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rachelbethhines · 4 years

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Tangled Salt Marathon - No Time Like the Past

While I wouldn’t call this the worst episode of the series, there are several others I dislike more, I would call this the most ill conceived story in the show.

All the other bad episodes have potential but are let down by poor presentation, boring predictability, or sloppy planning. This one however, is fundamentally flawed in it’s very basic premise and so ranks in the bottom of most fans lists. Even people who are far more forgiving of season three and than I am, and are hardcore New Dream stans, still dislike this episode. That’s how bad it is.

Summary: Rapunzel discovers Old Lady Crowley tossing out Cassandra's things. She is upset and demands that they be left alone. She then has Lance and Eugene help her save all of Cassandra's mementos and personal belongings, but she becomes saddened when Eugene reminds her that Cassandra turned her back on "her". Rapunzel takes a box of her things along with, unknowingly, a mysterious hourglass. As she examines it, she accidentally drops and smashes it and she and Pascal find themselves sent back into the past. They run into a teenage Eugene and Lance who keep calling Rapunzel "Sideburns". Rapunzel realizes that she and Pascal have inhabited the bodies of the Stabbington Brothers and decide to recruit the young thieves in getting the hourglass from the castle back.

Fun Fact! That Dummy is Rapunzel’s Doing

Minor nitpick here, but Cass had nothing to do with putting Eugene’s face on her sparring dummy. Rapunzel voluntarily did that back in Under Raps. Cas never requested it nor even expressed any joy over receiving said ‘gift’.

Basically the show is attributing one of Rapunzel’s mistakes/flaws to Cassandra in order to introduce a very nonsensical plot point later. So I need ya’ll to keep that in mind as we go along.

Lets Talk About the Episode’s Ordering

We don't have production codes for season three like we did for the previous two seasons. So we can’t know for sure what order everything was originally planned in, but I would argue that this episode should have came before Return of the King.

For starters this is a “bottle” episode; it takes place mostly in the past and the only present day characters who show up are Eugene, Raps, Lance, and Crowely. As such you could potentially slot this episode in anywhere before Cassandra’s Revenge. You can’t really do that with most of the other episodes so it could have been easily moved around when airing.

Therefore, I would argue that it should have been the first episode after Rapunzel’s Return for three key reasons.

It would have given Edmund time to travel to Corona and give Raps time to start up big building projects like fixing Old Corona. In fact she’s already approving building plans for the capitol city at the start of the episode. Which could even explain why she took so long getting to the castle repairs if she was taking care of the stuff that the Saporians messed up else where.

Rapunzel’s stance over wanting to keep Cassandra’s things makes more sense early on, both in universe and in a meta context. Raps would still have hope if Cass has only been gone for a month or two instead what would now be four or five months down the line. It also makes sense that Crowely wouldn’t wait around for that long. And from a meta standpoint, the audience would still be oblivious to what the heck Cass was up to and could theoretically side with Raps better; or at least empathize with her view point more, even while disagreeing with her.

Events in this episode better explains Eugene’s decisions in Return of the King and gives the audience more context for certain stuff.

So Why Is There a Random Magical Time Traveling Hourglass in the Storage Vault?

Slowly but surely the series has abandoned all pretense that there’s any logical world building in the show. Magical things just appear randomly now without any explanation whatsoever. Worse than that, things like the hourglass and map to the cursed tomb are treated as if they were always there, unlike the magical beings that they happened to run into in past seasons.

The problem with this is a lack of consistency. You can’t have sceptics like Eugene and Varian if magic is so common and wide spread that anyone can run into it at anytime. Not to mention it diminishes the specialness and importance of the sundrop and moonstone if powerful magical items can be so easily found and stirred, undermining important plot points and the tension surrounding them.

But most frustrating of all, is that this could have been easily fixed by just stating on screen at some point that magic attracts other magic. Meaning it’s only Rapunzel herself who routinely runs into these things and not just everybody and anybody.

None of This Stuff Holds Any Meaning

Show don’t tell!

At several points through out season three, both Raps and Cass morn over Cassandra’s left behind things. They tell us constantly that these objects hold significant meaning to them, but I, the viewer, have no damn clue as to why.

We were never shown on screen what was so special about these things other than the fact that it was junk Cass collected. There’s no story attacked to these assortment of objects nor any previous indication that Cassandra valued them beyond their usefulness. As such, any scenes involving her stuff fall emotionally flat.

Eugene is the One in the Right Here.

Eugene’s right.

Any well adjust and mature adult will tell you he’s right.

