#in case of combination of the two the movie will probably be a masterpiece but i think that's a coincidence

[ginkovskij]

in my humble opinion the best roles of toshirō mifune are man in a state of distress and man in a state of undress

[sneakystorms]

Thoughts about the Banshees of Inisherin in no particular order because I'm insane and I spent at least a third of the screening with tears streaming down my face

Padraic starting out the film happy and one by one realising how few things he was relying on to stay that way, just the dreadful hit after hit as he loses his friend, his sister, his donkey and even the village idiot he couldn't get to leave him alone

Something which reminds me of the most painful moments of catcher in the rye or lord of the rings - having a protagonist who does not suffer stoically, does not repress his emotions until a breaking point, but laments and begs for help and reaches out again and again and is broken by the pain inflicted upon him and is not strong enough to survive through it

The most horrible sight to behold in our culture - a grown man crying

In general that whole scene. Padraic standing up to the shithole cop, getting assaulted, Colm wordlessly helping him up but refusing to comfort him once he broke down or stay with him past the crossing

Jenny being buried in padraic's blanket

The hooked stick.

The second confession scene containing both "kind of weird, but strictly speaking not a sin" and "you got me there"

"and what about the despair?" "It's back a bit" "but you're not going to do anything about it, are you?" "No, I'm not"

I wish I knew enough about Irish or English history to say something more about the civil war's significance to the story but I can at least say the faraway conflict gives an eerily absurd tone to Padraic and Colm's feud, like they are simultaneously squabbling over nothing and waging some great existential battle

Speaking of which I was absolutely astounded to see a genuine discussion about the meaning of life in like the first ten minutes of this film. Padraic represents my own belief that a life spent enjoying yourself and making others happy is well lived and valuable, while Colm is obsessed with being remembered and believes his life will only have been worthwhile if he does something remarkable, if he leaves something behind. I kind of wanted Padraic to ask him what it matters to him how someone will feel about him long after he's dead in the ground, but regardless this was a genuinely compelling and shockingly well laid out philosophical conflict

In general I'm stunned by how seamlessly and plainly the themes are interwoven with the story. It's hard to put into words exactly but it's some damn good scriptwriting

I called this movie a masterpiece of small scale tragedy on letterboxd and I fully stand by this. This microscopic in the grand scale of things drama - made to look even smaller by the fact that it's two grown men having it - is simultaneously shown very clearly to encompass padraic's entire world. The tiny island setting is used wonderfully to emphasise this

Speaking of which, I have a massive soft spot for stories where the location is a character unto itself, or in any case has a huge role to play. This is a perfect example of a story like that

And speaking of the tragedy genre, this is maybe the best example I have ever seen of comedy and tragedy/drama woven together completely seamlessly? I can't think of a single moment where the tone shift felt jarring or the mood felt inappropriate. One of the moments I remember most clearly as integrating humour with drama is when Siobhan sees the first finger and padraic's comically stunned reaction combines with her comically realistic one to create a genuine air of tragedy somehow. It's also a good example of the similarly seamless weaving together of naturalistic and stylised storytelling

Not only the horror of loving someone who hates you, but of having that person leverage your love for them in order to keep you away

In general, most heartbreaking film I think I've literally ever watched. 10/10 masterpiece probably will not watch again all the way through because it's too painful

[knickynoo]

So, I don't know if you have ever heard of Buzzfeed Unsolved or their new show Ghost files on Youtube. But a few nights ago after I turned off Ghost files and thought you know I am sorta in a mood for my fav time travels boys! So I put on BTTF 3, and soon after I fell asleep dreaming of Time travel, DeLorean's, spooky ghosts, etc. That night I had one of the greatest dreams I have had this year...hang on now I know what you are thinking time travel?? Ghost hunting?? What does that have to do with your dream? Well my creative mind came up with Marty Mcfly and Dave Mcfly special guest Doc as ghost hunters. Kid you not the funniest shit ever. All I ask is what would you think if Marty and Dave and Doc went Ghost hunting, I feel like Marty would say oh I would square up with that ghost and then shit his pants if he sees his shadow. But what are your thoughts?? Ghost Hunting Mcfly’s?

I havent seen Ghost Files, but follow a few people who frequently post about it. That's so funny. I love when media works it's way into your brain to form a superbly strange dream. I have had many weird BTTF related dreams since starting this blog lol.

Dave and Marty (with special guest star: Doc) hunting ghosts, huh? That's certainly quite the thing to imagine. I agree with your headcanon on how Marty would react. I think he'd try out the whole tough guy act like: "Ghosts? Psshh, I dont believe in them. I'm not afraid. Not one bit. Ghosts...yeah, right. Bring it on." *very obviously nervous laughter* But then he'd step on a creaky floorboard or something and scream and do a leap into Dave or Doc's arms. I'm also imagining a scene where Marty, holding a shaking flashlight in his hands, asks, "Do you guys hear that heavy breathing?" To which Dave rolls his eyes and goes, "That's YOU, Marty."

Dave, I think, would probably be more brave than Marty. Whether or not he actually believes in ghosts, I'm not sure, but either way I think he'd have fun being scared. And more than that, he'd have fun scaring the daylights out of his younger brother. Dave would absolutely do things like sneakily tap Marty on the shoulder and then act all casual or quickly knock something off a shelf when no one was looking.

Doc could go one of two ways, and I'm not entirely sure which one to choose. On the one hand, I think he'd likely go the scientific route and try to explain away any strange happenings. Explain how the human mind can play elaborate tricks on you, especially when you're already anxious, or provide his own theories for things. "Oh, that was the house's heating system kicking on," or, "That thing fell of that dresser because the floorboards are warped, making the furniture lean. There is also a draft from that open window. Additionally, our footsteps are causing small vibrations. All those factors combined make it perfectly clear what happened. Marty, let go of my arm; you're cutting off my circulation."

But on the OTHER HAND, I'm recalling the end of BTTF part II when Marty comes running down the street and Doc loses his whole entire mind at seeing him again. I've heard some people claim that after his initial scream of terror, Doc appears to mumble, "A ghost!" as Marty is yelling for him to get a grip, but it doesn't come up in the closed captions. Whatever the case, Doc is in panic mode. And then at the beginning of III, when he sees Marty in the mansion, he goes straight to screaming and looking like he's the victim in a horror movie. Doc is a scientist, but he's also Very Easily Panicked. So I wouldn't put it past Doc at all to go in with a logical approach and then have it all fly out the window the second something unexpected happens.

So there you have it. SIDE NOTE: This ask has caused me to imagine a Scooby-Doo style ghost hunt, featuring a scene of Doc, Marty, and Dave running up and down halls and in and out of various rooms while a monster chases them and Benny Hill music plays. It would be a masterpiece. Please just picture it.

Thank you for this ask. Really.

[anhed-nia]

I'm sure I'd get roasted to death for this if anyone were reading this blog, but I didn't hate Rob Zombie's THE MUNSTERS. I mean, it's not a masterpiece, obviously; it's slow, it's perplexingly low-stakes in spite tons of dramatic opportunities, and ultimately, RZ is just not a comedy writer. That said, he (usually) makes the most of a low budget, and I found Daniel Roebuck and Jeff Daniel Phillips enormously appealing. They have a really tough job to do in reinventing two iconic roles, and they offer tons of good faith and enthusiasm to the production. Perhaps my most painful confession is that I really enjoyed the conception of young Herman as a showbiz hopeful who is sort of a cross between an avant-garde punk singer and a borscht belt comedian (which is maybe a fair description of Rob Zombie? At times?); it's a bizarre combination of styles that JDP delivers with confidence, and frankly, this material is surprisingly funny. I'm sure a lot of those jokes are traditional, but I was still caught off guard by them. Over all, this is the kind of endeavor where if your belief in yourself and what you're doing wavers for even a second, the whole thing comes crashing down, and the two male leads handle the challenge of making this movie with the focus of a tightrope walker. Less surprisingly, THE MUNSTERS is not the thing that finally convinces me that Sheri Moon Zombie is a great actress (she probably wouldn't mind me categorizing her as more of a performer than, like, a thespian, in any case), but I do think it's extremely lame of certain people to frame her as some kind of Yoko Ono figure. I would challenge anybody to seriously consider whether Rob Zombie's movies would really be radically different than they are without her presence, and frankly, I enjoy how the Zombies continue to prove that marriage is not just some arcane social contract, but it's ideally about friendship and collaboration and mutual respect, in addition to love and hot sex. On that note, it's not hard to see THE MUNSTERS as a thinly veiled fantasy about the relationship between the director and his muse, and it's hard for me to take umbrage with that, even if the movie doesn't always succeed.

[d-criss-news]

20 Questions With Darren Criss: How Acting Has Helped Him Make New Music

While Darren Criss has graced our TV screens with a range of characters, from high schooler Blaine Anderson on Glee to serial killer Andrew Cunanan on The Assassination of Gianni Versace, he was last spotted just being himself, on our For You Page on TikTok. “I’m walking to rehearsal with a guitar on my back with a Trader Joe’s bag ... I did not bring an umbrella because I forgot that it was raining. I’m rocking that NYC musician life,” the Glee alum explained in the hilarious clip posted three days ago.

While Criss’ acting work has earned him acclaim and stardom, he leaned into making music during the pandemic. On Aug. 20, he dropped a new EP, Masquerade, featuring five new tracks that Criss says were inspired by the different characters Criss has embraced throughout his career. After Criss wrote songs for his musical comedy web series Royalties and Apple TV+’s animated sitcom Central Park before the pandemic struck the United States, he then used those experiences as a precursor to his new EP. As Criss continues to promote his new music, he answered 20 of Billboard's questions – giving us a peek into how his new EP came together, and how growing up in San Fransisco shaped him as an actor, singer and all-around artist.

1. What inspired your latest project, Masquerade?

Although I would have preferred that it come at a far less grim cost, I finally had the time. Before the pandemic, I had written 10 new songs for my show Royalties -- along with an original song for Disney and another for Apple’s Central Park. These were all assignments in which I was writing for a certain scenario and character. Go figure. It was the most music I had ever written in a calendar year. This really emboldened me to rethink how I made my own music— to start putting a focus on “character creation” in my songs, rather than personal reflection. The latter was not proving to be as productive. The alchemy of having this time and having set a new intention with my own songwriting and producing made me put on a few of my favorite masques and throw myself a Masquerade.

2. How do you think your background as an actor complements your music?

They are one and the same to me. I treat acting roles like musical pieces— dialogue is like scoring a melody; there’s pace, dynamics, cadence, tone. Physical characterization is like producing -- zeroing in on the bass line, deciding on the kick pattern. Vocal characterization is like choosing the right sonic experience, choosing the most effective snare sound, and mixing the high end or low end. It goes without saying that it works in the complete opposite direction. Making each song is taking on a different role literally and employing the use of different masques to maximize the effectiveness of the particular story being told.

3. On Instagram  you wrote that “Masquerade is a small collection of the variety of musical masques that have always inspired me.” Which track do you identify with most in your real life?

Everybody absorbs songs differently. Some key into the lyrics, some into the melody, some the production, some into vocal performance. When I listen to songs, I consider all of their value on totally different scales. So it’s hard to say if there’s any track I “identify” with more than any others, since I -- by nature -- identify with all of them. I think I just identify with certain aspects more than others. If it helps for a more interesting answer, I will say I enjoy the slightly more classical, playful -- dare I say -- more Broadway-leaning wordplay of “Walk of Shame,” but that’s just talking about lyricism. I enjoy the attitude of “F*kn Around,” the batsh--t musicality of “I Can’t Dance,” the relentless grooves of “Let’s” and “For A Night Like This.” All have different ingredients I really enjoy having an excuse to dive into.

4. What’s the first piece of music that you bought for yourself, and what was the medium?

Beatles audio cassettes: “Help” and “Hard Day’s Night.” I just listened on repeat on a tape-playing Walkman until my brother and I got a stereo for our room with a CD player in it, which was  when I just bought the same two albums again, but this time as compact discs.

5. What was the first concert you saw?It’s hard to say, because my parents took us to a lot of classical concerts when we were small. But I guess this question usually refers to what was the first concert you went to on your own volition, and that my friend, was definitely Warped Tour ’01. My brother and I went on our own— two teenagers going to their first music festival, in the golden age of that particular genre and culture. It was f--king incredible.

6. What did your parents do for a living when you were a kid?

My dad was in private banking and advised really, really wealthy people on how to handle their money. My mom was, by choice, a stay-at-home mom, but in reality, she was my dad’s consigliere. They discussed absolutely everything together. They were a real team, and I saw that every single day in the house. They both had a background in finance (That’s how they met in the first place.) and were incredibly skilled at all the hardcore adulting things that I absolutely suck at. They were total finance wizards together. So of course, instead of becoming an accountant, I picked up playing the guitar and ran as far I could with it. Luckily, they were all about it.

7. What was your favorite homecooked meal growing up?

My dad was an incredible chef. For special occasions, I’d request his crab cakes. They were unreal. I’ve never had a crab cake anywhere in the world that was good as my dad’s.

8. Who made you realize you could be an artist full-time?

I don’t know if I’ve actually realized that yet.

9. What’s at the top of your professional bucket list?

The specifics change every day, but the core idea at the top is to continue being consistently inconsistent with my choices, and to keep getting audiences to constantly reconsider their consideration of me. But I mean, sure, what performer doesn’t want to play Coachella? What songwriter doesn’t want to have Adele sing one of their songs? What actor doesn’t want to be in a Wes Anderson film?

10.  How did your hometown/city shape who you are?

San Francisco. I mean, come on. I was really lucky. The older I get, the more grateful I am for just being born and raised there. It’s an incredibly diverse, culturally rich, colorful, inclusive, vibrant city. By the time I was born, it had served as a beacon for millions of creative, out-of-the-box thinkers to gather and thrive. I grew up around that. The combination of that with having parents, who were unbelievably supportive of the arts themselves, laid an incredibly fortunate foundation to consider the life of an artist as a legitimately viable option. It’s a foundation that I am supremely aware is not the case for millions of young artists around the world. I was absurdly lucky.

11.  What’s the last song you listened to?

I mean probably one of mine, but not by choice. I know, lame. But I’m promoting a new EP, what’d you expect? But if you wanna know what I’ve been listening to, as far as new s--t is concerned: a lot of Lizzy McAlpine, Remi Wolf, and Charlie Burg.

12.  If you could see any artist in concert, dead or alive, who would it be?

The Beatles is an obvious "yeah, duh." Sammy Davis, Mel Tormé, or of course, Nat King Cole. I would’ve loved to see Howard Ashman give a lecture on his creative process and his body of work.

13. What’s the wildest thing you’ve seen happen in the crowd of one of your sets?

I feel like just having a crowd at all, at any one of my sets, is pretty wild enough.

