedy, it taps into the complexity and pains of life in very substantial ways. Devereaux is insufferable in most ways and yet we root for him, mostly because A) he is so damn funny and B) is self-deprecating. But there is also a big heartedness in Russo’s writing and a recognition that everyone is the protagonist of their own story, and life’s essential dramas play out fully in the most modest of places and for the most ordinary of people.

What I’m watching:

I can’t pretend to have an abiding interest in cheerleading, but I devoured the six-episode Netflix series Cheer, about the cheerleading squad at Navarro College, a small two-year college in rural Texas that is a cheerleading powerhouse, winning the National Championship 14 times under the direction of Coach Monica Aldama, the Bill Belichick of cheering. I have a new respect and admiration for the athleticism and demands of cheering (and wonder about the cavalier handling of injuries), but the series is about so much more. It’s about team, about love, about grit and perseverance, bravery, trust, about kids and growing up and loss, and…well, it’s about almost everything and it will make you laugh and cry and exult. It is just terrific.

January 2, 2020

What I’m listening to:

I was never really an Amy Winehouse fan and I don’t listen to much jazz or blue-eyed soul. Recently, eight years after she died at only 27, I heard her single Tears Dry On Their Own and I was hooked (the song was on someone’s “ten things I’d want on a deserted island” list). Since then, I’ve been playing her almost every day. I started the documentary about her, Amy, and stopped. I didn’t much like her. Or, more accurately, I didn’t much like the signals of her own eventual destruction that were evident early on. I think it was D. H. Lawrence that once said “Trust the art, not the artist.” Sometimes it is better not to know too much and just relish the sheer artistry of the work. Winehouse’s Back to Black, which was named one of the best albums of 2007, is as fresh and painful and amazing 13 years later.

What I’m reading:

Alan Bennett’s lovely novella An Uncommon Reader is a what-if tale, wondering what it would mean if Queen Elizabeth II suddenly became a reader. Because of a lucked upon book mobile on palace grounds, she becomes just that, much to the consternation of her staff and with all kinds of delicious consequences, including curiosity, imagination, self-awareness, and growing disregard for pomp. With an ill-framed suggestion, reading becomes writing and provides a surprise ending. For all of us who love books, this is a finely wrought and delightful love poem to the power of books for readers and writers alike. Imagine if all our leaders were readers (sigh).

What I’m watching:

I’m a huge fan of many things – The National, Boston sports teams, BMW motorcycles, Pho – but there is a stage of life, typically adolescence, when fandom changes the universe, provides a lens to finally understand the world and, more importantly, yourself, in profound ways. My wife Pat would say Joni Mitchell did that for her. Gurinder Chadha’s wonderful film Blinded By The Light captures the power of discovery when Javed, the son of struggling Pakistani immigrants in a dead end place during a dead end time (the Thatcher period, from which Britain has never recovered: see Brexit), hears Springsteen and is forever changed. The movie, sometimes musical, sometimes comedy, and often bubbling with energy, has more heft than it might seem at first. There is pain in a father struggling to retain his dignity while he fails to provide, the father and son tension in so many immigrant families (I lived some of that), and what it means to be an outsider in the only culture you actually have ever known.

November 25, 2019

My pop picks are usually a combination of three things: what I am listening to, reading, and watching. But last week I happily combined all three. That is, I went to NYC last week and saw two shows. The first was Cyrano, starring Game of Thrones superstar Peter Dinklage in the title role, with Jasmine Cephas Jones as Roxanne. She was Peggy in the original Hamilton cast and has an amazing voice. The music was written by Aaron and Bryce Dessner, two members of my favorite band, The National, with lyrics by lead singer Matt Berninger and his wife Carin Besser. Erica Schmidt, Dinklage’s wife, directs. Edmond Rostand’s 1897 play is light, dated, and melodramatic, but this production was delightful. Dinklage owns the stage, a master, and his deep bass voice, not all that great for singing, but commanding in the delivery of every line, was somehow a plaintive and resonant counterpoint to Cephas Jones’ soaring voice. In the original Cyrano, the title character’s large nose marks him as outsider and ”other,” but Dinklage was born with achondroplasia, the cause of his dwarfism, and there is a kind of resonance in his performance that feels like pain not acted, but known. Deeply. It takes this rather lightweight play and gives it depth. Even if it didn’t, not everything has to be deep and profound – there is joy in seeing something executed so darn well. Cyrano was delightfully satisfying.

The other show was the much lauded Aaron Sorkin rendition of To Kill a Mockingbird, starring another actor at the very top of his game, Ed Harris. This is a Mockingbird for our times, one in which iconic Atticus Finch’s idealistic “you have to live in someone else’s skin” feels naive in the face of hateful racism and anti-Semitism. The Black characters in the play get more voice, if not agency, in the stage play than they do in the book, especially housekeeper Calpurnia, who voices incredulity at Finch’s faith in his neighbors and reminds us that he does not pay the price of his patience. She does. And Tom Robinson, the Black man falsely accused of rape – “convicted at the moment he was accused,” Whatever West Wing was for Sorkin – and I dearly loved that show – this is a play for a broken United States, where racism abounds and does so with sanction by those in power. As our daughter said, “I think Trump broke Aaron Sorkin.” It was as powerful a thing I’ve seen on stage in years.

With both plays, I was reminded of the magic that is live theater.