If someone doesn’t want a relationship with you, than that’s it. There is nothing you can do but to move on. It sucks, but its life. To ignore that is to ignore someone else’s boundaries and personal autonomy; while also devaluing yourself and you’re own needs.

In a competent show this would be a set up for Rapunzel to learn something about letting go and taking care of oneself emotionally.

But this isn’t a competent show.

But Lobster is for Poor Folk

Food history time!

Lobster, and shellfish in general, have been considered low class food for centuries. Especially around costal areas like Corona. It’s easy to attain, cheap, and not regulated like hunting was in much of Europe. In America, specifically, lobster was fed to prisoners and there’s historical accounts of riots being started over it.

Heck, less than forty years ago, no one lived on the coast but poor people. That’s why there’s historical communities of black people living on the southeastern islands in the US and why my father grew up in the swamps of Alabama during the 50s and 60s.

The gentrification of coastal property and seafood, like lobster, is a very recent phenomenon in human history, starting in the late 70s early 80s with the booming tourism industry and increasing globalization.

So while I understand that the joke here is meant to be reflective of our current understanding of lobster being a status symbol, in universe, it’s the equivalent of Eugene getting excited for chicken nuggets instead of his usual bowl of cereal because the story takes place before the 20th century.

This means that these kids are so poor that fucking mcdonald’s fast food would be considered a rare treat compared to the slop they usually eat. Yet again what is meant to be a lighthearted joke turns suddenly dark when you stop to think about it for all of two seconds all because the writers are so flippant about their world and characters.

This Wasn’t Planned Out, So the Timeline Doesn’t Add Up Anymore and Resources are Wasted

Remember the flashback in The Return of Strongbow?

Now I need you to remember that season three is two years later from season one and the movie. Eight years ago then, would be ten years ago now.

The Eugene and Lance in the bottom picture is suppose to be roughly the same age as the Eugene and Lance in the top picture; give or take a few months.

I know teenage boys can grow fast, but not that fast.

Eugene at 16 looks the same as he does at 26. All because the writers were too lazy to preplan things out ahead of time.

We should have seen the teen models with recasted voices back during that first flashback if they were going to tell this story later. Or the previous plot point should have been less than eight years ago.

In fact the first flashback no longer makes any sense being so many years ago given Eugene’s engagement and recent breakup with Stalyan, and the later reveal that he was working for the Baron during the original movie.

Sloppy planning like this not only makes for a confusing timeline but it also wastes limited resources. I like the new models, I like the actors cast for these younger roles, and I do like the concept of seeing more of Eugene’s past. But going through all of that trouble and money for what amounts to one throw away episode is mismanagement of the budget and work schedule.

Baby Varian Is the Episode’s Only Saving Grace

I know people are divided on the deign here. Some love it and some hate it, but that’s a personal taste thing. The actual scene itself is golden either way, because it’s such a funny eater egg. Fans on both sides made memes out of this for days. It’s legendary.

Personally I’m more in the ‘love it’ camp, though I can see the issues people have with the design. My main defense of it is more the fact that we got kid designs for the other OCs in the show and it’s only fair Varian got one as well. The fact that he’s in smaller versions of the S1 clothes doesn’t bother me anymore than when Lance ran around for two seasons in the same outfit, including when he was a kid.

So if I like it, then why am I talking about it a salt review?

Cause the most memorable part of an episode shouldn’t be a throw away gag!

People bring up baby Varian way more than they do about anything else in the episode, and no it’s not just because the character popular. It’s because most would like to forget what comes after this scene.

Where is Quirin, by the Way?

Why is your six year old son running around the big city unsupervised?

This wouldn’t get talk about as much it wasn’t for the fact that Quirin being neglectful in season one was a motivating factor in his conflict with Varian. A conflict that was suppose to be resolved back in Rapunzel’s Return but we the audience have yet to visually see any difference in behavior since then.

Quirin’s absence here in the past highlights his absence in the present day and reminds the audience aware that we’ve not been given a satisfying conclusion to one of the most important arcs in the series.

Lets Talk About Wasted Potential

Like I said, I like the idea of exploring Eugene’s past. But we should have gotten that back in season two when it was more relevant. Part of why this episode fails is because Eugene has reached the end of his original character development. He’s now on an identity crisis arc which has nothing to do with this episode.

But you know who still hasn’t finished developing? Rapunzel.

Rapunzel has lots to still learn and viewing her past through outside eyes could have turned this story into something really special. Especially with the ‘inhabiting another body’ plot point.

You have no end of options here,

Have Raps inhabit Cassandra’s body for a day and gain insight into what motivates her. It could have been either before or after they met, both offers up possibilities.