14. What’s your karaoke go-to?

The real answer to this I’ll write into a book one day, because I have a lot to say about karaoke etiquette. I have two options here: I can either name a song that I like to sing for me, for fun, or I can name a song that really gets the group going. The answer depends on what kind of karaoke night we’re dealing with here. So I will say, after I’ve selected a ton of songs that services a decent enough party vibe for everyone else, then I would do one for me, and that would be the Beatles’ “Oh! Darling.”

15. What’s one thing your most devoted fans don’t know about you?

What I have up my sleeve.

16. What TV show did you binge-watch over the past year?

Dave is a stroke of genius. There are episodes that I believe are bona fide masterpieces. Also, My Brilliant Friend is a masterclass in cinematic television.

17. What movie, or song, always makes you cry?

It’s A Wonderful Life.

18. What’s one piece of advice you would give to your younger self?

Get used to sharing everything about yourself and your life now, or more astutely, to the idea that you don’t necessarily get to control how your life is shared. I know it’s not really your thing, but you’re gonna have to get used to it, so start building up those calluses now. And don’t worry, all the stuff you love now will be cool again in your mid-thirties, so keep some of those clothes because you’ll be a full-blown fashion icon if you just keep wearing exactly what you’re wearing. Oh nd also, put money into Apple and Facebook.

19.  What new hobby did you take on in the last year?

I’ve always been a linguaphile. My idea of leisure time is getting to study or review other languages. This past year, I took the time to finally dive into learning how to read, write, and speak Japanese. Other than making music, it was one of the biggest components of my 2020-2021.

20. What do you hope to accomplish or experience by the end of 2021?

I hope I get to play live shows again.

[nostalgebraist-autoresponder]

Title: A Tale of Two Cities

Author: Leslie Howard

Rating: 4/5 stars

A good book and definitely one that I recommend, but not one that I would call a good book.

I've been saying this for a while -- it's been clear since at least 2014, when I first read the book -- but it's important to articulate it in case others may have the same feeling as I do. I'm really, really proud of this book, and while it's not one of those books (like Infinite Jest) that I would call an instant classic, it is one of those books (like The Catcher in the Rye) that I would rank pretty high in the collection of all the books I've ever read. It's one of those books that's clearly brilliant and brilliant, but also, somehow, just a bit off.

The most important point is just that this is a book that works hard to be the best book possible -- to give the reader an amazing experience in the art of reading literature.

It's very smart. I'm not just talking about literary scholarship, although there's that too, but more like the book is a machine that generates all kinds of great stuff about the book itself. For example, there are three distinct major plot threads (Dickens' writing of The Mayor of Casterton, the life of French novelist Georges Sand, and the personal adventures of the narrator) that are treated by Dickens as if they were of equal importance, and each is as rich as the other two combined. I can't even count the number of great phrases the narrator invents to show off his fancy French.

The narrative voice is very witty and very clever. I know I've said this before, and I'm sure there are a lot of reviewers who've noted this aspect of the book, but to my eyes it is quite striking. If it weren't enough, the narrator is also good in the sense that he comes across as a very cool, worldly, sophisticated person -- someone who's experienced a lot of the world and its various pleasures and pains -- who happens to be telling a kind of true story, a kind of story that, even though it has lots of elements that make it difficult to read, still makes sense as a story, even if it's a very strange one.

But then there is the book itself, and I think it is in its own way a masterpiece.

My reasons for this have already been explained, and my reasons are the same ones that probably led to the novel's other critical acclaim: its use of language, which is always amazing. But the real magic of the book is its use of language for something that other books can't do: its use for a kind of world-creation.

I would compare it to the movie Inception, in a way. Like Inception, A Tale of Two Cities is also an all-senses trip that you spend a lot of time with for its entire duration. I am not saying that there are no books like this -- indeed, I would say that there are far too few (if any) books like this -- but they don't usually work on me at this level. (There is also a similarity with some scenes in Infinite Jest -- those "surreal" parts in the book that feel as if they're taking place within a larger dream structure, without the reader even needing to figure out what that structure is)

I am saying this because there's no doubt that I am one of the few people who has enjoyed this book as much as I have. But it's also because I just can't think of another example that's even close to this one. I can't really even think of what it's supposed to be like, except for the thing that happens on the cover, because it is so utterly unlike everything else. There's this other book that's also like this, another book that's not much like other books. It's a book that is so much like no other book that I can't even imagine what it might have been like without having read it.

Maybe you will read it, maybe you wont read it (like I do, but never will again) and still find its quality to be quite something special. (That's fine by me!) Anyway, if you haven't read it (yet!), I can only advise you to try to read it some time. And you will enjoy it.

[sz-amare]

7. My Top 15 Anime List

I have watched a lot of anime in the past four years, but one thing that gives me great enjoyment is ranking my top anime. Here I will rank my top 15 favorite anime, along with some honorable mentions that couldn’t make it. However, I won’t be going too in-depth on the analyses; I just want to give you a general idea of why the particular anime is where it is on my list. In general, I rank my anime depending on a combination of factors: 1) how brilliant I find the anime to be written, 2) if the themes resonate with me, 3) if it is categorized in my favorite genres, and 4) my general enjoyment level. Anyway, to the list.

 Number 15

One Punch Man

When I first watched One Punch Man, it seemed nothing more than a mindless comedy anime. Don’t get me wrong, I really enjoyed it and laughed a lot, but I found it to be forgettable. But one day, I heard that the genre of One Punch Man was seinen, which made no sense to me. It had no dark and mature themes, and as I mentioned, it was nothing more than a senseless comedy. But then one day, on a whim, I watched One Punch Man again. And I REALLY enjoyed it. I still laughed a lot, but something felt different to me this time. I actually felt like I had a deep connection with each of the characters. The story seemed to be more structured and enjoyable this time, and finally, I could actually see the themes that One Punch Man was trying to explore. It made sudden sense to me that One Punch Man is indeed a seinen and that it had a lot more to it than on the surface. Of course, the difference in experience is because of my new understanding of anime and the experience I gained.

Number 14

Kenichi: The Mightiest Disciple

Kenichi: The Mightiest Disciple is probably one of the most unknown, underappreciated, and underrated anime on this list. Someone recommended it to me, and I had never heard of it, so I assumed it was a mediocre anime. But when I watched it, I had so much fun which I hadn’t felt in many months. It is a training shōnen anime where the main character tries to learn martial arts. That is all I want to say for now because I don’t want to spoil anything, so go watch it. I highly recommend it.

Number 13

A Place Further than the Universe

I don’t see many people talking much about A Place Further than the Universe. But, I must say, it is absolutely phenomenal. It is, hands down, the most inspiring anime in existence. The basic premise is a high school girl wanting to do something significant in her high school life. I won’t say anymore because, again, I don’t want to spoil this anime, and I recommend you check it out if you need inspiration in your life. Let me just say that it is now an aspiring goal of mine to visit Antarctica.

Number 12

Plastic Memories

I made a whole analysis on the previous post so go check it out. But for a quick recap, the life lesson I learned from Plastic Memories has permanently changed my behavior for the better. I found it to be the saddest anime I have ever watched.

 Number 11

Steins; Gate

Once again, I have already made an analysis on Steins; Gate, but this time I only covered the first episode. I also ranked Steins; Gate a 10/10 so that must mean that the rest of this list must contain masterpieces. But to be honest, that is not really the case. You see, to me, even if I consider something a masterpiece, the enjoyment factor plays the most significant role in ranking high on my list. For example, I found Death Note to be brilliant, but I really struggled to enjoy it and therefore, it is not ranked that highly. Don’t get me wrong, I really enjoyed Steins; Gate, but I just enjoyed the rest of these anime way more. Anyway, if you want to see why I loved Steins; Gate so much and why I find it so brilliant, check out blog post 4.

Number 10

Berserk (Manga)

Almost everything I found In Berserk is brilliant (except its adaptations, that’s gas station toilet). Guts is a 10/10 protagonist, Griffith is a 10/10 antagonist, the cast is a 10/10, the story is a 10/10, AND THE ART!!! Holy shit!!! I can actually picture an entire museum dedicated to each panel of Berserk.

 Again, the only reason this anime is not any higher is simply because I enjoyed the others on this list so much more. However, I am yet to review any analyses on it so there is a possibility that it will bump-up several places higher when I truly understand the brilliance behind it. Great read though!

Number 9

Haikyuu

I LOVE Haikyuu. Each season gets progressively better and better. It has a lot of controversy around it because of its fan base and because it’s a sports anime. But to be honest, I find Haikyuu to be a better shōnen than My Hero Academia, Black Clover, Jujutsu Kaisen, Demon Slayer, and most other modern shōnen anime. It has its amazing moments, its cast is amazing, the character development is amazing, the themes are amazing, and the antagonists are amazing. I am not bluffing when I say that the antagonists in a Volleyball anime are better than the antagonists in many shōnen anime (I’m going to develop haters before I can even develop fans). I plan on making an essay on what most shōnen strive for yet fail to achieve, and Haikyuu somehow delivers.

Number 8

Oregairu

Best romance. Hands down. Oregairu, or SNAFU, or My Teen Rom-Com is Not What I Expected (yes, so many titles) is a masterpiece in its own right. If you are a guy and you watched Oregairu, don’t act like you didn’t imitate Hachiman a couple times. He is a beautiful protagonist, which most of us guys relate to. His inner monologues result in us treating them as gospel. The sub-text is confusing as fuck, but end up making sense in all sorts of ways once decoded. Yukino is best girl, but man I love Yuigahama almost just as much. The general enjoyment I got out of Oregairu is so far through the roof that I once forced myself to stop watching it so that I could savor the show a little more. It is a little difficult to get into at first, but you will most likely end up enjoying it.

Number 7

Re Zero

This is the most recent addition to the list. I often don’t add anything new to my list; I just switch the places between some of them. But ever since season 2, Re Zero jumped significantly in rank. It is the best anime of 2020 (including sequels), and I enjoyed each episode to the max. I was considering adding Re Zero to my top 10 since the first half of the second season finished, but I was a bit hesitant because I am easily affected by recency bias. But my love for Re Zero would just not die down: my love for it grows after each episode airs. It is the only anime on this list that I watched weekly other than One Piece. I actually prefer watching a series I love weekly rather than binging it all, except for One Piece, pacing is constipation (slow and painful). Other than the vast enjoyment I got out of Re Zero, the main reason it made it to this list is because of the light novel comparisons I watch. Aninews is my favorite source. He compares the episode to the light novels, mentioning what was left out and further describing the emotions and thoughts of the characters. He tends to release the “Cut Content” videos a week after the episode airs, but the content and quality are incomparable. I found the videos to be so amazing I am basically just as excited for the weekly videos as the Re Zero episodes themselves. If you love Re Zero, the Cut Content series is a must watch.

The fantastic details and emotions the light novels are able to portray are stunning. I decided to read the light novels recently, but the only issue is that I am very short on time. But for each novel I complete, I will release a post on it.

Number 6

Mob Psycho

Although I said I found Haikyuu to be better than most modern shōnen, Mob Psycho is hands down the king. Its quality far surpasses all modern shōnen and a lot of older generation shōnen too. Funny thing is, I believe Mob Psycho’s primary genre is slice of life, not shōnen. I also believe it to be the best take on an overpowered protagonist. One of my favorite things is that Mob, who is the strongest esper we have seen, seems to be so weak. That is exactly how he should be portrayed; he is still a child with mental challenges that he is constantly trying to overcome. The themes that Mob Psycho explores are some of my favorites. The animation is a bit weird at first, but after watching it, you suddenly realize how brilliant it is.

(Honorable Mentions)

Attack on Titan

I am going to get a lot of hate for not including this in my top 5, let alone my top 15. Attack on Titan is still releasing episodes, so that opinion may change soon but let me be clear about one thing: Attack on Titan is a masterpiece. It is absolute greatness. The hype and enjoyment I get out of Attack on Titan are out of this world. But, a) the enjoyment feels a bit short-lived for me personally. It is a fantastic week after airing, but I tend to forget about it the next. b) Attack on Titan is simply not my type of show. Again, I do love Attack on Titan. Again, it is a masterpiece. And again, it may bump up a bit after a few episodes release, but as of now, Attack on Titan isn’t in my top 15.

(Honorable Mentions)

No Game No Life

Similar to One Punch Man, I thought No Game No Life was an anime for senseless fun and enjoyment. But then I watched the movie. The movie is canon to the light novels, but it is irrelevant to the plot and only contributes to the understanding of the world. However, since I watched that movie, I felt the world of No Game No Life to be more realistic. Of course, a world where games resolve all sorts of conflicts like war is ridiculous. But after watching the movie, that ridiculousness somehow turned to reality. The world of No Game No Life became fascinating to me, and what seemed like dumb games began to turn into political machinations.

(Honorable Mention)

Magi & Yona of the Dawn

All I have to say about these two anime is that they seemed to be very fascinating premises and concepts, but the anime sadly stops for both. I am considering reading the manga for both of them sometime soon, so this list may change once I do.

Number 5

Hunter x Hunter

If you like shōnen, I don’t see why you would hate Hiatus x Hai—I mean Hunter x Hunter. The only thing it slightly lacks is a strong main cast, which many people like anyway. Otherwise, absolute perfection. They have most of the best villains in all of anime: Hisoka, Chrollo, Meruem… How can you not love Meruem? And the way he parallels with Gon but in the opposite direction: just perfection. The arcs are hard to rank because they are all perfection in their own right. The best power system in anime is nothing short but perfection. If it weren’t for the Hiatus, it would be ranked fourth. I doubt it would scratch my top three.

Number 4

Full Metal Alchemist: Brotherhood

I know I kept saying perfection when talking about Hunter x Hunter, but I actually believe that Full Metal Alchemist: Brotherhood is the perfect series (Note: I am not saying that no one can love it and that it has to be your #1; obviously there are preferences. I’m merely saying that it perfectly crafts what it is trying to portray). The only two arguments you can bring is that the beginning is weak. But if you watch the 03 version, there are no issues whatsoever, in my eyes. Keep in mind, when I say it is the best, I mean from a narrative standpoint. Yes, the animation isn’t the greatest, and the gags are kind of bad, but from a general narrative standpoint, it is the best writing I have ever seen. The plot was brilliant and well-crafted. The world is beautifully bound by their power system: alchemy. The philosophical discussions and themes it explores always have you thinking. The characters are very likable and are all top tier characters. The mysteries keep you in a cycle of confusion and excitement. Since I love science and chemistry, alchemy was so fascinating to me. This show is definitely well-deserving of the number one rank in My Anime List.

