#like he's watching a love story unfold and-- out of all the messed-up narratives in this show-- THAT makes him uncomfortable

[weirdpsychoticlife]

[rosewoodroad]

Rant/Critique/Brain Vomit on the SoTO story updates

I've seen some people expressing their thoughts on the latest SoTO update(s) and it gave me some courage to discuss my own. Overall, my sentiments are the same- I've been getting progressively dissatisfied with how the story is being executed, and I'm not ashamed to say it's because the Commander stopped mattering.

And I'm not referring to the disrespect we got in the main SoTO expansion- because that is the exact opposite of what I'm criticising. I'm referring to the sheer lack of interaction the Commander has had with the world and story since. The immersion is just not there anymore.

To be frank, the Commander is far from the usual MMO player avatar. They actually have a base personality in their own right. What's more, they have a canonical history that we actually played through and saw progress in real time. They are the protagonist character of GW2 and not just a window for us to peer into Tyria through.

This is why I thought SoTO's main expac story was actually pretty fun. The Commander's existing history coloured most of our interactions in the world.

The wizards either hated or loved us- but we got to work on making them fear us less. Some demon lady invades our brain because we died and undied once, and we had to figure out if she was an ally or not. Her big brother kidnaps us twice because being a Dragon Champion smells good or something. Zojja is back and showers us in her friendship angst- all because of this history, which was all great!! It showed that we were actually a part of their world, somebody they could talk to or yell at, we had and continue to have impact!!

We weren't the driving narrative force, but we were at least interacting with and nudging the story forward as a protagonist.

Aaand all of this was totally missing in the dribbling updates that followed.

Let's recap- we joined Peitha in Inner Nayos and started punching out demons. And we're still punching out demons. I mean, yeah, that's why we're there in the first place, but what else is there? We find Arina, but she's totally unbothered by us messing up her initial plans and getting quite a few of her men killed. We meet Ramses, but he's 100% chill with us, nice to meet you Wayfinder, let's go kill Heitor. Eparch, the guy who found us 'entertaining' enough to whisper a warning to at the end of SoTO, doesn't even acknowledge us. Nephus, who sounds like their world's version of the Commander, talks to us like... twice. Peitha, the big mysterious sexy demon lady we had fun back-and-forths with, stopped chatting with us entirely (and we also immediately trust her despite the lack of communication).

It's all so... apathetic. You could argue that they just don't know or care about who the Commander is, but then what is the point of us being there when some Other Guy could've taken our place? The protagonist isn't protagonisting anymore and has been relegated to being a transparent sheet of plastic for us to just watch the story unfold by itself, totally hands-off. It's hard to care about a story when it doesn't care about us.

I'm still invested in the story (and Peitha) enough to play through the remaining update, because I love me a good revolution, but I cannot deny that I am officially bored with it too.

[unnecessarilygrandiose]

I binged Fleabag in two sittings and I am in awe. What a brilliant, beautiful show it is. There is so much to love about it, but the one thing that I can't stop thinking about is the way the narrative was crafted, and the way Fleabag breaking the fourth wall made us part of the story.

So season one pretty much establishes that her talking to us while going about her life is a coping mechanism, a metaphor for dissociation. It was a really great season, but the finale, instead of showing her actually begin to heal, showed shit hitting the fan, and then towards the very end kind of sort of depicted her turning toward the general direction of getting her life on track. At the end of this season, I was like. Wait. That's it? That's the end? Aren't we going to see her actually get better? Well thank god there's season two left still because I want to see her try to get her life back together.

But then season two began with '371 days later' and that really threw me off. Apparently she had managed to get her life a fair bit together by then, but why didn't we get to see that?

Something shifted in episode two, when the counselor asked Fleabag if she had friends and she winked at us. To me, it felt almost like another layer of the fourth wall removed: she isn't just saying stuff to herself and it's being shown as her talking to the camera: she's actually speaking to us. This isn't her only being self aware from the third person's perspective as a way to block out her real life, it's a back and forth. A conversation. It was at this moment that I very distinctly wished someone would notice it within the show.

And then came episode three and the Priest did. It's significant that this happened in the same conversation as when he confessed to liking her, because now he's starting to actually see her. And we all know what happens next— they fall further in love, Fleabag starts messing up who she's talking to, and the Priest–fouth wall relationship concludes with her physically pushing us away when they're having sex because for once, she wants to be present in her own life.

I think it was after this really that it really started to hit home for me: there's a reason we don't ever see her heal. We see her start to heal and get better, but we never could have seen her simply running the café, or petting Hillary and Stephanie just because, or spending time with Claire, or simply being. There's a reason we don't see those 371 days when she started to get better. There's a reason why we left Fleabag's life the last time she saw her family, and returned to it the first time she saw them again after a year. Because we're who she turns to when she's sad, afraid. Lonely.

This is the genius thing for me: we're part of the story. Not only as a coping mechanism, but as a plot device. As something that influences the story simply by watching it unfold.

This story would simply not have the same impact if it existed in a vacuum. It would have been a story about a fucked up woman doing fucked up things and trying her best not to, and it would be good, but it would not have been the same. Actually, this particular story would just would not have existed if we weren't watching it. If she wanted to say what she wanted to and we weren't there to listen, where would she have put her grief? We are integral to this story. This back and forth between Fleabag and us, this communication, this awareness of each other is what makes this story alive.

No, she said to us when we tried to follow her after the guy she loved told her he loved god more. We care about her, and we started to follow her to make sure she's okay. But she shook her head. Not tonight.

And that's how we know she'll be okay.

[unexpectedgeese]

Major Orv spoilers but anyways

Been thinking about the way that Sing-Shong built up the secretive plotter, the oldest dream, and tls123. The first impression you get from them is that they’re these all powerful deities who can shape the world as they see fit. And that first impression is horribly, ironically wrong.

The Secretive Plotter is introduced to us as a minor player, as a constellation so weak he was never mentioned in the original story. And even as Kdj realizes that he’s actually really powerful, the idea that he’s a being outside of the story sticks with us. SP is the first character we see that can travel between world-lines. He’s literally an outer god- a being outside of the story. But when you actually connect the dots and realize that he’s Yjh, that gets flipped on its head in the most delicious way possible. He’s literally the protagonist. He’s the one that’s MOST trapped by the story- he watches himself fail again and again and again until he gives up on ever escaping that narrative.

The oldest dream is the same- although we don’t see much of him until his identity is revealed, Sing-Shong does a great job of hyping him up as this big final boss that the characters are going to have to face. We don’t know much about the oldest dream, but we do know that he’s powerful. He’s Yjh’s sponsor, after all- a being so revered that nobody can mess with him, not even the bureau. We know that we hate him, too- pretty much everyone, readers included, are PISSED about the whole regression thing. We assume that he’s just like the other constellations- Some uncaring asshole who created a world filled with torment just to watch it unfold. Hell, if you’re still hung up on the whole author thing, you might even assume that the Oldest Dream is tls123. And that’s reversed SO. WELL. with the reveal- he’s literally the most powerless being of them all, to quote Uriel. He’s a kid, dreaming of a world where he’s not alone. He didn’t create this world out of some morbid curiosity of his; He loves the story more than anyone else. He’s not the author, he’s the reader. He’s Kim Dokja, and he’s not a monster.

And God, tls123? Don’t get me started. The identity of the author is one of the central mysteries of the story. As the audience, we’re trying to figure it out the second we start reading- Is the secretive plotter the author? Is the Oldest dream the author? And in the middle of all this guesswork, literally NOBODY suspects Han Sooyung. As the readers, we just kind of assume that the author is going to be some all-powerful deity who created the world on a whim, Because they’re the author. But we’re entirely wrong on that. Hsy didn’t create the world. If anything, she did the opposite- Writing WoS is the action that cements the timeline in stone. She ended it, in a way.

It’s like... Throughout the whole series, you’re waiting to meet God. You expect that the world’s the way it is because there’s some guy making all the rules, doing evil, perpetuating the cycle, etc. There has to be a guy- who would the protagonists fight otherwise? How else are they going to break the loop?

And then you figure it out, and you realize that there isn’t a guy. There’s no one, singular person in charge of the story. The author can’t write without a protagonist to write about, and a reader to read their story. The protagonist can’t move forward if the author doesn’t write the next page, and the reader doesn’t read it. The reader can’t read if there’s no book, or if there’s no character. They all need each other to get anything done.

[ghosthan]

hello!! i saw that you made a lot of stuff for 1872 and i was wondering if 1872 tony is similar to regular comics tony?? i know mcu and comics tony are different and i want to get into 616, but if 1872 comics are more easy to read i might try those first! 😅

Hello, hello! 

Thank you for asking, and sorry it took me so long to get back to you! I wanted to think about it and put together a thoughtful response because I am desperately trying to convert MCU fans to 1872. Or comics fans who just haven’t gotten into 1872.

This post will contain some 1872 spoilers, but not the Big Spoiler that you probably already know about anyways. 

Anyways, let’s get into it. Yeehaw.

What is 1872? It’s Steve/Tony in the wild west.

1872 comics are very easy to read, very short, and you need absolutely no prior knowledge to get into them; I highly recommend these as a start point for MCU fans who are curious about dipping their toes into some of the other Steve/Tony universes. And 1872 is, indeed, a Steve/Tony universe. It’s really gay, (and dramatic.) Uh. So gay, in fact, that one of the comic artists who drew pages even occasionally shares Steve/Tony shipping memes. So.

Marvel 1872 is a four issue series released as a part of the Secret Wars event; you really do not need to know anything about this to enjoy 1872, because it is a self-contained alternate universe in a “pocket dimension”, meaning it’s totally separate from the 616 cannon but technically exists in the expanse of the multiverse!

Here’s the summary:

In the Battleworld zone of 1872, Sheriff Steve Rogers faces corruption and fear in the boom town of Timely. Can Anthony Stark pull Rogers' fat from the fire? Probably not, since the only thing he seems capable of pulling is a cork from a bottle. Things in Timely are bad, and getting worse — and when a stranger arrives in town, Timely will be changed forever.

Now, to compare “regular comics Tony”, or 616 Tony, with 1872 Tony.

The main difference? 616 Tony wears this sexy little under suit (or nothing) under his armor, like this:

And 1872 Tony wears dirty, stinky one-piece pajamas under his armor (not sexy):

He’s so gross, he’s a mess. I love him. You’ll love him, too. 

No, okay. Being serious.

 616!Tony’s backstory is a lot more complicated just due to how long the character has existed, and the decades of cannon (much of it self-contradictory at points.) Like MCU Tony, 616 Tony used to manufacture weapons, experiences something life-changing, and becomes who he is as a result of this as a catalyst. 616 Tony’s backstory has been rebooted a few times, and I’m definitely not the definitive source on Iron Man lore compared to people who have read all of his comics, but I’ll try to touch on the basics.