October 31, 2019

What I’m listening to:

It drove his critics crazy that Obama was the coolest president we ever had and his summer 2019 playlist on Spotify simply confirms that reality. It has been on repeat for me. From Drake to Lizzo (God I love her) to Steely Dan to Raphael Saadiq to Sinatra (who I skip every time – I’m not buying the nostalgia), his carefully curated list reflects not only his infinite coolness, but the breadth of his interests and generosity of taste. I love the music, but I love even more the image of Michelle and him rocking out somewhere far from Washington’s madness, as much as I miss them both.

What I’m reading:

I struggled with Christy Lefteri’s The Beekeeper of Aleppo for the first 50 pages, worried that she’d drag out every tired trope of Mid-Eastern society, but I fell for her main characters and their journey as refugees from Syria to England. Parts of this book were hard to read and very dark, because that is the plight of so many refugees and she doesn’t shy away from those realities and the enormous toll they take on displaced people. It’s a hard read, but there is light too – in resilience, in love, in friendships, the small tender gestures of people tossed together in a heartless world. Lefteri volunteered in Greek refugee programs, spent a lot of interviewing people, and the book feels true, and importantly, heartfelt.

What I’m watching:

Soap opera meets Shakespeare, deliciously malevolent and operatic, Succession has been our favorite series this season. Loosely based on the Murdochs and their media empire (don’t believe the denials), this was our must watch television on Sunday nights, filling the void left by Game of Thrones. The acting is over-the-top good, the frequent comedy dark, the writing brilliant, and the music superb. We found ourselves quoting lines after every episode. Like the hilarious; “You don’t hear much about syphilis these days. Very much the Myspace of STDs.” Watch it so we can talk about that season 2 finale.

August 30, 2019

What I’m listening to:

I usually go to music here, but the New York Times new 1619 podcast is just terrific, as is the whole project, which observes the sale of the first enslaved human beings on our shores 400 years ago. The first episode, “The Fight for a True Democracy” is a remarkable overview (in a mere 44 minutes) of the centrality of racism and slavery in the American story over those 400 years. It should be mandatory listening in every high school in the country. I’m eager for the next episodes. Side note: I am addicted to The Daily podcast, which gives more color and detail to the NY Times stories I read in print (yes, print), and reminds me of how smart and thoughtful are those journalists who give us real news. We need them now more than ever.

What I’m reading:

Colson Whitehead has done it again. The Nickel Boys, his new novel, is a worthy successor to his masterpiece The Underground Railroad, and because it is closer to our time, based on the real-life horrors of a Florida reform school, and written a time of resurgent White Supremacy, it hits even harder and with more urgency than its predecessor. Maybe because we can read Underground Railroad with a sense of “that was history,” but one can’t read Nickel Boys without the lurking feeling that such horrors persist today and the monsters that perpetrate such horrors walk among us. They often hold press conferences.

What I’m watching:

Queer Eye, the Netflix remake of the original Queer Eye for the Straight Guy some ten years later, is wondrously entertaining, but it also feels adroitly aligned with our dysfunctional times. Episode three has a conversation with Karamo Brown, one of the fab five, and a Georgia small town cop (and Trump supporter) that feels unscripted and unexpected and reminds us of how little actual conversation seems to be taking place in our divided country. Oh, for more car rides such as the one they take in that moment, when a chasm is bridged, if only for a few minutes. Set in the South, it is often a refreshing and affirming response to what it means to be male at a time of toxic masculinity and the overdue catharsis and pain of the #MeToo movement. Did I mention? It’s really fun.

July 1, 2019

What I’m listening to:

The National remains my favorite band and probably 50% of my listening time is a National album or playlist. Their new album I Am Easy To Find feels like a turning point record for the band, going from the moody, outsider introspection and doubt of lead singer Matt Berninger to something that feels more adult, sophisticated, and wiser. I might have titled it Women Help The Band Grow Up. Matt is no longer the center of The National’s universe and he frequently cedes the mic to the many women who accompany and often lead on the long, their longest, album. They include Gail Ann Dorsey (who sang with Bowie for a long time), who is amazing, and a number of the songs were written by Carin Besser, Berninger’s wife. I especially love the Brooklyn Youth Chorus, the arrangements, and the sheer complexity and coherence of the work. It still amazes me when I meet someone who does not know The National. My heart breaks for them just a little.

What I’m reading:

Pat Barker’s The Silence of the Girls is a retelling of Homer’s Iliad through the lens of a captive Trojan queen, Briseis. As a reviewer in The Atlantic writes, it answers the question “What does war mean to women?” We know the answer and it has always been true, whether it is the casual and assumed rape of captive women in this ancient war story or the use of rape in modern day Congo, Syria, or any other conflict zone. Yet literature almost never gives voice to the women – almost always minor characters at best — and their unspeakable suffering. Barker does it here for Briseis, for Hector’s wife Andromache, and for the other women who understand that the death of their men is tragedy, but what they then endure is worse. Think of it ancient literature having its own #MeToo moment. The NY Times’ Geraldine Brooks did not much like the novel. I did. Very much.

What I’m watching:

The BBC-HBO limited series Years and Years is breathtaking, scary, and absolutely familiar. It’s as if Black Mirrorand Children of Men had a baby and it precisely captures the zeitgeist, the current sense that the world is spinning out of control and things are coming at us too fast. It is a near future (Trump has been re-elected and Brexit has occurred finally)…not dystopia exactly, but damn close. The closing scene of last week’s first episode (there are 6 episodes and it’s on every Monday) shows nuclear war breaking out between China and the U.S. Yikes! The scope of this show is wide and there is a big, baggy feel to it – but I love the ambition even if I’m not looking forward to the nightmares.