Number 3

Kill la Kill

After listing a lot of the best anime/manga with the best stories and narratives, I can see why someone would be upset that I brought up Kill la Kill. This one is certainly the odd one out. However, remember me mentioning that the enjoyment factor is the biggest decision maker in my list placement? Kill la Kill gave me the most enjoyment out of all the anime on this list, even more significant than the obvious #1. I didn’t find anything to be all that brilliant in Kill la Kill, and I can completely understand if someone hated this particular show. But there was something about Kill la Kill that made me feel nostalgic in a weird way. It also gave me one of the weirdest yet most immense feeling of satisfaction I have ever felt. I love Kill la Kill.

Number 2

Konosuba

           Okay yeah, this one is also the odd one out, but it is a little more acceptable. I find Konosuba to be the best comedy anime of all time. Not necessarily because it is the funniest anime (I think it is the funniest but comedy is subjective), but instead because, unlike most comedies, like Nichijo, the characters in Konosuba are absolutely brilliant. Kazuma is one of my favorite characters of all time, Megumi is best girl, but I still love both Darkness and Aqua. Their interactions are absolutely entertaining on both a comedic scale and a general enjoyment scale. Their assholeish-type relationship reflects my relationship with my friends (we are complete assholes to each other, but we also love one another).

Not only that but from the comedy focused anime that I have watched, the plot in this one is actually delightful. The Konosuba movie is my favorite movie of all time, right after A Silent Voice.

Number 1

One Piece

If you read a couple of my previous posts or recognized my profile picture, you probably knew that One Piece is my favorite anime of all time. My love for One Piece is so extensive that I would rather forget all my experiences with anime than forget my experience with One Piece. One Piece inspired me and changed my life. Not in the typical way where I learned a life lesson from the story like Plastic Memories, but simply because I found the writing to be so brilliant. So it was more that Eiichiro Oda, the author of One Piece, inspired me. The characters are the best I have ever seen, the villains are well crafted, the world-building is literally the best in all of fiction, the build-up is fascinating, the questions from the mysteries somehow keep piling over, the symbolism fleshes out aspects of the anime even more, the backstories make characters more relatable and understandable, the general dynamic flow of the world feels like reality, the themes it explores are great learning experiences, the originality never ends, the hype moments keep you energetic for more, the foreshadowing is so phenomenal to the extent where it shouldn’t exist, and the general planning of the story makes it obvious how amazing of an author Eiichiro Oda is.

This series has been airing weekly for nearly 22 years now, the manga for 25. How in the world is Oda able to create this monster of a story, planning certain elements a decade or two in advance? This is brilliance. This is beauty in writing. And I want nothing more than to create a masterpiece of my own.

Final Notes

Emotional, I know. I believe my list here is a bit diverse in terms of genre: shōnen, seinen, romance, comedy, sports, slice-of-life, and mystery. I think it’s a great thing to widen your horizons a bit by exploring various types of genres. Anyway, there are many anime I haven’t watched that could easily replace and dethrone some of the anime on this list. I plan on watching and reading Hajime no Ippo, Gintama, Vagabond, Oyasumi Pun Pun, I”s, etc. I heard these anime/manga are considered the best for their respective genres by many people, and I will probably finish reading and watching these anime/manga in about six months. So I will make a top 15 anime list once again around that time.

If you have any questions or you want to discuss something, feel free to ask in the “Ask Me Anything” tab on my Tumblr page.

[dezmondmyles]

haha ok i got tagged by @taruyison ilu <3

alright cool lets do this

Would You Rather - Fanfic Version

Do you prefer friends to lovers or enemies to lovers? Aw man, do I gotta choose? I really love both, but there’s something a little more mmm, intimate, about enemies to lovers.

Would you rather be forced to watch a terrible movie adaptation of your favorite fanfic or an amazing adaptation of your least favorite fanfic? "terrible” and “amazing” are very subjective, and I love trashy movies/games that are fun to watch/play so that’s kinda my attitude with fanfics haha.

Would you rather read fanfic chapters backwards or read them as parsed from google translate? Backwards? I guess? If I have to translates a fic, uhh, I just Don’t lmao.

Would you rather consume every fanfic as an audiobook read by a monotone narrator or have to read on a tiny printed piece of papers written in yellow highlighter? If I had to choose, probably the audiobook. My eyes have trouble reading black text on white background sometimes as it is.

Would you rather get a tattoo on your body of every fanfic title you read or never read fanfic again? Never read fanfic again ahahaha. I’ve read some trashy fanfic just based on the equally dubious title before.

Do you prefer vampire au or werewolf au? If you know anything about me as a person.... Well you know that answer. And if you don’t, it’s uh, werewolf.  

Would you rather get sold to a boy band or be stuck in a time loop with your love interest? Time loop I guess? I never listened to 1D.

Would you rather kill your favorite character or marry your least favorite character? What if my favorite character is already dead?? Also what’s stopping me from marrying my least, killing them, and cashing out on the life insurance??

Would you rather meet your love interest in a coffee shop au or college au? My big brain take is to combine both- The local coffee shop near campus. Boom.

Would you rather have your fic history leaked or never read another fanfic again? Again, I’ll just never read again lmaaaao.

Would you rather be able to read amazing fanfiction but it always has an mpreg plot twist or only read bad fanfiction for the rest of your life? I uh, wrote?? Some of the mpreg in a reasonable semi-thought out fashion?? Also I’ve already spent most of my reading subjectively bad fanfic so like, idk.

Would you rather gay ships or straight ships? I can do both?? Also are we talking gay-gay ships or “these two are in a samesies relationship but theyre bi” ship? cause i can do that too.

Would you rather ship a rarepair with almost no content or a pair with lots of content but almost all of it is cracky nightmare smut? Honey I’m already in rarepair hell don’t even talk to me lmfao.

Would you rather see your otp shatter years after their happily ever after or never have the happily ever after happen in the first place? I mean, both is already like, the Thing with them anyway lmfao. I fuck hard with bittersweet endings all the same.

Would you rather read a poorly written but complete fanfic or a literary masterpiece last updated june 2013? I mean I do both. The former esp if the content is compelling enough for me to continue reading just to see how much more terrible it can get.

Would you rather read SSSS++++ tier smut with almost 11k words or 70k words worth of fluff? I can do both, the fluff will probably make me cry though in the end lmao you don’t get that many words of fluff without something sad in there

Would you rather read only alternate universe fanfics or only canon fanfics? My bread and butter is AU by virtue of being a crossover shipper. No matter how close to canon I get with either, it’s still ultimately AU. Plus, canon is dumb af anyway for both so i’m doing everyone a favor lmao.

Would you rather introduce fanfics to your normie friend with an ongoing smut fic with great writing or a complete fluff fic with terrible writing? Depends on the normie. I have non-fandom friends who enjoy writing and reading as much as I do, and I feel like that a well written smut and fluff fic would be more compelling to them, if not just to analyze the characters.

Would you rather read your notp with all your favorite tropes and perfect characterization or your otp with tropes you despise and inconsistent characterization? I think I’d pick the notp honestly. Listen, anything can become an otp with the right convincing in my book. Though, for most of my notps, they employ a lot of similar annoying tropes I hate seeing in most of my otps so like, can’t win them all.

Would you rather have a major character death or have a bed sharing scene but it’s a ship you hate? Major Character Death in the bed they were sharing.

Would you rather every fanfic includes Jackson Wang or every fanfic includes at least one nsfw moment? dunno who that is so I guess one nsfw moment it is.

Would you rather read a fanfic that has constant grammar and spelling mistakes or one that the characters are wildly different than canon? Have you read any of my fics I’m the worst speller/grammarererrr ever. However, I can take “wildly different” to a certain point in the case of many AUs where you kinda have to fudge things a little for the sake of your setting.

Would you rather read the most absolutely messed up dead dove with your most wholesome ship or subject yourself to 100,000 words of your notp all written in a solid block with no punctuation and horrible grammar? Dead Dove, no contest.

Would you rather have the power to read every fanfic in existence or have the power to make any ship canon? Any ship canon. I literally have no interest in read every single fanfic ever.

Would you rather read a cringy 70 chapter harry styles mafia au or a high school kpop au y/n fic with horrible grammar? At least I know who Harry Styles is lmfao.

Would you rather have your otp get together in canon but one of them dies in a tragic way or all members of your otp survive but get together with other people? They’re already dead in their respective canons so it can’t get worse from here right?

Would you rather accidentally send your boss a super detailed smut fic or read a super detailed smut fic about your boss? I think the latter because I would rather I lose respect for my boss than the other way around lol.

Would you rather read smut fanfic aloud to your parents or submit smut fanfic to the employer of your dream job? Like taru asked, what is the context. I think the latter though if it was allowed and it’s explicitly what they wanted.

Would you rather pine after an oblivious love interest or be the oblivious love interest pined after? I’m both irl (probably lmao)

Would you rather hanahaki disease or your soulmate’s first words to you tattooed on your body (and they’re really stupid)? I had to look up what hanahaki was lol, so I guess soulmate’s first words. And I mean, how much more stupid would mine be anyway?

Would you rather be an alpha, beta, or omega in omegaverse? None, I hate omegaverse with a passion. You can’t dress it up in any form possible to make me enjoy it. Idc what character(s) is/are in it, it bugs the fuck out of me.

Would you rather read a fanfic where the characters turn into furries or a fanfic where the characters all get pregnant? I mean, out of morbid curiosity, I’d wanna read both?? I’d hate it but I’d attempt to read it at least once?

Would you rather be able to resurrect dead fics or have the power to create a plethora of new fics effortlessly? New fics, so long as they’re getting completed on top of that ahaha.

whoo, that was fun! it’s been a while since i’ve done one of these memes. thanks for the tag, taru!

ok so i guess i’ll tag in return: @cooldadmondmiles @theladyisapirate and @seventhstrife

have fun friendos!

[frumfrumfroo]

What are your favorite movies and TV shows outside of SW? I’m looking for new things to watch since SW was so disappointing

My tastes are pretty eclectic, so I will stick to just things that are either similar to sw or are in the reylo-esque romance wheelhouse and have happy endings:

Chuck. It is a goofy, light-hearted action-adventure show with extremely endearing characters and a very prominent central romance (seriously, heavy romance and there is a lot of payoff for it, you will be FED- it's kind of slow burn but also shockingly NOT slow burn, they are deep into it pretty much immediately). The main couple is the classic Stoic Badass gradually softened by an innocent they have to protect who is a liability in battle but full of the Power of Heart. Chuck is The Heart btw. He is of that vanishingly rare male Beauty (of B&tB) type. He's incredibly generous and open, Sarah is prickly and closed-off. It is Quality. Very much a gender-swap of your typical cliche anime couple lol. I would recommend stopping at the mid-season finale in season 4, because it's downhill from there. The beginning of season 3 is very rough, but it's definitely worth it to stay for the back half, imo. There are several great endings to choose from before things go to shit, so we don't need to talk about the finale. Probably the most tonally similar to SW thing possible without being high/space fantasy. More humour, more silly, but definitely has a spiritual kinship. Has the best THE BEST 'secret revealed' scenes I have ever seen in anything. If you're into that and were hoping for that in ep IX, you need to watch Chuck.

The Shop Around the Corner. 1940 romance/drama film. You've Got Mail is a remake of it. Jimmy Stewart being profoundly adorable, Frank Morgan (aka the Wizard of Oz), various amusing side characters, and an absolutely deathless double blind 'secretly in love with the workplace nemesis' plot that can and probably has been a great reylo AU.

Mirromask. Fantasy/coming-of-age film. Touted as a 'spiritual successor' to Labyrinth by the filmmakers (one of whom is Neil Gaiman) and let me tell you, that is extremely apt. Beautiful, magical, laden with symbolism and Mask Discourse, and has a great ship. I quote it regularly.

Speaking of which, I'm sure you've seen Labyrinth? If you haven't seen Labyrinth, drop everything and watch Labyrinth.

Legend (the Ridley Scott director's cut, not the theatrical cut). Sumptuous fairy tale, runs on proper fairy tale logic, stunning to look at and overall captivating. Tim Curry. Tim Curry as a lonely tragic lord of darkness who tries to seduce the heroine and has drippingly overwrought monologues.

Howl's Moving Castle. Fairy tale adventure/romance film. Beautifully animated, has the ending you want.

The Silence of the Lambs. Thriller/drama film. Actual masterpiece. Use it as a gateway drug to read the books and rejoice that Clannibal is canon and it is spectacular. Just SotL and Hannibal, you don't need to read the other two. Stan Clarice Starling and revel in that ending. Most triumphant 'villain'/heroine ship of all time (he is not technically a villain but for shorthand's sake).

The Adventures of Baron Munchausen. Terry Gilliam 1988 fantasy/adventure film. THE TRIUMPH OF IDEALISM OVER CYNICS I CANNOT STRESS ENOUGH HOW HEALING IT WAS TO WATCH AFTER THE TROS BULLSHIT HIT. Jonathan Pryce's spiritual villain is basically Chris Terrio and it is cathartic to see imagination and sentiment conquer him.

Sabrina. 1995 romance film. Modern fairy tale with Harrison Ford. Rejecting what you thought you wanted all your life for the thing you actually need, growing up but still believing in magic, beautiful character development across all the leads. Could be (and is irrc) a fantastic reylo AU.

The Scarlet Pimpernel. 1934 adventure film. High romance, secret identities, play-acting, people who aren't at all what they appear to be, falling in love with your own spouse, Big Heroism, guile and wit and audacity. It makes me do little kicks like a happy baby. This is one of the 3-5 films constantly tied for my favourite film of all time. There is a good quality rip free on youtube. Watch it and fall in love with Leslie Howard (this is possibly my favourite acting performance of all time).

Oh, related note. Pygmalion 1938 or My Fair Lady. (The musical is based on this film and borrows from it heavily, including its much more romantic ending compared to the original play.)

The Mummy. 1999 action/adventure/romance film. Very tonally similar to sw. A fucking great time, A+ characters.

EVER AFTER. 1998 romance film. The flawless and perfect and best ever Cinderella adaptation. This is the most satisfying film in history, maybe, the ending is so good it is amazing it exists. Also, it has Richard O'Brien being slimy. Huge selling point. Grapples with identity and stewardship, is brilliant.

Fruits Basket. drama/romance anime. I haven't watched the new version yet, but it's following the manga so I know the story. The original anime didn't do the whole plot (because they caught up with the source material) but it's wonderful and I still recommend it. The central ship is (spoiler.........) a B&tB type where we eventually discover the main love interest both feels like a figurative monster and turns into a literal monster. He has an incredible speech about his relationship with people's fear, it makes me weep. I called the endgame from the first episode and always thought it was obvious, but there is a red herring love triangle dynamic. It's really not annoying, though, because it is a red herring. (I hate love triangles)

I am Dragon. Russian monster romance film. Beautiful, simple fable with a really great heroine.

