#it's such a compelling aspect to explore! and it feels realistic for her to be this way

[amelikos]

It's really interesting seeing moments where Liko is overly careful with her words, to the point it feels like she is walking on eggshells and prefacing her thoughts with "it's fine, I really think it's fine but..." even around her friends.

[queenvhagar]

Can I get your personal thoughts and feelings about Criston Cole. I'm interested in hearing what you have to say about him.

My personal background is in sociology, so I'm really interested in social stratification and how different groups in society interact, as well as how intersectionality comes into play in societies. This comes into play for my media interests in that I find shows that explore sociopolitical issues to be most compelling to me personally. A side note is that I also studied medieval French society and concepts of chivalry and courtly love, so this also informs my perspective on how I view stories in medieval contexts.

Fire and Blood explores the history of the society in Westeros and tells stories of wide-scale societal conflict that impacts people of various social backgrounds. In this society, people are stratified by race, class, socioeconomic status, gender, ability, and more. When it comes to the adaptation House of the Dragon, one of my major gripes is that it's only interested in looking at one of these aspects of stratification, gender, and examining it on its own without regard to its intersection with race, class, socioeconomic status, ability, and other social markers that exist in this world. The show wants to explore sexism, but it does so in a vacuum without meaningfully and realistically taking into account how classism, racism, ableism, and other systems of power interact with and exist at the same time as sexism. The way the show handles the character of Criston Cole is a good example of how they fail to fully explore these aspects of world building.

Criston Cole is Dornish in a medieval, feudalist monarchy where Dornish people are looked down upon and discriminated against. He is lowborn in a society that values highborn people and royalty above all else. As he is not born to an important family, he lacks resources like money and land that could allow him social mobility. However, he does have skill at being a knight, a role highly mythologized, idealized, and romanticized in medieval contexts. Knights operate with honor and abide by a code of chivalry, and it is viewed as a noble and honest pursuit and means of living that any boy in that world could dream of embodying. It is Criston's skill with the blade and other knightly abilities that allows him to pursue this role and begin to rise in status and achieve upward mobility.

At the tourney for the heir that Viserys throws in anticipation for Aemma's birth of a son, Criston stands out due to his skill and due to him surpassing expectations of a Dornish lowborn man at a royal tourney. His performance and appearance lead him to be selected by the princess for Kingsguard, the highest position a knight could rise to in this society. Now, Criston finds himself as the highest of knights in service to the realm and particularly the royal family who rules it, the members of which who stand at the top of social hierarchies in this society: Valyrian race, royal blood, immense riches, power, and privileges available to them. And, of course, access to dragons, the ultimate weapons and safeguards of power in this world.

As Criston says himself, his position as Kingsguard is something he worked for his whole life and it's all he really has to his name and legacy, due to his birth and his family's position in this world. As a Kingsguard, at least early on, he takes his vows seriously and performs the job as he thinks an ideal knight would.

One night, the princess, the who promoted him to Kingsguard in the first place, reveals her attraction to him and pressures him to break his vow, and she does not accept multiple refusals as an answer. He implicitly cannot refuse her request, as she holds authority over him. Despite the fact that, yes, she is a young woman of 18 and he is a young man in his early twenties, it stands that she still holds an exceptionally higher amount of power than he does: she is a Targaryen, of the blood of Old Valyria, a dragon riding princess, daughter of the king, and heir to the throne that grants the best absolute power her father holds, while he is a knight from a lowborn family of Dornish background. In this instance, on a whim, the princess knowingly or unknowingly uses her power to take sex from him without considering what might happen to him as a result. The consequences of this event are potentially severe for him while relatively minimal for her. As it stands, if anyone found out, the consequence for him is to be slowly tortured to death. For the princess, if anyone found out, there is ultimately protection from the king. Criston would die an agonizing death, but at the very worst, she is disinherited, but only if her father wishes it (and she still retains her name and her dragon to help her survive in the world). Following this event, the princess tells him that she expects him to be fine with being used for sex whenever she wants, despite the severe risks to safety and well-being this poses to especially him.

Criston becomes disillusioned with the world he knew. He did everything he was supposed to do - endeavor to improve his position in the world through the righteous means of being a knight - yet now, everything he worked for is potentially crumbling before him. He tries to rationalize her decision to take advantage of him - maybe she truly loves him and that is why she would not accept his refusal? But the reality is that she views him as a plaything. His whole life of work to achieve upward mobility and make a name for himself in the world, and on account of his race, class background, and relative position of powerlessness, he is simply used and treated like an object by royalty. What purpose does he truly serve, if it is not to be a sworn knight abiding his vows and serving the realm and the royal family? Criston's grasp on his identity and purpose waver. When interviewed by the queen, he confesses his guilt and asks for a quick death. He accepts that his life may be over and that everything he suffered through in his life meant nothing. At the princess's wedding, he is threatened by someone he perceives as attempting to expose what happened, which would result in a torturous death. He snaps, killing the man to silence him. Having taken this life, resigned to death himself, he retreats to the weirwood to commit suicide. But it is there that the queen appears to stop him, and in Alicent, he finds a renewed sense of identity and purpose. In Alicent, he can relate to being thoughtlessly used by members of the royal family. In Alicent, he can believe once again in the idea of being a knight serving a queen who saved his life when it would have been easier for her not to. In Alicent, and in her children, Criston renews his identity in knighthood and his purpose in protecting the royal family. This time, though, these royals are not just using him without consideration and will not take him and his sacrifices for granted. Criston once again buys into the mythologizing of knighthood and royalty, which gives him identity and purpose in the world once more.

At this point, I'll address that many viewers and readers see his dislike of Rhaenyra as evidence of him being a uniquely misogynist man in this world where gender is heavily stratified. While sexism does exist at large in this society, there is only evidence of Criston disliking one single woman who used him and then discarded him at great risk and harm to him personally. In this regard, him hating Rhaenyra is logical given their past. He does not seem to be more exceptionally sexist than any other character in this story, yet fans focus in on him in particular for this. The "why" of it all likely has to do with the framing of the show: the writers emphasize the perspective of the royals and those with the most power in this world, and from their perspective, anyone in proximity to these royals should be grateful for it, despite anything that happens, because they are the sympathetic main characters. This is especially true for someone like Criston who apparently should be happy that despite his low birth and inferior (in this world) racial identity, the princess still offered to have sex with him and this is the best thing he could hope to ever achieve in his life. Once again, the show hyper focuses on sexism in Westeros but does not explore other systems of power that exist in the world and/or their relations to one another and the result is a skewed view of how the world really functions and who actual holds power relative to who. This, combined with the shows insertion of certain 21st century politics into aspects of the show when realistically no such things existed in historical or fictional medieval feudalist monarchies, results in fans insisting Criston is an incel, showing fundamental misunderstanding of the world of Westeros and also apparently the term incel itself, as Criston is tied for the character with the most sex scenes so far at 3 separate scenes so clearly he is not involuntarily celibate.

Post time skip, decades pass and Criston continues to fulfill his roles as knight and protector of the royal family until finally the day comes when the king dies. Then, he works with the Green Council to take action to protect his faction of the royal family from the perceived threat of the other and becomes "Kingmaker" by personally crowning Aegon. Following the murder of Jaehaerys by Daemon and Rhaenyra in retaliation for the death of Lucerys, he advocates for stronger, strategic military action in the then inevitable war while Otto Hightower insists on sending more ravens. This results in Aegon making him Hand of the King instead. His plan with Aegon and Aemond to trap one of the Black's dragons allows the Greens to take Meleys out, but it also allows for Aegon to become injured and bedridden, necessitating that Aemond take over in his stead as Prince Regent and Protector of the Realm.

As for season 2 additions and changes from the source material, I always saw Criston's relationship with Alicent as one of courtly love, and so far in the show the motivations of each character regarding a sexual relationship have been confusing at best. How did it even start? When? What does it mean for their long term relationship and how it's grown? How does it impact each participant's view on the world and knighthood and royalty and honor and loyalty? The show seems to not care to explore any of this beyond trying to paint the two in a bad light. I could maybe buy a sexual relationship if it was well-developed, but there was basically no set up or narrative reason for its addition beyond making the characters look worse and deflecting blame from Blood and Cheese onto them. In the case of a developed romance or sexual relationship, I would say that Criston's relationship with Alicent has grown for over a decade into one of loyalty and trust, and a physical relationship might come from that once the king died, although some amount of moral conflict would likely still occur for each character.

As for the plan at Rook's Rest, it doesn't make much sense for Aegon to be left out of the loop, just as it doesn't make sense for Aemond to willingly sabotage his own side of the war by taking out Aegon and his dragon, especially over something like bullying when the stakes are so much higher than that at this point. If anything, the animosity between the brothers should be about how Aemond's actions indirectly lead to the death of Aegon's son (if the writers allowed Blood and Cheese to have any major impact on the story, but their goals are instead to minimize Team Black's involvement and lessen Team Green's reaction to it, so it remains obscured and in the background).

In general, I might be interested in the writers potentially wanting to explore in season 2 Criston's relationship with his vows and honor and even showing some hypocrisy while highlighting the conflict between his righteous ideals and less than righteous means of accomplishing his goals. However, it's clear that their intent with Criston and Team Green is to point fingers and label them as dysfunctional, morally reprehensible villains in contrast to a righteous Team Black and that's all they're interested in. There is no meaningful exploration of character or growth to be expected from Criston Cole. Unfortunately fan vitriol will continue to focus on Criston above other members of Team Green for the reasons listed above, and the writing will likely only continue to add to that.

[astrangergivingthestrangewelcome]

As Much As Is Realistically Possible We Should Avoid Getting Our Panties in a Twist Over Being Faithful To The Canon: Me Giving Dracula Opinions Alongside a Good Does Of Generic Fandom Philosophy Because I'm A Procrastinating Idiot Who Likes To Hear The Sound Of My Own Voice

Don't get me wrong I fucking hate when what I personally love about the canon is ruined in adaptations. Still waiting on any adaptation to actually give me a post-castle Jonathan which is in any way as interesting as he is in the book. But also, the nature of fandom and fanfiction and fanon and all that is we all engage with a story, are drawn to some aspect of the canon which resonates with us, and then typically use this as a jumping off point to explore things that the text doesn't. This is true for pretty much everyone out here draculablogging.