May 19, 2019

What I’m listening to:

I usually go to music here, but I was really moved by this podcast of a Davis Brooks talk at the Commonwealth Club in Silicon Valley: https://www.commonwealthclub.org/events/archive/podcast/david-brooks-quest-moral-life. While I have long found myself distant from his political stance, he has come through a dark night of the soul and emerged with a wonderful clarity about calling, community, and not happiness (that most superficial of goals), but fulfillment and meaning, found in community and human kinship of many kinds. I immediately sent it to my kids.

What I’m reading:

Susan Orlean’s wonderful The Library Book, a love song to libraries told through the story of the LA Central Library. It brought back cherished memories of my many hours in beloved libraries — as a kid in the Waltham Public Library, a high schooler in the Farber Library at Brandeis (Lil Farber years later became a mentor of mine), and the cathedral-like Bapst Library at BC when I was a graduate student. Yes, I was a nerd. This is a love song to books certainly, but a reminder that libraries are so, so much more. It is a reminder that libraries are less about a place or being a repository of information and, like America at its best, an idea and ideal. By the way, oh to write like her.

What I’m watching:

What else? Game of Thrones, like any sensible human being. This last season is disappointing in many ways and the drop off in the writing post George R.R. Martin is as clear as was the drop off in the post-Sorkin West Wing. I would be willing to bet that if Martin has been writing the last season, Sansa and Tyrion would have committed suicide in the crypt. That said, we fans are deeply invested and even the flaws are giving us so much to discuss and debate. In that sense, the real gift of this last season is the enjoyment between episodes, like the old pre-streaming days when we all arrived at work after the latest episode of the Sopranos to discuss what we had all seen the night before. I will say this, the last two episodes — full of battle and gore – have been visually stunning. Whether the torches of the Dothraki being extinguished in the distance or Arya riding through rubble and flame on a white horse, rarely has the series ascended to such visual grandeur.

March 28, 2019

What I’m listening to:

There is a lovely piece played in a scene from A Place Called Home that I tracked down. It’s Erik Satie’s 3 Gymnopédies: Gymnopédie No. 1, played by the wonderful pianist Klára Körmendi. Satie composed this piece in 1888 and it was considered avant-garde and anti-Romantic. It’s minimalism and bit of dissonance sound fresh and contemporary to my ears and while not a huge Classical music fan, I’ve fallen in love with the Körmendi playlist on Spotify. When you need an alternative to hours of Cardi B.

What I’m reading:

Just finished Esi Edugyan’s 2018 novel Washington Black. Starting on a slave plantation in Barbados, it is a picaresque novel that has elements of Jules Verne, Moby Dick, Frankenstein, and Colson Whitehead’s Underground Railroad. Yes, it strains credulity and there are moments of “huh?”, but I loved it (disclosure: I was in the minority among my fellow book club members) and the first third is a searing depiction of slavery. It’s audacious, sprawling (from Barbados to the Arctic to London to Africa), and the writing, especially about nature, luminous.

What I’m watching:

A soap opera. Yes, I’d like to pretend it’s something else, but we are 31 episodes into the Australian drama A Place Called Home and we are so, so addicted. Like “It’s AM, but can’t we watch just one more episode?” addicted. Despite all the secrets, cliff hangers, intrigue, and “did that just happen?” moments, the core ingredients of any good soap opera, APCH has superb acting, real heft in terms of subject matter (including homophobia, anti-Semitism, sexual assault, and class), touches of our beloved Downton Abbey, and great cars. Beware. If you start, you won’t stop.

February 11, 2019

What I’m listening to:

Raphael Saadiq has been around for quite a while, as a musician, writer, and producer. He’s new to me and I love his old school R&B sound. Like Leon Bridges, he brings a contemporary freshness to the genre, sounding like a young Stevie Wonder (listen to “You’re The One That I Like”). Rock and Roll may be largely dead, but R&B persists – maybe because the former was derivative of the latter and never as good (and I say that as a Rock and Roll fan). I’m embarrassed to only have discovered Saadiq so late in his career, but it’s a delight to have done so.

What I’m reading:

Just finished Marilynne Robinson’s Home, part of her trilogy that includes the Pulitzer Prize winning first novel, Gilead, and the book after Home, Lila. Robinson is often described as a Christian writer, but not in a conventional sense. In this case, she gives us a modern version of the prodigal son and tells the story of what comes after he is welcomed back home. It’s not pretty. Robinson is a self-described Calvinist, thus character begets fate in Robinson’s world view and redemption is at best a question. There is something of Faulkner in her work (I am much taken with his famous “The past is never past” quote after a week in the deep South), her style is masterful, and like Faulkner, she builds with these three novels a whole universe in the small town of Gilead. Start with Gilead to better enjoy Home.

What I’m watching:

Sex Education was the most fun series we’ve seen in ages and we binged watched it on Netflix. A British homage to John Hughes films like The Breakfast Club, Ferris Bueller’s Day Off, and Pretty in Pink, it feels like a mash up of American and British high schools. Focusing on the relationship of Maeve, the smart bad girl, and Otis, the virginal and awkward son of a sex therapist (played with brilliance by Gillian Anderson), it is laugh aloud funny and also evolves into more substance and depth (the abortion episode is genius). The sex scenes are somehow raunchy and charming and inoffensive at the same time and while ostensibly about teenagers (it feels like it is explaining contemporary teens to adults in many ways), the adults are compelling in their good and bad ways. It has been renewed for a second season, which is a gift.