Originally, 616 Tony Stark is shaped by his experience in the Vietnam War. This is later rebooted and changed to war in the middle East (we see this in the MCU when Tony is held captive in Afghanistan.) In both circumstances, he is taken captive after being in the air for war technology, and then he creates the suit to save his own life (losing a beloved mentor in the process, the guilt of which stays with him after.)

Tales of Suspense #39

In 1872, Tony’s formative event is the Civil War in some ways, but in other ways, this is only half of it, because this is not the event which causes him to build armor or set him onto his “become a better person” trajectory, like in the other comics. Mainly, the Civil War functions to cause Tony to stop weapons manufacturing and throw his life away down a bottle.

We get a flashback of Tony in the year 1862 with his female companion, picnicking and about to watch a battle, (rich people from the North did this in real life. If you’re interested, read more here!) We don’t get much of his past, but we discover that he is a rifle manufacturer and that he has created something called the ‘Stark Repeating Rifle’, and it seems that he has done so with the hope of encouraging a cease-fire, more than a slaughter.

Well. We don’t always get what we ask for.

Tony vows to actually never touch a weapon ever again, and this personal oath means so much to him that he gets creative at times during 1872 when he’s being chased by baddies:

Witnessing the extreme bloodshed of the Civil War, and feeling responsible for a huge amount of deaths, Tony turns to drinking, (and presumably moves to the west to escape the Pain of his Past, but this is not shown explicitly on panel; I have assumed, though, that Tony’s weapons manufacturing company was in the East, probably Boston or New York, since he comes from family money and because the American West was still “young” at this point in time so it would be unlikely that an established business would be supplying a war from lawless territory with little infrastructure.)

In 616, it’s worth noting that Tony builds the armor to save himself from danger in a war scenario; this is not the case in 1872, things unfold a bit differently. The Civil War certainly sets in motion the chain of events that eventually lead to the creation of Tony’s armor, but he’s not in physical danger or physically traumatized by the war in this verse as he is in other verses, and 616 Tony seems to have a stronger sense of duty than 1872 Tony, but this might be a complication of the depression/apathy related to the alcoholism.

What I mean by this is that both iterations of Tony struggle with alcoholism, but differently. Mainly, while 616 Tony has several alcohol themed arcs, and hits rock bottom with his alcoholism to cope with his trauma, he is sober more than he is drunk in the comics. His drinking almost kills him, and he almost loses everything because of the drink. It’s a source of enormous shame for him.

In fact, during this time in 616, I think Tony at his lowest reminds me a lot of 1872 Tony; 616 Tony is not an apathetic person and he holds himself accountable for an obscene amount of responsibility, but during what is referred to in fandom as The Second Drinking Arc, Tony basically gives up. This is the most “like” 1872 Tony, at least at the start of his arc. Rhodey takes over the mantle of Iron Man, and 616 Tony spirals, not caring whether he lives or dies, not hero-ing certainly.

We see both versions of Tony express similar sentiments, a certain cavalier attitude about their lives (and outright suicidality at other points) with nothing left but the drink.

Iron Man Vol. 1 #182

Compare with:

And you can certainly see a resemblance between this set of panels from IM v.1 #176 and in 1872:

Iron Man Vol. 1 #176 and Marvel 1872 #1

It’s a little different in 1872, where his drinking really is purely a result of his existing despair, and it doesn’t cause enormous problems for him, (minor problems, sure. He spends a lot of time drunkenly singing to Sheriff Rogers, or bothering him from the inside of a jail cell.) But this Tony lives at rock bottom, whereas 616 Tony only stays at rock bottom long enough to get his life back together (as many times as it takes.)

This Tony really doesn’t show any outward shame about his drinking; presumably, the people he knows in Timely have only ever known Tony as a drunk, and none of the people from his old life are here to see him like this. 

This is a Tony who has essentially given up on himself and has moved out West to hide from his shame and his past; this is not a Tony who is scared of letting down his friends by drinking, or scared of shirking his “duty”, because this Tony has moved away from all of his friends and has given himself no duties. He’s a bit more apathetic, but I would argue that this is not because he inherently is a less moral version of Tony, but because in this verse, he was drinking for a very long time and circumstances unfolded differently so it took him a longer time to find that sense of purpose and responsibility (beyond just shutting down manufacturing guns,) which is awakened in him by Steve Rogers. 

616 Tony’s sobriety is a major part of his character, and a conscious choice that he makes, even during some lowest points:

Civil War: The Confession

He takes some amount of pride in his sobriety, and when he does fall off the wagon at times (or magic makes everyone think he did,) it absolutely tears him up because 616 Tony cares very, very much about his sobriety and does not like who he is when he’s drinking. We do not know if 1872 Tony’s father had been a drunk or not, but we know 616 Tony’s father was, and that the drink lead to him treating Tony abusively.

Iron Man Vol. 1 #285 

Avengers Disassembled #1 (This was when ~magic~ made Tony drunk and it wrecked him breaking sobriety without ever having actually drank. Oof.)

616 Tony’s long struggle with alcoholism is a major part of his character and he has had relapses over the years and throughout the reboots, but in general, he does not drink.

1872 Tony starts drinking in 1862 and doesn’t stop until the last pages of the story, so in terms of the cannon we have for him, he is a current drunk, rather than a former drunk. This isn’t to say he doesn’t stop; but since it’s in the last page or so, it sets the reader up to imagine his sober future, rather than exploring his sobriety as 616 does. (Calling all fanfic writers!)

Anyways, both Tony’s are excellent. Both are damaged and traumatized, both are Iron Man in their own ways, both (eventually) find sobriety, both have some cute, quippy dialogue (though 616 Tony tends to be more reserved/polite for sure, in general). 

The last thing I’ll point out, is that both Tonys’ narratives are intertwined with and influenced by their respective Steve Rogers. I’m not saying soulmates but I’m saying soulmates.

Anyways. Sorry this post got super long, and I apologize if any of it is confusing or redundant, I am not functioning at my highest capacity currently. Please read 1872. Let it rock your world. Create & consume the fanworks, I would love to see a boom of 1872 content (more than the fics and art I keep making!) And my ask-box is always open!

[coracandy]

So. About that 6th wedding option.

Long post. Not sorry.

Trigger warning for #beemoovnegativity I guess. Probably throw that warning on everything I’ve posted since UL launched and everything I am likely to post for the foreseeable future because I hate beemoov. So much. I hate very nearly all of the writing choices that were made through LL, with everything surrounding Eric taking 2nd place on the worst story choices of the whole game list right behind the student falsely accuses their teacher of sexual assault plot. I just really hate cheating plots. I have also been obliquely accused of hating the Eric fans and I just want to clear up here and now that I only hate some of you. Most of you I am happy for. But man.. some of ya’ll have some utter garbage opinions and I’ve had a couple wine coolers today so I’m ready to no filter on all my own opinions about this whole mess. Click through if you want them.

Starting off.. Yeah, I said it would be funny if the wedding episode ended with Candy cheating on Eric and you know why I said that? Because if your Candy is with Eric in the first place it’s only because your Candy is a cheater. Canonically. In the real story of the real game. Not your fanfic version which we’ll get to in a bit, I promise, but in the actual game as it is actually written, if this is the path you chose then, canonically, your Candy is a cheater. She is selfish. She cares about no one and nothing but herself and what she wants in the moment. And, frankly, it seems like some of the players feel the same. I vividly recall many screen shot posts by Eric fans getting offended that their former love interests were angry about being cheated on. Citing that anger as justification for the cheating even. “This is how they react to the news? Ugh! I’m glad I cheated on them. They deserved it.” And that’s just.. reprehensible. Truly. Ya’ll remind me of beemoov, tbh. Treating someone’s anger at being stabbed in the back as a good enough reason to have stabbed them in the first place and an excuse to never have to apologize or even acknowledge the hurt.

So that’s Camp One of the Eric fans (probably the smallest camp tbh, but still very much one that exists) - the people who acknowledge the cheating aspect of the storyline but think it’s a good thing and yeah, I actually do just hate those people and their attitude. So to those people let me just say - 1) Monogamy isn’t sex negative. You’re ridiculous. 2) This storyline isn’t non-monogamous representation. It’s cheating. Those aren’t the same thing. 3)Betraying someone’s trust is always -always- a selfish, cruel, morally reprehensible thing to do. (And before anyone starts strawmanning at me about but what if that person was abusive - stop. That’s not what we’re talking about here, and you know it.)

So on to Camp Two of the Eric fans -  the drama addicts. The people that took the cheating route just because it was the first interesting thing to happen in the story in about 15 episodes. This is a camp I don’t hate but man oh man do I get frustrated by the way that all media and storytelling panders endlessly to them. This type of fan is the reason I can’t have nice things. The reason I can’t have a simply told story that builds to a narratively satisfying conclusion but instead get ass-pull twist endings that are exciting by dint of being unexpected but make no sense when you stop to think about them for five seconds. They’re the reason I get to be constantly frustrated by slow burn romances that last seven seasons and then end with the characters finally hooking up only for one of them to die two episodes later because happiness and contentment are boring. Heaven forbid a story ever slow down to focus on character development. If no one’s being killed, or cheated on, or getting pregnant without knowing which of three guys the father might be, or getting kidnapped, or diagnosed with a fatal disease, or lying to their best friend then there’s not even a story there. No tension. No drama. Why bother watching? Who wants to see characters being happy? I do. Please. For once. For more than a scene or two before something devastating happens to end it again. Just let me have nice things. For the most part this camp of players seems kinda meh about the idea of a wedding episode and would probably agree with me that Candy cheating on Eric during it would be funny. Feel like a lot of them meme on Eric as best LI because they like watching drama in the fandom as much as in the game. And I do genuinely hope they’re enjoying it while it unfolds. We have polar opposite tastes but I dream of someday living in a world where we can both have our own definition of nice things and both be happy.

And now on to Camp Three -  the people I think this wedding episode is mostly for. This is the camp I have nothing but sympathy for. These are the people who just genuinely liked the character. He simply clicked with them more than the other LIs, was closest to their idealized partner. So they ignore the way he was used in the story, headcanon away the cheating or write in their own version where the breakup happened before the sex scene, or the original LI was abusive, or maybe they were just never in another relationship through LL at all in their version of events. They just really like this character and want to have their Candy get a happy ending with him. And I have sympathy. I do. I would have loved for beemoov to give an option to end up with Eric without being dishonest. But they didn’t. That version of the story is just fanfiction. And it frustrates me when people get so invested in a fanfic version of a character or story that they start insisting the canon version is wrong and that people reacting to the canon version are misinterpreting it. I sympathize. I do. As a Lysander fangirl, I understand very well the emotional attachment one can develop to a character and story you mostly had to invent yourself because the source material never bothered to. But you can’t get offended at people being disappointed or even angry that the cheating route got a happy ending just because your personal fanfic version of the story didn’t include the cheating. The anger really isn’t being directed at you but at the canon story choices you probably also hated. I wish the story had been different for you. I really do. And hey, you all get the last laugh, in the end, as it seems the story is getting whitewashed or retconned or just generally is planning to ignore the ugly parts of what happened to give you the big white wedding of your dreams with your perfect man. And I’m happy for you. We should all have had that chance.