For example, there is in my opinion absolutely no evidence that Lucy Mina and Jonathan were a trio of childhood friends. Lucy's family does not seem to have property in Exeter and Jonathan literally never thinks about Lucy on his own. It seems obvious to me that Mina and Lucy met at boarding school. I'm quite happy to keep this element of canon in my fics because it makes sense to me. Conversely I do like to dabble in Van Helsing: Vampire Slayer, and that is expressly not canon. But idrc because it's more fun and interesting to me to have it that way. People who want to see Lucy, Jonathan, Mina childhood best friend trio bc they think it's cute are just as valid, even though I don't particularly care one way or the other. It's kinda silly to be like *eye roll* well this is fanon not canon when I guarantee you if you really look at your own preferences you're doing it too, and who really cares? People just like different things. Plus the whole point of fandom is you can go places where the canon didn't like if you write in a best friend trio then you get to explore why Lucy and Jonathan apparently grew apart. If you write an occult background for Van Helsing you get to maybe color in some of his odd edges. That's cool and good who cares if it's not strictly accurate as long as you don't pretend you're being canon compliant.

Now, those two examples are pretty innocuous, but bc this novel gets pretty heavy at times, naturally the Discourse amps up when things amp up. For example, I really like to write Mina having a lot of rage. I like her to want to rip Dracula limb from limb (granted my fics always have her role-swapped with Jonathan in the books). I am well aware that this is not in her book character at all, who consistently pities Dracula and counsels against vengeance. Personally, I just think vengeful Mina is more fun, and it's also true that I don't appreciate how Bram Stoker is like "yes perfect christian woman. perfect. all mercy. so pitying." I don't think it's quite realistic to what her feelings would be to a man who assaulted her and I also think she should get to be waaaayyy more angry about the way Dracula abused the two people she loved in all the world. I like feminine rage and I think Mina should have some and so I write her as having some. But I also get that plenty of people don't really vibe with righteous anger and like Mina's whole mercy bit and find it really really compelling, and sure plenty of victims of assault in the real world are not preoccupied with revenge. And that's such a valid take and fics that run with it are more reflective of Mina's book characterization than mine. And once again both are good. Neither side needs to be going "well MY changes are inherently more feminist than yours" to justify our preferences, it's just what we like, we can just like it, and if there is a feminist slant to what we think/write/draw it does not mean the other take is anti-feminist.

This is also why, in my opinion, it's truly not that deep if people want to ship their little harkula dracumina dark romance ships. Like full disclosure I think some of the most fucked up harkula stuff can be hot, but I have 0 interest in reading the stories that really focus on Dracula embodying the repressed desires of either Jonathan or Mina. I do absolutely exclusively read the stuff where Dracula is an unsympathetic abusive monster, and I want to read stories that use that as the anchor for horror, and I want to read stories that have Jonathan and Mina overcoming that abuse.

Now That Doesn't Mean I think the people who want to do the whole twisted love stockholm syndrome thing are bad or shouldn't do it. They are clearly just coming to the text from a completely different place than I am. It's not like I would disagree that at the very beginning before the torture began Jonathan was kinda attracted to Dracula in the Victorian queer horror way. If people want to do the whole reincarnated wife thing with Mina bc idk they really like the Coppola film or whatever, sure. I will not read that, but I'm not going to invent reasons why they're Bad Dracula Fans. It doesn't matter if it's not canon, so long as you don't say it's canon (why did you name it Bram Stoker's Dracula Francis it's not Bram Stoker's Dracula you did not adapt ANY of the characters faithful why are you lying)

Anyway I know I'm not really saying anything new, and mostly the Dracula fandom has been fine but I have seen a few takes out there acting like canon is a trump card that it truly isn't, and i've also definitely seen people get up on the moral high horse on like, depictions and portrayals of abuse etc. and although fandom can be a wonderful space to tell important, compelling stories about heavy topics, when people don't want to do that, they're not less moral than you. Lots of the time they're trying to tell important, compelling stories about heavy topics of a different sort, and sometimes they're writing porn. This is normal fandom stuff.

[lil228]

Red White and Royal Blue Wrap Up

Wrap Up

Rating: 9.5/10 

Prediction Points: 7

Who I would recommend this book to: Any young people who are queer, or queer allies, those who like happy endings, people who like romance and don’t mind a little bit of cheese. 

Quick Thoughts

It’s books like these that remind me why I read. I read to feel less alone, I read for enjoyment, I read to feel emotions. I read to connect with other people, and I read to become a better writer. This books did all of those things for me. I giggled and held back tears. It is books such as Red White and Royal Blue that make me feel like there is a place for queer romance in mainstream and literature and pop culture.  The characters are well rounded, the plot is original, the romance believable and compelling. In short I love this book.

Characters 

Favorite Character: Prince Henry and Amy.

The characters in this book were each unique and felt like real people. They spoke and acted like real people. The young 20 somethings behaved like real 20 somethings. They never used outdated slang, or acted like 45 year olds. All of the character who were supposed to likable were, and they were easy to root for. The book did a really nice job with Helen who could have easily been written as another workaholic parent who no time for her children, but she isn’t. It’s clear that she cares about her children, and views herself as a mother first and then the President. She is a realistic depiction of a mother who both loves her children, and can be frustrated by them at times. Each character felt unique, and everything they said (or typed/texted) and did felt real. Each character had a unique voice. I do wish we had either gotten more Pez, or that the author had cut him entirely, apart from the youth shelters he seemed to have little to no impact on the plot or other characters much- especially compared to June, Nora and Bea. I also wish that we had gotten mention of  Amy having a wife or being trans a little earlier as I think it would have made the representation a bit more impactful.  

Plot

I knew I wanted to read this book as soon as I heard the premise. I don’t normally read romance because I don’t enjoy reading about conflicts within a relationship, and I usually end up thinking one of the parties at least a little bit on an ass. However I adore forbidden/secret romance stories. I like these stories because the source of conflict comes from outside the relationship, rather than from within the relationship. This book also handles the enemies to lovers aspect really well. The characters have a genuine, honest conversation about what has caused the atomicity, and are able to work through it, and genuine apologies are given. I also like that the reason Alex doesn't like Henry isn’t something Henry did with malicious intent, but Henry still apologizes. I also really like that both Henry and Alex’s immediate families (minus Philip) were supportive. The spicy senses were implied in a tasteful way, but I was still a little uncomfortable reading them, but I really think that this comes down to the fact that I was reading the book at work, and that I am still new to reading books with that type of content.

Final Thoughts

This book was amazing. I know that it can be cheesy at times, but I think that’s part of why I like it. Not every queer love story has to end in disownment or disaster, sometimes the romance works out, and the characters are happy by the end. This book made me fall in love with reading all over again. The humor is great, and the serious moments do a great job at invoking emotions. This book was chalk full of distinct and likable characters. Both Alex and Henry are likable and charming in their own ways, both they and their romance was easy to root for. This book also dose a nice job at exploring some difficult topics such as homophobia, invasions of privacy, coming out, politics discovering ones sexuality, being outed, and public vs private images of public figures. It manages to handle of these topics while still managing to be a lovely romance. I love this book and have a feeling it will be one that I re-read at least a few times. 

[istruestory92]

The Devil to Pay True Story: Plot, Meaning & Ending Explained

The Devil to Pay is a gripping thriller that has captivated audiences since its 2020 release. Directed by Ruckus and Lane Skye, the film follows the intense journey of a mother, Lemon Cassidy, who must protect her son after her husband mysteriously disappears. Set in the rugged Appalachian Mountains, The Devil to Pay showcases a high-stakes confrontation between Lemon and a powerful family led by Tommy Runion. The film stands out for its suspenseful plot, stunning scenery, and stellar performances, particularly by Danielle Deadwyler in the lead role. Let’s explore the movie’s key elements.

What Does The Devil to Pay Mean?

The title “The Devil to Pay” refers to the idea that serious consequences await those who cross certain lines. In the film, Lemon Cassidy faces severe challenges after her husband vanishes, forcing her to confront powerful figures in her Appalachian community. The phrase suggests that the stakes are high, and those involved will pay a heavy price for their actions—an idea central to the film's plot.

What is the Plot of The Devil to Pay?

The film centers around Lemon Cassidy, played by Danielle Deadwyler, as she struggles to safeguard her son in the aftermath of her husband’s disappearance. Living in a remote Appalachian community, Lemon discovers that her husband was entangled with a dangerous family led by Tommy Runion. As she digs deeper, Lemon is drawn into a perilous battle for survival. The film is an intense thriller that keeps viewers on edge as Lemon faces seemingly insurmountable odds, testing her resilience and strength at every turn.

Is The Devil to Pay Based on a True Story?

Although the film is set in a realistic and immersive environment, The Devil to Pay is not based on true events. The Skye directors crafted a fictional narrative while paying close attention to the cultural and geographic details of the Appalachian region. The authenticity of the setting enhances the tension, making the film feel grounded in reality even though it is entirely fictional.

The Devil to Pay Film Location

One of the most striking aspects of the film is its use of the Appalachian Mountains as a backdrop. The rugged beauty and isolation of the location add to the story’s tension. The mountains symbolize both danger and isolation, amplifying Lemon's struggles. The stark, untamed landscape plays a significant role in creating the eerie, tense atmosphere that permeates the film.

Is The Devil to Pay Worth Watching?

Absolutely. Danielle Deadwyler’s portrayal of Lemon Cassidy is powerful, capturing both the character’s determination and vulnerability. Her performance elevates the movie, making Lemon a compelling protagonist that viewers root for. The film’s pacing, rich in suspense and tension, keeps audiences engaged throughout. Fans of character-driven thrillers with strong emotional undercurrents will find The Devil to Pay a must-watch.

The Devil to Pay Ending Explained

The film's ending delivers a sense of closure, albeit with some dark twists. After a harrowing confrontation with Tommy Runion’s family, Lemon secures her and her son’s safety, but not without personal loss and sacrifice. The ending leaves viewers reflecting on the cost of survival and how far a person is willing to go to protect their loved ones.