Jane Eyre. 1943 Gothic Romance film. It's Jane Eyre, byronic hero x sensible heroine love story with much atmosphere and Gothic drama. I stan this version because I am an Orson Welles fangirl and I'm also not convinced it can be improved upon. Elizabeth Taylor's film debut btw.

Hellboy. 2004 action/adventure/romance film. Defying destiny, reconciling identity, monster romance. The complete package and a great time. Tonally similar to SW and probably thematically closest to it out of this whole list. Don't watch the sequel.

Beauty and the Beast 1987 tv series. Exactly what it says on the tin. Deals with the classic B&tB themes, but in a different way. He's not cursed and will never transform into an ordinary man. The first season is very episodic and 'case of the week', but the second season gets more into character drama. It's dated, but if you give it a chance you can get past some of the cheese factor and it's really a unique experience. Its concerns are SO atypical that it feels like something fandom would make rather than a mainstream network show. It was so massively, insanely popular with women at the time that a record of Vincent (the beast) reading poetry topped the album charts. Also Ron Perlman and Linda Hamilton. Stop at season two. Point of interest: George RR Martin wrote for this show.

Stargate (the movie not the series) sci-fi fantasy about a nerdy guy who accidentally a hero.

Possession. 2009... mystery/supernatural/romance. Okay. This is a whole thing. Lee Pace and Sarah Michelle Gellar. It's based on a Korean film I've never been able to find for some reason, but being Hollywood they ruined the romanticism and nuance of the original in the theatrical cut to make a shitty punative ending. However. If you buy it on dvd and go to the alternate ending (which follows the original story) with around 20 minutes left (scene after Lee Pace's character wakes from a bad dream-go to deleted scenes and select the alternate ending), you will get a very, very interesting character study/thriller/redemption about sincerity within deception, compassion, and a major question about second chances with a positive answer. It's kind of dark and kind of astonishingly idealistic at the same time. The heroine makes a very powerful choice, twice over. It's fascinating. If you're into the conflicted and uncertain period in reylo, the part where he is most ambiguous, and you wanted more of that and much darker shades to it, you might be really into this. Also, it should be noted, there is a MASSIVE height difference and they show it off. The film is flawed (and the seams show on the Hollywood rewrite) but idk, it's fascinating. Shocking to me that they even got to shoot the original ending. It is pretty balls to the wall with its themes on forgiveness.

I would recommend getting into kdramas because there is a wealth of female-gaze tropey amazing content, but always check the ending before getting invested. My all-time fave is the 1st Shop of Coffee Prince, but it's not sw related at all lmao. It has a happy ending with all the elements you'd want, but it's not satisfying in execution, so that's it's major flaw and I find that pretty common with kdramas. One that is maybe more relevant is My Love from Another Star, which has a hero who is a little bit like Ben in personality. The heroine isn't my favourite, though. It does have a decent ending.

Oh yeah- brain fart. Kurosawa films and classic westerns were both very influential on SW. Or you can combine both and watch The Magnificent Seven.

[callboxkat]

Thankful

Author’s note: Does anybody still remember my college au? Because here’s some college au. This story can stand alone without the rest of that au, although it is canon to that universe. 

Look at me keeping up the adjective titles.

Summary: Thanksgiving is coming up, and Virgil’s dad is coming to visit. He doesn’t want his dad to come to his own run-down apartment, so he turns to his friend Logan for help.

Warnings: food mention, lying, injury mention, talk of poor family relationships

Word count: 3230

Writing Masterpost!

...

November 2018

“You got the popcorn, Pat?” a voice called from the other room.

“You bet!”

Logan stepped to the side as Patton barreled past with a large bowl of popcorn, nearly running into him in the process. He shook his head in fond exasperation and followed after.

He and his friends were at their weekly movie night, which as usual was held at their friend Roman’s house. Roman had a decent television, a large selection of movies, and was the only one with enough space for all seven college students to comfortably hang out and watch movies together. They were planning on watching two movies that night, determined by a vote. On nights when they weren’t all there, they would just discuss which movies to watch, but when all of them got together, it was a lot faster just to pick out some movies and vote on which to watch. Patton was counting the votes right because Roman and Joan had each tried to rig the votes in the past. Logan also wouldn’t put it past Remy to do something like that. Among all of them, Patton was the most trusted not to lie about the results. Logan was 99% sure he wouldn’t use that to his advantage.

Soon enough, all seven of them (Logan, Roman, Patton, Virgil, Remy, Joan, and Talyn) were all lounging around the living room while the first movie, Wreck it Ralph, began to play. Logan sat on the sofa along with Patton and Virgil; Roman was on the floor on a throne of pillows and blankets; Joan and Talyn shared the larger of the two chairs; and Remy sat in the other.

They passed around the bowl of popcorn as the movie played, getting comfortable and occasionally making comments on the film.

About halfway through, Logan felt his phone buzz in his pocket. Figuring it might be important, he retrieved it, only to see that the text was from Virgil, who was perched on the armrest of the very same sofa, just on the other side of Patton. (He sat there not because there wasn’t room on the sofa for him, but simply because he claimed he liked the arm better).

Logan frowned, confused, and opened the message.

Virgil: Can I ask you something weird?

Logan stared at the text, wondering why Virgil would send this and not just ask him out loud. And why in the middle of the movie? Perhaps this was one of those occasions where he either could not or preferred not to speak out loud; or perhaps he didn’t want their other friends to overhear his question either out of embarrassment, or perhaps he simply didn’t want to interrupt the film. All three scenarios were likely, and Logan was unsure which, if not a combination of the three, might be the case. The darkly dressed sophomore was bent slightly over his phone, sitting with a poor posture that made Logan cringe internally but which was not exactly unusual for him. His body language was hard for Logan to read, but it was entirely possibly that this was simply due to Logan himself not being especially talented at that sort of thing.

I suppose that depends on how ‘weird’ your inquiry is, Logan typed. He very nearly hit the “send” button before realizing that, if he sent that text, Virgil would definitely not ask him whatever he had wanted to ask. So, Logan deleted that and sent a much a simpler response in its place.

Logan: Yes.

Despite Logan’s direct, encouraging response, several minutes went by without a response. Logan returned his attention to the movie, thinking that perhaps Virgil had changed his mind. But eventually, a reply came.

Virgil: Do you do Thanksgiving?

Logan briefly thought back to the last time his family had attempted such a get-together, several years previously. It hadn’t exactly gone well.

Logan: Not generally, no. Is this the “weird” inquiry you referred to?

Virgil: So not this year?

Logan glanced over at the sophomore, who was still resolutely looking at his phone.

Logan: I hadn’t planned on doing anything except study.

Virgil: You’re not going to Patton’s?

Logan: No, why would I go to Patton’s?

Virgil: …Bc you spent Christmas there last year?

Logan: I see your point. I actually spent the past two Christmases with his family. I do not do the same for Thanksgiving, however. His family is rather large and close and I am not overly comfortable with that sort of thing.

Plus, if one of Patton’s relatives were to ask if the two of them were dating, that would make things very awkward very fast.

“Loogannnnn,” Roman moaned at that moment, flopping his head back on the sofa and pouting up at him. Despite being the oldest, Roman sometimes acted like the youngest among them. “Your phone is too bright, it’s ruining the atmosphere! How will we ever properly enjoy this cinematic masterpiece like this?” He gestured forlornly around the room, which Logan supposed might have been slightly more illuminated than Roman generally preferred for their movie nights; but he didn’t think it was enough of a disturbance to truly upset him.

“Virgil is also on his phone,” Logan pointed out mildly. His phone buzzed almost immediately.

Virgil: Traitor

“Yeah, but he’s always on his phone. And his brightness is all the way down!”

Logan’s phone brightness was barely above the lowest setting, but he simply shook his head and lowered it the rest of the way. It wasn’t worth the argument.

“Thank you,” Roman sighed. Joan threw a piece of popcorn at him, and they snorted at the betrayed look he shot them.

Logan looked back to his phone, which showed a notification that Virgil was currently typing. The notification kept disappearing and reappearing, as if to show how indecisive Virgil was about whatever he was trying to say. Finally, another message came up, this one much longer.

Virgil: So this is stupid, like really stupid, but I wanted to ask if maybe me and my dad could come over for thanksgiving. He wants to come see me and eat dinner together and stuff but I don’t want him to go to my apartment. I figured yours is probably clean and you’re the only one without plans. And this is so dumb but I was hoping maybe you’d pretend to be my roommate and we could eat there? You can say no obviously.

Logan read the long-winded message twice, then glanced over at Virgil. He was slowly sinking into himself, but in a subtle way that almost looked like he was just getting comfortable; so no one else had noticed.

Logan thought for a moment, then typed out a reply.

Logan: To be clear, I am not refusing, but why not bring him to your own apartment? Is something wrong with it? Are you and Remy not getting along?

Virgil let out a long breath, slowly untensing. Patton, who was sitting next to him, glanced over at him and whispered something. Whatever he said made Virgil crack a smile, and then Patton went back to watching the movie.

Logan waited, wondering what might have spurred Virgil to make this request. He had never personally visited Virgil’s apartment, so he didn’t know what the issue might be. To his knowledge, the only ones in their friend group who had seen it were Virgil himself, his roommate Remy, and, on one occasion, Roman. Roman hadn’t mentioned anything unusual about the place, though. As for Remy…. Logan glanced over at the other chair, where the young man in question was lounging, catlike, his sunglasses pushed up onto his forehead and a drink in hand as he watched the movie. He hadn’t been acting at all unusual lately, as far as he could tell, and Logan was unsure why he would have agreed to have this movie night with someone with whom he was fighting, let alone to carpool there.

His phone buzzed again.

Virgil: No, everything’s fine with Remy. He’s going to see family, he won’t even be home

Virgil: Plus my apartments a mess

Logan waited for any further explanation, but none came. He started typing again.

Logan: Why not go see your father where he lives, rather than him coming here?

Virgil: He already made the plans and I don’t want to make him change them

Virgil: Please? You’ll get food out of it

Logan considered. It wouldn’t be the worst thing, he supposed, to have company. He didn’t know Virgil’s father, but he hadn’t heard anything bad about him. And Virgil himself was one of his closest friends. Plus, Logan didn’t want to be the reason that Virgil’s Thanksgiving was ruined. He wasn’t close with his own family, and he hadn’t been in years, but he recognized that familial ties were important to other people. Whatever Virgil’s reasoning for not wanting to let his dad see his apartment, Logan supposed it didn’t matter. He could help his friend.

Logan: Tentatively, I agree. I would like to discuss this further, though, beforehand.

Virgil: Thank you thank you thank you

…

“So, how were you hoping to go about this?” Logan asked, leaning against the counter. The two of them were standing in Roman’s kitchen, talking in low tones while the others put the living room back to how it had been before they took it over.

“I don’t know,” Virgil mumbled, pouring himself a glass of tea. “I just—I was hoping I could, like, bring him over to your apartment and we could just eat there. And you could say you’re my roommate and stuff. I’m sorry, it’s stupid.”

“It is odd, I’ll admit, but I wouldn’t call it stupid. However, is deception really necessary?” Logan tilted his had slightly. “Could you not simply tell your father you don’t want to eat at your own apartment?”

Virgil took a conspicuously long sip of his tea, not looking at him.

Logan supposed that that would have to serve as his answer. He straightened his tie. “Alright, so telling the truth is not an option, then. I suppose I don’t object to your plan, provided it doesn’t cause anyone harm. We could prepare the meal in my kitchen, and eat there. Although I am unsure how convinced your father will be that we share an apartment.” Logan’s apartment was very, well, Logan.

Virgil shrugged, looking troubled. No doubt the thought had occurred to him as well.

“Perhaps you could come over on Wednesday,” Logan suggested. “We could put some of your things in my apartment, to help sell the idea that you live there.”

“You’d do that?” Virgil looked surprised.

“Why not? It doesn’t cause me any inconvenience.”

“I’m uprooting your whole week,” Virgil deadpanned. “How is that not inconvenient?”

“Two days is hardly a whole week,” Logan said, waving him off. “Besides, we have the time off, anyway.”

“Hey, lazy butts!” called a voice from the other room. “Come help!”

“Yes, of course,” Logan called back. “Apologies, we were simply discussing something.” He started off towards the others, glancing back at Virgil. “Wednesday, then? Perhaps you could come over around six.”

Virgil nodded, and Logan went to help clean up.

…

Virgil drove to Logan’s apartment complex, swearing under his breath the entire way. Not even the My Chemical Romance CD he had in the player could soothe his troubled thoughts.

This idea was so dumb. It was so dumb. Taking over his friend’s apartment for Thanksgiving just so his dad wouldn’t find out he lived in a run-down dump? Making Logan pretend he was his roommate? Ruining his friend’s day out of his own selfishness? This was so stupid. And rude. He was a bad friend.

And yet, for some reason, Logan had agreed. Why? Virgil didn’t understand it. Logan didn’t owe him anything. They were friends, yes, and had been through quite a lot in the year or so that they had known each other, but Virgil’s request was still a lot. So why was Logan going along with it? It just didn’t make sense. It was like something out of a bad fan fiction.

Except a fan fiction would probably have them end up getting together. Virgil made a face at the thought. He liked Logan, yeah, but as a friend and only as a friend. And he was very sure that Logan felt the same way.

Anyway, whatever his friend’s motivation for agreeing to Virgil’s ridiculous plan, Virgil soon found himself making his way up to Logan’s apartment with a heavy cardboard box in his arms.

Rather than setting the box down to knock or ring the doorbell, Virgil just rammed his knee into the door a couple of times. It did the job.

Sure enough, Logan opened the door a moment later. “Ah, Virgil,” he said, stepping aside to let him in.

“Hi,” he said awkwardly, stepping inside but not moving past the threshold.

“What did you bring?” Logan asked, closing the door behind him.

“A couple posters… favorite mug… random sh*t.”

“Is there only the one box? Or are there more in the car?”

Virgil felt his face go slightly pink. “Just the one.” He’d brought about half of his decorations (he didn’t have a lot) as well as a few other things.

“Well, that makes things easy,” Logan said with a smile. “Come on in; that box looks heavy.”

It was, but not ridiculously so. Even still, Virgil was happy to set it down on Logan’s coffee table.

Putting up Virgil’s decorations didn’t take too long. They put up the posters in the sitting room, in empty places on the walls where they fit in as well as any of Virgil’s belongings would in this apartment. They added Virgil’s favorite mug and bowl to the collection in the cabinets, put his figurines on the shelves, and put his cat-face-shaped pillow on one of the chairs.

“I think that’s it,” Virgil said, peering into the cardboard box once more to check. “You’re sure you’re good with this?”