Have Raps inhabit Eugene’s body and experience what he had to deal with growing up and come to see his point of view. (This could have also worked with the Sabbingtons set up had the writers not been stupid.)

And my personal favorite, send her back to right after Queen for a Day and have her stuck in either Varian’s or Ruddiger’s bodies. Force her to see what she did to him and have her acknowledge she was wrong.

And those are just the most obvious choices, there’s other more out of left field things you can do that would still work with good writing. Like exploring Lady Caine’s past, inhabiting Arianna’s body and learning how to be a real queen, get dumped into actual young Gothel and lay out clues to the future Zhan Tiri plot, or possess one of the Brotherhood and experience the final days of the Dark Kingdom; the list just goes on and on and on.

But I Thought You Didn’t Put Kids in Jail Frederic?

Remember that Raps and Pascal are possessing the Stabbingtons who are still teenagers here. They can’t be much older than Varian.

This means that Varian isn’t some special case. Teens have received harsh and deadly punishments in the past for non-violent crimes like theft.

Also teens are called kids still by the majority of the cast. They’re aren’t considered adults with the same rights as someone in say their twenties, yet they can be punished the same as an adult would. Which is horrendous in any time period.

So in conclusion, Frederic is a fucking liar!

Tangled the Series can’t decide if it’s in the far past or a reflection of the modern day. As such it winds up supporting the worst of both worlds. Barbaric practices like hanging for minor crimes and prison slave labor are treated as the norm and never called out for the horrific things that they are; treated as a joke even, but we’re suppose to accept that this world also somehow views adolescence through the lens of late 20th century sensibilities even as it forces minors to go through such atrocities.

Like what are you trying to say show? What is your message on the transition of adolescence to adulthood regarding rights and responsibilities? And don’t tell me ‘it’s not that deep’ because this is suppose to be a coming of age show! That’s the entire premise of the series!

So How Old Are Stan and Pete Again?

I was always under the impression that Pete was a newbie guard, closer to Cass and Eugene’s age than say Cap or Frederic. That’s why he screws up so much because he’s inexperienced, why he seemed to be the closest thing to a equal colleague Cass had in the guard when she was also just starting out, and why I assumed those braided girls from the movie were his sisters.

I mean there was nothing on screen previously that would necessarily contradict this reveal, it just doesn’t feel right, that’s all. I guess he could be like 20 here and be 30 in the show. That would make him only a few years older than Eugene, but still doesn’t explain why he’s so useless a decade later.

I’m fine with Stan being here though. I always thought of him being the older of the two. In fact I headcannon Willow as his mysterious wife that he talked about back in Monty’s episode during season one. (She’s Stan and Pete’s beard, and they’re totally in a open poly relationship. That’s why they’re allowed to stay in the royal guard despite being so incompetent cause they’re technically Ferderic’s in-laws and Rapunzel’s uncles. Just no one ever talks about it cause it’s a minor sandal for a princess to marry lower class and Willow’s hardly ever there.)

And Why Does Xavier Have All Those Plot McGuffins?

I know we’ll never get an answer, but at this point Xavier’s exposition fairy powers border upon ridiculousness. It’s just lazy and a waste of character.

So How Does Time Travel Work In This?

There are three types of time travel stories in fiction.

First is the ‘Changeable Past, Changeable Future’. You see this in Back to the Future. What you do in the past will change the future, i.e. your present. You may or may not remember that you did it, but be warned you could change things too much and break stuff. Like erasing yourself from existence, or ruining your love life ect. The only way to fix it is to go back in time again and change stuff again. But beware of paradoxes or you may destroy the universe altogether.

The second is the ‘Alternate Timeline’, where changing things creates new realties and it’s a matter of finding the right reality again. The tv show Sliders is a great example of this. Each new timeline is a different dimension. What you do in one won’t effect your original point of origin, only that particular world. The challenge if often getting home again because the probable diverging timelines are infinite and the changes of getting back are a zillion to one.

Third is the ‘Closed Time Loop’. No matter what you do nothing will change. The future is inevitable and whatever you do in the past was always meant to happen anyways. Gargoyles handles this really well. You can also have ‘fix points’ where certain important things are set in stone but small things can be changed like in several Doctor Who episodes. Braking a fix point breaks the universe once again, while paradoxes are often the solution rather than the threat.

So which type of time travel is Tangled dealing with here?

Scenes like the conversation regarding Pete’s and Stan’s mustache or the ones involving Eugene working on his smolder suggest a closed time loop. Yet the ending to this episode reveals a changed future. Further still the grandfather paradox revolving around the hourglass would make you think an alternate timeline yet, we’ve no indication that anything else changed other then Eugene’s opinions on Cass, and Raps shows no concern about getting back to her original point in time indicating that it actually isn’t another dimension.... so what is it then?