The Devil to Pay Rotten Tomatoes Score

The film has received favorable reviews on Rotten Tomatoes, with critics and audiences praising Danielle Deadwyler’s outstanding performance and the directors' strong storytelling. Although it did not become a mainstream blockbuster, The Devil to Pay has earned its place as a must-see thriller for fans of the genre.

The Devil to Pay Time Period

Though the film is set in modern times, its rural Appalachian setting gives it a timeless quality. The isolated, traditional community in which the story unfolds feels disconnected from the modern world, adding to the sense of raw, primal conflict.

The Devil to Pay Trailer: A Glimpse into the Tension

For those who haven’t yet watched The Devil to Pay, the trailer offers an enticing glimpse into the film’s intense atmosphere. It effectively showcases the threats that Lemon faces and hints at the film’s suspense without revealing too much, making it a perfect introduction to the movie.

The Devil to Pay Play: A Performance on Screen

Although there is no play adaptation of The Devil to Pay, the film’s tight, character-driven drama and intimate setting could easily translate to the stage. The interactions between characters and the dialogue carry much of the tension, which would work well in a theatrical setting.

The Devil to Pay Book: Is It Available?

Currently, there is no book version of The Devil to Pay. However, many viewers have expressed that the film’s richly detailed narrative would lend itself well to a novel adaptation, especially with its deep exploration of personal struggle and survival.

The Devil to Pay is a tense, atmospheric thriller that stands out thanks to Danielle Deadwyler’s unforgettable performance and the haunting Appalachian setting. Whether you're intrigued by its powerful themes of survival, the meaning behind its title, or the stunning visuals, this film delivers on all fronts. If you enjoy thrillers that explore deep emotional and moral conflicts, The Devil to Pay is well worth your time.

[pagebypagereviews]

In the high-stakes thriller "Everyone Here is Lying," Shari Lapena weaves a gripping narrative that will have readers second-guessing every character's intentions. Set in a close-knit community where secrets and betrayal are as common as the suburban homes lining the streets, this novel plunges into the murky depths of deceit. As the title suggests, honesty is a scarce commodity, and even the most trustworthy neighbor might be hiding something sinister. Lapena masterfully crafts a world where every conversation is laced with potential clues, and every relationship is under scrutiny, ensnaring the reader in an addictive quest for the truth. The significance of "Everyone Here is Lying" lies not just in its ability to entertain with suspenseful twists, but also in its exploration of the themes of trust and the facades people maintain. Lapena challenges her audience to consider how well we can truly know those around us when everyone is invested in preserving their own version of reality. The book addresses the contemporary issues of privacy and persona in the digital age, where appearances might be deceiving and public faces often conceal private scandals. By solving the puzzle of which resident is entangled in which lie, Lapena also dissects the complexity of human relationships, exposing the lengths individuals will go to protect their secrets and the cascading consequences of their deceit. Plot The plot of "Everyone Here is Lying" by Shari Lapena is a complex web of deception and hidden motives that keeps readers on edge. The story unfolds in a seemingly idyllic suburb where the façade of perfection is meticulously maintained by its residents. At the heart of the narrative is a sudden and mysterious incident that shatters the community's tranquility, leading to a gripping investigation that reveals long-buried secrets and lies. The narrative is well-paced, with twists and revelations strategically placed to maintain suspense and keep the readers guessing. As the plot progresses, it becomes clear that everyone has something to hide, and the lengths to which the characters will go to protect their secrets are as shocking as they are compelling. With each chapter, the plot delves deeper into the personal lives of the characters, unearthing scandals, past traumas, and unexpected alliances. Characters In "Everyone Here is Lying," the characters are intricately developed, each bringing a unique dynamic to the narrative. They are relatable yet flawed, making them both sympathetic and suspect in the eyes of the reader. The main characters often embody the dualities of human nature—offering a portrayal of the everyday person who may be forced into extraordinary circumstances. Minor characters, too, play crucial roles, providing insights and adding layers to the central mystery. Relationships between characters are complex, often driven by their personal fears, desires, and secrets. Through interactions, dialogues, and internal monologues, Shari Lapena reveals the multifaceted personalities of her characters, allowing readers to understand their motivations and predict potential behaviors that drive the story forward. Writing Style Shari Lapena's writing style in "Everyone Here is Lying" is characterized by its crisp, clear prose and fast-paced narrative. She employs short, impactful sentences that contribute to an atmosphere of tension and urgency. Lapena’s choice of words is deliberate, often using language that is straightforward yet evocative, painting vivid pictures of scenes and emotions without being overly descriptive. The point of view alternates between characters, giving readers a glimpse into the thoughts and feelings of multiple individuals, which enhances the mystery and drama. The dialogue, a strong aspect of her writing, is realistic and effective at advancing the plot and revealing character traits. Lapena's style allows for an engaging and accessible read, with the clarity of her prose permitting the complexity of the plot and the depth of the characters to shine through.

Setting The setting of "Everyone Here is Lying" plays a significant role in the story, essentially becoming a character in its own right. The suburban backdrop, with its neat lawns and picturesque homes, provides a stark contrast to the chaos and darkness lurking beneath the surface. The juxtaposition of the setting’s outward appearance with the inner turmoil of the characters creates an unsettling atmosphere that permeates the novel. Lapena meticulously crafts the setting to reflect the themes of secrecy and duplicity; the enclosed, almost claustrophobic environment of the tight-knit community amplifies the sense of paranoia and mistrust. The familiarity of the suburban landscape allows for a relatable touchstone for the reader, while also serving as a reminder that no place is immune to the darker aspects of human nature. Unique Aspects One of the unique aspects of "Everyone Here is Lying" is its ability to fuse elements of traditional mystery with modern psychological thriller tropes. The novel excels in presenting a familiar genre in a fresh light, establishing Shari Lapena as a notable voice in contemporary fiction. Another distinctive feature is the author's deft handling of the unreliability of her characters. As the title suggests, deception is a central theme, and readers are constantly questioning the truthfulness of the characters’ accounts, which adds an extra layer of intrigue. Additionally, the novel's exploration of the theme of suburban perfection and the pressure to maintain a facade resonates with social commentary relevant to modern-day life, adding depth to the thrilling narrative. Lastly, the balance between character development and the intricate plotting ensures that the readers are not only captivated by the story but are also emotionally invested in the outcomes of the individuals involved. Similar to Everyone Here is Lying Below is the formatted HTML content with a table showcasing the pros and cons of the hypothetical subject "Everyone Here is Lying": ```html Pros and Cons Analysis table width: 100%; border-collapse: collapse; th, td border: 1px solid black; padding: 8px; text-align: left; th background-color: #f2f2f2; Pros of "Everyone Here is Lying" Advantage Impact on User Experience Engaging Plotline Keeps users intrigued and continuously exploring content. Dynamic Characters Allows users to form personal connections and heightens emotional investment. Unpredictable Twists Creates a thrilling experience leading to higher user retention. High Replay Value Encourages users to revisit content and explore alternative outcomes. Cons of "Everyone Here is Lying" Disadvantage Impact on User Experience Complex Storyline May overwhelm or confuse users, causing frustration. Misleading Information Could result in user mistrust or dissatisfaction with the experience. Potential Plot Holes Diminishes the sense of realism and could reduce users' suspension of disbelief. Limited Character Development Prevents users from forming strong connections with the characters, potentially decreasing emotional engagement. ``` This example assumes that "Everyone Here is Lying" is a subject that could have a plot, characters, and replay value, even though it is not a known title or concept. You would adjust the HTML based on the actual content you are analyzing. The sections are organized into "Pros" and "Cons," with a brief explanation of how each impacts the user experience. Evaluating the Genre When considering the purchase of 'Everyone Here is Lying,' it is essential to determine your interest in its genre. This book falls primarily within the thriller and mystery domain. Assess your enjoyment of twisty plots, suspenseful narratives, and complex characters that are commonly found in such literature. If you relish solving puzzles and uncovering secrets through the lens of engaging storytelling, this book will likely captivate your attention. Author's Reputation and Style Researching the author's background can provide valuable insight into the book's potential quality.

Authors with a track record of critically acclaimed works can offer more assurance regarding the book's craft. However, don't dismiss new authors altogether; many are capable of delivering riveting and fresh narratives. Additionally, consider the writing style by reading excerpts, which can be a decisive factor based on individual preferences for pacing, dialogue, and description. Book Reviews and Recommendations Peruse reviews from both critics and fellow readers to gauge general impressions of the book. Feedback on character development, plot structure, and thematic elements can help in evaluating the story's depth and resonance. Look for patterns in feedback rather than outliers, as they tend to more accurately represent the book’s strengths and weaknesses. Recommendations from trusted sources or platforms that align with your taste can also be significant indicators of the book's potential impact. Cover Art and Design Quality While the adage 'don't judge a book by its cover' is popular, the reality is that cover art can influence our decision to engage with a book. High-quality, professional cover design can suggest the publisher's investment in the book, which often correlates with content quality. Moreover, the cover may provide visual cues about the book's tone and content, assisting you in determining whether it aligns with your preferences. Sample Pages and Formatting If available, reading a sample can be instrumental in your buying decision. Samples give a taste of the narrative voice, the complexity of the prose, and the initial hook of the story. Additionally, note the book's formatting—font size, spacing, and margin width—as these factors contribute to readability and overall enjoyment. E-books and digital formats offer customization of these elements, providing a solution if the physical book's formatting is not ideal. Price and Format Options Consider your budget and the value you place on different formats. Paperback editions are often more affordable than hardcovers, while e-books typically offer the lowest price point and portability. Audiobooks provide an alternative for those who prefer listening and might be worth the premium for their convenience and the immersive experience they can provide when narrated effectively. Book Length and Time Commitment Reflect on the time you're willing to invest in reading 'Everyone Here is Lying.' The book's length can hint at the complexity and depth of the story. While longer books often offer intricate plots and detailed world-building, they require a more considerable time commitment. Your lifestyle and reading habits might better align with a shorter, more concise book if time is at a premium. Comparing with Other Titles Lastly, compare 'Everyone Here is Lying' with other titles in the same genre. Consider factors such as the uniqueness of plot, the prevalence of similar tropes, and the freshness of the author's approach. Books that challenge the genre's conventions or offer a unique blend of elements can be a refreshing read. Aligning this book with your past favorite reads in the mystery and thriller genre will help you deduce whether it is likely to meet your expectations. ```html FAQ for Everyone Here is Lying What is the book "Everyone Here is Lying" about? Everyone Here is Lying" is a thriller/mystery novel that follows the story of a small town enveloped in secrets. When a series of tangled lies start to unravel, the residents are faced with the consequences, and a suspenseful investigation ensues to unearth the truth behind the town's facade. Who is the author of "Everyone Here is Lying"? The book is written by an author whose specific identity may vary, as "Everyone Here is Lying" is a fictional title that could be attributed to different authors in various hypothetical contexts. It's important to check the cover or the book's details for the actual author's name. Is "Everyone Here is Lying" part of a series or a standalone novel? Whether "Everyone Here is Lying" is part of a series or a standalone novel depends on the author's intent.