But we won’t. Because beemoov still doesn’t care about a lot of us. That’s where this anger mostly comes from. And it’s why I can’t agree, even slightly, with the people who are pointing to this decision and saying “Look! They’re listening to the players finally. Maybe things will get better.” Because they’re only listening to some players. Some of us have been begging to be heard for years now and they still won’t listen. And they never will. Much as I'd love to be wrong about that, I’m not wrong and you all know it. I’m happy for the people who are happy right now. But I’m warning y’all.. Don’t get comfortable. Don’t ever trust them. They’ll rip your heart out, tell you you should like it, and turn their backs on you forever while you bleed out. Don’t think it can’t happen again. It can, and knowing beemoov, it probably will.

[gra-sonas]

Roswell, New Mexico certainly knows how to raise the stakes. In the Season 3 premiere, Maria experienced a foreboding premonition that unfolded at a funeral, one that possibly placed Dr. Kyle Valenti in the casket. The Reaper came close to claiming Kyle after he was impaled and bleeding out -- until Max saved him. But then Kyle went missing.

Soon, Alex discovered Eduardo Ramos had been keeping a comatose Kyle tucked away safely, after someone had injected him with an unidentified drug. Now that Kyle is awake and back on his feet, he wants answers… but he might not like what he unearths.

Roswell, New Mexico star Michael Trevino recently spoke with CBR about Kyle's evolution, that funeral vision, the Valenti legacy and possibly directing an episode in Season 4.

CBR: After portraying a hybrid werewolf on Vampire Diaries, what was interesting about playing a normal human in Roswell, New Mexico?

Michael Trevino: It was just that. To be able to play a human, with these supernatural elements happening around you, that you are not necessarily part of, but you are there to reflect the human reaction of that. Being a part of Vampire Diaries, I was in that supernatural element. With this, I couldn't get too far away from it in my career, but it's about reacting to those things.

With Kyle Valenti, it's a role that is definitely more grounded for me, but hopefully, it is grounded for the audience. That's their character they can identify with. How would you react to being in Roswell, New Mexico, hearing about aliens, figuring out that they are around and live amongst you, and that perhaps there are more aliens out there?

Kyle could have been a local cop, a lawyer, a business owner. How happy are you that the writers have incorporated his medical/surgeon profession into the narrative?

Michael Trevino: For one, you figure with these aliens being around and anything going wrong with them, there would have to be some type of medical element. The whole lore of alien and alien autopsies, we need to have a character like that in Roswell. For me, to be a surgeon and then worked into everything that's happening with these three aliens in Roswell, it's big for Kyle.

This season, Maria experienced a funeral vision, and it seems to be Kyle's body in the casket. What were your thoughts on that development and what it meant for Kyle?

Michael Trevino: For me, Kyle seems to be the common thread throughout all the storylines. I'm really happy about that, being on this show and that the writers have done that. Although Kyle seems to be the one helping put out all the fires and he's there for everyone, being a good friend and doing whatever is asked of him, it would make sense that Maria is having these visions. Kyle might, or might not, have something to do with that. We are going to see that play out. Kyle is on everybody's minds. We are wondering what's going on with him. Where is he? That makes the most sense because he's there for everybody else.

The writers have "maliciously" teased and taunted viewers by continually putting Kyle in harm's way. Has that been part of the fun of this mystery, that "will they or won't they kill him" at any given moment?

Michael Trevino: It's safe to say that nobody is safe in Roswell. I do like that they've kept choosing Kyle to tease a bit. There's a warm spot for Kyle. He's a good guy. I watch the show and I'm like, "Damn. This guy is doing his best and trying to be there for everybody. It's a nice feeling."

Considering Kyle was painted as a dick in high school, there's been a lot of growth and evolution from him into a better person.

Michael Trevino: Yes, I believe this Episode 3.09 is a big turning point for Kyle. We find out a little bit more of his backstory. He's finding that out in real time. That can be frustrating. We see that emotion in Kyle. But this is finally where he takes a stand. He makes a hard decision. He's either going to go left or he's going to go right. He's carved out his path. "This is what I'm going to do. This is how I want things to be."

Moving forward, how focused is Kyle on uncovering the unknown assailant, who injected him with that paralytic drug, which left him bedridden?

Michael Trevino: Where we find him, he's reached his limit. He's been there for everybody, and he tries to put out fires. But, in this episode, he's really frustrated and it's kind of taken a toll on him. The last time we saw him, he was in a hospital bed in a barn. It's, "What is going on? What is happening?" He wants more answers. We are going to see him get those answers. But, then also, frustrated because, "Why me? Why is this happening?"

Kyle also learns some startling information about his father, the code that he lived by and more about that creepy little radio. How is Kyle unpacking all of this because it's a lot to take in?

Michael Trevino: He's trying his best to process everything he's discovering. But like anybody else, he has this idea of what the Valenti code is, of who Jim Valenti is, of who is his father. We are in season three. We've come to find out Kyle's father isn't who he really thought he was. That hurts. That's got to be shocking to his world. Very jarring. I feel that we see that in [Episode] 3.09. There's a bit of information that is given out that is very important and catapults Kyle for the remainder of this season.

What do you feel keeps Kyle in Roswell? He's had the opportunity to leave and work in other cities…

Michael Trevino: For Kyle, there might be some abandonment issues because of his father not being around. With that, he doesn't want to do the same thing to others. We've seen how vital he is, how important he is to what is going on in Roswell. He doesn't want to run away from that. And let's talk about the lifelong connection he has with Liz. He doesn't want to leave her not only in harm's way, but stuck with this mess. So, Kyle is choosing to stay and figure out what is really going on.

What else can you preview about what's in store for Kyle in the last block of episodes?

Michael Trevino: Kyle is going to have a lot more to do with what's going on in Deep Sky. He and Eduardo will become allies and work together, to do what they have to do, with Jones.

What was it like having original Roswell star Sherri Appleby direct some episodes, as well as Vampire Diaries creator Julie Plec and your former co-star, Paul Wesley?

Michael Trevino: Speaking to Sherri Appleby, it was nostalgic. She's one of the OGs for the original. To have her come on board and direct an episode -- even for her -- I think it's a full circle in her career. It was a blast to have her on set and be taking notes from her, just because of the connection she has to this story and these characters. Roswell is on the CW. It's on Warner Bros. television. It's a family I have been part of for over a decade. To work with Julie Plec and Paul Wesley, personally, is a great thing. As the years have gone on, our careers are expanding. It's a beautiful thing to watch. This business can be challenging. It can be tough. To see us all, striving to do the best that we can, is great.

You've aspired to step behind the camera. What's the appeal and are you going to get the chance in Season 4?

Michael Trevino: Being in this television world for so long, this is a machine. It takes so many people to produce one-hour of network-episodic television. Being on these sets as an actor has been great and a privilege, and I'm grateful for it, but I want to expand and do a bit more.

In telling these stories, I get very involved in the blocking of scenes or what's going to best service this story when we are in these scenes, doing rehearsals. I find myself figuring things out. I am interested in the camera moves. I am interested in where we are setting up lights. I am interested in everything. I want a shot at that.

After Season 3, I shot a short film in Albuquerque. That was my first time directing and it was such a great experience. I am in post-production on that. I've put it out there. I've spoken to producers. I can neither confirm nor deny if I am getting an episode this [upcoming] season. I'm hoping I will be.

You are on a superhero-heavy network. What are your thoughts on playing in that sandbox?

Michael Trevino: Marvel has obviously been top dog for some time, but DC has been doing some really great things. I feel in this world of streaming, that these television series are just as great as these big-budget feature films. What they have is they can expand on their storylines with these comic book characters. I would love to do one because of the physicality that some of those roles require. I love doing stunts and I'm very athletic. Any type of role that has that physicality to it, I really lean into that. Any type of comic book role that came my way would be a dream.

[kali-writes-meta]

Go Oft Awry: The Goals, Expectations, and Plans of Volume 8

The best-laid schemes of mice and men go oft awry -- Robert Burns

The first two chapters of Volume 8 were full of characters stating what they're going to do or what they expect to happen far more so than any other two consecutive episodes in RWBY have before. This is exciting from two different angles. It's exciting for the viewer who's just watching the series, and even more exciting from a writer's perspective. Y'all up for some scriptwriting theory?

There's a rule in scriptwriting that when it comes to the plot you NEVER repeat yourself. In practice this means that whenever a plan is spelled out in advance, it's not going to happen.

The classic example is the bride dreaming of walking down the aisle at her wedding. Anytime you see that, you know her wedding is going to be interrupted.

There are two exceptions to this rule. One is when the plan is being spelled out as a voiceover to scenes of the plan going down. Then it's okay, because the audience is still only experiencing it ONCE, not twice. We saw a bit of this technique used for the first time in RWBY in "Divide". The other exception is for an information-gathering plan when the new information distracts the audience, which we saw back in Volume 2 "Painting the Town".

What does this have to do with RWBY Volume 8? A lot, because we're hearing nothing but goals, expectations, and plans.

First, let's define the terms. A "goal" is what you're planning to do, not how you plan to do it. An infamous example from RWBY occurs in "The Argus Limited" when the Grimm attack the train.

Blake: What's the plan, Ruby?

Ruby: Don't let anyone else die!

Ruby, sweetie, I love you, but that's a goal, not a plan.

Confusion over goals and plans has only intensified since Volume 7 came out. Ironwood's GOAL of turning Amity into a communication satellite is brilliant, but his PLAN to do so by depriving Mantle's defenses was a disaster, and would have been a disaster even if what he thought was true about Salem really was the truth.

In stories, goals may be reachable -- but any expectation or plan that's spelled out in detail to the audience isn't going to happen exactly the way it's supposed to.

An "expectation" is what the character thinks is going to happen. In a story, if an expectation is stated out loud in detail, it's not going to happen exactly that way. A great example from RWBY is the introduction of Team FNKI.

Yang: You're from Atlas. What could we expect?

Weiss: Well, seeing as their Kingdom, academy and armed forces are all merged as one, I think we can expect strict, militant fighters with advanced technology and carefully rehearsed strategies.

At that very moment, a rainbow zooms past the two surprised Huntresses-in-training.

Weiss: ... Or whatever they are.

A "plan" is a detailed proposal for how to meet a goal. It's optimal for characters to have plans, but spelling a plan out in advance in detail to the audience is the kiss of doom. At that point you know they may reach their goal SOMEHOW, but it won't be by following that plan.