January 3, 2019

What I’m listening to:

My listening choices usually refer to music, but this time I’m going with Malcolm Gladwell’s Revisionist History podcast on genius and the song Hallelujah. It tells the story of Leonard Cohen’s much-covered song Hallelujah and uses it as a lens on kinds of genius and creativity. Along the way, he brings in Picasso and Cézanne, Elvis Costello, and more. Gladwell is a good storyteller and if you love pop music, as I do, and Hallelujah, as I do (and you should), you’ll enjoy this podcast. We tend to celebrate the genius who seems inspired in the moment, creating new work like lightning strikes, but this podcast has me appreciating incremental creativity in a new way. It’s compelling and fun at the same time.

What I’m reading:

Just read Clay Christensen’s new book, The Prosperity Paradox: How Innovation Can Lift Nations Out of Poverty. This was an advance copy, so soon available. Clay is an old friend and a huge influence on how we have grown SNHU and our approach to innovation. This book is so compelling, because we know attempts at development have so often been a failure and it is often puzzling to understand why some countries with desperate poverty and huge challenges somehow come to thrive (think S. Korea, Singapore, 19th C. America), while others languish. Clay offers a fresh way of thinking about development through the lens of his research on innovation and it is compelling. I bet this book gets a lot of attention, as most of his work does. I also suspect that many in the development community will hate it, as it calls into question the approach and enormous investments we have made in an attempt to lift countries out of poverty. A provocative read and, as always, Clay is a good storyteller.

What I’m watching:

Just watched Leave No Trace and should have guessed that it was directed by Debra Granik. She did Winter’s Bone, the extraordinary movie that launched Jennifer Lawrence’s career. Similarly, this movie features an amazing young actor, Thomasin McKenzie, and visits lives lived on the margins. In this case, a veteran suffering PTSD, and his 13-year-old daughter. The movie is patient, is visually lush, and justly earned 100% on Rotten Tomatoes (I have a rule to never watch anything under 82%). Everything in this film is under control and beautifully understated (aside from the visuals) – confident acting, confident directing, and so humane. I love the lack of flashbacks, the lack of sensationalism – the movie trusts the viewer, rare in this age of bombast. A lovely film.

December 4, 2018

What I’m listening to:

Spending a week in New Zealand, we had endless laughs listening to the Kiwi band, Flight of the Conchords. Lots of comedic bands are funny, but the music is only okay or worse. These guys are funny – hysterical really – and the music is great. They have an uncanny ability to parody almost any style. In both New Zealand and Australia, we found a wry sense of humor that was just delightful and no better captured than with this duo. You don’t have to be in New Zealand to enjoy them.

What I’m reading:

I don’t often reread. For two reasons: A) I have so many books on my “still to be read” pile that it seems daunting to also rereadbooks I loved before, and B) it’s because I loved them once that I’m a little afraid to read them again. That said, I was recently asked to list my favorite book of all time and I answered Leo Tolstoy’s Anna Karenina. But I don’t really know if that’s still true (and it’s an impossible question anyway – favorite book? On what day? In what mood?), so I’m rereading it and it feels like being with an old friend. It has one of my very favorite scenes ever: the card game between Levin and Kitty that leads to the proposal and his joyous walking the streets all night.

What I’m watching:

Blindspotting is billed as a buddy-comedy. Wow does that undersell it and the drama is often gripping. I loved Daveed Diggs in Hamilton, didn’t like his character in Black-ish, and think he is transcendent in this film he co-wrote with Rafael Casal, his co-star. The film is a love song to Oakland in many ways, but also a gut-wrenching indictment of police brutality, systemic racism and bias, and gentrification. The film has the freshness and raw visceral impact of Spike Lee’s Do the Right Thing. A great soundtrack, genre mixing, and energy make it one of my favorite movies of 2018.

October 15, 2018

What I’m listening to:

We had the opportunity to see our favorite band, The National, live in Dallas two weeks ago. Just after watching Mistaken for Strangers, the documentary sort of about the band. So we’ve spent a lot of time going back into their earlier work, listening to songs we don’t know well, and reaffirming that their musicality, smarts, and sound are both original and astoundingly good. They did not disappoint in concert and it is a good thing their tour ended, as we might just spend all of our time and money following them around. Matt Berninger is a genius and his lead vocals kill me (and because they are in my range, I can actually sing along!). Their arrangements are profoundly good and go right to whatever brain/heart wiring that pulls one in and doesn’t let them go.

What I’m reading:

Who is Richard Powers and why have I only discovered him now, with his 12th book? Overstory is profoundly good, a book that is essential and powerful and makes me look at my everyday world in new ways. In short, a dizzying example of how powerful can be narrative in the hands of a master storyteller. I hesitate to say it’s the best environmental novel I’ve ever read (it is), because that would put this book in a category. It is surely about the natural world, but it is as much about we humans. It’s monumental and elegiac and wondrous at all once. Cancel your day’s schedule and read it now. Then plant a tree. A lot of them.

What I’m watching:

Bo Burnham wrote and directed Eighth Grade and Elsie Fisher is nothing less than amazing as its star (what’s with these new child actors; see Florida Project). It’s funny and painful and touching. It’s also the single best film treatment that I have seen of what it means to grow up in a social media shaped world. It’s a reminder that growing up is hard. Maybe harder now in a world of relentless, layered digital pressure to curate perfect lives that are far removed from the natural messy worlds and selves we actually inhabit. It’s a well-deserved 98% on Rotten Tomatoes and I wonder who dinged it for the missing 2%.