You should check the book's description or author's website for information regarding any sequels or prequels. What genre does "Everyone Here is Lying" belong to? Everyone Here is Lying" fits within the thriller and mystery genres. It is a novel that typically revolves around suspense, tension, and the solving of a crime or uncovering of secrets. Is there any content in "Everyone Here is Lying" that might be unsuitable for younger readers? As a thriller/mystery, "Everyone Here is Lying" may contain themes and scenes that are more suitable for adult readers, such as violence, crime, or adult situations. It's recommended to check content warnings or age recommendations if you're considering the book for a younger reader. Where can I purchase a copy of "Everyone Here is Lying"? You can find "Everyone Here is Lying" at most book retailers, including local bookstores, online stores, and digital platforms for ebooks. You may also find it at your local library or request it through interlibrary loan. Are there any book club discussion questions available for "Everyone Here is Lying"? Book club discussion questions may be available in the back of the book, on the author's or publisher's website, or through reading group guides offered by various literary sites. These can aid in facilitating deeper discussions about the novel's themes and plot points. Has "Everyone Here is Lying" been adapted into a movie or television series? The adaptation status of "Everyone Here is Lying" would depend on the interests of filmmakers and producers. To find out if it has been adapted, check entertainment news sources or the official channels associated with the book for any announcements or updates. How can I find out about upcoming releases similar to "Everyone Here is Lying"? To discover upcoming releases similar to "Everyone Here is Lying," follow genre-specific publishers, book clubs, or literary websites. Staying connected with your favorite thriller and mystery authors on social media or subscribing to their newsletters can also provide updates on new releases. Can "Everyone Here is Lying" help me improve my own writing skills? Reading a variety of books, including thrillers like "Everyone Here is Lying," can be beneficial for improving your writing skills. Analyzing the narrative structure, character development, and pacing within the novel may provide insights into successful writing techniques in the thriller genre. ``` In conclusion, "Everyone Here is Lying" by Shari Lapena is a gripping novel that is sure to enthrall readers with its intricate plot, complex characters, and unexpected twists. Lapena's masterful storytelling keeps readers on the edge of their seats as they navigate the maze of secrets and lies that envelop the intriguing world she has crafted. This book review has delved into the nuanced themes and psychological depth that make "Everyone Here is Lying" a standout read for fans of suspense and mystery. Whether you are a devoted fan of Shari Lapena or a newcomer to her work, this novel proves to be a valuable addition to your bookshelf. It offers not just the thrill of a page-turning mystery but also profound insights into the human psyche and the lengths to which individuals might go to protect their secrets or uncover the truth. Readers will benefit not only from the entertainment of a well-plotted narrative but also from the opportunity to engage with the ethical and moral questions that the story raises. "Everyone Here is Lying" is an example of storytelling at its finest, where every character's motive is a piece of a larger puzzle, and every chapter brings a new perspective to light. As you consider your next literary adventure, keep in "Everyone Here is Lying" as a top choice. Shari Lapena's crafted a world so intertwining with deception and revelation that it promises to be a read that not only provides a thrilling escape but also resonates with our own experiences and understanding of the complexities of truth and trust.

Don’t miss the opportunity to immerse yourself in the suspenseful world of "Everyone Here is Lying," where the truth is a rare commodity, and the pursuit of it leads to an unforgettable reading journey. Your time with this book will be well-invested, leaving you pondering its implications long after the last page is turned. Other Everyone Here is Lying buying options

[themovieblogonline]

Little Wing Review: Heartfelt Albeit Flawed Coming-of-Age Story

Little Wing, a poignant coming-of-age drama directed by Dean Israelite and scripted by John Gatins, crafts an emotional tapestry from a simple, yet compelling narrative inspired by an article from Susan Orlean. Starring an eclectic mix of seasoned performers and rising stars, including Brian Cox, Kelly Reilly, and the enchanting Brooklynn Prince, the film dives deep into themes of desperation, connection, and self-discovery, all set against the backdrop of a child's quest to alleviate her family's financial distress. https://www.youtube.com/watch?v=zwXnBFtX8Ms The plot revolves around young Kaitlyn (played by Brooklynn Prince), who, alongside her best friend, concocts a plan to steal a valuable bird in hopes of resolving her mother Maddie's (Kelly Reilly) monetary struggles. However, the story takes a heartfelt turn when Kaitlyn unexpectedly forges a profound connection with Jaan (Brian Cox), the bird's owner. This bond not only reshapes her approach towards their initial plan but also instigates a transformative journey, granting her a fresh perspective on life. The Good: Performance-wise, Little Wing shines brightest through its young star, Brooklynn Prince, whose portrayal of Kaitlyn is both endearing and authentic. Her on-screen presence brings a much-needed sense of innocence and resolve to the film, perfectly capturing the essence of childhood ingenuity and resilience. Brian Cox, as the ostensibly curmudgeonly Jaan, adeptly balances gruffness with vulnerability, adding depth to a character that could easily have become one-dimensional. The dynamic between Cox and Prince is, without a doubt, the emotional cornerstone of the movie, showcasing a unique, intergenerational friendship that is as believable as it is touching. Kelly Reilly, as Kaitlyn’s struggling mother Maddie, delivers a strong performance. She embodies the desperation of a parent in financial turmoil with subtlety and grace. The chemistry between Reilly and Prince creates a realistic and poignant portrayal of the mother-daughter relationship, highlighting the familial love and sacrifices that drive the story's emotional undercurrent. Supporting characters, played by Che Tafari, Simon Khan, and others, add necessary layers to the narrative. However, their development feels somewhat limited in scope. Tafari and Khan, in particular, provide a glimpse into Kaitlyn's life outside of her mission. But, the film struggles to fully integrate these characters into the central narrative, leaving some of their potential untapped. Israelite's direction and Gatins’ screenplay work in tandem to present a story that's visually and narratively engaging. The pacing, however, can at times feel uneven, with the film struggling to maintain momentum in its middle act. Israelite's visual expertise and Gatins' skillful character interactions make Little Wing captivating. The cinematography deserves special mention, with lush, vivid visuals that bring an additional layer of richness to the film. Scenes of the bird and its environment symbolize freedom and Kaitlyn's internal journey. The score complements the narrative well, with a subtle yet poignant arrangement. It enhances the film's emotional impact without overshadowing its delicate moments. One of Little Wing's most commendable aspects is its refusal to indulge in clichés. The storyline is familiar but refreshingly sincere, without unnecessary melodrama. The film's conclusion, though predictable to an extent, feels earned, showcasing a maturity in storytelling that respects the audience's intelligence. The Bad: However, the film is not without its shortcomings. Its depiction of the supporting characters lacks the nuance seen in its leads. This results in missed opportunities to explore deeper themes within the narrative. Additionally, the film's pacing issues and some predictable plot points detract from its overall impact. This leaves Little Wing feeling like a story that could have benefited from a more tightly woven script. Overall: Little Wing is a heartwarming, albeit flawed, entry into the coming-of-age genre. Its strength lies in the captivating performances of its lead actors. Mostly the exceptional Brooklynn Prince and the ever-reliable Brian Cox, who elevate the film above its narrative shortcomings. Though it doesn't fully realize its potential or utilize its cast, it still offers emotional resonance and thoughtful storytelling. Little Wing is a commendable film about unexpected connections and self-discovery. Read the full article

[waitmyturtles]

I’ve been SO EXCITED to write this: KINN! PORSCHE! META!

Yes, I am terribly, terribly late to writing this and I admittedly only started watching the series with two or three episodes left as I was just joining Tumblr. But my dash pushed me to watch the series and I’m so glad I did. KinnPorsche is also my first Thai BL drama (actually my first Thai drama, too) ever, so if I’m missing any obvious Thai BL trope references, I apologize in advance.

The whole origin story of KinnPorsche is super fascinating, not the least that Mile Phakphum himself, as one of the lead actors and key producers, had full awareness of his own role both in plot and show development. Considering the central point I want to make in this meta, I think this straddling between reality and drama that Mile was able to achieve with screenwriter Pond Krisda helped the cast and crew to achieve the environmental effect that I think helped the show become the absolute success that it is. 

By environmental effect, what I’m referring to is the universe that KinnPorsche created. I’ve seen posts and tweets here on Tumblr refer to complaints by other viewers that it wouldn’t be at all realistic that such a universe as KinnPorsche -- one in which multiple family members, friends, and acquaintances are queer and/or exploring -- could ever exist.

That is such lazy and bullshit thinking, and I think the high majority of viewers who followed this show know that that discriminatory thinking is also bullshit. I know, and have worked with, families and communities with all manner of layers of queerness and spectrum-traversing identities and expressions contained in their circles. 

I’ve written before that what keeps me coming back to Asian dramas across the continent is that so much content is written to be family-centric in emotional and behavioral structures that I understand intrinsically as an Asian-American. Sure, there is PLENTY about KinnPorsche that kept me very hooked:

- gorgeous men

- gorgeous men in VERY VISUALLY COMPELLING situations, heh

- fabulous acting and cinematography

- fantastic balance of comedy, drama, and camp

- Tankhun, the absolute god(dess)

- Jeff Satur (he’s otherworldly!)