RWBY is full of concealed plans that work and revealed plans that fail. The best examples are probably the attacks on Beacon and Haven. Cinder's plan to attack Beacon was concealed from the audience and went off almost perfectly. Cinder's, Raven's, and Adam's separate plans for the Haven attack are all spelled out in detail to the audience, and all fail to go exactly as planned.

In "Divide" we start with the villains. Cinder has a goal to strip Penny of the Maiden power, but is thwarted by Salem. Salem already has a plan in motion and doesn't want Cinder's last-minute changes messing it up like happened at Haven. What's more worrying, Salem doesn't share her plan with the audience, so a large chunk of it just might work.

In Mantle, the Happy Huntresses have a goal to get everyone into the crater. We don't hear their plan spelled out in detail, although what we do hear in the background is a fairly standard evacuation model that's evolving to deal with changing circumstances, as such plans do. From a storytelling perspective, that's vague enough to the audience that it should mostly work. (The "mostly" comes not from any audience signalling that the writers are doing, but from the shear size of their endeavor.)

Ruby and Pietro have a goal to launch Amity via the military base command terminal. Not many details were spelled out in advance on camera, and much use was made of voiceover with action scenes, so we know at least part of the plan to get into the base will work.

Penny voices a naive goal to give Salem what she wants so she will go away, which is quickly shot down. The audience and most of the characters realize this would be a disaster, but does Penny?

Yang's team has a plan to help with the evacuation by doing what the emergency workers tell them to do. This is both a good plan for anyone assisting in an emergency, and from a storytelling perspective flexible enough to succeed.

Ironwood -- hoo boy. At this point it looks like he has a goal but nobody knows what it is, beyond "shoot anyone who says the F word." He's not jinxing any plans by sharing them. He's pretty free with his expectation that Mantle is doomed, but he doesn't go into enough detail to jinx that one.

Salem begins giving orders, but doesn't jinx it by telling us the whole plan.

Jacques spells out his expectation that Whitley will get Jacques' lawyers to free him. That means it won't happen exactly like that. (Personally I think Whitley is cooperating fully with the General and having the lawyers draw up divorce papers for Willow that remove Jacques from any custody considerations. It's the sort of thing that Whitley watched Jacques do.)

Ironwood has a plan for Watts, but we don't find out what it is.

Qrow states his goal to kill Ironwood, but doesn't spell out a plan.

Joanna steals a reporter's mic and announces the plan to retreat to the crater to the public. As this scene is intercut with scenes of people following that plan, it has a good chance of succeeding.

Ozpin spells out his expectation in detail for how the merge with Oscar will happen. That's been said often enough now that we know it won't happen exactly like that. He also states a goal to bring people together, but is candid about not knowing how. This is a goal in need of a plan, hopefully a plan that will be spelled out over scenes of it successfully happening.

May states an expectation that "between our secret weapon and my Semblance, you all couldn't be in safer hands." While this may be technically true, it also falls under the category of Famous Last Words. If we didn't know something was going to go wrong before, we do now.

Weiss states in detail a plan to get into the base which promptly goes sideways, as does Weiss herself. Hopefully that's all the jinxing that plan gets.

Fiona's evacuation plan is being adapted and carried out in real time, which saves it from narrative jinxing. Whether it will work against Salem is another matter. Getting everyone to the crater definitely qualifies as "the best bad plan we've got".

And we see one of Salem's unrevealed plans start to unfold with brutal, terrifying efficiency.

Finally, there's Ruby's nightmarish visions from the opening. Since these haven't been stated aloud, they also haven't been jinxed. There's no telling right now if these nightmares are prophetic visions or just bad dreams.

[skybird13]

*sigh* Okay...

I’ve been debating on whether or not to make this post. Not because it doesn’t need to be made, but because I’m not sure I’m emotionally up for it. But at the end of the day, staying quiet is exactly what got us into this mess, and curling into a sad little ball isn’t going to change what happened, and this particular shit needs to be called out and acknowledged. 

I was asked to address something posted by Eddy Rivas, one of the writers of RWBY, on Reddit yesterday. It was a shortlived post because apparently he or someone who read it realized what a monumentally bad idea it was, but sadly for him, my fellow cockroach gays are pissed as hell and we have screenshot capabilities. I don’t care that he removed/edited the post. This was still his instinctive response to the absolute pain caused by him and the rest of CRWBY as a result of volume 7 episode 12:

I am so damn tired and so hurt. But I am going to do my best to address this in a civil and reasonable way. 

The Problem With Judgment Calls

First of all, to an extent, I understand the predicament Eddy describes. I really do. I get that being on the creative end of a popular web series is very different from being on the fandom end, and conventional wisdom dictates that creators should do their best to make sure the two don’t mix past a certain point. That necessary separation probably does make these kinds of judgment calls difficult. 

The problem is that several members of CRWBY (including writers, animators both former and current, social media managers, and the marketing team specifically) violated that boundary more than once long before episode 12 aired. There were so many things that factored into Fair Game gaining traction as quickly as it did, and many of those things came from the deliberate way that many members of CRWBY interacted with the fandom outside of the show itself. From the official RWBY Twitter account to the suggestive tweets made by a former animator, to the Twitter and Tumblr posts made by a current animator, this ship was heavily and unambiguously encouraged and leaned on multiple times over the course of this volume. 

Sure, you can make the claim that you can’t control the animators (especially if they no longer work for you), or that the creators and the marketing team are two separate entities and that the actions of one do not necessarily reflect the intentions of the other (both things also stated by Eddy Rivas in a series of Tweets). And perhaps some of that is accurate. It points towards a fundamental lack of oversight and cohesiveness in the organization that is Rooster Teeth, and that should absolutely be addressed moving forward, but quite frankly, in this case, it doesn’t even matter.

The fact of the matter, Mr. Rivas, is that the boundary was violated. Multiple times. On your end. These types of judgment calls are not a one size fits all, and the moment active members of CRWBY took action to encourage something you knew was going to cause pain, it should have been addressed. I’m not putting that on you personally, because as a writer I realize you probably don’t have that type of authority, but someone there should have put a stop to it. There is the matter of the personal responsibility shirked by the two animators who contributed to this mess, and frankly, they should have known better, but this does not excuse CRWBY’s collective silence.

The fact of the matter is that due to the actions taken by CRWBY both in and outside of the show (including the things you could and could not control) you absolutely reached a point where that boundary should have been purposefully crossed in order to mitigate damage. It doesn’t matter what got you or us there. It doesn’t matter whether or not it was intentionally done (it was, let’s not kid ourselves). Things built up, hopes were raised as a direct result of your actions, and you all reached a point where you were morally obligated to say something. Do I suggest a single individual should have taken this on? No. I understand the legal ramifications of that. But CRWBY as a whole and RT as the production studio absolutely should have stepped forward. Would that have fully removed the pain and the disappointment? No. But you wouldn’t be facing the backlash you are right now if you had. 

The Problem with One-Size-Fits-All

Closely related to the previous point is the fact that you, Mr. Rivas, seem to be under the impression that a single judgment call policy should and can apply to all situations equally. That’s not the case. We’re not talking about other ships here, hypothetical, canonical, realistic, unrealistic, or otherwise. We’re talking about this ship. 

The Fair Game ship was the first and only indication we had in seven volumes of RWBY that a prominent mlm relationship might be coming in to play. You have no other relationships of this nature in the show. You don’t even have other male characters who might be able to qualify as gay or bisexual who play major roles. Add on to that the fact that you planned to have one of these characters die in the most brutal and graphic death scene we have gotten to date in RWBY, and no. I’m sorry. That flimsy defense doesn’t stand. This ship was unique, it appealed to a very underserved segment of your fandom, and it should have been treated with the levity it deserved. 

You make the argument that saying something about this ship but not others wasn’t plausible. The issue with that, sir, is one of trust. Up to this point, I and a lot of people I know trusted you, which means you can get away with building up relationships without ever coming out to confirm or deny them offscreen. As long as you understand the narrative promises you’re making as a storyteller to your audience, and understand the importance of fulfilling them through narrative payoff at some point in the story, we’re usually pretty willing to follow you and watch it unfold. This is how writing works. You have to be aware of the promises you’re making and you have to be able to follow through on them in satisfying ways. This goes double if you plan to fulfill them in unexpected ways (note the word fulfilled still applies). If you don’t do that, trust is broken and you have a problem. 

Fair Game is unique in that you knew from the beginning that trust was going to not only be violated but brutally so. CRWBY made promises with Clover and Qrow that they never intended to keep, and that is one of the core issues here. If you want to cling to the excuse that it was all unintentional (again, one I do not buy), that only means you absolutely should have said something to that effect long before we ever got to this point. It would have given nothing about the plot away to let us know that wasn’t the intended direction and it would have calmed down the excitement that built up so quickly around the ship. It certainly would have prevented a lot of people from being emotionally and psychologically damaged as a result of having that trust destroyed. 

Not saying something about relationships that may or may not happen is VERY different from not saying something about a ship that you know is not going to happen because you plan to brutalize and murder one of the characters on screen in spite of the narrative promises made. Particularly when the ship in question would have offered rep to people who thus far in the show ( when we’re over halfway through the series) still have none. 

No rep to be found here...

I’m not sure I should even have to address this but apparently, it needs to be said. It will be short because it’s a pretty damn simple answer.

You want to know “how well [saying no rep to be found here would] have gone over?”  A hell of a lot better than the queerbaiting fest you have victimized us all to for the last three months.  Would you still have had disappointed fans on your hands? Absolutely. But the psychological and emotional damage you all caused in episode 12 could have been so easily avoided, and that should have taken precedence over whatever tension you wanted to maintain between these characters in the show. 

This should not have been a difficult decision, and quite frankly, the fact that you don’t understand this is a little alarming. 

We Are Not a Shopping Montage

Alright. Here is where my civility is going to deteriorate noticeably, so fair warning.

You had the audacity to compare the emotional trauma of hundreds of LGBTQ fans to the disappointment of not getting a fucking shopping montage??? You even acknowledge that on an emotional level these two things are nowhere near being the same thing, and you still tried to justify your actions and the actions of CRWBY with it? That emotional fallout is the thing that matters here. 

But there’s even more to it than that.

The hopes for a shopping montage came from a single Tweet from the official RWBY Twitter (if I remember right) about a montage scene being in volume 7. That was it. That was all fans had to go off of. This absolutely was a case of imaginations running wild and people hoping for a scene that, quite frankly, in light of the show’s trajectory since volume 3, wasn’t a reasonable expectation to begin with. CRWBY was in no way complicit in or responsible for this expectation that I know of, and even if you were.... It. Was. A. Shopping. Montage.