“I am sure,” Logan confirmed, nodding once. “Besides, it seems a little late to change plans, even if I had for some reason changed my mind.”

“Right,” Virgil said.

“I’m okay with this, Virgil,” Logan assured him. “It’s only one day.”

Virgil nodded, rubbing the back of his neck. “Thanks.”

“No problem. I’ll expect you tomorrow.”

…

The doorbell rang, the sound echoing through the apartment. Logan put his textbook to the side, got to his feet, and walked over to the door. When he pulled it open, Virgil stood there, looking sheepish; and behind him was a middle-aged man, smiling and holding a few bags of groceries.

“Hello,” Logan said, stepping aside to let them in.

“Forgot my keys,” Virgil mumbled, clearly his way of explaining why he’d had to knock on “his” apartment door to be let in.

“Hello,” said the man who must have been Virgil’s father, sticking out a hand. “I’m John, Virgil’s dad.”

“Logan,” he introduced himself politely, taking the man’s hand.

John’s expression grew confused. “Logan?” He looked towards his son, who made a small choking noise. “I thought your roommate’s name was Remy?”

“That’s our other roommate,” Logan said quickly. “He’s not home.”

“Oh,” he said. “Virgil, you never told me you had two roommates.”

Virgil shrugged, scuffing the toe of his shoe nervously on the floor. Apparently that sort of body language wasn’t too out of the ordinary, since his dad just set the grocery bags on the counter.

“Well, would the two of you like to help me cook? I picked up a few things on the way here. Nothing fancy, but it should make for a good meal.”

Virgil’s eyes widened. He opened his mouth, and Logan realized he was about to make an excuse for him not helping.

“I’d love to,” he said before his friend could do so. Technically, they were guests in his apartment, even if one of them didn’t realize it. It would be rude to not help prepare the meal, wouldn’t it?

…

“I think we should all go around and say what we’re thankful for. What do you two say?”

Logan, who had been carefully filling his glass with his favorite cinnamon tea, looked up. Across the table, Virgil’s dad was watching them both with a smile.

Virgil slowly nodded, then glanced at Logan. His expression said, please?

“That sounds like a fitting course of action,” Logan said, setting down the pitcher of tea. Sharing what one was thankful for was the sort of thing families did in movies on Thanksgiving. He’d never done it before, but he assumed he could figure it out quite easily.

Virgil’s father, John, gave him a curious look when he spoke—he did whenever Logan did, like he was trying to figure him out. Logan paid it no mind. Most people did that sort of thing when they first met him. Patton’s parents had done the same thing, the first time he joined them for Christmas.

“I’ll go first,” John said. He looked at Virgil. “I think you know what I’m thankful for. I’m thankful for my wonderful, smart, kind, compassionate son, who is perfect just as God made him. I’m thankful for my job, for this meal, for the health and happiness of my family, and for this life that I’ve been able to live.”

Virgil had gone as red as a tomato. He poked at his plate with a fork, mumbling something along the lines of “How am I supposed to respond to that?”

“Virgil?” his dad prompted, clearly amused at his son’s flustered appearance.

“You,” Virgil grumbled. His eyes darted towards Logan. “My friends.” He kept poking at his plate, addressing the mashed potatoes. “My job. Music. Spiders, except when they scare Patton.”

Logan nodded sagely. Patton could be quite the arachnophobe.

“What about you, Logan? Care to share?”

It was Logan’s turn to hesitate. “I am also thankful for my friends,” he said slowly. “And my health.” After complications from a seriously injury earlier in the year, Logan could say with certainty that he no longer took that for granted. “And for… occasions like this.”

No one made him elaborate. They returned to their meal. They talked, Virgil’s dad asking them both about school, how it was going, what Logan studied, what they were looking forward to in the school year. John talked a little about his job, or at least, about his colleagues at that job. The food that they ate as they talked had clearly been chosen with a budget in mind, but it was quite delicious.

Logan had had very few real family dinners in his life. Logan was glad that he had been able to make this one happen for his friend, even if it did involve some false pretenses. He didn’t know why Virgil didn’t want to let his father see his own apartment, or why Virgil was only seeing his father for the holiday. Perhaps later, Logan could figure out those reasons, and help Virgil remedy whatever the problem was so that he no longer felt the need to lie to his family. But for now, he decided to simply enjoy this meal. Logan could tell that getting to see his dad and sharing the evening with him meant the world to Virgil. And that fact made Logan smile.

[moviestorian]

Im glad the asks helped! I have anxiety and depression and can understand what youre going through. My ask today is what are your thoughts on Bo Rhap as a movie?

Thanks! :) I’m above all extremely happy to see people on this site being so kind and supportive in time of need, it’s a human quality that will never get enough praise! I’m also really sorry to hear about your problems. :( I send you lots of love, I can imagine how difficult it must be for you, but I’m sure you're strong and coping❤️

As for your actual question - that’s some truly excellent and interesting timing, considering that I rewatched BoRhap (with @incblackbird) literally three days ago. :P It was already my third rewatch, and while I enjoyed the movie overall, I liked it quite significantly less than upon the last time I saw it. Of course, there’s been gazillion discourses about BoRhap, whether it’s genius, extremely evil, etc., but since it’s such a broad topic (and I think some of my opinions could potentially outrage certain parts of the fandom), this time I’m going to stick to purely cinematic terms.

Needless to say, the soundtrack is excellent - with music such as Queen’s you don’t really have to do much, but they made a good choice of songs, alternating between their best known hits (We Will Rock You, Somebody to Love, Bohemian Rhapsody) and songs to fit the narrative (Doing All Right, Now I’m Here, Who Wants to Live Forever, Love of my Life). It’s practically impossible to leave the screening of BoRhap without at least one Queen song stuck in your head.

The cast was overall very good, too. My personal favourites in terms of acting were Gwilym Lee (who I liked even more than Rami), Rami Malek, Lucy Boynton and Allen Leech - I think they did a great job with their roles as they were written (whether their characters were well written or not is a subject for a whole another discussion). All the side characters were well acted, too (Mike Myers, Meneka Das and Aaron McCusker, for instance, I found particularly memorable), but I must admit I wasn’t a big fan of Joe Mazzello and Ben Hardy, but even they weren’t bad. So, acting is definitely one of the strongest points of the film.

Moving on, I also think they did a great job when it comes to costumes (Brian lending some of his old clothing definitely helped) and make-up (except for Roger’s wigs, perhaps); the choreography and stage movement for the characters were super well done, too - and it definitely wasn’t an easy task!

Now, let’s discuss cinematography. I will talk about editing in a separate paragraph, so for now I’m gonna stick to other aspects. The composition of shots struck me as rather mediocre, nothing particularly exceptional in either good or bad way, it was pretty basic but rather correct. Of course, there were some shots I really liked, but if I were to start adding screenshots the post would become way too long. XD The colours I really liked, especially in the musical scenes - they were vivid and lovely, and they used a combination of colours that I tend to appreciate in cinema, like various shades of blue and red. Finally, the camerawork - for dialogue scenes it was correct; again, rather average with some use of handheld camera which served no particular dramatic purpose, but it wasn’t nowhere near very bad, also it’s quite a common thing in modern biopics I would say. Handheld camerawork isn’t bad in default, but my comment largely comes from my personal preferences: in most cases I don’t really like it, especially when it’s particularly shaky. Then, there are scenes in BoRhap which display excellent camerawork, namely Live Aid and We Will Rock You scenes. If most scenes were filmed like that, I would give the movie a higher rating.

Before I move to the worst (imo) cinematic aspects of the movie, let’s have a look at writing. It is probably the most divisive thing in the fandom - people seem to either adore or absolutely loathe it; my stance lies somewhere inbetween. The first time I saw the film (I’m gonna remind you that I’ve seen it four times), I had certain objections, but the script didn’t bother me all that much; I was mostly simply having fun in the cinema. With every next watching, the experience was getting gradually worse, but even now I don’t hate the movie. Yes, some of the dialogue is cheesy, trite and makes me cringe a bit - certain parts of the script definitely end on an “overly sentimental” territory, I can’t deny that. Knowing quite a lot about Freddie, Queen and their stories, I generally think they deserve a better script; some characterisation was a bit offputting and chronology was all over the place. Having said that, I understand where some of those narrative choices come from, as scripts for mainstream movies require oversimplification of events, archetypes, and patterns. And quite frankly, I don’t think BoRhap differs any drastically from most modern biopics; it’s not a masterpiece, but - in my opinion - it’s also not bad overall. Regardless the flaws of the script, the movie still managed to emotionally affect a huge, if not major, portion of viewers, entertain and move them, and honestly? I think that was pretty much the point. Btw, there were some lines that I really loved, like “Puritans in public, perverts in private”, and I still think that their decision to cut from Live Aid performance to Ray Foster’s grim face during We Are the Champions was the funniest shit ever. XD Would BoRhap’s script benefit from sticking to historical accuracy? I’m gonna say yes, I think so - the scenes that were the closest to actual events are definitely the strongest - but this approach would require tons of changes, including narrowing down the narrative scope and probably the characters, too. Also, a lot of people keep forgetting that this is not an arthouse, niche film and therefore resorts to narrative and cinematic choice that compromise between satisfying the fans and the newbies; it’s meant to tell a (simple) story and entertain, not educate and provoke existential and philosophical debates. Still, I think the script could have been done a bit better, because some scenes  (the tour “Now I’m Here” montage) feel a bit...random?

Finally, the infamous editing. I totally agree that it was one of the most undeserving Academy Awards that year, because some scenes were simply atrocious, with their unmotivated and overly fast cuts and unreasonably ridiculous face that doesn’t fit the dialogue scenes, and those are honestly the worst when it comes to pacing and editing. I think the editing is the worst aspect of BoRhap; but even here, I could point at some examples of pretty amazing editing (Oscar-worthy? Not necessarily, but definitely very good); again, I’m gonna bring up Live Aid and “We Will Rock You” scenes, especially the latter, because less people talk about it. I already mentioned that it has some really nice camerawork AND colours, but also the editing is actually really cool, because it’s cut to the music! Which makes me think: “what a shame!”, because if they went with different editing choices, the movie would be affected in a positive way. The way we have it, it’s either a hit or miss (sadly, mostly miss), and the badly edited scenes are pretty striking, so the ones that are done nicely are unfortunately a wasted potential.

Okay, this is already waaay too long, so I’m just gonna finish with a few general remarks. Well, despite BoRhap’s flaws, I still like and enjoy it. With every screening slightly less, but enjoy it anyway. I don’t think any amount of discourse will ever take away my positive experiences and memories from seeing it twice in cinema. It sparked my previously dormant love for Queen and united me with some people in the fandom and in real life; making this movie made Brian and Roger happy; as a result, I like this movie. It brings back a lot of positive recollections, which sometimes is more important than critical discussions. And boy, do I adore those - I’m often critical and I adore analysing stuff academically; but I think that not all daily interactions require those and depending on who’s asking and what about, I’m capable of switching between the two options. If somebody asks me in 25 years whether I remember the times of BoRhap’s release, I’ll be far less likely to say “yeah, the editing sucked and writing was cringy, I remember the discourse on tumblr and instagram” than “Yes, I remember that chilly evening in December when I had a really fun time and ended up with 10 Queen songs stuck in my head”, because the latter is the experience I want to remember.

Thank you for this ask! Hope it wasn’t overly exhausting to read, I didn’t proofread this, sorry! xx

[wonderfulworldofmichaelford]

Is It Really THAT Bad?

There really is only one way I could ever kick this series off: with the very movie that inspired it. Robot Monster is a B-movie with a reputation that precedes it by many miles. Even f you’ve never actually watched this, you might have heard that it is one of the worst films of all time, because as we all know, independent B-movies with no budget need to be held to the same standard as Hollywood blockbusters. These days most people have settled into calling it a prime example of “so bad it’s good” cinema, with folks like film historian Leonard Maltin calling it “one of the genuine legends of Hollywood - embarrassingly, hilariously awful.”

But even back in the day when it came out there was some claims this film wasn’t so bad. Variety, of all publications, said that “Robot Monster comes off surprisingly well, considering the extremely limited budget ($50,000) and schedule on which the film was shot." After years of hearing nothing but that this film is an utter travesty, it can be especially bizarre to hear that even in its day, there were people who understoof that maybe this film shouldn’t be held up to the same standards as something like Citizen Kane or a Hitchcock film. Maybe it should be judged… as a low-budget B-grade sci-fi film! GASP! What a concept!

THE GOOD

I think perhaps one of the genuinely greatest aspects of this film is the score, which was done by, of all people, Elmer Bernsetein. If you don’t recognize the name, you will almost certainly recognize the vats body of work he has, with his resume including composing work for The Magnificent Seven, The Ten Commandments, The Blues Brothers, Heavy Metal, Ghostbusters, The Black Cauldron, Wild Wild West, An American Werewolf in London, and even the music video for “Thriller.” This is one of his earlier works, and it is still absolutely fantastic, to the point where some (but not I) might feel it belongs in a better movie. It quite frankly uplifts the material onscreen and gives it a grander weight that a lesser composer might not have been able to accomplish.

Contrary to the popular concept of B-movies, most of them have pretty decent acting at least, and this one is no exception; most of the cast is relatively solid, with even the little boy actor managing to turn in a solid performance; he’s not overly remarkable, sure, but he is just as petulant as he needs to be, and he does contribute some genuinely good ideas at points. Of course, the real stars of the show here are the physical performance of Geroge Barrows and the astounding vocal performance of John Brown as the legendary B-movie monster Ro-Man. We never see his face, and yet the physical acting of this man in a gorilla suit and fishbowl combined with the powerful voice of Brown really comes together.

And speaking of Ro-Man, I’m just going to come out and say it: the cheapo monster design that has been so widely mocked for decades is something I find to be incredibly inspired, unique, and genuinely great. Yes, I’m sure when you hear the phrase “robot monster” the first thing that comes to your mind if you’ve never heard of the film would most likely not be “gorilla in a diving helmet.” But it has such a creative charm born from a lack of finances that it’s truly impossible to really hate the creature. It helps that Ro-Man has gone on to make various appearances in cameos in pop culture, as well as helping to inspire the design of the character Minion from the cinematic masterpiece Megamind.

And all that aside, are you really so stone-hearted you can bring yourself to hate this guy?

The Bad

There are a few issues that pop up within this, with one of the more major ones being with the story structure. While the plot itself isn’t super bad, with it being basic B-movie fluff and the short runtime gives it a decent pacing, there’s a weird amount of padding, most noticeable during a stretch of time where it just cuts back to Ro-Man walking up and down a hill as dramatic music plays. The use of weird stock footage from old dinosaur movies also comes off as a bit weird. Still, the strangest bit of all is Ro-Man’s sudden and inexplicable lust for the human woman, to the point where he almost screws up his entire mission because he’s suddenly become horny. It’s rather jarring and out of nowhere, though it at least leads to some good lines from Ro-Man.