September 7, 2018

What I’m listening to:

With a cover pointing back to the Beastie Boys’ 1986 Licensed to Ill, Eminem’s quietly released Kamikaze is not my usual taste, but I’ve always admired him for his “all out there” willingness to be personal, to call people out, and his sheer genius with language. I thought Daveed Diggs could rap fast, but Eminem is supersonic at moments, and still finds room for melody. Love that he includes Joyner Lucas, whose “I’m Not Racist” gets added to the growing list of simply amazing music videos commenting on race in America. There are endless reasons why I am the least likely Eminem fan, but when no one is around to make fun of me, I’ll put it on again.

What I’m reading:

Lesley Blume’s Everyone Behaves Badly, which is the story behind Hemingway’s The Sun Also Rises and his time in 1920s Paris (oh, what a time – see Midnight in Paris if you haven’t already). Of course, Blume disabuses my romantic ideas of that time and place and everyone is sort of (or profoundly so) a jerk, especially…no spoiler here…Hemingway. That said, it is a compelling read and coming off the Henry James inspired prose of Mrs. Osmond, it made me appreciate more how groundbreaking was Hemingway’s modern prose style. Like his contemporary Picasso, he reinvented the art and it can be easy to forget, these decades later, how profound was the change and its impact. And it has bullfights.

What I’m watching:

Chloé Zhao’s The Rider is just exceptional. It’s filmed on the Pine Ridge Reservation, which provides a stunning landscape, and it feels like a classic western reinvented for our times. The main characters are played by the real-life people who inspired this narrative (but feels like a documentary) film. Brady Jandreau, playing himself really, owns the screen. It’s about manhood, honor codes, loss, and resilience – rendered in sensitive, nuanced, and heartfelt ways. It feels like it could be about large swaths of America today. Really powerful.

August 16, 2018

What I’m listening to:

In my Spotify Daily Mix was Percy Sledge’s When A Man Loves A Woman, one of the world’s greatest love songs. Go online and read the story of how the song was discovered and recorded. There are competing accounts, but Sledge said he improvised it after a bad breakup. It has that kind of aching spontaneity. It is another hit from Muscle Shoals, Alabama, one of the GREAT music hotbeds, along with Detroit, Nashville, and Memphis. Our February Board meeting is in Alabama and I may finally have to do the pilgrimage road trip to Muscle Shoals and then Memphis, dropping in for Sunday services at the church where Rev. Al Green still preaches and sings. If the music is all like this, I will be saved.

What I’m reading:

John Banville’s Mrs. Osmond, his homage to literary idol Henry James and an imagined sequel to James’ 1881 masterpiece Portrait of a Lady. Go online and read the first paragraph of Chapter 25. He is…profoundly good. Makes me want to never write again, since anything I attempt will feel like some other, lowly activity in comparison to his mastery of language, image, syntax. This is slow reading, every sentence to be savored.

What I’m watching:

I’ve always respected Supreme Court Justice Ruth Bader Ginsburg, but we just watched the documentary RGB. It is over-the-top great and she is now one of my heroes. A superwoman in many ways and the documentary is really well done. There are lots of scenes of her speaking to crowds and the way young women, especially law students, look at her is touching. And you can’t help but fall in love with her now late husband Marty. See this movie and be reminded of how important is the Law.

July 23, 2018

What I’m listening to:

Spotify’s Summer Acoustic playlist has been on repeat quite a lot. What a fun way to listen to artists new to me, including The Paper Kites, Hollow Coves, and Fleet Foxes, as well as old favorites like Leon Bridges and Jose Gonzalez. Pretty chill when dialing back to a summer pace, dining on the screen porch or reading a book.

What I’m reading:

Bryan Stevenson’s Just Mercy. Founder of the Equal Justice Initiative, Stevenson tells of the racial injustice (and the war on the poor our judicial system perpetuates as well) that he discovered as a young graduate from Harvard Law School and his fight to address it. It is in turn heartbreaking, enraging, and inspiring. It is also about mercy and empathy and justice that reads like a novel. Brilliant.

What I’m watching:

Fauda. We watched season one of this Israeli thriller. It was much discussed in Israel because while it focuses on an ex-special agent who comes out of retirement to track down a Palestinian terrorist, it was willing to reveal the complexity, richness, and emotions of Palestinian lives. And the occasional brutality of the Israelis. Pretty controversial stuff in Israel. Lior Raz plays Doron, the main character, and is compelling and tough and often hard to like. He’s a mess. As is the world in which he has to operate. We really liked it, and also felt guilty because while it may have been brave in its treatment of Palestinians within the Israeli context, it falls back into some tired tropes and ultimately falls short on this front.

June 11, 2018

What I’m listening to:

Like everyone else, I’m listening to Pusha T drop the mic on Drake. Okay, not really, but do I get some points for even knowing that? We all walk around with songs that immediately bring us back to a time or a place. Songs are time machines. We are coming up on Father’s Day. My own dad passed away on Father’s Day back in 1994 and I remembering dutifully getting through the wake and funeral and being strong throughout. Then, sitting alone in our kitchen, Don Henley’s The End of the Innocence came on and I lost it. When you lose a parent for the first time (most of us have two after all) we lose our innocence and in that passage, we suddenly feel adult in a new way (no matter how old we are), a longing for our own childhood, and a need to forgive and be forgiven. Listen to the lyrics and you’ll understand. As Wordsworth reminds us in In Memoriam, there are seasons to our grief and, all these years later, this song no longer hits me in the gut, but does transport me back with loving memories of my father. I’ll play it Father’s Day.