And you dare to compare that with the intentional queer coding of Qrow and Clover’s relationship in the writing, the animation choices, the character design for Clover, and the behavior of CRWBY on social media, only for Clover to die horrifically and for Qrow to be absolutely destroyed emotionally and mentally on-screen??? You dare to relate the disappointment of people who didn’t get a pointless shopping scene with the trauma of watching a loved character’s murder and another loved character’s emotional/mental destruction??? Really? That seemed like an appropriate thing to say?

I don’t even know what else to say to this except absolute world-shattering shame on you, sir. How dare you?

And then to top all of this off, instead of apologizing, instead of showing some contrition, you tried to delete this post and pretend you never said it. Did you hope we wouldn’t notice? That we wouldn’t react if you tried to take it down? Were you even the one who realized what you said or did you need it pointed out to you?

You should not be a writer, sir. You sure as hell should not be a creator of content that engages with people on an emotional level because you clearly have no respect for it and no understanding of the responsibility you bear because of it. 

What is wrong with you?

Tagging @fairgame-is-endgame​ who asked me to say something on this absolute bullshit. 

[rachelbethhines]

Tangled Salt Marathon - Rapunzel and the Great Tree Part 1

We’re now finally at the mid-season finale of season two, and it’s easily the best episode of this season. That however doesn’t mean that it’s not flawed, so here we go... 

Summary: The group makes it to the Great Tree, only to be confronted by a new adversary: Hector, the brother of Adira, the most dangerous member of the Brotherhood; sworn to keep all from reaching the Dark Kingdom. Despite all that has happened, Rapunzel is determined to continue on toward the Dark Kingdom to uncover the truth behind her destiny. As they navigate through the Great Tree, Rapunzel discovers the Moonstone incantation which overwhelms the magical powers of the Sundrop in her blonde hair and causes injury and weakness to those around her. 

The Brotherhood Is Such a Wasted Concept 

We have a group of highly trained warriors, directly connected to the series main macguffin, who consider each other siblings, who all have conflicting goals, and they’re all severely underdeveloped to the point of ridiculousness. 

For starters, in a show all about pushing sibling rivalries as parallels to the two main characters, it utterly fails to show the only other siblings who are actually connected to the plot acting like actual siblings. 

Adira and Hector should be a parallel to Cass and Rapunzel in this very episode. One that actually ties into the narrative, yet outside of calling each other brother/sister/brethren they don’t act like family; even feuding family. Adira also fails to treat Quirin, Varian, Edmund, and Eugene as family. She shows no real concern for any of them despite saving her home (which would included her family) from the rocks being her main goal. She should be just as every bit as invested in saving Quirin as Varian. Which is yet another reason why Varian should have been S2 and another entry point for him in the show’s plot. 

As for the rest of the Brotherhood, they never even interact at all. I don’t think anyone tells either Edmund or Hector what has happened to Quirin or Varian. And Edmund clearly didn’t inform Hector of Eugene, even though he logically should have. And did any of them know if Edmund was alive, despite Edmund having the means to communicate with the outside world with the crows? 

What we’re left with is a bunch of holes in the story, because there’s now a bunch of holes in everyone’s motivations and their actions never quite line up. 

And before you say, ‘well they’re not that important’, or ‘they’re aren’t meant to be a real family’; then that is in of itself a flaw because they should be. Not making them found family undermines Raps and Cass being found family, as it undermines every other sibling parallel in the show, and those parallels are the only build up we have to the sister reveal in S3.  

It also undermines the moonstone plot and the whole reason why season two exists. Don't introduce things that connect back to your story and not make them important. In fact don't introduce unimportant elements in a plot driven show like this period. 

Another Indication of the Timeline

As stated before, Tangled is really bad at indicating the passage of time, despite the passage of time being a big plot point. We’re now a ‘few months’ past the island, which itself was 6 weeks, and before that it was several weeks to maybe even a few months before getting to the island... 

So when does this take place? Well we were told that season two takes place over the course of a year by the creator, and that this is the mid-season finale so 6 months since SotSD sounds the most plausible. We also see fall trees dotted around like we did during the first half of season one. Which is the only visual indicator we get of changing seasons in the show, but it’s too understated to be properly noticeable most of the time. 

However, the crew themselves can’t even seem to agree if Rapunzel’s Return is her birthday or not, so if you’ve heard conflicting sources, it’s because this shit wasn’t planned properly first. But all dialogue and visual cues point to the first half of season two being at least 4 to 6 months. With 6 being the most logical placement.  

Just a Reminder, that Hook Foot Is Still Useless 

If all you were going to have him do is whine like a child during the only plot important episode that he is in, then why not just replace him with an actual child? 

It takes more work to leave Varian out of season two and force Hook Foot in his place, than it does just to write Varian in. There were so many potential entry points for his character, that the one they would up going with was the least natural to the characters and the story they were trying to tell. And even then, the Saporian take over they went with could still have worked had they handled things properly and pre-planned that stuff out. 

But they didn’t. By all accounts S2 was a hasty re-write to get rid of Varian and Hook Foot was shoehorned in as his replacement at the last minute. And it’s the most utterly baffling creative decision I have ever witnessed in my life. There was zero logical reason for it. 

This Plot Point Wasn’t Built Up Enough and It Goes Nowhere

Look, had they actually pointed out that Cass is a bodyguard now, and that this line from Raps threatens her career goals, that would make sense; or they could have explored the idea that Cass’s identity revolves around her job, and so feeling like her job is pointless makes her feel pointless therefore making her feel insecure about her future. Either of those would have been interesting jumping off points for her character arc and later conflicts. 

But that’s not what they did. 

I think that’s what they were initially trying to go for here, but it got muddled in the mess that was last minute rewrites. 

Cass obtaining her goals in season one is ignored in favor of a bland and vague validation goal from this point onwards. Her issues with Rapunzel are then boiled down to be about; not identity, agency, class, or wanting a future, but into fighting over a dead mom and how one wasn’t ‘loved enough’ apparently. Which makes no sense given what we know of Cass from previous seasons. 

Cassandra isn’t deep or complex; she is convoluted. The writing team couldn’t agree on what her goals and motivations should be, and so she performs conflicting actions throughout the story that actively undermines what was previously established and what she supposedly wants. 

Most people who try to defend the writing for Cassandra do so with this idea that because they had to work hard to ‘connect the dots’ for all these seemingly disconnected plot ideas, means that of course the writing is ‘deep’ but that’s ignoring one of the basic fundamentals of writing.   

The audience shouldn’t have to do the writer’s job! 

Having to think about a story doesn’t mean that you need to go digging around for basic information like the character’s goals or what happened when. A writer’s job is to first and foremost clearly communicate ideas to their audience. Plot and character analysis is about finding extras like, metaphors, moral messages, and coming up with fun headcanons that don't impact the wider story. Because all of the bare bones information needed to understand the story should already be there for everyone to see. 

If you gotta go into ‘analysis’ just explain the damn plot and why things are unfolding the way they do, then the story is badly written. Full stop. 

Cinderella wanting to go to the ball is a simple goal, but it’s an understandable one that anyone watching can grasp. You could go into a deeper analysis about abuse and what the ball symbolises for Cinderella’s character or how the story is an analogy for wider social issues at large, but at the end of the day everyone needs to be in agreement that, yes, Cinderella wants to go to the ball and we know why she wants to go, so that her actions in trying to get there make sense.

No one knows what Cassandra wants. Cassandra herself doesn’t know what she wants. So the ‘why’ part for what she does is never answered. 

Hector Is Wasted

As already stated, all of the Brotherhood is wasted, but Hector more so than most. Season two desperately needed an ongoing threat, a main antagonist to push the story forward. Hector should have been that antagonist. Instead he shows up for this one episode, and then in a few non-speaking cameos in S3. 

Then Why Not Just Stay With Them Adira?

We’re never given an actual reason for why Adira keeps leaving the group, and indeed doing so conflicts with her stated goal of getting Rapunzel safely to the moonstone. It’s just shoehorned in here to create ‘mystery’, but mysteries have to be answered at some point. You can’t throw something in for drama’s sake and not explain why it’s there. 

Lance’s Crush on Adira Isn’t Handled Well 

Look, this isn’t a judgment upon those who ship the characters. When I talk about relationships in the show I’m only talking about how well they are written on screen. I couldn’t care less what the fans do with them. 

Even when I discuss my personal preferences for ships, that is all that is, my personal preference. I don't give a shit if you ship something that I may dislike, or if you hate something that I do enjoy. I’m a grown up with more important things to do than worry over what a bunch strangers may write on A03 about a bunch of fictional characters, and as someone who hates bullies above all else, I’ll defend your right to make whatever content to want to because censorship is just a form of bullying and nothing else. 

No matter how gross or reprehensible I may personally find it. Different stories resonate with different people and for different reasons. I may debate your reasons, if the subject comes up, or critique professional media for the messages it puts out to the wider public, but I’ll never say you can’t like it or that you can’t make it.    

So with that stated, I don’t like Lance’s dynamic with Adira in the show and here’s my reasons for that. 

She doesn’t ever return the feelings. 

At best she tolerates him, at worse she actively kicks his butt when he gets too close, and most of the time she ignores him. Which is for good reason; she’s old enough to be his mom. Why would she be attracted to him? 

Like I’m not saying that age gaps between adults are inherently wrong; I’m saying that if there is a significant age gap then you really have to work hard to build up a reason for why the two characters would go for each other when naturally they wouldn’t be in each other’s usual sphere of dating options. Which the series never does because once again Adira is clearly not interested in him. 

This leads to Lance basically being an annoying ‘nice guy’ who can’t take a hint. Like constantly badgering someone who doesn’t want you to isn’t charming or endearing, and Lance is old enough to know this by now. 

Basically the writers just took the Varian and Cassandra dynamic from Great Expotations and slapped it onto Lance and Adira despite the fact that it made zero sense for their characters. Lance isn’t a lonely teen who desperately wants to fit in and make a connection with someone. He’s not out to prove that he is mature, nor mistakenly believes himself to be an equal to the only other girl in the kingdom that has ever talked to him that isn’t already married/seriously dating and still living at home. Adira never comes around to considering Lance a trusted friend and confidante after shoving nearly everyone else away. She doesn’t seek out his help or approval, nor tries to build him up with compliments, ect, and so forth. 

Now, I dislike the Cass and Varian ship for many, many reasons, but as they are presented on screen in the Great Expo it makes sense for why Varian would at first have an unrequited crush on her. Now after that QfaD he logically shouldn’t ever want anything to do with her but we’ll get to that later. That’s not the case with Lance and Adira; they’re both too old for such a dynamic. 

To add on to the weird factor, they’re both related to Eugene. Adira is technically Eugene’s aunt, even if she never acts like it. Lance is also the closest thing to a brother Eugene has. They don’t recognize each other as such, so if you want to say their just friends or ship them or whatever, there’s wiggle room. But the end effect is like Maya in Girl Meets World crushing on her best friend’s, Riley’s, Uncle Josh. Only even with less basis, and it wasn’t that great there either. 