Out of all of the actors, the little girl is probably the most annoying. She’s so annoying, in fact, that it almost comes across as a mercy when Ro-Man finally strangles her. And her death is kind of underplayed, especially by her brother, who doesn’t seem too shaken up by how his sister has been strangled and that the extremely low amount of people left on Earth has now gone down.

And speaking of the boy, the ending reveals that the entire film was just his dream, which is one of the absolute worst endings a work can go for. A last-second reveal shows that the prior events may have actually been some sort of prophetic dream, as it is implied that Ro-Man and his masters will invade the Earth after all, but it still is a bit of a cop out. It takes a really great work to pull off the “all just a dream” twist ending, and while this movie is certainly not awful, it’s definitely not The Wizard of Oz or Super Mario Bros. 2.

Is It Really THAT Bad?

This movie really did not live up to its reputation at all. I went in expecting some hilarious disaster of a film, and instead what I got is a flawed yet charming B-movie that managed to be extremely creative despite its low budget and features a lot of good elements. While I don’t think it all comes together perfectly, and I’ve definitely seen far better cheesy B-movies, this is certainly not the bottom of the barrel as its legendary infamy would have you believe.

Its solid 3 on IMDB I feel is a bit too harsh; while certainly no masterpiece by any stretch of the imagination, it definitely feels like a three is a bit two low when there’s actually quite a bit good going for it. Realistically, I think a score in the mid-to-low fives would be a much better score for the film. As for its status as a “so bad it’s good film,” I think it is at least somewhat fair in this case, as the story itself is rather wonky, but I don’t think the film is bad for its quirky creativity, such as Ro-Man or the bubble machine; unique little quirks of the film I feel are genuinely good and help set it apart from other B-movies from the time and give it a unique identity that not many movies can match.

I think this film is most comparable to something like fellow B-movie The Giant Claw, where most of its more ironic fandom comes from the goofy monster than anything. I think that is warranted, as Ro-Man is just such a wonderfully iconic B-movie villain; maybe we should get Guillermo del Toro on the phone and see if he wants to do a sexy reimagining of this movie next. It’s what he deserves.

[letterboxd]

How I Letterboxd #3: Dave Vis

If you are one of the thousands of Letterboxd completists attempting to log every film on our official top 250, you have Dave Vis to thank for keeping that list current. He tells us why he adopted ownership of the list, how he felt when Parasite “dethroned” The Godfather, the curious case of A Dog’s Will, and several Dutch filmmakers worthy of discovery.

You wear your tenure proudly on your profile (“Member since 12/11/2011”). How did you come across Letterboxd way back then? I joined in the beta days when I got an invitation in November 2011 from a good friend who knew I was into film. Up to this date, I have no idea how she got a beta invitation for a movie geek website from New Zealand, but I’m happy she did!

Here’s the $49 question: How do you Letterboxd? I joined because I found it useful to keep track of everything I watched. At that point, I was probably still ticking off films from IMDb’s Top 250, and Letterboxd was a cool way to make other lists and see how I was progressing. When I started using the site more often, I also got to follow more users and enjoyed reading their takes on films. I don’t follow a lot of people, just a few that I know in real life and some other early adopters of the site whose opinions of film I got to value.

Talk us through your profile favorites. What spoke to you about these four films? The pragmatic reason for these four is that they were the last films I watched that got full marks from me. So the four favorites on my profile keep changing as I come across more films that I think deserve five stars. About the current ones: Jaws, of course, is an absolute classic, maybe even Spielberg’s greatest. How he creates that much tension with minimal exposition is masterful. Blade Runner 2049 baffled me, especially on an aesthetic level. I love how the story slowly unravels in probably one of the best world-building efforts of the last couple of years. The Lord of the Rings: The Fellowship of the Ring doesn’t need much explanation, I think. Peter Jackson did what was generally thought impossible and in a way that had me walking out of the cinema in awe of the spectacle and production design. Last but not least, Nausicaä of the Valley of the Wind. I’m a huge fan of the Studio Ghibli films and this one, [as well as] being the studio’s unofficial first, is probably my favorite. You can just tell that they worked years to get Hayao Miyazaki’s life’s work to the big screen.

Let’s get down to brass tacks: for the past six and a half years, you’ve been running the Official Letterboxd Top 250, one of our most popular and important lists. What prompted you to start the list? Did you think you’d be keeping it going this long? At least part of the credit goes to someone else on Letterboxd, because even my list is a cloned one! A great deal of thanks goes to a member called The Caker Baker, who sadly isn’t part of the community anymore, for having the idea of doing this list even before me. On the exact day Letterboxd introduced a sorting option by average rating on the Films page, he created the first top 250 list.

I decided to clone that list [Dave has archived it here], because I wanted to filter out the documentaries, shorts and miniseries. As long as I am interested in film and won’t have completed the list, I do see myself keeping it. I feel the overall quality of the list is outstanding and for my taste and film-watching experience it’s probably the best combination of blockbuster hits, timeless Hollywood classics, non-English spoken gems, and some pretty obscure entries.

What’s involved in keeping the top 250 up-to-date? What’s the hardest thing about it? Have you ever found the responsibility a burden—your ankle chained to Letterboxd each week? (We’re grateful!) These days it isn’t much of a bother at all, actually. I’m still so grateful for you guys introducing the ability to sort lists by average rating when editing them a while back. That was a huge relief, I can tell you! And apart from the odd comment when I’m a bit late on my weekly update or when I’m on a well-deserved holiday (yes, even the ankle chain comes off once in a while), I don’t feel like it’s a burden at all.

Let’s unpack it a bit. What are the best films you’ve discovered because of the list? Shoutout to my choices: A Special Day, Harakiri and The Man Who Sleeps. Harakiri is an excellent choice! If it wasn’t for Letterboxd’s top list, I would probably not even know about it today, although it also cracked IMDb’s top 250 last year. What a beautiful film. If I have to name two other, one would be The Cranes Are Flying. I’ve rarely seen a film about war being depicted so beautifully. The other is It’s Such a Beautiful Day, the animation by Don Hertzfeldt about a stick figure you get to care deeply about in a time span of just over an hour. Very different films that, without Letterboxd, the chances are next to zero that I would have checked either of them out. Joining a Kickstarter to finance my own Blu-ray edition of the latter was special too.

Béla Tarr’s 1994 masterpiece ‘Sátántangó’.

So, what’s your percentage-seen of the top 250? Which films rank highest on your list of shame? Are there any that you don’t think you’ll ever watch? At this moment I’m at 175 of 250, so 70 percent. I rarely consider films as being on a ‘list of shame’, but as I scroll through the unseen ones, there are a few that stand out. La Dolce Vita and Sátántangó [Editor’s note: recently re-released in 4K, nudge nudge] are ones that I feel I should have watched by now. Both are magnum opuses from legendary foreign filmmakers. Don’t really know why I haven’t though, but all in good time. Any that I think I’ll never watch? There’s not much I wouldn’t watch, but some are just so daunting in their runtime, that I’m not sure if I will ever feel up to the task (yes, La Flor, I’m looking at you). Probably also the reason I never popped Sátántangó in.

Has the way Letterboxd’s membership has changed and grown affected what’s in the top 250 in any interesting or unexpected ways? That’s not a very easy question to answer, because different people will be surprised about different things. However, you do see a trend—surprising or not—of traditional western cinema classics giving way to more non-English language films doing well on the list. Asian and Brazilian films have skyrocketed to great heights, often at the expense of western classics. Films that are traditionally doing great at IMDb, such as Pulp Fiction or The Good, The Bad and The Ugly, were in Letterboxd’s top ten for a long time, but have both dropped out of the top twenty. Beloved classics among film critics such as Citizen Kane, Sunrise: A Song of Two Humans and Casablanca aren’t even in the top 100 anymore.

We now have a top ten with three Japanese films, one Taiwanese, one Russian, one Brazilian and a South Korean film at the very top. The only English spoken films left there are the two Godfathers and 12 Angry Men. I do tend to suspect that the growing community causes more diversity while also fuelling the more traditional moviegoers to broaden their interests. I personally think that’s a great development.

How did you feel when Parasite overtook The Godfather to become Letterboxd’s highest-rated film of all time? Do you think it’ll ever sink at this point? To say I was surprised is quite the understatement. For something to even come close to The Godfather’s record borders on sacrilege, let alone dethroning it. What you usually see is that new movies with overly positive reviews enter the list’s higher ranks with a bang, but when they are introduced to a bigger crowd, they slowly descend. For example, fellow acclaimed Best Picture nominees 12 Years A Slave, Her, Call Me By Your Name and Roma all peaked in the top twenty and only Call Me By Your Name is still in the list, at number 232 for now.

In these days of ready availability it is extremely hard to create something that has such a large following. That’s why this takeover by Parasite is so extraordinary. Seeing it rise day-by-day—even after the masses took it in—was something I didn’t think possible. I, for one, am very slow to watch new films, so when I got to watch it, it was already in first position. Safe to say my expectation level was through the roof, which probably wasn’t really fair. While I thought it was an excellent film, I personally wouldn’t rank it among my favorites. However, it’s not only the highest-ranked film on Letterboxd, but also the most popular one [a measure of the amount of activity for a film, regardless of rating]! So don’t expect to see it sink lower any time soon.

The top 250 is home to the largest comment section on the platform. Congrats! What’s monitoring that mammoth thread like? Thank you! Although that’s hardly an achievement on my part. I have to be honest, I don’t read everything in the comments section anymore. I try to keep up as much as possible, in order to respond to people who have an actual question. However, when I sign in in the morning and see dozens of new notifications, most probably about A Dog’s Will being in the top ten or about recency bias or about objective quality versus subjective quality, I let it pass me by every so often.

What is your take on A Dog’s Will’s rise to Letterboxd stardom? (At the time of writing, the 2000 Brazilian film from director Guel Arraes holds the number eight spot in the top 250.) Ah, there it is: the elephant in the room… My honest answer is a politically correct one, but also the truth: I haven’t seen it yet, so it’s impossible to pass judgment. However, from the comments section on the top 250, it seems clear that there are two camps: the Brazilians, who adore the film and continually claim the importance it in their cultural heritage. And there’s the other group, mostly non-Brazilians of course, who think it’s a fine film at best, but in their opinion not deserving of a top-ten spot. I’m quite impartial: if the statistics say that it is one of the best-rated films of the Letterboxd community, why would it not deserve to be there? I am curious though if more non-Brazilians will see it and if so, if that will have a significant effect on its rating. We can only wait and see.

Are there any films you’re surprised to have stayed in the list for so long? Conversely, what are some films that we’ll be surprised to hear have never made the list? If I have to name one film that I’m surprised about, it’s one I haven’t seen yet: Paddington 2. Every time I scroll past it, I find myself asking: “wow, this one still in?” It’s probably because I haven’t seen it, but it always strikes me as an odd one. I really have to seek it out some time. Some films that might shock people never having made it… Well, if you look at IMDb’s list for reference, you could say it’s shocking that a film like Forrest Gump never made it onto the list, but that might not be as much of a shock to Letterboxd members. Other popular crowd pleasers that never made it include E.T. the Extra-Terrestrial, Gladiator, all of Disney’s non-Pixar animated classics, and one of the films that also sparked my interest in movies, The Usual Suspects.

Dave has not seen ‘Paddington 2’.

I’ve actually been working hard on completing the list during quarantine and I finished it yesterday. Has anyone else gotten to 100 percent yet or am I the first? I have no idea, to be honest! There will probably be others who have, but I wouldn’t be able to name one. I suspect Jakk might have reached 100 percent at some point.

My completist streak will need a new avenue. What are your next most essential top lists? If you ever feel up for a challenge, I recommend Top10er’s 1001 Greatest Movies of All Time. He combined the average ratings of critics and users from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results with general film data from several services. I have no idea how, but it’s a terrific list. Also, the directors’ favorites lists that are on Letterboxd are awesome. Edgar Wright’s 1,000 favorites and Guillermo del Toro’s recommendations are especially worth your while.

The top 250 list is the tip of the iceberg for the lists on your account. What is it you enjoy about keeping ranked lists? It’s a compulsion. I just really enjoy making lists, ranking films by certain directors, franchises or studios. Not really useful, mostly just fun to do! And I’m not the only one, it seems. Although, of course, lists like the Letterboxd Top 250 will always be an inspiration for finding well-rated films I haven’t seen yet.

Which films got you hooked on cinema? I do have a few titles that were important in terms of my film-watching development. Films like Terminator 2: Judgment Day and Jurassic Park came out when I was an early teenager and those were the ones luring me to the cinema to see and experience things you just couldn’t in the real world, both with groundbreaking special effects—I’m a sucker for those. Not much later, titles like The Shawshank Redemption and Pulp Fiction were popular and that’s probably around the time that IMDb’s list got my attention. That top 250 gets a lot of criticism, but the overall quality is fine and for me it was the perfect step in broadening my film-watching.

So, for a long time I watched a lot of films on that list and went to the cinema for your usual blockbusters, probably until Letterboxd arrived. That’s when I started watching the artsier stuff and foreign cinema of which, of course, all classics eluded me up till then. It was films like Seven Samurai, Persona and Werckmeister Harmonies that sparked that particular period. Now I just watch everything that comes my way that seems interesting or entertaining, from the new Marvel instalment to classic Godard.

Tell us about the one and only movie you’ve given a half-star. Ha, that’s an odd one… Once there was a challenge on the site that you could ask a fellow member to pick the next ten films for them to watch. I participated once and, of course, there would be underseen gems or personal favorites on that list, but also one or two that would be almost unwatchable. In my list that was Santa and the Ice Cream Bunny. If that title alone doesn’t give away how bad it was, watching the first five minutes will.

In your opinion, what’s the most underrated film according to Letterboxd average ratings? One that comes to mind, which was in the top 250 once, but has dropped substantially in the last few years, is Gravity. I also have a list where I collect all the films that were once in Letterboxd’s top 250 and it’s at the very bottom there. For me, seeing that film in a theater is what cinema is all about—finding new ways to immerse your audience into a movie experience they have never had before. Oh, did I mention I’m a sucker for special effects?

Dave is a sucker for special effects, including those in Alfonso Cuarón‘s ‘Gravity’ (2013).

As a Dutchman, please educate us: what are the greatest Dutch films people should see? The Netherlands doesn’t really have a thriving movie industry that brings its films across borders. If I have to give the essential tip, it would be Spoorloos, which was remade starring Kiefer Sutherland and Sandra Bullock and was not half as good. Other than that I would recommend Paul Verhoeven’s early work, such as Soldaat van Oranje and Turks Fruit, and the two Dutch films that won the Oscar for Best Foreign Language Film, 1986’s De Aanslag and 1997’s Karakter. And to top it off, I want to mention two Dutch filmmakers worth your time, Alex van Warmerdam, director of De Noorderlingen, and Martin Koolhoven, director of Oorlogswinter.