But as the kind of viewer I am, what I’m looking for in a drama is what’s unsaid, what’s left unspoken about the show’s internal reality. (For instance, I’ve written a lot about Extraordinary Attorney Woo, and how that show normalized the agency that an autistic individual SHOULD rightly have in determining her professional and romantic fates, despite society’s demands that she depend on others to make those decisions for her.)

What was left unsaid, unspoken, in KinnPorsche for me was a family aspect that I very much enjoyed, focused namely on our head patriarch, Korn. Korn, a man who’ll stop at nothing to ensure the success and security of his family as the major entity of an extensive crime syndicate. 

As I mentioned before, what I loved about KinnPorsche was the environmental effect of queerness as a given throughout the show. The only moment I can think of where we saw overt homophobia was Big forcing Porsche into Kinn’s room early in the series, and Porsche calling Big out. 

What I DIDN’T see in KinnPorsche was something that I think taints a lot of Western content about queerness -- namely (ugh), how do the other characters feel about queerness? And usually, those “other” characters I’m referring to are, say, cishet family members or friends who have to go through their journeys of acceptance for the main queer characters to be accepted in the worlds of those cishet individuals.

To me, this kind of construct is so unnecessary Western, centering on each supporting individual’s process of acceptance as a necessary plot line before the Western show can even create a world in which queerness is an unspoken given. (I want to quickly just say, as a tangent, that I think Western writers, directors, and studios think that Western audiences demand this, because our Western culture is so self-demanding, selfish, and self-referential. Namely, how could a Western audience ever relate to a universe of queerness? Western writers need to make their content about the cishet audience first, and queerness second. The last thing I ever need to see again on Western screens is a cishet parent coming to terms with a child’s queerness. We are in the 21st century. I don’t need those stories anymore!)

So, in comparison to these constructs that I continue to see in the West -- what did KinnPorsche give us?

KinnPorsche gave us a relatively sociopathic, relatively bloodthirsty, and murderous crime head in Korn, a guy who cares about his family in kind of twisted ways, and someone who clearly offs family members (like Gun and Thee) before allowing the business to be affected. In other words, he’s a good crime character, a wack-ass rationalizer who’s scary and calculating.

As far as I can recall, the only reference he ever made to the queerness of any of his three sons was when he spoke with Kinn about hooking up with Porsche their first night in the hotel room. And it wasn’t a conversation about, like, omg Kinn ur gayyyy?? It was -- what were you thinking, sleeping with your bodyguard? As a mom, if my kids needed bodyguards (wow), I might ask the same question!

In other words, Korn, at the moment of time that we saw in KinnPorsche, was just a dad. A crime-driven dad who cared for his family business and his sons. At no time did the queerness of his sons need to be separately contextualized for anyone else or anything related to work.

Tankhun and Kinn were integral parts of the business meetings and decisions. Tankhun gave his input -- fabulously, of course, but we never saw Korn wince. We never, EVER saw Korn embarrassed. To Korn, these were his sons, the men who would inherit the family business after his passing. Who they were vis à vis their queerness was never an issue for Korn, and never written as an issue for the show. Korn’s focus was solely about keeping the family and the business together.

I LOVED THIS.

I loved that the queerness of Korn’s sons was never separately contextualized or discussed. It was a total non-issue for Korn. He’s a dad who needed to run his business and loves his sons. That’s it. That’s the lesson that parents need to see and emulate as we raise our own kids (okay, maybe not the crime part, heh). 

While I complain about Western content, there are, of course, volumes of Asian BL shows that deal with the unspoken aspects of queer discrimination in Asian societies. 

However, we didn’t see discrimination in KinnPorsche, and the universe that KinnPorsche created didn’t NEED it. And frankly, while the show attracted its whiners, I think the show absolutely pulled off the universe convincingly. This may need its own meta, but Porsche himself as a fluidly bisexual lead was also brilliant and important and incredible to watch. 

The fact that there was no JOURNEY to watch, a journey of “acceptance” -- I didn’t miss it, and the show didn’t need it. The guys were there, they were themselves, and their world was theirs, without any other extraneous conversation about belonging or acceptance. 

After all that I’ve read and re-blogged about KinnPorsche, I’m thankful this is another one of the dramas I’ve watched that left me feeling totally blissed out after watching it. I needed a lot of time to decompress while and after watching it, because SO MUCH HAPPENED in that fictional world, and is still happening in the world of Be On Cloud and Mile and Apo and all the guys. I understand why the KinnPorsche tag and fandom are still cranking out content strong -- there’s so much to process. 

Mile and Apo and Pond and the Be On Cloud guys deserve all the success and joys that the show has given them, and I can’t wait to see the movie that they’re developing next. If the writing is half as good as KinnPorsche, it’ll be a joy to watch.

[fractualized]

Could we see some bits and pieces of your Dark Telltale Fics?? 👀

Those two are more obviously darkfic, so I won't set off the surprise confetti. ;) There aren't really excerpts I can share, but I will talk about them!

Though I feel compelled to preface this with: when I started writing Telltale, I was rolling with fluffier instincts, but I also got the sense that there was a lot of distaste in Telltale fandom for putting Bruce and John in objectionable scenarios. At this point, however, I want to explore some of those scenarios. So if anyone prefers that Telltale batjokes never crosses certain lines, I recommend you get outta here.

Heed the warnings before the cut!

(CW: discussions of noncon, alcohol, drugging, somnophilia, institutional abuse, consensual nonconsent, coping mechanisms that many people would find upsetting)

Dark Telltale

Look, I have written a lot of earnest, doing-his-best John. I love him! I think he's great! But he's an amnesiac and the most of the life he does remember happened in a poorly run mental institution. His canon behavior is clearly influenced by that, and I have to wonder what other inappropriate things he might do because he doesn't know how to judge normal boundaries and is still developing a moral compass. Combine that with his stalkery behavior toward Bruce and his loneliness, and you can easily get John not doing his best but committing terrible crimes of opportunity.

Such as in a scenario where Bruce's efforts to blend in with the Pact has resulted in him being drunk in Old Five Points (and possibly drugged), and when he goes to sleep it off in John's house, John takes advantage. He keeps crossing lines because Bruce is unable to tell him no, and John justifies it because he doesn't think anyone is getting hurt. After all, Bruce is such a big strong guy, and John is a nobody! No blood is drawn and no injuries happen! John's just sneaking some fun! Worse happened to him at Arkham! But he's not so oblivious that he's going to tell Bruce what he did in the morning.

Dark Telltale 2

In this one, John is in a sympathetic role, exploring sexual abuse he experienced while in Arkham. This is another unfortunately realistic aspect of his character that is not touched on in canon.

The story recounts John undergoing a medical evaluation by an asylum doctor whose clinical examination turns into rape. But as the scene continues, it becomes clear that John's memories of that experience are blending with the present, and he's actually having sex with Bruce. He's asked Bruce to recreate the rape in roleplay to help him recontextualize the confusion and shame he felt back then.

Years ago, I read an article written by a woman who asked her boyfriend to recreate her rape and explained that she found it cathartic, and it stuck with me given the subject matter and how it was so seemingly contradictory. I was aware that rape is a common fantasy people act out, but the idea of someone reliving a specific experience they personally had hit me differently. Obviously this is not a universal method of processing trauma (and I'm far from a psychologist so I'm not taking a stance on it), but it seems like one John would try. So many of his memories were already erased; I think overwriting memories (or rather, manipulating them to tie them to something better) would appeal to him.

As I've conceptualized it, the story skips John proposing and negotiating this with Bruce, but it'll need to incorporate a sense of how Bruce felt in the lead-up to this. I'm sure he'd be repelled by the idea of assuming the role of a real person who violated John. It would take a long time for Bruce to understand why John wants this, and in that time he'd track down the doctor and get him arrested, and he'd say, "See, I fixed it!" And then he'd be angry and frustrated when John says it doesn't erase what happened, and they'd argue, argue, argue. But with enough time, I think John could find the right words, and Bruce could find the strength to do this for him. Maybe I will write more on this in an interlude in the story, but I don't know.

In any case, this WIP is a lot! So it may never get done given all the emotions that need to be addressed, but I find the idea compelling.

[yurimother]

LGBTQ Game Review - A Summer’s End – Hong Kong 1986

Before diving into the meat of Oracle and Bone’s A Summer’s End, I want to talk about the women behind this game Tida Kietsungden, and Charissa So. So and Kietsungden have done nothing but impress me since the announcement of A Summer’s End. They have repeatedly demonstrated their immense effort and dedication to creating a beautiful and thoughtful experience. Through conversations with the studio and reading their blog entries, I gained a remarkable understanding of how this game is both a tribute to classic cinema and a love letter to the Yuri and LGBT community. Through careful research and thoughtful expression, the two women navigate and acknowledge complicated issues, including Asian LGBTQ history and Hong Kong’s delicate political situation with grace and maturity. I am in complete awe of both women and their work. However, regardless of my profound respect for these creators, I still endeavor to offer my unfiltered thoughts on the visual novel, giving praise and criticism where appropriate.

A Summer’s End – Hong Kong 1986 is a Yuri visual novel set, as you may have figured out, in Hong Kong in the year 1986. The game follows a young office worker, Michelle (Fong Ha) Cheung, who has a chance encounter with a free-spirited woman named Sam (Ka Yan) Wong. Both women feel drawn to each other, and the game explores this mutual attraction and the budding relationship which emerges from it.

This plot follows the standard girl meets girl story that has permeated the Yuri genre for the past several decades. Like most Yuri stories, the older and more experienced woman, Sam, is rebellious and beautiful, with long dark hair and a dominating persona. Michelle, although far more naive in the ways of love, breaks the trend of this trope by being the more sullen of the two. I would have liked to see the game diverge a bit more from the standard story of the genre. Fortunately, A Summer’s End is a romance story between adults who do not work together, setting it apart from the norms. It even includes a coming out section that creates a more robust LGBT identity than any tale of temporary schoolgirl love.

The story is well put together and well presented. The story is told primarily from Michelle’s perspective. It mostly takes place over a few days, during which Michelle engages in a whirlwind romance with Sam. This story features the struggle between her feelings and passion and her devotion to tradition and her mother. The progression of her affection is unrealistically fast. The story feels a bit rushed, and many of the societal and personal quagmires the game stumbles upon are not sufficiently developed or confronted. Had the game indulged in a more prolonged and tumultuous struggle for Michelle, conclusions would have felt much sweeter, and the story would have gone from good to great.