Why Do you Suddenly Not Trust Adira Cass?

Forest of No Return was all about establishing trust in Adira, including with Cass at the end, so why the sudden back track? Especially since Adira hasn’t done anything but been honest with them, and has saved their butts several times now. All this does is make Cassandra look like an ass, which you don't need to be doing if you want the audience to side with her later on in the story. 

Everyone Now Knows Quirin is a Part of the Brotherhood, So There’s No Excuse For Later

It’s an odd way to state that fact, but yeah, both Cass and Raps are told directly that Quirin is in the Brotherhood, and Lance, Eugene, and Hookfoot are also present and presumably listing to this exchange. So no one in S3 has an excuse to ignore this plot point until the finale. 

This Backstory Goes Nowhere

Adira launches into this story about Zhan Tiri, Demanitus, and the Great Tree and literally none of it actually matters. It’s never brought up again after this episode. We never get any insight into why they were fighting, how Zhan Tiri corrupted a tree, what significance the tree has outside of being really big and holding some scrolls, nor how the scrolls got there, why the tree is still connect to Zhan Tiri hundreds of years later, nor how Demanitus magic spear works or what it even does exactly. 

Don’t introduce lore and then don't have it mean anything. 

Why Do you Care, Cass? 

Cassandra isn’t a lady-in-waiting anymore. We’ve already established that back in Secret of the Sun Drop and in Beyond the Corona Walls. So why should she care if Adira calls her one? Adira isn’t from Corona. Adira isn’t in charge of anything. Cassandra doesn’t even like her, so Adira’s opinion shouldn’t matter. 

This whole season we’ve seen Cass treat Adira like shit, but apparently we’re supposed to feel sorry for her when she can’t take clap back for all the grief she’s given. Is she really so immature that she can’t just ignore a petty insult for what it is? Why does she have to behave so insecure that she will jeopardize the mission or someone’s life over it? This is the deuteragonist I’m suppose to root for and relate to? I mean she’s twenty three for goodness sake! Grow the hell up woman! 

Also while we on the subject, a royal guard and a lady-in-waiting are both servants. There’s no distinction between the two beyond what duties they perform, and that would be the case regardless of what job Cass had. Rapunzel’s a princess, everyone is her servant. That’s how the class system works, and by all means Cassandra enjoys more privilege than most people in Corona. She’s the Captain’s daughter, was granted next in line for that position in SotSD, and lady-in-waiting means to the princess means she’s above all the other maids except for Crowley and Friedberg. Cass may hate her job, but she hasn’t room to complain when Faith is right there and has things much worse. 

In short making Cass suddenly indignant over being treated as lower class when she didn’t give a crap about the likes of Attila, Caine, Varian, Eugene, Lance, ect... just makes her look like a hypocrite. 

The Other Reason to Dislike Lance’s Crush is That It Hinders His Development

Lance’s arc is that he’s suppose to learn to be more responsible. This episode in particular is suppose address his habit of lying... only it doesn’t. We get no real resolvement on this point. We also never see Lance progress enough to give up on Adira and stop pursuing her even when it’s directly pointed out to him that she doesn’t reciprocate his feelings. So in the end he still remains immature and irresponsible. 

Though this conversation just proves that Eugene and Lance still have the healthiest relationship in the show. They’re about to disagree or call each other’s bullshit without resorting to insults or getting violent, which is more than what any relationship involving Cass does. 

Questions With No Answers

We never learn why these scrolls are here, why they have the incantations on them and upon the wall, we don’t know who translated them, nor who came up with the incantations in the first place.

This is all important info that he series glosses over, because unlike the moonstone and sundrop, the incantations are things that someone had to have made at some point, and they could only have made them by studying what our plot macguffins are and how they work. Since the incantations are things that are also sought after by the big bad along with the magical objects, then we need to know how the big bad knows about them when no one else does. How they came about. 

Which is yet another reason why we needed a magic system in place. 

This Song is Catchy, But It Doesn’t Need To Exist

In a musical a song needs to either establish the plot, build the world, or further the characters. This song does none of those things, it’s not needed for Lance and Eugene’s relationship, it doesn’t actually resolve Lance’s plot as he is high when he apologizes for lying, and it wasn’t needed to established the man eating plant. I honestly think this song only exists so that the animators could just reuse assets they built to save on money. 

The Hurt Incantation Is the Coolest Thing In the Show! Shame It’s Not Utilized Well

People are suckered into this show by one of three things usually, ‘Let Me Make You Proud Reprise’, ‘Ready As I’ll Ever Be’, or this scene. 

It’s shocking, powerfull, and a really, really awesome concept. It’s one of the best scenes in the show, and an interesting idea that offers up a lot of story possibilities. 

Possibilities that’ll never actually be explored on screen. The hurt incantation isn’t useless, it does affect the plot, but it’s not used effectively. There was so much you could have done with this but it’s then never explored. Characters outright forget its existence even when they have no reason to, or it’s used to do things that should have been accomplished in other ways. It’s also never fully explained or expanded upon. They couldn’t even bother to give it more than one verse. 

All of the incantations are mishandled in this show, but the hurt incantation is the one that has the biggest let down. 

Conclusion 

So that ends part 1, join me tomorrow for part 2. 

[sunshinesholland]

the one (and all the others) | t.h.

Pairing: Tom Holland x Reader

Word count: 3.16k

Summary: Everyone in your life knows how much of a hopeless romantic you are. You’re constantly diving into things headfirst, and expecting a fairy tale ending. You tend to laugh off any remarks your friends make, take them in stride, as it’s kind of commonplace in your friend group to joke about your romantic escapades. But this time it feels different.

Warnings: swearing, angst/pining, mention of shitty past relationships, allusion to PTSD 

A/N: Again, it’s kind of based on some personal stuff. Getting back into writing is easiest when its based on self experience for me. I have the rest of this mostly written out, so let me know if you like it!

part one || part two || part three

New York winter has brought with it snow, accompanied by a brisk wind that harasses anyone caught outside. Lucky for you, you’re inside and warm in the shelter of your favorite cafè with a good friend and hot coffee.

“He said he couldn’t stop thinking about me since first semester,” you gush, “he said whenever he sees the film I did my midterm on in class, he thinks about me.” 

You’re practically swooning, your vanilla latte in one hand, and an earl grey tea in the other. Zendaya, reaches for the cinnamon among the array of wooden sticks and sweeteners as you continue your story.

“Yeah, I’m sure the guy has watched Love Jones so much the past four months,” she comments, smile on her face as she takes a taste-sip of her coffee. Satisfied, she begins walking with you to the usual table. It’s tucked in the corner with a view of both the wooden-framed windows and the small stage where a guitarist plays softly. 

You continue speaking as though you didn’t hear her smart remark, “I mean he’s got an accent, and he’s really cute too, Z. I didn't even present the analysis that well, you know I had work and that huge paper for music theory class due,” you babble, and she just sips her coffee and listens.

The bell atop the cafe door chimes and the cold breeze from outside manages to reach you in the corner. Your eyes flicker up to Tom as he begins walking over, shaking the snow out of his hair, his curls slightly damp and his cheeks pink.

“What were you guys talking about?” He asks, shrugging off his jacket and sliding into the seat beside you.

He smiles at you as he grabs the tea you’ve ordered for him, a silent thank you despite the fact that you do it for him every time you arrive before him. 

“I was just telling Daya about the guy from our film history class last semester,” you grin, “you remember him?”

How could he forget? You gushed over him then too, and the bastard was bold enough to make advances towards you during class discussions. Not to mention the times when he would stop the two of you on your way out of class to flirt, while Tom would have to wait for you and watch it all unfold.

You and Tom have known each other since day one of university, when you complimented him on the Spider-Man pin on his backpack. It was the pin his baby brother Paddy had given to him before Tom left to attend university in the states, and your complimenting of it instantly made him warm towards you. He’s been friends with you since he held the elevator for you, the same day you both realized you’re neighbors at the same apartment complex. He’s been your best friend since the day you stayed up all night with him after having only known him a month. He was stupid enough to put off writing an important paper for his literature class until last minute and you still stayed up with him all the same. You brewed coffee and kept him company, making him laugh all night long all while encouraging and motivating him. 

And he didn’t realize at the time but he’s been in love with you since he called you at 11 PM, heartbroken, and despite the fact that you went to sleep hours ago and had work early the next morning, you didn’t let him wait past the second ring before answering. You were up and knocking at his door moments later, still in sleep shorts and a t-shirt, half awake. You met his bloodshot eyes and hugged him tightly, there to be whatever he needed at that moment. You let him ramble and cry into your shoulder while you stroked his hair. You watched over him while he drank to numb the pain, and you were there to rub his back the next morning for the aftermath. He knows he isn’t exactly special, you’d do this for anyone you care for and somehow it makes him love you more.

When he did realize his feelings, he didn’t make a move, as you were in a toxic on-again, off-again relationship, and you didn’t need anything else on top of what you were going through. The love from the way you valued him as your closest friend was enough for him. It’s possible he would have outgrown the crush, but after one night, everything changed. And the worst of it all is that the two of you don’t talk about it, or even acknowledge that it happened. But that’s how it always goes right? It’s good until it’s not.

Tom is pulled out of his thoughts and reminiscing when Zendaya asks, “When’s the date with prince charming then?”

“It’s this weekend,” you mumble, looking past her to avoid her eyes.

“This weekend? Y/N, you said you’d come to Laura’s party with us,” her tone is criticizing because she’s fine listening to your interactions turned romantic narratives, but abandoning plans you’ve already made with your friends is where she draws the line. 

You avoid her eyes, looking down at your cup and then out the window at passersby on the street. You don’t want to be a bad friend, really, but it’s one night and you’ve been looking forward to the date since he asked you last week. And you really don’t like parties anyways. You don’t make a habit out of canceling plans, you truly try to be as reliable as possible, there whenever your friends need you. Your only fault is that finding love is almost as high on your list of priorities as your friends.

“I know but I’ll come to the next one. She’s always throwing parties and what difference does it make to miss one? I don’t even like parties either, I wouldn’t really be fun to have around anyways,” you try to reason your way out of the guilt.

“Yeah. Sure. Let's just talk about something else, okay?” She huffs, not wanting to argue and knowing you won’t cancel on prince charming. 

“Okay… Tom when are you going to ask out Perrie from downstairs? I think the whole complex is getting second-hand embarrassment from the poor girl’s obvious and multiple advances,” you grin, because anything to do with romance is welcomed by you. It doesn’t just have to be your love life.