What comfort movies are you watching whilst in quarantine? Are you working on any viewing projects? I actually am in a viewing project at the moment. One of mine and my wife’s guilty pleasures is superhero movies! So currently we are, again, on a Marvel Cinematic Universe rewatch streak. They just provide a wonderful form of escapism and are definitely deserving of the term comfort movies. Some are better than others of course, but the perspective of rewatching The Avengers, Thor: Ragnarok or Guardians of the Galaxy after a while still tends to fill me with excitement. In a way, there’s still a bit of the twelve-year-old in me that was so thrilled to see T2 or Jurassic Park.

How do you plan on inducting your kids into the cinephile life? Well, most important is that they just enjoy going to the movies like I did when I was young. Let’s hope we will be able to do so again in the near future. They are still young, but their access to screen time with Netflix, Disney+ and (mind-numbingly stupid clips on) YouTube is so different than the days when we were young. So having them watch some Ghibli classics is already quite a step. And then I think the rest should come naturally. If not, so be it.

Which, for you, are the most useful features on Letterboxd? Did you know they have a list with the 250 best rated narrative feature films? That’s basically all you need to know… All kidding aside, just reading reviews once in a while by fellow members whose opinions I value is still the heart of the service to me. That and the statistics pages. And browsing other lists.

Does anyone in your real life know that your list is kind of a Letterboxd big deal? Not really! Mostly because I don’t exactly feel that way about it. I mean: my wife knows, but other than that it’s pretty much still my pet project. To me, it’s still just a film enthusiast’s list that so happened to become the site’s official top 250. I do have to say that it is humbling to see the numbers of new followers every day—especially when Letterboxd mentions the list on her social accounts—and to realize that apparently almost 23,000 people around the globe have taken a liking to it.

Please name three other members you recommend we follow. Fellow countryman and longtime member DirkH. He is not as active as he was before, but writes beautifully personal reviews, always with his trademark witty humor or sometimes cheeky sarcasm, not always to the liking of everyone. You all got to know Lise in the first How I Letterboxd, but I’d definitely also recommend following her other half Jonathan White. His reviews are great, he knows so much about film and is always willing to share his thoughts or answer questions. And damn, that man can rhyme. Then there’s Mook, if only for his franchise lists. Check out his MCU list, it’s my go-to place when I want to read up on anything Marvel.

Related content

Official Top 100 Documentary Feature Films

Official Top 100 Narrative Features by Women Directors

Letterboxd’s ‘Official’ Top 50 of 2020

Several of the films mentioned in this interview—Sátántangó, La Flor—are (at the time of writing) available for virtual screenings. The details are in our Art House Online list.

[technicolortheshow]

BOHREN & DER CLUB OF GORE

My Bloody Quarantine part 1

The last six months have been pretty shit, hey? It looks like there is no future anymore... global warming, COVID-19, Australia on fire, wars... shall I go on?

ANYWAY, we are not here to talk about a stupid government led by a buffoon with a mop in his head (ops!) but to praise one of the bands who kept me company during this bloody quarantine of mine: BOHREN & DER CLUB OF GORE. This German act, in fact, hung out with me during the several nights of insomnia, which, trust me, were devastating, loooooong and cold. Cigarettes after cigarettes, wine after wine, I thoroughly enjoyed the discography of the quartet and I thought it was time to write something about them.

Because of the slow-moving and nocturnal nature of their music, a doom jazz plenty of end-of-the-world ballads, or, in their words "unholy ambient mixture of slow jazz ballads, Black Sabbath doom and down-tuned Autopsy sounds", I happily matched their records to these apocalyptic months. Just like a dark noir by Leo Malet, or a Terry Gilliam dystopian movie, Bohren & Der Club of Gore managed to convey, over the last 25 years, a deep sense of ethical abandonment and claustrophobic imprisonment. There is no future in the music of the German band, no escape from reality, which is doomed and looped into an endless limbo. A not long time ago - which now seems AGES ago, to be honest - I went to the White Cube for the latest Kiefer’s exhibition. I believe that the combination of BCG music and Kiefer’s artworks pretty well. 

Over the last months, while listening to them, between a Medoc and a Nebbiolo, I was picturing the band in a smoky “bar at the end of the world”, channelling some kind of Tom Hillenbrant’s dystopian political setting or a Lynde Mallison’s grey cold painting. The best description, though, comes from the band website: “Dear friends of nighttime drives, remote bridges to nowhere and empty multi-storey car parks”. Club Silencio state of mind, indeed.

The ensemble has constantly been releasing high-quality records since 1994, with the first doom jazz album called MOTEL GORE - albeit the first release was a 1992 cassette filled with post-hardcore noise published under the name of Langspielkassette. MOTEL GORE is, as someone brilliantly described it “audio pointillism”. I think this similitude is accurate: the band did draw tiny dots of obscure, eerie, music on canvases of sound. “Die Fulci Nummer” drives me mad, with its spectral adagio: it’s so good it would’ve been great in the Fulci’s masterpiece Non si Sevizia un Paperino. “Cairo Keller” is charming and evocative, reminding me of a possible soundtrack for Lovecraft The Nameless City. Extra points for the brilliant reference of the cover.

in 1997 BCG published MIDNIGHT RADIO, two hours of lynchian-LA-night-driving-without-a-destination soundtrack. if it is true that its predecessor "Gore Motel" is more song-oriented, and therefore a lot easier to listen to - it’s evident that Midnight Radio is more rewarding in its own special way: it’s a journey in the darkest corner of your mind. Yes, because the journeys BCG offers are not only external but often internal. The band has developed over the years a therapeutic dialogue between the listeners and their consciousness. Jungian jazz music anyone? LET’S DEBATE!  

By the way, while writing this article, I’ve realised how difficult is to talk about BCG music without quoting several cliches - everyone always ends up referring to the same stuff:” car parks”, “night drive”, “Lynch”. But I have to admit, in this case, it’s definitely true! Listening to BCG can really inspire these topics under our skins, as trivial as it sounds! The point is: they do it better than anyone else, they have been doing this forever and they represent the top in this particular sub-genre. With the results of a cinematographic component in their music that leads to these night drive scenarios, post-modern inner state of minds. Bravo!

Let’s go back to Midnight Radio, to BGC and their discography. It’s undeniable that their music fits perfectly in the set of the SLOW TV/MUSIC/YOUTUBE movement. From The Norway train to this 1986 Canadian TV show called “NIGHT WALK” (which, by the way, looks freaking awesome), from Andy Warhol’ “SLEEP” to Kiarostami or Tarkovsky cinema, the slow movement has left an imprint to contemporary culture. Arguably, BGC, with their long holistic records, is part of the movement. Calming the listeners and bringing them into a meditative state of mind, without being mindfulness - luckily. The point is: BCG makes you think about yourselves, finding out that you are someone you should be scared of! Know yourself, fear yourself!

All that Jazz came in 2000 with the thrilling “SUNSET MISSION”, thanks to the help of saxophonist Christoph Clöser. In this record the band opened up the sound, literally letting some fresh air to enter their music, easing the claustrophobic moods of the previous albums. A hint of lounge-ness came in, due to the mellow, yet sophisticated, sax of Mr Clöser. It is still quintessential BCG, with the nihilism of the band raising up form the bass. Slow, reiterated bass lines are running through the record, giving to Sunset Mission a gloomy, hypnotic cadence. The liner notes include a quote from Matt Wagner's Grendel comic book, which reads: "Alone in the comforting darkness the creature waits. As confusion reigns on this hellish stage, the deafening grind of machinery, the odious clot of chemical waste. Still, the trail of his ultimate prey leads through this steely maze to these, the addled offspring of the modern world.

According to many people, 2002 ‘BLACK EARTH” is BCG masterpiece. I don’t know yet, as I REALLY like them all. What I can say is that Black Earth sounds a lot more accessible, with an even more developed sense of ‘lounge-ness’ which was not so evident in the previous records.  Blach Earth is a good record. Perhaps the trick here is the balanced tempo of the saxophone. Perfectly played within the songs at the right time, Christoph Clöser’ sax conveys an open jazzy sound. One of my favourite directors ever is Jean-Pierre Melville, his movies are everything I like in term of style and plot. Noir a là Dashiell Hammett, but French and without hope - give me more of this, Hollywood, please! Enough of fucking Marvel heroes, give me noir hard-boiled movies! 

Black Earth could have easily been the perfect great soundtrack for Mr Melville’s movies - especially, IHMO, Bob le flambeur. Think about it: a french man, with a cigarette in his mouth, gambling his life for a young woman, in a dirty Marseille, with the BCG slow tempo doomed jazz. yasss please, give me more. Or a glacial Alain Delon killing his lover for money.

Black Earth was followed up, in 2005, by “GEISTERFAUST”, which is considered a slower than ever version of the former album. In Ghost Fist (this is the translation) Bohren & Der Club of Gore has stripped down its sound to the bone, becoming more gentle and less aggressive without any compromise. 5 songs only, named after the 5 fingers of the hand, for an hour of dark jazz. Again, excellent quality.

I have been buying BCG on CD, I think this music on vinyl does not sound perfect UNLESS you have an extremely high-quality sound system, Like some classical music issue, where you need to hear the pianissimo of the piano and single notes, BCG music deserves a very clean medium, I would say CD is the best.

Jazz de nuit again on their seventh album “DOLORES” published in 2008. This record is pure Badalamenti, pure Lynch in the night. Within the ten songs of Dolores, the core idea of slow-music is even more highlighted, with no guitars at all on the whole album and a sedated keyboard-based mood.  In 2009 the band released a 10 minute EP called “MITLEID LADY”. it is strange, because, albeit recorded just after Dolores, it sounds way more gloomy and somehow different. It is BCG but has another level of sophistication compared to the previous record. This step further in the direction of stylistic accuracy is confirmed two years after, in 2011, with another EP, this one named “BEILEID”. The cover of the record is a reference to the famous Edward Gorey, or at least I believe. 

The record includes the cover of  "Catch My Heart" by German heavy metal band Warlock, with vocals from Mike Patton. I believe this is the only song with a singer in the entire catalogue of the band. Beileid is a cinematic mood-changer composed of pained saxophone solos, and ghostly string sections, an album that will sweep your mind away into dreamland. A must-have IHMO.

In 2013 the ensemble released “PIANO NIGHTS” probably the warmest record of the band. The Piano obviously helps a lot in making the sound softer and brighter - candle lighted rigorously. A German Gothic feast, with a touch of Teutonic expressionism - who remembers the movie The Hands Of Orlac. BCG should definitely play the soundtracks of this movie. A twisted, dark, thriller with Gothic and expressionist elements. After many years, the band introduces the 

Finally, in 2020, the band published “PATCHOULI BLUE”. A pristine, unique, summa of their work, which manages to sound similar to other releases of the band, yet unique, with something different, like a small accent. 50s noir glam, Badalamenti, German Gothic, Slow-Movement philosophy are all elements we can find in this record, but there is something else: a hint of electronic, which can possibly open new territories to the band. I am curious to see if they will become a techno ambient act in the like of Gas (joking).

Aristotle once said that the whole is greater than the sum of its parts. I guess this is the whole point in BCG’s music. The synergy the band has been consistently showing over the last 3 decades, and the constant refinement of their own skills. 

VIVA BOHREN! 

[lilpee-pee]

Hilda is even more obscure than I initially thought; a mythological masterpiece!

I’m not sure how many other people have noticed this, but here’s the list I’ve made from lots of research! This post will consist of no specific spoiler. But if you don’t want to know about anything yet, DO NOT READ THIS!!!

So after re watching the entire show, I noticed something rather interesting. Each episode features a creature or culture derived from ancient mythology. 

Episode 1;

The Elves: At first, I assumed this was about fairies. The tiny civilizations they must have. But after looking at the landscaping of the backgrounds, it hit me. These are based off of Iceland’s Huldufolk. This translates directly to hidden people. Said to be protectors of their good fortune, the government of Iceland made completely illegal any construction or interference with what is supposedly land that belongs to these small, invisible elves, who live in miniature houses called alfhols. Wait. Alf? Alfur? Coincidence? I think not. 

Episode 2;

Giants: The giants of Hilda are solely based off of Norse mythology. Legend tells of a tribe of beautiful giants, who once lived between the Sierra Nevada and the Rocky Mountains. There were hundreds of species, living in hundreds of habitats. The Great Spirit, however, grew tired of their aloof and mighty behaviors toward each other, so he allowed their enemies to conquer them; the humans. Only two giants survived: Paiute and his wife. Sounds about right. 

The Woodman: This monotone cryptic of Hilda’s assorted friends took me quite a bit of research to track down the origins to. But finally, I found him. Based on Greek culture, he’s actually a dryad, or “oak nymph”. These walking, wooden creatures exist to look after the oak tree they were forged from. So let’s suspend some disbelief and assume Hilda’s ancestor used the Woodman’s tree in order to build the cabin Hilda lives in. Why else would he have stuck around, since he’s always minorly annoyed and yet indubitably shows up in many of Hilda’s childhood crayon drawings? Just a thought.

Episode 3;

Thunderbird: These birds originate from Native American beliefs. By flapping its gigantic wings, it creates thunder and lightning, controlling the storm season and bringing excellent harvest. With storms, come rain, so the arrival of the thunderbird was always a promising sign. Present in their dances, tattoos, and carvings, he protected them from the great horned serpent and it’s destructive tendencies, bringing whoever favored him good luck and prosperity. Slides right in with Trolberg’s annual parade, don’t you think? And it brings a whole new connotation to the city’s “statue”, when the Great Raven explains how he had sat on top of it; his symbol was always present at the very top of a totem pole. 

Episode 4;

Vittra: These stinky little onions are more than they seem to be. From Northern Sweden, these underground dwelling nature spirits are very aggressive, territorial, and hated humans. They’re also known to have invisible cattle, which they milk for food and commonly steal from mortals who have wronged them. Really explains the cows, huh? They’re known to make humans’ lives miserable, especially when they meddle with their tunnels, lifestyle, or even cross their borders. Even in modern day, people have moved their homes away from any nearby “vittraställe”, or vittra way, just in case. 

Episode 5;

Trolls: Another Icelandic folktale, trolls are said to have been dim witted, man eating creatures that turned to stone upon contact with sunlight. Even in Lord of the Rings, they used these concepts. So why wouldn’t Hilda? If you visit the beaches of Iceland, it is said that the huge boulders scattered about the shores, and in the water, were once trolls. They were caught by the dawn as they attempted to crush the ships returning to their homes, carrying fishermen finding food for their families. These “troll rocks” are their bodies, reaching out to the sea, now forever entrapped in stone. 