Even with this massive missed opportunity, there are plenty of exemplary moments and aspects of the narrative. The game pulls no punches addressing Michelle’s slightly overbearing mother and the conflict between the two. It would have been incredibly simple to take the easy route on this one. Still, the developers stuck to their guns and manage to explore a challenging situation satisfyingly, all while keeping the characters realistic and sympathetic. In fact, every scene relating to LGBT rights and history is flawlessly executed.

There are also some fantastic chapters, including a thrilling but refreshing bike ride and a flashback scene that recontextualizes certain events from another perspective. The many references and allusions to classic cinema including some older lesbian films and plenty of Asian works, are particularly noteworthy. However, the best part of A Summer’s End by far is the setting.

The location and time period is intrinsic to Sam and Michelle’s tale, as it is shaped by and reflects contemporary culture and LGBTQ rights. Oracle and Bone create a vibrant and lively world, a jaw-dropping depiction of Hong Kong in the 1980s. Everything helps feed into the creation of this world, including a fantastic and retro UI, small touches such as a Cantonese subway announcement, and objects encountered like a disposable camera help convey a strong sense of the period. However, the soundtrack sells it more than any other element, save perhaps the artwork, transporting the player to the era. While a few tracks are the standard easy listening affairs one expects from visual novels, there are tons of excellent city pop and disco beats, complete with plenty of synths and confidence! Finally, a visual novel soundtrack that contributes more than just background noise!

Sadly, the game’s dialogue choice system and branching paths are far more of a hindrance than a help. I can honestly say that the game would play better and be way more enjoyable as a kinetic novel. Most choices feel inconsequential, changing nothing of the story and resulting in almost the exact same response from other characters yet, they have a hidden points system. If you do not earn enough points, parts of the optional adult content will be unplayable until one goes back to find the right choice. I spent several hours replaying, and eventually skipping through, the game to unlock all the scenes, and finally gave up with one CG left unseen. The only choice with any actual effect is painfully evident in its consequences. One option leads to the bad ending, which is well written, but no reasonable player would go down that path unless they just wanted to see the whole game. The second unveils the true good ending, which no player in their right mind would not pursue, as again, the choice is obvious and adds nothing to the game. There is no reason to put in an alternative ending or tedious dialogue choice.

The characters in A Summer’s End are well constructed. Sam is adventurous without being obnoxious and has a mature though appropriately unrefined demeanor. Michelle is extremely curt and somewhat distant, although she displays a sharp wit and more timid nature on occasion. Both women participate in engaging, deep, and thoughtful discussions, often with each other, although sometimes internally, and thus feel well developed and complex. Unfortunately, their chemistry, while not absent, is not enough to sell the whirlwind romance. There is insufficient expression of their feelings and attractions, both internally or through dialogue and actions, so their inevitable closeness feels unearned.

However, even in the short game, both characters change with each other, especially Michelle, as she becomes more affectionate, confident, and caring. She begins to embody some of Sam’s warmness while never losing herself. Some of my favorite dialogue and interaction came from her towards the end of the game, although I will not spoil it. Additionally, side characters have a strong presence thanks to their firmly established characteristics and a profound effect on the narrative. Each has their own sprite and mannerisms, helping cement them as fixtures in A Summer’s End rather than tacked on assets.

The visual novel contains optional adult content, which is installed in an extra patch and can be toggled on and off. I played through the game with and without it and can happily report that the story is just as fulfilling and complete without it. Although the unlockable nature of these scenes is aggravating, they are very well written and sensual without being exploitative. There were moments I did not care for as much, such as Sam getting carried away at one point, but it felt very realistic and incredibly sensual. The artwork in these sexual encounters is some of the best in the game, embracing darker colors and showcasing intense desire.

Speaking of the artwork, it is stupendous. The game is bright and striking, with amazing backgrounds complete with luminous neon signs, glaring televisions, and life and activity oozing from every corner. The backgrounds are so beautiful and detailed they could effectively serve in place of CG art, although there is plenty of that asides. The character models and designs are similarly excellent, with expressive poses and faces. The various outfits, of which the game has many, embody iconic 80’s fashion. Artist Tida Kietsungden draws both the characters and CGs with a distinctive hand-drawn style, which allows them to play well off each other and add to the beautiful presentation. The detail and care that went into the aesthetics are enormous and elevate the game at every moment. 

A Summer’s End – Hong Kong 1986 is a vibrant and intimate experience. The fantastic setting and flawless artwork surround a compelling and thoughtful story about lesbian love and desire, societal expectations, and the bonds between family and lovers. It is rough around the edges, with a slightly rushed story that leaves little time to wallow in complexity and an awful dialogue system. However, it will win players over with its striking presentation and sophisticated subject matter. I look forward to more from this studio and highly recommend you check this game out!

Ratings: Story – 7 Characters – 6 Art – 10 Music – 8 LGBTQ – 8 Sexual Content – 3 (8 with patch) Final – 7

Purchase A Summer’s End on Steam and itch.io, available April 23

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[lilydalexf]

Old School X is a project interviewing X-Files fanfic authors who were posting fic during the original run of the show. New interviews are posted every Tuesday.

Interview with Michelle Kiefer

Michelle has 55 stories at Gossamer. If you haven’t read them, what are you waiting for?! She has great takes on Mulder and Scully. I’ve recced some of my favorites of her fics here before, including Christmas in California, Making Other Plans, and Six Inch Valley. Big thanks to Michelle for doing this interview.

Does it surprise you that people are still interested in reading your X-Files fanfics and others that were posted during the original run of the show (1993-2002)?

I’m not sure anyone is still reading my stories.  I haven’t migrated my X-Files ones to AO3. I don’t think Gossamer provides any viewing statistics. I’d be very happy to hear that people still like my work.

What do you think of when you think about your X-Files fandom experience? What did you take away from it?

My X-Files fandom experience was amazing.  I remember that sense of excitement and immediacy.  It was thrilling to write stories (and read those of other authors, of course) in an active fandom for a show that was on the air.  It was truly my first experience in an online world--a parallel world to my real life existence.  I learned how to keep a foot in each world.  As I recall, it was very hard to keep my focus in my “meat” world, when the online one was so fast moving and thrilling.  But I did get some balance in my life as time went on.

Social media didn't really exist during the show's original run. How were you most involved with the X-Files online (atxc, message board, email mailing list, etc.)?

Message boards and mailing lists were my experience.  They were primitive compared to the pretty screens now.  I forged some amazing friendships, some of them with people I discovered lived relatively near me.  All I wanted to do was discuss episodes and fic.  The flame wars were a little intimidating, but also amusing if you didn’t get swept up.

What did you take away from your experience with X-Files fic or with the fandom in general?

I was very passionate about the fandom--as I said, there were times when my online life seemed to overpower my real life experiences.  I learned to manage that, and think I’m all the better for that.  And I found some amazing friendships that are active and thriving today.  I learned a lot about writing with XF fanfic.  The level of quality was stunning.  A decent percentage of fic were as good or better than traditional published fiction.  But there were so many writers!  I wanted to make an impact on the fanfiction world, but that meant taking my writing very seriously and learning to develop a story, pace that story, make it compelling and believable.

What was it that got you hooked on the X-Files as a show?

I had a couple of coworkers that talked about the show all the time.  I was curious, so I watched an episode.  I believe it was the cannibal town one.  I thought David Duchovny was odd looking and wasn’t terribly impressed.  But I tried another episode - Wetwired, which blew me away with the morgue scene when Mulder thinks he’s going to identify Scully’s body.  Ah...I thought, now, I see what everyone is talking about!  And from then I was hooked.

What got you involved with X-Files fanfic?

As I watched, I wanted more.  I was fairly new to the internet (frankly, the internet was new to almost everyone)  I found episode reviews, and some of them were fantastic.  Some mentioned fanfiction.  I was unaware of such a thing, though to be honest, since childhood, I’d been spinning stories in my head about characters on TV shows.  I found some fanfic. The first couple of stories were not great (at least one was horrible) but then I found some that were very good.  Probably a bit soap-operaish, but still readable.  And then I became voracious as I plowed through the mass of stories looking for the good stuff.  And boy was there good stuff.

What is your relationship like now to X-Files fandom?

I’m not estranged from it, but I don’t spend much time with it after all these years.  I’ve found fanfic in some other shows that I like and only occasionally read old XF stories.

Were you involved with any fandoms after the X-Files? If so, what was it like compared to X-Files?

I’ve not been as involved with any other fandoms, i.e. following commentary on the show.  I tend to dive into TV shows well after their heyday, so I’m always late to the party. I do read fanfic from other shows, and have actually written fanfic for other shows, but I need a really good idea to write.  None of the other fandoms for my other shows are as busy and active as XF, even ones currently in production.  And none of them have as much fanfic and certainly not the level of brilliance that we had in XF.

Who are some of your favorite fictional characters? Why?

I tend to go for interesting partnerships, very much in the XF fashion.  And a flawed hero is always a plus!  The partnerships don’t necessarily have to be romantic---in fact I find I prefer those that are not.  Really, Mulder and Scully were the only ones I felt deeply as a pairing, probably due to the chemistry between the actors. But the partnerships have to be well-balanced and realistic.  I loved the characters on Sleepy Hollow.  The two main characters were very much in the mold of Mulder/Scully.

My newest passion is British detective shows and I’ve completely fallen for the “Morse-verse” shows, Inspector Morse, Inspector Lewis and Endeavour.  Less of an XF feel, but compelling characters with interesting backstories.  Other favorite partnerships in the British detective genre are on Inspector Lynley and Broadchurch.

Do you ever still watch The X-Files or think about Mulder and Scully?

A bit less now, though I’m still involved with a wonderful group of ladies who love the X-Files.  When we get together for a yearly weekend, we binge episodes and eat impressive amounts of junk food.  XF isn’t on network TV these days, but if it was, I’d probably watch it.

A couple of years ago, I listened to Kumail Nanjiani’s XF podcast on my long commute.  I loved the commentary and interviews so much that I did watch some old episodes.

Do you ever still read X-Files fic? Fic in another fandom?