You don’t have to have a tightly plotted time travel story to have an entertaining piece of media. Endgame is riddled with plot holes and contradicts itself constantly, but what it lacks in coherent plot it makes for with fun characters, emotional story beats, and good pacing that manages to balance the action with the drama while hiding the cracks just enough that you don’t lose immersion.

Tangled however fails at even this because it gets the character beats so fundamentally wrong. Like you may dislike where the characters ended up in Endgame, but can’t say that those developments didn’t match the characters’ previous storylines and logical trajectory. Tony finally becomes the selfless hero by committing the ultimate sacrifice, Steve learns self care as a mirror to Tony’s arc as they were always parallels to each other, Bruce learns to accept himself, Thor processes his grief and lets go of the role he was assigned at birth but never truly fit into, and Nat becomes the leader she was destined to be rather than the sidekick.

What happens to the characters in this episode however makes no sense.

This is Another Missed Opportunity to Explore Eugene’s Past

The other problem behind the episode is that we don’t actually learn anything new. If you’re going to promise a story focusing on Eugene’s past then I expect to actually glean some new insights.

We still don’t know why he’s working with Baron or how he fell in/fell out with him, what his relationship with Stalyan is like, how he became so cynical; not just the general basics, like the orphanage, but that point in his life where decided that survival meant giving up his morals and ethics; where did he first learn his better ethics that he originally suppressed (cause it sure as heck wasn’t Rapunzel), and when did he and Lance become separated?

This are questions that series decides to raise by making allusions to them and building conflicts off of them but never wants to explain the details of where they originated from. It’s super frustrating and wholly unnecessary. If you didn’t think the story of Eugene’s past worth telling then why did up repeatedly bring it up Chris?

Why Are You Surprised by This Rapunzel?

Rapunzel you know Eugene’s past. You know what he used to be like. You were literally there in the movie and saw him being an ass before this. You didn’t start to like him until he dropped his guard down in the flooded cave back when you both where about to die.

You fell in love with him when he showed you his real self and he fell in love with you when you proved that you were accepting of that. You earned each others’ trust. This here; angrily yelling at him and judging him, when you’re already hiding who you really are from him both literally and figuratively, is a breaking of that trust.

Who the fuck are you any more, Rapunzel?

Cause you’re not the same character from the movie. You’re not even the same character from season one. But whoever hell you are now, it’s not an improvement I can tell ya that.

So How Did The Hourglass Go From the Treasury to the Basement Storage, and How Would Raps Know It Was There At This Point and Time?

I’m guessing the implication here is that Crowley put Cass’s stuff in the vault, but like why the fuck would she do that? We’re not talking about a family attic here, but the royal safe. The most heavily guarded room in the castle with the kingdom’s most priceless treasures and antiques. Nothing Cass owned was that valuable.

Rapunzel Is Full of Shit

Oh let me count the numerous ways in which this whole lecture is stupid.

Rapunzel left Varian behind. Rapunzel left Varian behind multiple times, including that time he was thrown in jail. She was not a good friend, and no, this is not a case of her learning from her past because not once has she ever admitted that she was wrong to do that. So this scene just makes Raps look like a hypocrite.

Eugene does not need to relrean a lesson on being a better a person. He did that during the movie and has progressed beyond that point. This ‘lesson’ is a waste of time and a misuse of the characters.

This reframes Rapunzel as being in the right during her argument with older Eugene at the beginning of the episode, even though she’s not. In fact this is such a counterintuitive plot point that it boggles the mind. Who structures a narrative this way? Why so blatantly point out how the main character is wrong if not to have her learn something? Why frame the story to make the person who’s personal conflict isn’t even the episode’s focus, into the one who needs to learn something? Especially if that something is already a lesson that they’ve learned on screen beforehand.

And why, oh good heavens why, would you teach children such a toxic message? Like on the surface it sounds like something you’d hear in a children's show, but the context of it is justifying harmful behavior where you selfishly ignore other people’s wishes and boundaries just to satisfy you’re own personal desires.