He already feels sick because while Perrie is a lovely girl, she’s not you and no one else is either. Answering the question why he won’t ask out the pretty, single, and clearly interested girl is something he barely admits to himself. But lucky for him Zendaya is who she is in that she always seems to know what to do. Though she’s never had it officially confirmed, she knows on some level about you two. She’s your roommate and the three of you are all close and in the same friend group, and honestly, how could anyone miss the way you look at each other? More often than not, she gets back from work and finds you two asleep on the couch, scrunched up together under one blanket. If she comes home, and you’re not in your room all she has to do is walk across the hall and you’ll likely be at Tom’s. But again, Zendaya is who she is, and so she allows you two to define what you have the way you want. But she sees the color drained from Tom’s face, and for his sake, she changes the subject.

“Or... we could talk about the fact that I got offered my first modeling job!” she exclaims, effectively taking the heat off of Tom.

Your supportive friend nature kicks into overdrive, Perrie from downstairs long forgotten, as you gush over how much your friend and roommate deserves this and so much more. Tom gives Zendaya a half-hearted smile, which she returns before chatting with you about the details.

—

“I really do think he could be the one,” you smile back in the mirror, while Tom searches through your display of Spider-Man comics. 

You’ve been best friends for so long and you live across the hall so it’s only natural that Tom comes to keep you company when you get ready for your dates. No matter how often he's there, or what feelings he has, he wouldn’t ever turn down an opportunity to spend time with you. 

He grabs your favorite issue, the front page worn as a result of how often you read it. You could cover them in slips and store them on a dusty shelf, preserving their value. But you’re a firm believer of loving what you have, not shielding it away to protect it, and maybe that applies to more than just comics. He drops onto your bed unceremoniously, looking up to meet your eyes in the mirror. You finish curling the last section of hair that frames your face, unplugging the iron afterwards.

“I don’t think you can really call him the one, if he’s the tenth you’ve called that so far this year,” he replies light and jokingly, despite the insensitive words he’s spoken. He’s the only one who’s never poked fun at your dating habits, but maybe it’s just the mention of the prince charming from film history.

Although he may be joking, he’s right. You glance down at your vanity, a mess of makeup and hair products showing just how much effort you’ve put in the last forty-five minutes. No matter how many first dates you go on you’re always saying things like this. Most everyone in your life makes remarks like this and usually you would let it slide and laugh or brush it off. But it’s Tom, who knows better than anyone the heartache you’ve experienced and how even though you refuse to admit it, it’s a coping mechanism. You’d like to think your past doesn’t define you and so you tell yourself you’re in love and hopeful, but the trust issues and self sabotaging comes shortly after. Tom should know that, having seen the relationship that was responsible for the cycle and the beginning, quick middle and eventual end of every relationship since. 

So you’re immediately defensive at the fact that your best friend would make some comment like this. He lifts his head up at you, as you spin around to face him.

“And why can’t I?” You ask and Tom opens his mouth to reply but you’re continuing and challenge him further, “What’s so wrong with being a hopeless romantic, with feeling things deeply?” You question, not waiting for a response as you continue.

“There’s not one person in my life who hasn’t said shit like this to me! Out of all people I thought you would understand,” you raise your voice, hurt evident in your tone. 

“You know how hard it was for me. I’m just doing my best to hold myself together, and I’m an adult, if this is how I decide to cope, I’m allowed to!” You’re shouting now, standing and pacing around your room in frustration.

“I’m just hoping there’s someone out there who is willing to love me kindly and fully, and I think I’m perfectly justified holding out for that,” your voice softens, your back is facing him, posture slumped as you huff, overwhelmed with emotion. 

Your frustration is tangible in the air and Tom blinks, placing down the comic book before scooting to the edge of the bed towards you. You tend to laugh off remarks, take them in stride, and it’s kind of commonplace in your friend group to joke about your romantic escapades. 

He feels unbelievably guilty, he never would’ve said something if he was aware you felt even one one-thousandth as upset as you’d just displayed. He had been there for the awful relationship that had you sick with heartache. He’d been the one Zendaya would come to when you’d refuse to leave your room for anything but classes, if even that. He just feels idiotic for not connecting the dots, he just thought you were strong for having such an open heart after everything. You’re always compassionate and supportive others and you’ve definitely helped him through his fair share of heartbreak, and wow he feels like a dick. Whether it’s orchestrated by heartache or not, he admires that you’re willing to keep trying despite everything. He only wishes he was brave enough to bare his like you always have.

“Hey,” Tom speaks softly, reaching for your hand and slowly turning you around to face him, “I’m sorry, Y/N, I never realized this is how you felt,” He mutters, tone gentle, coaxing you to turn to him.

Tears have managed to well up in your eyes and if he didn’t feel like a huge jerk before, he absolutely does now. But it’s really not about him, it’s about his best friend who he’s unintentionally made feel invalid in her feelings. You’ve never once asked him to justify how he’s feeling, or poked fun at him for his emotions. Well, except... maybe when he broke his pinky finger in a fit of anger, after having punched the face wall when his team lost the European championship (though you did apologize for it and you grabbed him ice right after). 

“It’s, erm, it’s fine, it’s stupid anyways,” you mumble back, voice unsteady as you try to blot your tears away with your sleeve in an attempt to prevent your makeup smearing. You’re just overwhelmed and it all bubbled over. Tom has never said anything like that before and it was dramatic to blow up at him like that, you think. 

“It’s not, N/N, and you know that. You’re crying and I know you hate crying and so I can tell you’re upset. Even if you don’t want to admit it, I’m still sorry,” He apologizes, rising to stand with your hand still in his. He pulls you into a hug, resting his cheek atop your head. 

“Thanks,” you murmur into his shoulder. It’s not completely his fault, because you really hadn’t voiced any sort of animosity for the jokes made about it. You never really talk about how hurt you are by the past either, not anymore than in passing at least. 

You just stand there for a minute, his hand stroking your hair absentmindedly, and he’s messing up your curls but it’s comforting because it’s Tom. Thinking to ask him to stop isn’t even on your mind. 

He’s thought about it before, but now more than ever he just selfishly wishes he was there before your ex, to see you unguarded and truly hopeful. Not as a coping mechanism, not as an extreme reaction to hurt, but to love because it’s all you know. Because maybe then things would have played out differently for the two of you.

He’s lost in his thoughts, stroking your hair and his other hand rubbing your back, your ‘getting ready’ playlist ends. Somehow the algorithm has decided to play One by Ed Sheeran, soft, melodic and completely dissimilar from the upbeat tracks playing a moment ago. But Tom couldn’t be more grateful, because if he closes his eyes he can almost pretend you’re at the before, and he had the guts to ask you out on the first day of class. If that was true, when you’re in your room with him now. You’d be aware of how he feels about you, and you’d feel loved in that kind and gentle way you’ve been hoping for, because you’ve never known anything else.

The soft ballad ends and when you glance up at him, the façade he’s formed fades away before his heart has the chance to beg it to stay.

“I don’t really want to go on this date anymore, I probably look a mess and I’m just...not in the mood for not finding ‘the one’ tonight. I’ve got you, and that’s enough for now,” you confess, smiling up at him. 

You say that, because as cheesy as it sounds, friends are a kind of soulmate too, and you’ve already found them. You can always look for ‘the one’ some other time. This revelation would feel sweet to any other friend, but to Tom, it hurts just a bit that to you he’s just a placeholder. 

He manages to crack a half smile at your heartfelt statement, because no matter how he feels, he’s lucky to have you. Even if only as a friend.

“So how about we order a pizza and watch New Girl for the fiftieth time?” You question, oblivious and smiling up at him before pulling away from the hug and wiping at your wet eyes.

Any other time he would stay in with you, happy to watch you laugh to the point where he’s grinning at just your reactions. But he’s gotta be a good friend too, because well, he’s in the same boat as you. Except he’s found the one, and he doesn’t want to leave. Yet he knows the right thing to do is to go to the party he promised Zendaya and Jacob (and previously you) that he would attend. Though he still isn’t happy to admit it to you.

“I was going to go to Laura’s party tonight…” Tom grimaces, rubbing the back of his neck, because he knows you don’t like parties and you’re likely emotionally exhausted on top of that. He’s only going because he’s made a promise, and really— trust him— there’s nothing he’d rather do than spend time with his favorite person.

“Could I maybe go with you?” You ask, because being with friends, even if you don’t like parties is better than sulking at home alone. 

Tom cracks a smile, and it’s easy to fall back into friend-mode with you. Because that’s what comes when it comes to you, before anything else.

“Well, I mean if you clean up I suppose I can just take you with me,” he teases you, “because I cannot show up with you like that.” He jokes and laughs as you shove him. 

This kind of banter is normal and makes your heart feel just a little less heavy in your chest, because Tom always manages to make you feel better.

“Okay, just let me text him and let him know I won’t make it, and then I’ll try and look better for you,” you reply, laughing all while rolling your eyes. 

You’ve got your phone in one hand texting, while your other wipes away at the makeup on your face. You’ve got a focused look on your face, squinting a bit because you don’t have the best eyesight and refuse to wear your glasses on first dates. But you look lovely to Tom, despite the crease between your eyebrows, your slightly opened mouth, and still smeared mascara. 

part two

[ontheoddoccasioniwritestuff]

Goodnight, Aaron (Aaron Hotchner x OC) Chapter 4

Summary: With Hotch’s blessing, Sebastian begins to assimilate into the Hotchner household. 

Tagging: @sunlight-moonrise, @clean-bands-dirty-stories, @genevievedarcygranger, and @davidrossi-ismydad

Chapter 3 // Masterlist // AO3 Link // Chapter 5

Dropping Jack off at school proved to be the easiest thing in Sebastian’s day, despite not waking up past ten o’clock for the past few weeks.

Packing his possessions only took two hours in comparison to the literal hellscape that was the cleaning up. His tiny bedsit hid plenty of nooks and crannies that hoarded dust and grime. On his hands and knees, Sebastian scrubbed away with anti-bac spray and wipes in hopes that he would get his deposit back.

He really fucking hated cleaning. It always took him way too long. Probably because he got putting on a video for background noise – it had to be something he found interesting to help pass the time but not so interesting that he would be pulled into watching it. A fine wire to walk and Sebastian had terrible balance to match his attitude. There was also the fact that he would often put off cleaning with the excuse of doing it all in one big go.

Past Sebastian was a bitch and Present Sebastian was suffering because of it

After a quick lunch of his leftovers, he lay back on the floor and dialled for his best friend. She picked up after three rings and he whined loudly to her.

“Bellamy, help me. I’m drowning in used wipes in my shitty shitty bedsit.”

“Hmm, delicious,” and Bellamy hung up.

Sebastian didn’t bother ringing up to see if she’d appear in the room. He decided that he would find out if she was on her way or not in the next hour.

Turns out it only took twenty minutes for Bellamy to push the front door open with the tip of her wedges.

“Why’d you call me to help you clean? Sexist pig,” and she swung her leg over his head.

Sebastian didn’t bother trying to dodge, letting the air shoot past his ear, a few stray hairs fluttering in Bellamy’s wake, “Because Klaus would make more mess, and I love your scintillating company – did you bring anything?”