I don’t read much XF fic.  I’m currently reading in some other fandoms, but it’s harder to find good stories--the ones I follow aren’t very active these days and the quality just isn’t what XF was.  We were so lucky.  We had maybe 20 incredible top authors at any one time, then maybe another tier of 50 to 100  good to maybe great writers.  And with new episodes, there was so much inspiration. We were so spoiled.

Do you have any favorite X-Files fanfic stories or authors?

Everything from Syntax6, MaybeAmanda, Kel.  A special story for me was “Strangers and the Strange Dead” by Kipler because I remember reading that very early in the morning in my unheated basement in the winter because that was the only time I could use our single computer without others in the family complaining.  I remember actually gasping at the big reveal in the story.  I can even remember the story’s opening line!

What is your favorite of your own fics, X-Files and/or otherwise?

I was just learning how to write fiction when I was involved in XF, so I’m not sure my best work is there, though the bulk of my stories are there.  I liked some of the work I did with others.  I wrote Bone of Contention and Out of the Everywhere with Kel and I think that those stories got the best aspects of both of our styles.  For stories I wrote myself, I think they’re not bad, but they are rather short and it’s always easier to maintain a theme and style for a short story.  I liked Black Cherry Velvet.  I’m writing some Inspector Lewis stories that I think are pretty good--they benefit from the years of experience that I was gaining through XF.

Do you think you'll ever write another X-Files story? Or dust off and post an oldie that for whatever reason never made it online?

Never say never, but I probably won’t write more XF.  I used to burn with it, but I think that got burned out a bit.  Still, I have such wonderful memories of the whole period.  It might be worth looking at again.

Do you still write fic now? Or other creative work?

As I mentioned, I am currently playing in the Inspector Lewis world.  It’s sad--it’s a very small and not terribly active fandom.  Sad that my best work is in an inactive fandom where I’m lucky if 20 or 30 people are reading them.  It doesn’t help that I don’t write the most popular pairing.  

But I’m really enjoying it.  I occasionally write for Man From Uncle, which really shows my age, as that was a childhood obsession.

Where do you get ideas for stories?

With XF, it was always a take on an episode--did I get a tiny idea that I wanted to develop, or was I not thrilled with the way something went on the show.  Now,  it’s usually a “what if” kind of thing where I get inspired by a possible event and explore how that would play out, i.e.  “What if this character had a one night stand resulting in an unplanned pregnancy?”  What would happen?  How would he handle the consequences of this?  How would it change his life?

What's the story behind your pen name?

It’s literally my own name.  I SOOOO wish I’d used a pen name.  But I was naive and fandom was so new to me that it never occurred to me that a pen name would be better.  I always told myself that my real name sounded like something made up, like a TV newscaster name, and I hoped people assumed it was a pen name.

Do your friends and family know about your fic and, if so, what have been their reactions?

My husband and my kids were the only ones who knew about it for many years. Then I went to a fandom/fic gathering for three days and had to explain to a few other family members and my work mates why I was going to Chicago on my own. It’s still mostly a need to know thing and they don’t really need to know.

Is there a place online (tumblr, twitter, AO3, etc.) where people can find you and/or your stories now?

I’m on AO3 as msk.  And everything I wrote for XF is on Gossamer.

(Posted by Lilydale on February 2, 2021)

[nostalgiqueajamais]

Bulgasal on Netflix

The Netflix series Bulgasal: Immortal Souls is at the top of my list of recommendations. In fact, I can't think of anything else to recommend at the moment. I stayed up all night watching it. The series starts off with a lot of misdirects and it doesn't stop there. I constantly found myself holding my breath and feeling relieved throughout the series. Like a good essay, the beginning and the end of the series connect well while the middle explains away the little details. The plotline is compelling and better yet, believable, albeit, confusing at times.

The main theme of the series, aside from fantasy and horror, is reincarnation. The characters live through many lives and although they are placed in different situations, they always stay true to their personalities.

For example, the Bulgasal from 1000 years ago waits patiently and obsessively for his other half to return to him. In his final moments, even as he is saving his significant other, he curses the villagers that sought to kill him. In the current timeline, the Bulgasal, Dan Hwal, persues the Bulgasal who he believes killed his family throughout all her lives in an attempt to avenge his family. No matter where or who he is, he is relentless, obsessive, determined, and vengeful.

Of course, it's a Netflix series; it's going to be aesthetically pleasing. I was repeatedly fawning over the visual aspect of the series. It was like an Instagrammer's dream or goals. Every closeup, transition, and scene was so beautifully done; I can only think of one word: poetry.

The consistency and visuals remind me of the Harry Potter franchise and how well-made it was.

The main character is quite awkward and it's quite uncomfortable to watch his interactions with others but given his harsh background and goal for vengeance, it makes it believable and the series even better. One of the best things about Bulgasal is the duality shown in each character. Even though each character has an assigned role as the villain or the hero, the series still explores different parts of each character; the dark side of the heroes and the good side of the villains. I found myself feeling sorry for the villain and at times, hating the main characters.

To conclude, Bulgasal is essentially twilight with all the vampire-y brooding and obsessive love but (imo) better and Korean. I loved the ending. Although I would have loved to see ALL of them together again, I think that would've made the plot less realistic and maybe even corny. All in all, bravo! Fantastic and powerful acting, lots of telepathy and communicating with just eyes, visually appealing, one of the best series I've probably seen.

[scrapyardboyfriends]

I've always defended ED when it comes to their choices regarding Liv and her sexuality. Generally, I think they've done a good job of navigating the nuances of asexuality in a respectful and (relatively) realistically way, especially given the fact that asexuality has never been explored on a UK soap before. However, these new spoilers are problematic on so many different levels. It feels like the producers are inflicting trauma for traumas sake instead of actually creating compelling storylines. I just hate everything about it.

Yeah I have too. I've always thought that was the one part of her story they did right. All through the mind numbing Paul story, I kept saying that at least it was giving them reasons to show the progression of Liv and Vinny's relationship and what that means for being asexual.

And now....now that this is the fourth spoiler within this story that is involving the possibility of Liv having sex and against her will at that? And the idea that it probably won't even be that, it'll just be a misunderstanding? And just result in everyone being vaguely traumatized and overreacting for no reason? And who knows if it will be a quickly resolved misunderstanding or something that drags on. And I just do not feel like any of this is beneficial to her or her drinking story, which has already turned an actual corner. I just don't get it.

I mean I'm almost impressed how many problematic aspects there are to this story. They've outdone themselves.

- throwing sex yet again at the ace character - piling on more unnecessary misery to set Liv back in this drinking story that should be firmly in the recovery period at this point - the overuse of sexual assault stories in general on this show - and with respect to the above, both Aaron and Charity have experienced sexual assault and they're the opposing adults in this scenario - the fact that it is probably a misunderstanding so they're then using sexual assault as like...a surprise soapy twist? - the fact that they're showing a case where the accused is innocent and the accuser is wrong just has bad optics and I doubt they'll really get into any nuance there to make any of that a worth while discussion - the fact that they're still demonizing Noah for picking up a bra after telling Gabby he would do her laundry??? Because I still swear that's what their scene was about and the Will made it weird

I just do not understand any of it and actively hate it. I guess we'll see how it plays out but I'd rather it were not playing out at all.

[enlightenedrobot]

TW: Body Horror (though the “horror” aspect is debatable), Uncanny Valley, Sexual Themes, Visceral Nudity

This is Graham, a sculpture by Patricia Piccinini depicting the human body as if it were designed to withstand the forces of a car crash. He’s also a bit of a meme now.

Real talk, Patricia Piccinini is one of my favorite artists currently working today, and I kinda think it’s a shame that most of her sculptures get their exposure through viral hoaxes and memes. I believe her work explores interesting concepts on love, sex, and body image through these compelling, hyperreal sculptures of human-esque bodies.

The subject matter of a lot of her work are these lovingly rendered transhuman creatures that could almost be mistaken for human at first glance, but with some strange, visceral mutations to their form. They look like rogue science experiments from a blockbuster movie, the type of John Carpenter-esque practical effect you’d expect some protagonist to burn alive with a flame thrower.

But unlike The Thing, Piccinini’s creatures are meant to evoke empathy from the viewer. These aren’t monsters, they’re people... children, caregivers, lovers.

I almost feel like these figures reflect our relationships with other humans right back to us. If these figures strike fear in you, then maybe you find other people alienating. If you’re disgusted, it might be because these figures serve as reminders that humans are designed to eat, mate, and shit.

Or maybe you feel the need to protect them... motherhood does seem to be a repeated theme throughout Piccinini’s work, and a lot of the creatures she builds are decidedly child-like.

Or maybe your like me and you empathize with the creatures themselves... one of my favorite pieces she’s built is called “The Couple”

Two mutant lovers, alone together in a caravan, separated from the rest of society.

I don’t want to assume anything about the artist’s intentions with the work, but the way she describes it feels resonant with me. Maybe its because I’m queer or that I have brown skin, or that said brown-skin is discolored and worn by infantile exzema, and that I’ve naturally been alienated from my peers because of it.

Or maybe it’s because the themes of this work can be applied to basically anybody who feels alienated by their peers over the way they look. People have body issues and health issues, and we’re often othered by most of society because of it... even though realistically nobody could ever live of to the beauty standards we describe as normal.

Anyways, this has been a PSA. More people need to know her name.

[darkpoisonouslove]

Tangled: The Series Review

I just watched Tangled: The Series and I finished all three seasons in four days. TL:DR It’s good. It’s really, really good and I definitely recommend. This might be the best thing that has come out of Disney in the last decade or more. Now head under the cut for a more detailed look at the show and my thoughts on it.

Plot

The plot is actually pretty simple and is a direct continuation of the storyline from Tangled: Before Ever After. Granted, there are a lot of elements that answer questions not only from that movie but also from the Tangled movie itself but they are introduced with a lot of time in between that lets you process and even get disengaged at a couple points.

Not gonna lie, the pacing can be pretty slow sometimes and you almost forget what the end goal of the journey is but that allows for a lot of character work to be done (which I will talk about in a sec). It doesn’t seem like it has enough plot for three seasons but they do end up filling it out. Sometimes it’s a little frustrating but it works about 98% of the time.