And finally, Eugene and Lance do not work as a parallel to Raps and Cass. Cassandra is an adult who left of own free will. Lance is a teenager who was arrested due to Rapunzel’s own actions. Eugene isn’t the one who is responsible here, its Rapunzel. Who also left them both behind in her carelessness. Secondly, Eugene’s decisions are spurned by years of trauma and a healthy fear of dying, while Rapunzel’s is wrapped up in her own need to always be right and to keep her immature and fanciful outlook of the world intact. As harsh as it seems, what Eugene did was based off a predetermine agreement and presumably Lance would have acted the same way or been pressured to act the same way by Eugene. In short, Eugene’s cynical world view as a teen is not the source of his disagreement with Rapunzel but an adult perspective back by common sense and a respect of others choices. It makes no sense for present day Eugene to ‘learn’ anything from this misadventure that he didn’t already know and for Rapunzel to not learn anything that would actually tie the parallel together.

Locking Another Teen Inside a Jail Cell With Another Adult as a Joke, Does Not Erase the Inappropriateness of Varian’s Story

The episode tries to add another joke about Shorty sneaking into the prison without the guard knowing, but that still doesn’t excuse the fact someone had to have tossed Lance in there with him on purpose. Otherwise Lance wouldn’t have assumed Shorty was a fellow prisoner if he or the guard that locked him up saw Shorty sneak in before then.

Furthermore Lance’s nonchalant response suggests this is not an out of the ordinary occurrence. Nor do any of the other guard comment upon the irregularly of teens being jailed with an adult. Now add in the fact that the show fails to clarify that previous ‘cellmate’ line from Rapunzel’s Return and now gives us more confirmation that Varian was underfed and malnourished for a year with that gruel joke and you have a horrifying picture.

Shorty might be non-threating, but that doesn’t mean Andrew, a known attempted murderer and manipulator, is too. Nor any other adult who previously was housed with a teen before then. This is still very much not okay and no amount of ‘jokes’ will suddenly make it right.

Raps, Who is an Adult, Just Physically Threatened Two Teenaged Boys and It’s Played as a Joke....

How many times do I have to say it? Humor does not fix bad writing. I’m not laughing when a heroine at age 20, threatens a couple of kids for merely annoying her. Especially when said heroine has a history of abusing children; because let me repeat once again, neglect is abuse!

This is a Lie

No you wont.

Rapunzel never tells Eugene what happens on screen. I suspect that if she ever did, they would no longer be together, because what she wound up doing here was a violation of trust and boundaries in the worst possible way.

And This is Now a Time Paradox

A Grandfather Paradox to be specific. How can Rapunzel be here in the past to break the hourglass if the hourglass that sent her here is broken?

In a competent series this would be the point of a future conflict and not the actual resolution. It’s not a closed time loop because of the paradox and the changes we’ll see in the future.

So either she’s in an alternate timeline/dimension and just doesn’t gives a shit; leaving the real Eugene, Lance, Cass, ect. to go on without her; or she’s just broke the universe and everything is slowly unraveling around her; galaxies are dying as she whines about being dumped, people in the future are being eased from existence, and God is cursing her name for ruining his creation, all the while she carries on oblivious to the destruction in her wake, as usual.

That’s it. Those are you’re only two options now. Is everyone from here on a fake copy or is Rapunzel the damned destroyer of worlds? You decide.

So This Confirms That the Stabbingtons are Indeed “Family”

Another reason why I place this before Return of the King; it explains why Eugene considers the Stabbingtons ‘family’. Though if it was Rapunzel he actually bonded with and not the real Sideburns, then how much of his feelings are real and how much of them were fabricated by her? How much agency did this episode steal from him?

So What Exactly Did We All Change?

Well the dummy no longer has Eugene’s face, but Cass’s painting of the three of them still has him ripped out of the photo, soo... Keeping in mind that Raps painted the dummy anyways and considering that Moonandra tries to kill him later on; I’m going to guess that Cass’s feelings weren’t actually altered. If anything their relationship might actually be worse now, cause Cassandra keeps acting like she’s never had friends and Eugene has taken up Rapunzel’s blind devotion.

All that development in season one is just, poof, gone. Also it’s quite possible that the first movie as well has now it has been erased from existence as Eugene got his needed character development eight years too early. How the hell that’s suppose to work, I don’t know.

Outside of the that we get no confirmation how anybody else was effected, even though a more brainwashed Eugene running around would undoubtedly have caused a butterfly effect. Don’t expect that to be explored anytime soon.

Though, it would explain why he’s suddenly such a doormat in season three, if this was the second episode as theorized.

No! This is the Wrong Lesson!!!

Let me explain narrative promises.

Everyone, on some basic fundamental level, understands how stories work. We hear them recounted to us over and over again from the day we're born to the day we die. It’s integral to how we communicate as human beings. Everyone knows innately how to tell a story even if that person couldn’t tell you how stories or structured or what certain literary terms mean, but they do it every day just through speaking. And while most audiences can’t always pin point what upsets them about a story they can for sure notice when things are off and not satisfying to experience.