Episode 6; 

Marra: Originally known as mare, which eventually attributes to the word “nightmare”, the Hungarian marra are malicious entities that possess humans with certain amounts of negative energy. Teenagers with depression, mostly, which also helped create the possessed, creepy kid trope in horror movies. While you sleep, they perch on your chest, and expose your mind to its deepest fear. Eventually, the marra evolved into the legend of the boogey man, so in retrospect, they never actually disappeared. 

Episode 7;

The Bragga: These outcasted group of elves, who made a failed contract with the Aldric family over “No Elf’s Land”, aren’t just coincidentally donning beard braids and helmets, obsessed with fighting physically, drinking ale, spitting, and riding rabbits like they’re jousting horses. They’re based off of Nordic Vikings, their separation from Scandinavia, and the culture that they eventually developed. Their tendencies to favor combat over reason is made evident, too, however stereotypical it may be. This is pretty much the only example the show has used so far to allude to a historical period of time. 

Episode 8;

Tide Mice: Taken from Mapuche mythology, these voodoo rodents are actually supposed to be colo colos. Evil, rat-like creatures, they hide in your house to feed on your saliva while you sleep, eventually bringing about comatose states and long term memory loss. Once all of your life juice has been depleted, your soul is completely sucked from your body and the colo colo consumes it in order to go on living. Despite their complete irrelevance with wicca, the way the show manages to assimilate the two is genius. 

Episode 9;

Ghosts: I feel like this speaks for itself. They’re very commonly used, but the show does a good, unique job of connecting a ghostly presence not with a negative haunting that needs to be handled or else everyone will die, but with a helpful spirit, just hanging around a house because it’s linked to a specific item or object. 

Episode 10;

Wind Spirits: The wind spirits, which were based off of Roman Anemoi, minor wind gods that each represented a cardinal direction, are shown in Hilda as debaters who couldn’t come to a conclusion. Their fighting is what makes gigantic natural disasters. This is mocking a bit of fun of Roman philosophers, who were known to sit around in their forums, arguing until the entire town couldn’t stand it. The irritated citizens would call these prolonged discussions, “storms of the intellect”. 

Episode 11;

Cursed Cottage: I have no clue where this myth derives from, and I couldn’t find much else except Into the Woods songs, but this is basically adopting the enchanted cottage trope. The gingerbread house that actually houses a wicked witch, the lone hut that holds everything Goldilocks longs for except for its occupants; so many fairy tales center their setting around a manipulative house that tries to snatch you up and never let you go. So this one is probably just a primal usage of that timeless idea, combined with a cool twist of inter dimensional neurotics. Pretty cool!

Episode 11;

Nisse: Also fondly known as house brownies, nisse are Norweigian dwarves, living inside of your home. Sometimes known to mischievously steal your things, like socks, car keys, old toys, jewelry, etc, they make nests in your walls or your abandoned, most frequently forgotten to check spots. If you are kind to them, leave them food, and treat them well, they will go out of their way to do good things for you, like wash your dishes, dust your desk, or, yknow, purge evil energies from your body. But if you anger them, they can be quite a hassle; breaking things is a usual reaction. Either way, if you ever catch them, you have the right to forcefully evict them from your home. 

Episode 12;

Black Hounds: Black hounds, throughout the history of mythology, are always seen as a dark, ominous omen, warning you of potential suffering, struggle, pain, turmoil, chaos and death. So pretty darn bad. Seeing a black hound, or even owning one, is still a superstition, today. They’re literally called the “accumulation of everything that is evil on this plane of existence.” But, if you haven’t already watched Hilda, keep Sirius Black in mind, and his patronus, which reminds us, “don’t read a book by it’s cover.” 

That’s all I’ve got to say, gamers! There are some that I skipped, like the lindworm, water spirits, stuff like that. But all in all, Hilda is a mythological masterpiece. Watch it whenever you can if you appreciate lore in any way, because it’s not just a beautiful, naturally diversified show about a socially anxious girl assimilating into a new culture. It’s taking incredibly interesting and obscure pieces of mythological history and braiding it into a perfectly constructed storyline. Whether or not it’s educational is up to you. Not even including here how breath takingly gorgeous the animation, use of color, and backgrounds are. Just... please. Don’t sleep on it! 

[anorakofavalon]

The Beauty and the Geek: Why Brutasha Makes Sense

(AKA: An Open Letter of [Constructive] Criticism for Joss Whedon)

I wrote an essay in which I parse through my feelings on probably the most controversial pairing of the MCU. I settled on the relationship making sense, thematically, even though the execution was terrible. Sorry if it's a little long, but I'd love to have a discussion about this with any of you willing to take the time to read it.

---

Joss Whedon is great at his job. He’s flawed, like anyone else, but he’s a fantastic writer. I hardly need to remind you of his portfolio, after all. As a matter of fact, his portfolio is so very nearly spotless that his writing flaws come across, at least notably, in only one movie. Avengers: Age of Ultron. You might point out Justice League, but I’m discounting it because while there were flaws there, they weren’t all his, and not all of them were present in unison.

In Ultron, Whedon was pushed to his writerly limits. Understandable, considering that he was burdened with not only following up on the masterpiece that was The Avengers, but he had to do so while taking into account the events of the movies that took place between then and Ultron and where that left the characters. Not only that, he also had to setup the rest of the franchise and introduce a multitude of new characters. Doing any one of those three things is difficult, but doing all of them at the same time while also offering a coherent and enjoyable movie to fans is a monumental task. He did what he could.

One particular weakness of the movie, as pointed out by a large number of people after its release, was the relationship between Bruce Banner and Natasha Romanoff. Recently, people have warmed up to and adapted to it. But the damage is done. It left the impression on just about everyone that it was rushed and clumsily handled. I agree that it was clumsily handled, but I don’t think that it was necessarily rushed.

I’d like to make an argument for the relationship, and in doing so, maybe offer a critique to Mr. Whedon that might be helpful. My argument is the following: Bruce and Natasha’s relationship in the Marvel Cinematic Universe is thematically sound. It’s a natural step forward in both of their respective arcs, and I believe that Mr. Whedon made an excellent, and conscious, storytelling decision when creating the pairing. (He might even have had it in mind since The Avengers.)

But before I go any further on analyzing why I believe this, I think it’s important to dispel a few common and relatively superficial complaints about the couple. Firstly, some people prefer Natasha to have been with Clint, Steve, or even Bucky. I understand the general sentiment there, but I have contentions against any of these people because they don’t make sense in the context of the MCU. Clint is out of the picture because he has a family, and they are simply best friends, practically siblings to each other. Bucky and Natasha have very little screen time together in which they aren’t fighting by the time Age of Ultron happens. Steve is the most sensical of these options. But Steve and Natasha aren’t compatible people, at least not in the sense of a romantic relationship. Why? Because A.) She explicitly prefers more passive, “dorky” men, B.) Steve is still not over Peggy Carter, C.) Putting them together would be, aside from blindingly obvious, harmful to their wonderful friendship because D.) Steve and Natasha have, up to Ultron, had a very strictly professional relationship. They’re friends.

The other big complaint is simply that Bruce Banner seems to be too old for her. This is a, frankly, ridiculous complaint. Mark Ruffalo is one hot dude, and Black Widow is a fully grown woman perfectly capable of having emotions for whoever she damn well pleases. Somewhat older or not.

And speaking of those emotions, people have been quick to point out that they seemingly developed out of nowhere. I disagree, to a certain degree. The seeds of this have been rooted from the very beginning of The Avengers. Their first interaction was tense and interesting. Subtle things were present. Hints of flirtation (granted, at the time she was trying to manipulate and recruit him into helping SHIELD) were present, and there’s a few visual cues. Particularly when Banner says “I don’t always get what I want” while touching a crib. I recommend re-watching it.

And of course, there’s the entirety of Ultron, where they throw quick glances, outright flirt, and seem to have developed a close relationship via “the lullaby”. But the leap from Avengers to Ultron is quite wide, considering that a few things have happened, and besides, wasn’t she deathly afraid of the Hulk during Avengers? The answer to that is yes. And that’s why it was so jarring for practically everyone, including those of us who have embraced the ‘ship. Presumably, all of their bonding happened during Natasha’s stay in Avengers Tower between Winter Soldier and Ultron. The problem? We didn’t see that. We just saw that she could calm down the Hulk all of a sudden and had a good relationship with Banner.

I won’t defend the execution of this. It could have been smoother, without a doubt, but given the duress that Whedon was under with managing the storylines of literally every other character, I can forgive him. But what I can’t forgive him for is the execution of a few other things concerning the two. Namely, how he handled their conversation in the Barton household and the Ultron kidnapping.

The Barton Household conversation could have been positively wonderful. It was a little off-putting instead. I don’t think it’s a bad conversation mind you, it shows that Black Widow is willing to open up to Bruce Banner in a way she doesn’t usually do with others, and it really serves to humanize her further. The premise is this: Bruce Banner isn’t willing to be with her because he believes that he’s a monster and that he can’t give her a normal life (read: children). Natasha counters with the fact that in her view, she’s a monster because the Red Room made her one. And she can’t have children. The issue is clear: these are two separate, parallel, lines of conversation happening at once, and they get muddled, and viewers got confused accordingly. The way the dialogue was framed had disastrous consequences. Rather than achieving its goal the scene left us with the impression that she thought she was a monster because she couldn’t have children when really what she meant was that she was a monster because the Red Room dehumanized her and turned her into a weapon, and in the process, sterilized her.

While awkward, a lot of people later understood what was meant and the outrage died down. But it didn’t help that later in the movie, Widow was used as a literal damsel in distress when she was captured by Ultron for very little reason. Now, I’m a firm believer that strong female characters should be allowed to have love interests. Love isn’t a weakness. But this moment makes Black Widow seem like merely a love interest. She was helpless and a man had to rescue her. And it was, you guessed it, her love interest. This whole concept was a mistake. It could have been any other Avenger. Because if there’s one thing Black Widow is not -- it’s helpless. (And as a side note, that scene at the Avengers party where he fell on her chest? Ridiculous. Whedon pulled the same trick in Justice League and it was equally un-funny. It harmed his cause more than it helped. Comedy could have made the transition into the relationship less jarring for fans but he approached it in the single worst way possible. Also, the ass shots. What the hell Whedon? Like, I get it, but c'mon man. If you're gonna do it, at least be egalitarian and give us some Hulk booty too. Taika did it.)

All of these things combined gave people a less than spectacular impression of the couple at first, since it consumed both of their respective storylines for the entire movie, but I warmed up to it and so did others. Because despite the execution, I think it makes perfect sense thematically.

It begins in The Avengers. We’re going to briefly revisit the scene I mentioned earlier, where Natasha is recruiting Bruce. At this point we know a few things about them: Banner is relatively in control of the Hulk, but he doesn’t want to “Hulk out”, He is not afraid of Natasha, and finally, Natasha is very much afraid of him. At first she acts unfazed, but when he slams his hand on the table to test her there is genuine fear in her eyes and she pulls a gun faster than he can blink. He smiles away the tension, assuring her he was just testing her. But the power dynamic became clear. At first, Natasha believed she could manipulate him like she did Tony, but with Banner that wasn’t the case. He saw right through her. This remains a constant theme. He could read her like a book.

She’s weary of Bruce for the rest of the film, but it culminates when she faces the Hulk. Mr. Whedon lets the camera linger on her after her near death experience. Natasha Romanoff is shaken. This was incredibly humanizing for her because the Hulk is a force that she is truly powerless to do anything about, which must be an unfamiliar feeling for the world’s greatest assassin. Regardless, when Fury calls her to take down Barton, she walks it off. That encounter grew her character. A character that has remained fairly mysterious thus far except for one single moment, a truly wonderful scene where she manipulates the ultimate deceiver: Loki.

Loki thinks he’s got a read on her, likely because she was being very honest when she told Loki “I’ve got red on my ledger, and I’d like to have it clean.” Loki already knows, playing on her apparently emotional side by saying “Your ledger is dripping red, it’s gushing and you think saving a man no more virtuous than yourself will change anything?”

It’s all a trick, of course, because she pretends to let it affect her. But Black Widow knows how to compartmentalize emotions, and she handled the situation wonderfully. But I don’t doubt that what Loki said was true -- to a degree. That is Black Widow’s chief insecurity: that she is a monster, and she can never be a hero like the other Avengers because of her past.

A few scenes later, after the Hulk Out, Banner wakes up in a warehouse, where an old man is looking over him. The very first thing that he asked was “Did I hurt anyone?”. And that there is his chief insecurity: that he is a monster because he is a danger to everyone around him.

So you have two characters who both have terrible pasts that were forced on them by circumstances entirely out of their control. Both admire each other professionally as well as people. Let’s not forget that Natasha’s first interaction with Banner was of him living in an impoverished country in order to help people. Both are looking to become better than who they are, but I wouldn’t be surprised if Natasha was affected by this. Hulk has caused just as much harm as she has, but Banner is making up for it by healing others. She might feel she can’t do that because her skillset has always been to harm others. That’s why I think she’s one of the most compassionate of the Avengers, and always comforting her friends. Be it Steve at Peggy’s funeral, or Clint in Endgame when she’s the only family he has left. It makes total sense that Bruce and Natasha would turn to each other as friends and confidants. I don’t think anyone else in the group could understand their shared and unique type of trauma. And as Natasha said, “all [her] friends are fighters”. But Bruce is not. In her eyes, he’s a perfectly normal, mild-mannered gentleman. She’s not afraid of him or Hulk by the time Age of Ultron rolls around, but boy is he afraid of himself.

And they both want normality. So they propose running away. A bit on the dramatic side, but I can see why Whedon chose to use this idea. It makes the ending of the film more poignant, when she chooses to have Banner Hulk Out (and I suspect Banner understands why), thus sacrificing their fantasy of normality. Because they’re Avengers. The mission comes first. Still, it was far too melodramatic for my taste and out of character for both of them. Particularly Natasha. And again, it makes it seem like Natasha was Banner's love interest when it really ought to be the other way around, from a storytelling perspective and also because of the nature of the characters. That was a lapse in judgement from Whedon that weakened the presentation of their potential relationship.

I don’t think the relationship will remain completely intact by the time Endgame finishes, but I do think they’ll acknowledge it and give them a proper send off. It might not last, but their relationship helped them grow as characters. It allowed Banner to realize that he isn’t really a monster. That he is useful in his own right. And it helped Natasha get peace of mind. She isn’t a monster either, she’s a hero. And for better or worse, that means she has to do heroic things. Even sacrificing normalcy.

And plus, it's just adorable man.