What I’m reading:

The Fifth Season, by N. K. Jemisin. I am not a reader of fantasy or sci-fi, though I understand they can be powerful vehicles for addressing the very real challenges of the world in which we actually live. I’m not sure I know of a more vivid and gripping illustration of that fact than N. K. Jemisin’s Hugo Award winning novel The Fifth Season, first in her Broken Earth trilogy. It is astounding. It is the fantasy parallel to The Underground Railroad, my favorite recent read, a depiction of subjugation, power, casual violence, and a broken world in which our hero(s) struggle, suffer mightily, and still, somehow, give us hope. It is a tour de force book. How can someone be this good a writer? The first 30 pages pained me (always with this genre, one must learn a new, constructed world, and all of its operating physics and systems of order), and then I could not put it down. I panicked as I neared the end, not wanting to finish the book, and quickly ordered the Obelisk Gate, the second novel in the trilogy, and I can tell you now that I’ll be spending some goodly portion of my weekend in Jemisin’s other world.

What I’m watching:

The NBA Finals and perhaps the best basketball player of this generation. I’ve come to deeply respect LeBron James as a person, a force for social good, and now as an extraordinary player at the peak of his powers. His superhuman play during the NBA playoffs now ranks with the all-time greats, Larry Bird, Magic Johnson, MJ, Kobe, and the demi-god that was Bill Russell. That his Cavs lost in a 4-game sweep is no surprise. It was a mediocre team being carried on the wide shoulders of James (and matched against one of the greatest teams ever, the Warriors, and the Harry Potter of basketball, Steph Curry) and, in some strange way, his greatness is amplified by the contrast with the rest of his team. It was a great run.

May 24, 2018

What I’m listening to:

I’ve always liked Alicia Keys and admired her social activism, but I am hooked on her last album Here. This feels like an album finally commensurate with her anger, activism, hope, and grit. More R&B and Hip Hop than is typical for her, I think this album moves into an echelon inhabited by a Marvin Gaye’s What’s Going On or Beyonce’s Formation. Social activism and outrage rarely make great novels, but they often fuel great popular music. Here is a terrific example.

What I’m reading:

Colson Whitehead’s Underground Railroad may be close to a flawless novel. Winner of the 2017 Pulitzer, it chronicles the lives of two runaway slaves, Cora and Caeser, as they try to escape the hell of plantation life in Georgia. It is an often searing novel and Cora is one of the great heroes of American literature. I would make this mandatory reading in every high school in America, especially in light of the absurd revisionist narratives of “happy and well cared for” slaves. This is a genuinely great novel, one of the best I’ve read, the magical realism and conflating of time periods lifts it to another realm of social commentary, relevance, and a blazing indictment of America’s Original Sin, for which we remain unabsolved.

What I’m watching:

I thought I knew about The Pentagon Papers, but The Post, a real-life political thriller from Steven Spielberg taught me a lot, features some of our greatest actors, and is so timely given the assault on our democratic institutions and with a presidency out of control. It is a reminder that a free and fearless press is a powerful part of our democracy, always among the first targets of despots everywhere. The story revolves around the legendary Post owner and D.C. doyenne, Katharine Graham. I had the opportunity to see her son, Don Graham, right after he saw the film, and he raved about Meryl Streep’s portrayal of his mother. Liked it a lot more than I expected.

April 27, 2018

What I’m listening to:

I mentioned John Prine in a recent post and then on the heels of that mention, he has released a new album, The Tree of Forgiveness, his first new album in ten years. Prine is beloved by other singer songwriters and often praised by the inscrutable God that is Bob Dylan. Indeed, Prine was frequently said to be the “next Bob Dylan” in the early part of his career, though he instead carved out his own respectable career and voice, if never with the dizzying success of Dylan. The new album reflects a man in his 70s, a cancer survivor, who reflects on life and its end, but with the good humor and empathy that are hallmarks of Prine’s music. “When I Get To Heaven” is a rollicking, fun vision of what comes next and a pure delight. A charming, warm, and often terrific album.

What I’m reading:

I recently read Min Jin Lee’s Pachinko, on many people’s Top Ten lists for last year and for good reason. It is sprawling, multi-generational, and based in the world of Japanese occupied Korea and then in the Korean immigrant’s world of Oaska, so our key characters become “tweeners,” accepted in neither world. It’s often unspeakably sad, and yet there is resiliency and love. There is also intimacy, despite the time and geographic span of the novel. It’s breathtakingly good and like all good novels, transporting.

What I’m watching:

I adore Guillermo del Toro’s 2006 film, Pan’s Labyrinth, and while I’m not sure his Shape of Water is better, it is a worthy follow up to the earlier masterpiece (and more of a commercial success). Lots of critics dislike the film, but I’m okay with a simple retelling of a Beauty and the Beast love story, as predictable as it might be. The acting is terrific, it is visually stunning, and there are layers of pain as well as social and political commentary (the setting is the US during the Cold War) and, no real spoiler here, the real monsters are humans, the military officer who sees over the captured aquatic creature. It is hauntingly beautiful and its depiction of hatred to those who are different or “other” is painfully resonant with the time in which we live. Put this on your “must see” list.

March 18, 2018

What I’m listening to:

Sitting on a plane for hours (and many more to go; geez, Australia is far away) is a great opportunity to listen to new music and to revisit old favorites. This time, it is Lucy Dacus and her album Historians, the new sophomore release from a 22-year old indie artist that writes with relatable, real-life lyrics. Just on a second listen and while she insists this isn’t a break up record (as we know, 50% of all great songs are break up songs), it is full of loss and pain. Worth the listen so far. For the way back machine, it’s John Prine and In Spite of Ourselves (that title track is one of the great love songs of all time), a collection of duets with some of his “favorite girl singers” as he once described them. I have a crush on Iris Dement (for a really righteously angry song try her Wasteland of the Free), but there is also EmmyLou Harris, the incomparable Dolores Keane, and Lucinda Williams. Very different albums, both wonderful.