Now that doesn’t mean that everyone can write an awarding winning novel, that study of a craft isn’t important, nor that every amateurish critique thrown at any given media is valid. But it does mean that people have come to expect certain storytelling practices and can pick up on narrative cues. We’ve familiarized ourselves with the language of film, novels, comics, ect, into order to comprehend what’s going on.

Rules of writing are just following that established language so that the audience can keep up. You can break these rules, sure, but unless you know what you’re doing and have a good narrative reason to do so, then you can easily lose you’re audience. And if you’re making money off said audience that’s something you want to avoid.

A narrative promise is a cue; a set up that lets the audience know that ‘hey this is important, pay attention to this cause it’ll come back into play later’. Now that the audience has been alerted to the plot point they expect fulfillment of the promise. If you break that promise, either through poor set up, lack of follow through, or by breaking an established convention of writing for no other reason then because you just wanted to, your audience is going to walk away unsatisfied.

The argument at the beginning of the episode was a narrative promise. It was a cue that set up the interpersonal conflict of the main character. For add context, I know that this is a coming of age story. Convention would dictate that the protagonist would resolve this conflict by learning they were wrong.

That’s not what happened here.

Convention was subverted. It wasn’t the protagonist who grew and change, it was the person they were in conflict with who did. And it wasn’t subverted because of any greater narrative reason, or future pay off, or even as effort to be shallowly ‘clever’; it was subverted because the author just didn’t want to hold the main character accountable for anything. Because said character has now become his avatar for his wish fulfillment fantasy and having the main character admit fault would be to admit fault in ones own self. Rapunzel doesn’t feel like Rapunzel this season because she’s just Chris in a wig.

The episode broke a narrative promise to the audience; both within the episode and in the greater premise of the story, because of ego.

I don’t claim this episode is bad just because of personal taste nor because I find it morally repulsive (even though both those things are true), I call it bad because it exhibits bad writing. Plain and simple.

Way To Undermine The Entire Point of the Original Movie, Show

Speaking of breaking narrative promises....

TTS is suppose to be a squeal to the original movie. It’s even in the title of the show; both of them. In one fell swoop, the series has managed to sabotage it’s very reason for existing, as it erases Eugene’s motivation and the inciting incident that kick started the film.

Way to fucking go.

To further twist the knife, it diminishes the duel protagonist of said film in order to prop up a series original character, who isn't even present in the episode itself.

I don’t mind Cassandra’s existence. I don’t even mind her being the new deuteragonist and one of the main villains; even though she wouldn’t have been my first pick to fulfill those roles given her lack of set up. But I do fucking mind it if she upstages other characters and/or derails their character arcs in the process.

This is the Death of New Dream

I was still in denial when this episode first aired. I honestly believed that this and The Return of the King was build up to a third “betrayal” where Eugene finally became fed up with Rapunzel’s bullshit and joined forces with Zhan Tiri. I thought the end of the series would have Rapunzel apologize to everyone she did wrong, Varian, Cass, and Eugene, in order to break ZT’s hold on them, and that true love’s kiss would reunite the sundrop and the moonstone and that would just tie everything together into a neat little bow and give us a truly daring character study of a Disney hero.

Oh dear merciful heavens, was I ever wrong.

How did we go from season one’s challenging and mature storyline, complete with Disney’s first real anti-villian, to this?!

What the hell happened!?

Rapunzel not only disrespects Eugene’s opinions, violates his privacy and trust as she manipulates him as a teen, and then brainwashes him to think like her (even if accidentally), but doesn’t even have good grace to tell him. She instead has the audacity to look all happy and self congratulatory because she got want she wanted. She, and the show at large, doesn’t care what evil thing she does to get the desired outcome Rapunzel wants.

Rapunzel in this show is a spoiled brat. And the image of her and her now lobotomized boyfriend staring dead eyed at a picture of the creator’s previous waifu OC with plastic smiles on their faces, sums up this series perfectly.

Conclusion

This isn’t even the worst episode of the series guys. I don’t know if it would even make it onto a bottom five list. That’s how much crap I have to wade through when it comes to this show. This is however the most damaging episode to the franchise as a whole.

Not even the most hardcore of New Dream fans want to acknowledge the existence of that final scene, and Rapunzel stans won’t defend her beyond, ’well she didn’t mean too, it’s the writing that’s bad.’ Yeah, the writing is bad, that’s why the character can’t and shouldn’t be defended, not here and not in other badly written episodes where she also does bad things and never makes up for it.