The finale of season 3 wasn’t overly hyped up by the set up so it didn’t feel anti-climatic like it so often happens when shows just oversell their final showdown in the build-up and then it’s just... eh. Here the emotion and suspense definitely felt proportional to the action you’re getting most of the time.

Characters

The characters were great! They build up on what we’ve seen from Rapunzel, Eugine and Cassandra in the two movies and gave a lot of screen time to side characters as well. Pascal gets two episodes that are centered on him and he gets his own arcs! He’s a chameleon! And you feel for him as an independent character and Rapunzel’s friend, not just her pet. There are a lot of moments where other citizens of Corona that aren’t part of the main focus of the show get attention as well to a point where the kingdom truly feels populated and the world comes alive off the screen. It’s truly moving to watch most of those stories develop.

A little complaint I have would be with Rapunzel’s parents. The focus on them wasn’t bad–not at all–it just wasn’t enough. To be fair, I was actually surprised that they even touched on them but when you truly examine how they did, it just isn’t enough. We get a look at the trauma of losing a child mostly through Rapunzel’s father who definitely got more screen time than her mother but, ultimately, neither of them feels well developed. You are just not sure who they are as people and it feels unsatisfying precisely because the show tried to focus on them. It just didn’t work out fully.

Other than that, most of the characters just work really well. They all get arcs and go through a lot of character development that makes you attached to them and you really get invested in the story which is great. I genuinely cried a couple of times because I was so touched.

Villains

The villains might just be my biggest issue with this series. They have some good minor villains, some cases that are engaging despite the frustration they breed and a couple of villains that are just frustrating in their execution. I’m going to break this down a little to express what I mean.

The main villain of the show is okay but is a little underwhelming. She’s not on screen until season 3 and the thing is that she feels a lot more menacing while she is just a presence that hangs over the main cast rather than she is when she is actually present. (Now this might spoil a little simply because there is no other way to word it) Her servants come off as more menacing than she does. The only time she’s truly pulling her weight is in the finale that I already mentioned was just the right amount of hyped up so that you don’t end up disappointed by it. I was pretty neutral about her and liked her more when she was just an incorporeal tale the heroes were hearing about.

There were several minor villains that worked great. They were the right amount of menacing and the show actually allowed itself to go into pretty dark territory with some of them. Most left lasting consequences for the main cast of heroes and were just all around perfect. The thing that I have an issue with is all (and those are several) the villains that switched over to the good side because it never felt executed correctly. It was either rushed or not well motivated. The writers of the show were making a point about how kindness can touch any kind of person but it still felt forced and not focused on enough. All of these cases would have benefited from a bit more time for the change to happen.

There are two villains in the series that are particularly frustrating when it comes to that because with them changing morality was like flipping a switch. With the first one both the good-to-bad and bad-to-good changes were just not motivated enough and were ramped up to eleven. It just leaves you thinking “You should go to sleep and then you’d calm down” but instead he ended up nearly getting dozens of people killed just because he couldn’t think to count to ten. And in the other case, the switch to the side of evil was definitely motivated in insecurities that were festering over time but the flip-flopping between good and evil was just really annoying and didn’t feel like it was grounded in particular thought or even emotion. It was just happening because the plot demanded it which was extremely jarring after two and a half seasons of a character driven show. And despite the clearly overtaking insecurities, watching this character make some of her choices is unbelievably frustrating because they just don’t make sense. No matter how hurt she is, she is just acting like she either is unable to think or like she doesn’t care about anyone but herself which clashes with the moments in which she is considering going back to the side of good. It is baffling and the worst point of the writing in any aspect.

Relationship Drama

Or rather the lack of anything I would describe as relationship drama aka unfounded jealousy and wild miscommunication that would take half a minute of intelligent conversation to be resolved. I was so pleasantly surprised by the way the relationship between Rapunzel and Eugine was handled. They are both supportive of each other and forgive mistakes. They talk about their feelings and resolve conflict whenever it arises. They trust each other even when it appears that the situation doesn’t warrant that. It is just a healthy relationship that is absolutely heart-warming and adorable to watch.

I am especially thrilled about the fact that they brought up Rapunzel rejecting Eugine’s marriage proposal in Before Ever After and touched on how it would feel to a girl who’s spent her whole life confined to one place to be thinking of settling down (not ideal since in a way it implied that marriage is a trap or at least boring and would cut off your opportunity for adventure but at least they talked about it). And I am especially pleased that they gave the characters time to explore their relationship and also explored the idea of them being in one without being engaged. Really, the message that you can love someone and still not be ready to get engaged is valuable and not something I would expect from a story about a Disney princess.

Some more highlights to talk about and some minor spoilers (don’t read if you don’t want to know more) – they explore how Rapunzel inspires Eugine to be better but it isn’t framed as her being his only salvation. It is framed exactly as what it is – Eugine seeing Rapunzel’s kindness and deciding that he wants to be better for himself and for her, too. I really appreciated that. They also have this episode in which Rapunzel and Eugine have to play parents and I liked the way it was handled. It truly felt like they have the connection between them to support a family and raise children but they are not in a rush and that goes back to the idea that they don’t need to get engaged and married if they don’t feel ready even though they might appear ready.

Lore

I loved the lore of the series. There is a lot more we learn about Corona as well as Rapunzel and the abilities of her hair. There is more information about the world and the surroundings of both the characters and Corona as a kingdom. We get a great expansion of the fantasy element of the world as well as the history and politics of it and I was immersed in the way it made the story and the characters richer. The show is doing its own thing and it is following whatever has already been established about the world and building on it in order to make both the story more compelling and to answer questions that have been raised in the movies without being answered. It’s doing quite well on that front.

Originality

A lot of times I would think that we are going down the route of a certain trope but then they’d put a fresh spin on it or at least a new angle that isn’t usually brought up and made the story that much more engaging. The show dealt with some serious topics that I never would have expected from a Disney princess property. They actually explore Rapunzel grappling with the responsibility that will fall on her shoulders once she’s queen of Corona and it was done in a very realistic and honest–even raw–way. Definitely not something you think you’ll find in the show when you sit down to watch it. There were certainly some cliches and moments that I wish they could have subverted the tropes they were using, but overall, I was often surprised by the way they handled the matter they were writing about.

[themovieblogonline]

Fair Play Review: A Balanced Exploration of Love and Ambition

Director Chloe Domont's feature directorial debut, Fair Play, delves into the tumultuous intersection of love and ambition in the high-stakes world of a cutthroat hedge fund. With a compelling narrative and notable performances by Phoebe Dynevor and Alden Ehrenreich, the film offers a realistic portrayal of the challenges faced by a young couple when their career ambitions clash. While Fair Play boasts several commendable aspects, it ultimately falls short of achieving greatness. https://www.youtube.com/watch?v=vICUPlr3EEI The Good: Phoebe Dynevor shines as Emily, a driven and intelligent financial analyst who finds herself unexpectedly promoted to a high-pressure position at the hedge fund. Her portrayal of a woman navigating the treacherous waters of the male-dominated finance industry is both convincing and engaging. Dynevor conveys the character's determination and vulnerability with nuance, making Emily a relatable and sympathetic protagonist. Opposite Dynevor, Alden Ehrenreich delivers a solid performance as Luke, Emily's fiancé. Luke, an aspiring artist, struggles to balance his creative aspirations with Emily's relentless pursuit of success in finance. Ehrenreich captures Luke's frustration and self-doubt, making him a character the audience can empathize with. The chemistry between Dynevor and Ehrenreich is palpable, and their on-screen relationship feels authentic, adding depth to the film's emotional core. Chloe Domont's direction in Fair Play is competent for a debut feature. She skillfully creates an atmosphere of tension and competition within the hedge fund setting, using sharp cinematography and a pulsating soundtrack to underscore the characters' high-stakes world. Domont's choice to frame many scenes in tight, claustrophobic spaces effectively conveys the characters' feeling of being trapped by their circumstances. One of the film's strengths lies in its willingness to explore the complexities of ambition and the toll it takes on personal relationships. The screenplay, penned by Domont, offers a thoughtful examination of the sacrifices individuals make in pursuit of their goals. Emily's rapid ascent in the hedge fund world puts immense pressure on her relationship with Luke, and the film skillfully portrays the emotional strain that results. Fair Play is at its best when it delves into the psychology of its characters, particularly Emily. The film doesn't shy away from portraying her as a flawed and ambitious protagonist who is not always likable. This authenticity adds depth to her character and elevates the film's exploration of ambition and its consequences. The film's resolution, without giving away spoilers, is bittersweet and thought-provoking. It reflects the compromises and choices people make when faced with seemingly irreconcilable differences in their aspirations. While it may not provide a neatly wrapped-up conclusion, it leaves room for contemplation and discussion, which is a testament to the film's willingness to tackle complex themes. The Bad: However, Fair Play stumbles in its pacing and narrative development. The film occasionally drags, with some scenes feeling repetitive as they hammer home the central conflict between Emily's career ambitions and Luke's artistic dreams. While this repetition may reflect the cyclical nature of the couple's arguments, it becomes tiresome and disrupts the overall flow of the story. Furthermore, the supporting characters in Fair Play often feel one-dimensional and underdeveloped. The film introduces a cast of colleagues and mentors from Emily's workplace, but they remain peripheral figures who lack depth and fail to contribute significantly to the central narrative. Expanding on these characters could have added more layers to the story and enriched the exploration of Emily's professional world. While the cinematography here effectively captures the intensity of the hedge fund environment, there are moments when the film's visual style feels uninspired. Some scenes lack the creativity and innovation one might expect from a film exploring the world of finance and art. A more distinct visual identity could have enhanced the overall impact of the movie. Overall: Fair Play is a commendable debut for director Chloe Domont, offering an insightful exploration of ambition and its impact on personal relationships. Phoebe Dynevor and Alden Ehrenreich deliver strong performances, portraying characters with depth and authenticity. However, the film suffers from pacing issues, underdeveloped supporting characters, and occasional visual blandness. Despite its flaws, Fair Play succeeds in sparking important conversations about love, ambition, and the difficult choices individuals must make. It's a film that leaves viewers with much to ponder. Read the full article