What I’m reading:

Jane Mayer’s New Yorker piece on Christopher Steele presents little that is new, but she pulls it together in a terrific and coherent whole that is illuminating and troubling at the same time. Not only for what is happening, but for the complicity of the far right in trying to discredit that which should be setting off alarm bells everywhere. Bob Mueller may be the most important defender of the democracy at this time. A must read.

What I’m watching:

Homeland is killing it this season and is prescient, hauntingly so. Russian election interference, a Bannon-style hate radio demagogue, alienated and gun toting militia types, and a president out of control. It’s fabulous, even if it feels awfully close to the evening news.

March 8, 2018

What I’m listening to:

We have a family challenge to compile our Top 100 songs. It is painful. Only 100? No more than three songs by one artist? Wait, why is M.I.A.’s “Paper Planes” on my list? Should it just be The Clash from whom she samples? Can I admit to guilty pleasure songs? Hey, it’s my list and I can put anything I want on it. So I’m listening to the list while I work and the song playing right now is Tom Petty’s “The Wild One, Forever,” a B-side single that was never a hit and that remains my favorite Petty song. Also, “Evangeline” by Los Lobos. It evokes a night many years ago, with friends at Pearl Street in Northampton, MA, when everyone danced well past 1AM in a hot, sweaty, packed club and the band was a revelation. Maybe the best music night of our lives and a reminder that one’s 100 Favorite Songs list is as much about what you were doing and where you were in your life when those songs were playing as it is about the music. It’s not a list. It’s a soundtrack for this journey.

What I’m reading:

Patricia Lockwood’s Priestdaddy was in the NY Times top ten books of 2017 list and it is easy to see why. Lockwood brings remarkable and often surprising imagery, metaphor, and language to her prose memoir and it actually threw me off at first. It then all became clear when someone told me she is a poet. The book is laugh aloud funny, which masks (or makes safer anyway) some pretty dark territory. Anyone who grew up Catholic, whether lapsed or not, will resonate with her story. She can’t resist a bawdy anecdote and her family provides some of the most memorable characters possible, especially her father, her sister, and her mother, who I came to adore. Best thing I’ve read in ages.

What I’m watching:

The Florida Project, a profoundly good movie on so many levels. Start with the central character, six-year old (at the time of the filming) Brooklynn Prince, who owns – I mean really owns – the screen. This is pure acting genius and at that age? Astounding. Almost as astounding is Bria Vinaite, who plays her mother. She was discovered on Instagram and had never acted before this role, which she did with just three weeks of acting lessons. She is utterly convincing and the tension between the child’s absolute wonder and joy in the world with her mother’s struggle to provide, to be a mother, is heartwarming and heartbreaking all at once. Willem Dafoe rightly received an Oscar nomination for his supporting role. This is a terrific movie.

February 12, 2018

What I’m listening to:

So, I have a lot of friends of age (I know you’re thinking 40s, but I just turned 60) who are frozen in whatever era of music they enjoyed in college or maybe even in their thirties. There are lots of times when I reach back into the catalog, since music is one of those really powerful and transporting senses that can take you through time (smell is the other one, though often underappreciated for that power). Hell, I just bought a turntable and now spending time in vintage vinyl shops. But I’m trying to take a lesson from Pat, who revels in new music and can as easily talk about North African rap music and the latest National album as Meet the Beatles, her first ever album. So, I’ve been listening to Kendrick Lamar’s Grammy winning Damn. While it may not be the first thing I’ll reach for on a winter night in Maine, by the fire, I was taken with it. It’s layered, political, and weirdly sensitive and misogynist at the same time, and it feels fresh and authentic and smart at the same time, with music that often pulled me from what I was doing. In short, everything music should do. I’m not a bit cooler for listening to Damn, but when I followed it with Steely Dan, I felt like I was listening to Lawrence Welk. A good sign, I think.

What I’m reading:

I am reading Walter Isaacson’s new biography of Leonardo da Vinci. I’m not usually a reader of biographies, but I’ve always been taken with Leonardo. Isaacson does not disappoint (does he ever?), and his subject is at once more human and accessible and more awe-inspiring in Isaacson’s capable hands. Gay, left-handed, vegetarian, incapable of finishing things, a wonderful conversationalist, kind, and perhaps the most relentlessly curious human being who has ever lived. Like his biographies of Steve Jobs and Albert Einstein, Isaacson’s project here is to show that genius lives at the intersection of science and art, of rationality and creativity. Highly recommend it.

What I’m watching:

We watched the This Is Us post-Super Bowl episode, the one where Jack finally buys the farm. I really want to hate this show. It is melodramatic and manipulative, with characters that mostly never change or grow, and it hooks me every damn time we watch it. The episode last Sunday was a tear jerker, a double whammy intended to render into a blubbering, tissue-crumbling pathetic mess anyone who has lost a parent or who is a parent. Sterling K. Brown, Ron Cephas Jones, the surprising Mandy Moore, and Milo Ventimiglia are hard not to love and last season’s episode that had only Brown and Cephas going to Memphis was the show at its best (they are by far the two best actors). Last week was the show at its best worst. In other words, I want to hate it, but I love it. If you haven’t seen it, don’t binge watch it. You’ll need therapy and insulin.