Anyways I’m finally caught up to where I left off, before the move, though sadly I don't think I’ll get this series done by the end of the month like I had originally hoped. But if you would like to help out I have a ko-fi you can drop a tip into if ya want.

https://ko-fi.com/rachelbethhines

#tangled #tangled the series #rapunzel's tangled adventure #Eugene #anti-rapunzel #anti-tangled

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norton-addiction · 8 years

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About the play “Bug”, review of the Russian spectator

Original language of the text is Russian. Translation to English made by fan community “Norton-addiction”.

In this article you can read about the play “Bug” starring James Norton which took place in a tiny event hall Found111.

James Norton and Kate Fleetwood, Bug performance

London, April 22, evening

Complete lack of sense of direction and total absence of the Internet (sure, addiction to it becomes critical) made me exit on Charing Cross station of any reason. The theater (pretty tiny studio) was located on Charing Cross street, abut the street is extremely expanded. When I realized how short time I had and how long would be my way no matter how – on foot or by the underground – I caught a cab, again. And I was in time (in 20 minutes before start) even though I hardly raced past an unnoticeable door at full steam.

I've never been in such a little theater in London. First, you should do a long climb upstairs to a theater bar. When you finally say to yourself “huh, now I can lead forward to the main hall” (there was an encouraging poster on the wall, something like “Nearly here!” on it) but you find out that you should walk up another couple of stairwells. And only after all of that stairs you get into the “Hall”. In quotes because it is a itty-bitty room with a low ceiling and tightly set mismatching chairs and benches round about the “platform”. It's very suitable for fans but not for those who want to get a perfect vision of a performance, so you'd better take your place as far as possible from the platform.

However suddenly I found myself too close to the platform. I stumbled into the bar and ordered a glass of wine at once, then found a place for myself near the broken grand piano and put a rose on it (yes, as you could remember, I wandered around the town with the rose all the time). The whole picture could be seen in a rather off-hand way but I didn't care a curse and set down to get dry. Faster than a flash in the pan a huge crowd of Norton's fans got into and made a thick checkout line in the enter of the hall. Those fans were pleasant but unshakeable english lineups always scare me: it is a perfect monumental formation which leaves no chance to anybody to bore way through the crowd.

For some unfathomable reason I found myself in the hall on the second row - smack up against the bedside table with plates and dishes, bottles and radio on it. This extemporary bar and space near it as it turned out was recruited into the performance. So I, with my rose, felt out of place there. Someone from the crowd catched sight of the rose even joked on me during the intermission: “Oh, lady did fundamental preparation!” I must have dumped Norton with NOT presenting him the rose. Sorry, James, the rose left for Moscow with me, after travel to Stratford and back. And no, I did not wait for James, who, by hearsay, simply hanging around the bar. Sorry, no photos of the prince's autograph there.

The performance

Do you know the feeling when you need some time to grow into the book, movie or show, but it seems a little bit strange and tough in the beginning? This little hall intensified such emotions in me. I even needed to make an effort to overcome the conventionality and get lost in the story. It gets on you nerves when actors over and over again runs up to your bedside table (every item in the 5 cm distance is automatically included in my private space) and then they do something with it. It would be a different matter when it was women (Kate Fleetwood was awesome!) but when beautiful, bare-chested James Norton runs up again and again too close to you... God bless me I'm not a real fan of him))

It is a very strong play established under all principles of good thriller with creepy, growing in pressure suspense and increasing degree of absurd which seems in common with McDonagh's plays (or maybe even Shakespeare's). In the tensest moments comic relief happens to be, and spectators nervously giggle and can't stand laughing in contradiction to puzzleheaded mess in front of them. And could it be that all good plays (plots, books, pictures and movies, and whatever) should have such a mad combination of humor and horror, as... as it appears in the real life?

Similar to McDonagh, it's difficult to review this performance without spoilers. In fact, even trying to translate ambiguous title will be a spoiler (so, our local content “Glitches” fits more or less). So if you haven't read the play or watched the American movie (pretty trashy, IMHO) yet, please, read the following text at your own risk.

With all James Norton's strong points and the key-role of his character, there is a woman in the center of the story. It's great because of the deep dipping into atmosphere of contemplation of the vulnerable paranoiac mind. All this vulnerability due to the desperate lust for love, and it makes all things more dreadful.

Entirely young woman, with marks of the stormy past and everydayness on her face, lives on borrowed time in abandoned motel. The bed, the “bar” (that same old bedside table closer to me), the kitchen, the radio and strategic reserves of all-type relaxants – that's all she needs. In the parlance of medicine, the girl is in state of chronic depression, but, of course, she doesn't know about it. She has unlucky marriage with domestic violence and lost son in her past, and now and there she has only a bottle, a cigarette, a bong, a line of cocaine, a single randy female friend, loneliness and fear.