January 15, 2018

What I’m listening to:

Drive-By Truckers. Chris Stapleton has me on an unusual (for me) country theme and I discovered these guys to my great delight. They’ve been around, with some 11 albums, but the newest one is fascinating. It’s a deep dive into Southern alienation and the white working-class world often associated with our current president. I admire the willingness to lay bare, in kick ass rock songs, the complexities and pain at work among people we too quickly place into overly simple categories. These guys are brave, bold, and thoughtful as hell, while producing songs I didn’t expect to like, but that I keep playing. And they are coming to NH.

What I’m reading:

A textual analog to Drive-By Truckers by Chris Stapleton in many ways is Tony Horowitz’s 1998 Pulitzer Prize winning Confederates in the Attic. Ostensibly about the Civil War and the South’s ongoing attachment to it, it is prescient and speaks eloquently to the times in which we live (where every southern state but Virginia voted for President Trump). Often hilarious, it too surfaces complexities and nuance that escape a more recent, and widely acclaimed, book like Hillbilly Elegy. As a Civil War fan, it was also astonishing in many instances, especially when it blows apart long-held “truths” about the war, such as the degree to which Sherman burned down the south (he did not). Like D-B Truckers, Horowitz loves the South and the people he encounters, even as he grapples with its myths of victimhood and exceptionalism (and racism, which may be no more than the racism in the north, but of a different kind). Everyone should read this book and I’m embarrassed I’m so late to it.

What I’m watching:

David Letterman has a new Netflix show called “My Next Guest Needs No Introduction” and we watched the first episode, in which Letterman interviewed Barack Obama. It was extraordinary (if you don’t have Netflix, get it just to watch this show); not only because we were reminded of Obama’s smarts, grace, and humanity (and humor), but because we saw a side of Letterman we didn’t know existed. His personal reflections on Selma were raw and powerful, almost painful. He will do five more episodes with “extraordinary individuals” and if they are anything like the first, this might be the very best work of his career and one of the best things on television.

December 22, 2017

What I’m reading:

Just finished Sunjeev Sahota’s Year of the Runaways, a painful inside look at the plight of illegal Indian immigrant workers in Britain. It was shortlisted for 2015 Man Booker Prize and its transporting, often to a dark and painful universe, and it is impossible not to think about the American version of this story and the terrible way we treat the undocumented in our own country, especially now.

What I’m watching:

Season II of The Crown is even better than Season I. Elizabeth’s character is becoming more three-dimensional, the modern world is catching up with tradition-bound Britain, and Cold War politics offer more context and tension than we saw in Season I. Claire Foy, in her last season, is just terrific – one arched eye brow can send a message.

What I’m listening to:

A lot of Christmas music, but needing a break from the schmaltz, I’ve discovered Over the Rhine and their Christmas album, Snow Angels. God, these guys are good.

November 14, 2017

What I’m watching:

Guiltily, I watch the Patriots play every weekend, often building my schedule and plans around seeing the game. Why the guilt? I don’t know how morally defensible is football anymore, as we now know the severe damage it does to the players. We can’t pretend it’s all okay anymore. Is this our version of late decadent Rome, watching mostly young Black men take a terrible toll on each other for our mere entertainment?

What I’m reading:

Recently finished J.G. Ballard’s 2000 novel Super-Cannes, a powerful depiction of a corporate-tech ex-pat community taken over by a kind of psychopathology, in which all social norms and responsibilities are surrendered to residents of the new world community. Kept thinking about Silicon Valley when reading it. Pretty dark, dystopian view of the modern world and centered around a mass killing, troublingly prescient.

What I’m listening to:

Was never really a Lorde fan, only knowing her catchy (and smarter than you might first guess) pop hit “Royals” from her debut album. But her new album, Melodrama, is terrific and it doesn’t feel quite right to call this “pop.” There is something way more substantial going on with Lorde and I can see why many critics put this album at the top of their Best in 2017 list. Count me in as a huge fan.

November 3, 2017

What I’m reading: Just finished Celeste Ng’s Little Fires Everywhere, her breathtakingly good second novel. How is someone so young so wise? Her writing is near perfection and I read the book in two days, setting my alarm for 4:30AM so I could finish it before work.

What I’m watching: We just binge watched season two of Stranger Things and it was worth it just to watch Millie Bobbie Brown, the transcendent young actor who plays Eleven. The series is a delightful mash up of every great eighties horror genre you can imagine and while pretty dark, an absolute joy to watch.

What I’m listening to: I’m not a lover of country music (to say the least), but I love Chris Stapleton. His “The Last Thing I Needed, First Thing This Morning” is heartbreakingly good and reminds me of the old school country that played in my house as a kid. He has a new album and I can’t wait, but his From A Room: Volume 1 is on repeat for now.

September 26, 2017

What I’m reading:

Just finished George Saunder’s Lincoln in the Bardo. It took me a while to accept its cadence and sheer weirdness, but loved it in the end. A painful meditation on loss and grief, and a genuinely beautiful exploration of the intersection of life and death, the difficulty of letting go of what was, good and bad, and what never came to be.

What I’m watching:

HBO’s The Deuce. Times Square and the beginning of the porn industry in the 1970s, the setting made me wonder if this was really something I’d want to see. But David Simon is the writer and I’d read a menu if he wrote it. It does not disappoint so far and there is nothing prurient about it.

What I’m listening to:

The National’s new album Sleep Well Beast. I love this band. The opening piano notes of the first song, “Nobody Else Will Be There,” seize me & I’m reminded that no one else in music today matches their arrangement & musicianship. I’m adding “Born to Beg,” “Slow Show,” “I Need My Girl,” and “Runaway” to my list of favorite love songs.

https://ift.tt/eA8V8J from President's Corner https://ift.tt/2Y5NjZY via IFTTT

#President's Corner #SNHUblogs

0 notes