All the facts which I've shoot out in the previous sentences, brings to the audience slowly and ropy like sticky flypaper. The ceiling will be all covered with such papers in the end of the narration. And for now... now the phone is ringing. Nobody answers on the other end of the line whatever and no matter how frightened Agnes shout into the phone handset. She thoughts she talks with her ex-husband. Speaking of, we won't know who was calling all that times.

And here, in all that very... unfortunately, common little world, Peter (Norton) appears. He is absurdly nice, prudish duffer. Many funny situations based on his clumsiness. He is literally disarmingly plainspoken guy: it's hard to resist such words as “I like you” told in the face (and lately “I could make love with you” - oh, who can resist it). So Agnes can not. And there they already crawls together on the flour in search for the invisible bugs (the first alarm signal was when “the bug” turned out to be a broken fire-safe). So there the mysterious stranger modestly stays overnight on the flour, which causes wave of adoration in the audience. And then, in the morning, he disappears. Instead of Peter Agnes meets her husband Jerry in the bathroom. The dreadful plot starts to spin around in thick and fast tempo.

Jerry. It was a hilariously funny scene of his second entrance which ends pretty scary as every scene in the play.

Peter lures Agnes into the mounting paranoia which begins from very innocent and funny searching for invisible bugs (“bug” as in the main title) in the bed after sex-scene, and then materializes into complete terrifying conspiracy theory in the end. The point is that by this time all that schizoid but consistent delirium is said by Agnes not Peter. Spiritual affinity and human warmth with at least someone near her are more important then real world for Agnes (“I'd better talk to you about bugs than stay silence alone by myself”).

It's painful to watch towards the end of the performance (and that's the difference between this play and McDonagh's ones) because the consistent delirium takes place in full of your view. It is unavoidable and unstoppable like a upcoming trucker. There is nothing left to help characters. McDonagh always leaves some penetrative tiny flash of hope, humanistic points in his works always sounds in high tone upon the most frightening low pitch. On the contrary, Tracy Letts drops to an all-time low of loathsome naturalism. Every more or less empathic person literally wants to close his eyes when after several attempts Peter in highly authentic manner takes out a tooth with pliers by himself (cause the capsule with bugs is hidden in it).

Norton in the dressing room. There are more and more "bites" of non-existing bugs toward the end until the whole body comes to an open wound.

One more difference from McDonagh's – Tracy hasn't such virtuosity ability to write when important sense appears ABOVE text absurd. He makes a request on global topics: Peter is not only unblest paranoid, he is a veteran of Gulf War. Reasonably it should add more tragic in the story, should make watchers thought over (and in one moment you are really think: “For God's sake, maybe he is right with all of his microscopes and rage assurance what he sees things that other people can't”. But Tracy fails in clearing this height as distinct from McDonagh and his The Pillowman and Hangmen.

Speaking through thoughts face to face – that's not how good text works (“There was a time when people though the safety exists, but not now. Today nobody can feel safe”).

Nevertheless the actors were brilliant and took everything they could from the play. They perfectly hold out a hysterical rising pitch with the help of great light and sound work. And once again... God damn, why have I set on the second row! I could see Norton's play only when he was in the other side of the platform; just he appeared near the bedside table, there was only his... waist in my eyesight))) Or I was in need to crane my neck but in this case it looked like I was starring at him face to face, and that was... spooky.

The murder happens in all-сovered in foil paper room. The expected end takes place – main heroes suicide with “I love you” phrase on their lips. But there is no catharsis, only relief that you can finally run out from this self-absorbed world of despair, loneliness and – bugs.

* * *

... And the more beautiful contrast was on the curtain call when stage staff put bathrobes on half-naked and wet head-to-toe Kate and James, and they “came” on bend (they didn't went away in fact). I swear I've never seen such look of pleasure on the actor's face during the bend, never! Norton truly beaming, he squinted, and even my cheeks tired from toothy smile. It seems if he had a tail that tail would fawn upon in the fullness of his happiness. Kate was smiling too, but it was a sheepish smile, while James... oh, he has such a great charisma I know what his fans feels like!

This photo provides guidance on what they look like during curtain calls.

And one for the road: lunch break on the roof of Found111 — so cute))

For finding photos thanks goes to blog: norton-addiction.tumblr.com

The End.

Original text in Russian: http://www.dtbooks.net/2016/04/shakespearlives_28.html

#james norton #bugtheplay #kate fleetwood #review #my translation #found111 #stage #theatre #alec newman

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