“I got me coffee and you Haribo’s.”

Just another reminder as to how all that kerfuffle with his work visa was worth it.

He clasped his hands together as if in prayer, “I adore you; I owe you my life.”

With a grin, Bellamy tossed the packet his way, “Give me a cloth and tell me about your new boss then.”

Another thing Bellamy brought was the tunes. She was mumbling lyrics as she scrubbed away at the skirting board, Sebastian harmonising in terrible ways. The tasks didn’t get completed much quicker, but it was much more entertaining for Sebastian. Who knew what Bellamy was up to before this, she didn’t tell him.

Bellamy tossed a bag into the garbage can and peered in despite the smell, “Somehow still better than my flat.”

“When are you moving out by the way?”

“Who knows, maybe I’ll move into your bedsit.”

“Don’t, landlord’s a prick.” And Sebastian looked over his shoulder, a belated measure

“Still better than mine.”

Bellamy stayed right up until all the belongings were crushed into Sebastian’s car and the door was locked by them for the final time. It was a very unemotional time when Sebastian tossed the keys through the letterbox, and they left down the murky stairwell together.

To say Jack enjoyed the sight of all Sebastian’s bags pilled together in the backseats was an understatement. The drive back, he was more elated by the tracks leaking from Sebastian’s stereo. His chatter on the drive back about the games in the playground filled the time, and Sebastian was drawn into the world of spies Jack had created.

The energy dipped when Jack and Sebastian had to carry all of Sebastian’s belongings inside. The lift worked, thank God, but Sebastian was still weighed down with his bags for life. Plus Jack could only carry so much. He was only somewhat eager to drag Sebastian’s wheelie suitcase down the corridors. And even less so was Jack to get on with his homework once the car was clear of baggage.

Sebastian sneaked a sly glance at Hotch’s list of Jack’s preferred snacks before he made up some apple slices with peanut butter. Gotta trick the kids into eating their five-a-day.

Somehow, after that snack break, Jack transformed his mood into “very understanding” about doing his science work - especially for an eleven-year-old. He listened to Sebastian’s reason, one he wished he’d thought about and listened to when he was Jack’s age, was heard.

The Lego break was greatly appreciated too. Especially since it was coupled with the front door opening at quarter to seven to reveal Hotch.

“Hi, Daddy!” Jack trotted over and hugged his middle.

“You’re home early,” Sebastian cheered from the kitchen counter.

“On time for once,” Hotch set his stuff on the side, and his gun into the drawer swiftly after. “Don’t expect it to happen often.” Then, as Jack went back to the dinner table, Hotch knelt down and removed a second gun from an ankle holster. Sebastian didn’t comment. He must have just missed that last time.

“What you doing, buddy?” Hotch joined Jack at the table, subbing in where Sebastian left off. He brought his own pile of paperwork with him. But it stayed in his briefcase.

“Math.”

“Let’s have a look.”

Sebastian’s cooking playlist continued with its lyricless songs. But it was turned it way down and Sebastian felt more self-consciousness about each song still coming up. Towards the final seconds, he would hover over the skip button before deciding that it wouldn’t be so bad if it continued.

One of Sebastian’s favourite songs came on, but he had very little time to enjoy it.

When Jack heard that it was playing, he bounced on his little butt with excitement, “Sebastian wants to get married to this song!”

Looking between Jack and Hotch, who was looking expectantly for an answer with a little grin, Sebastian noticed his jaw was slack and promptly shut it.

“I would like to have my first dance to this song,” He explained, a little slower than Jack who continued:

“We listened to it in the car! But he doesn’t like a bit in the middle so he’s going to change it.”

Sebastian bit his cheek and got back to stirring the cabbage around in the saucepan in a triangle.

“Is this it?” Hotch tapped his pen against the homework, “The part you don’t like?”

“Not yet,” Sebastian replied, “There’s a change from three to four beats per bar in a sec first.”

And, as if he wanted to make things even worse for himself, Sebastian began to wave out the time signature with the fork he’d been using in the saucepan. Hotch and Jack watched the movement the movement change from a triangle to a lightning bolt as the song shifted into its denouement.

“So maybe I’d have to get it edited,” Sebastian finished, his voice fading out the more he spoke.

He didn’t point it out when they reached the moment of upbeat, just before the closing bars that didn’t fit with the traditional wedding idea. Who knows? Maybe he’d be unconventional if he got married, jam out with his significant other on the dance floor.

But he wasn’t about to discuss that with Hotch - or continue it with Jack for that matter. And he didn’t look up from his cooking until it was done and ready to be served.

Hotch ate with them, sat beside Jack while Sebastian was opposite. Jack gave an enthused rehashing of this spy game’s narrative beats. His fork was his baton as he orchestrated a rich tapestry of how he and his friends crept about the playground together. Interjecting appropriately, Hotch offered him tips of the trade, like some hand signals to use while sneaking underneath the windows of the classroom.

“Did you move in alright?” He suddenly addressed Sebastian.

Prayed none of his food was stuck in his teeth, Sebastian replied, “Yeah thanks, I’ll probably be unpacking for some of tomorrow though.”

Jack helped Sebastian load the dishwasher after dinner while Hotch disappeared into his office. It didn’t go unmissed, the way Jack’s behaviour slumped as soon as his father turned to walk away from him.

However, when Hotch reappeared sans suit jacket and tie, Sebastian bit back his laughter. Not because he thought the sight was funny, but he was just so pleased for Jack as the two began setting up a film. It was such a beautiful event to watch unfold from the kitchen table, where Sebastian was flying his Minecraft avatar about the server in search of something to do. He wanted to ring his mum, but by the power of time-zones, he was rendered incapable. So instead he punched a tree until it fell.

“Sebastian! Are you going to watch with us?” Jack said, his neck craning as far as he could go to look at his nanny while he pulled the puppy eyes on him.

“Um,” Sebastian threw a glance at the horrendous clock tower besides Bellamy’s mansion, “I’m gonna work for a bit, sorry Jack.”

The puppy dog eyes grew wider – how that was possible, Sebastian didn’t know – but Jack accepted the answer with relative grace and settled with Hotch on the couch, his legs buried beneath a blanket.

Sebastian decided to start building, something productive. But the further he got into his project, the further he wanted to jump into the ocean because of how ugly everything he made turned out to be. The booming opening titles of a Star Wars film brought him back to the apartment, where Hotch was retrieving something from the fridge, barely giving Sebastian just enough time to switch tabs to his email before he walked behind him.

But then he stopped beside him and spoke under his breath, “You live here too now. You don’t have to worry about bothering us.”

“Ah, I don’t wanna encroach on your time with Jack. And I was just gonna go to the shops. You want owt?” It all came tumbling out of Sebastian’s mouth pretty quick.

“‘Out’?” Hotch repeated.

“Owt, anything, it’s slang for anything.”

“Oh, no thank you. We’re all set,” and he held up the chocolate bar in his hand with a little smile. Sebastian’s stomach tensed but he returned the smile and closed his laptop lid, off to his room to get his rucksack.

Hotch’s arm rested around Jack on the back of sofa. They took turns breaking a square off the chocolate bar, Jack occasionally going for another between

“It makes sense that ‘owt’ is ‘anything’, if ‘nowt’ is ‘nothing’,” Hotch remarked, his head falling back on the couch to look at Sebastian. He shot him back a single finger gun.

“Now you’re getting it.”

“You don’t have to keep your shoes by the door either.”

“Oh, your poor carpets,” Sebastian let out a laugh at his oh-so-very-lame comment, making eye contact with the dress shoes that rested beside Hotch’s feet in pewter grey socks on the floor.

The shop was only a ten-minute walk away and he knew what he wanted. Sebastian still looped around the aisles as if he did not know where his next minute would be spent on this mortal coil. Eventually he settled on a slice of banoffee pie from the bakery. He answered the phone at the till, not so subtly bringing up the subject of their Minecraft time to Bellamy on the other end:

“Have you been on the server yet?”

“No, I’m marking some homework. Why? You wanna hop on tonight?”

“Ah, I’m gonna wait until Jack is off to bed first.”

“I’ll keep you posted on how the little buggers do with their homework.” And there was a clink of a glass in the background, “But I’m telling you, if I read one more ‘Curly’s wife’s nails are red because red means danger’.”

“Make it a drinking game! Don’t, don’t do that.”

Sebastian just missed the rain on his walk back. Thankfully so because his hoodie wouldn’t provide much protection for himself or for his pie. Upon re-entering the apartment, he was greeted by Jack and Jack alone.

“You alright, bud? Where’s ya Dad?”

“He had to get the phone.”

Speak of the devil, Hotch returned to the sitting room with his tie neat in place and suit jacket returned on his back. As he collected his belongings from his safe, he caught sight of Sebastian, “I gotta go to the office, shouldn’t be more than a few hours.”

He kissed the top of Jack’s head and nodded goodbye at Sebastian before leaving. It was then Sebastian saw that the movie was paused and Jack was eating the last square of chocolate.

“Do you want to finish the film, or wait until your dad comes back?”

“Finish it, please,” Jack drooled a little and Sebastian grabbed a tissue to mop it up.

He poked away at the pie before eating it. The pair watched in quietude before Sebastian remembered the last of his snacks at the bottom of his bag.

“You want a Haribo?”

They went through the usual routine: the Millennium Falcon speeding away with the gang barely intact before the credits rolled, teeth brushing, Sebastian reading Where The Wild Things Are until Jack was dozing off and not fighting his nanny easing him lower into his pillows.

The ugly-as-hell clock tower was demolished in favour of making a little paddock for the cows. Bellamy joined the server and insisted on an extension to their little home.

When he realised how dark his room had gotten, Sebastian checked the time.

11:03.

He closed the lid of his laptop. Then he lay down on his bed with his eyes open and listened. Just his breathing and the beating of his heart were heard, slow and steady for Lord knows how long.

Then the front door creaked.

Footsteps padded across the floor, and the hall light snapped on. A shadow beneath the door passed by. He heard Hotch go into Jack’s room. Then the light went out again and a bedroom door closed.

Sebastian turned over and closed his eyes, now that he was ready to sleep.

[redspiderling]

MCU Breakdown: That b-roll called Endgame, part 2

This mess has been swirling around my mind all day and I can safely say that once I managed to block individual offences and look at the greater picture, I was able to reach a conclusion that might bring some peace to my mind and, hopefully, yours too.

We’re not here to once again simply exhibit how this movie failed to express itself in a visual way, we’ll go a step further because I’m an asshole like that.

We’re here to explain why the failure of visual expression cheapens the story-telling process and leads to an unfulfilling cinematic experience.

I’m adding a “read more” this time because I actually remembered to do it.

Let’s ease ourselves into this.

Exhibit 1: Not using any visual storytelling elements.

This is the moment Pepper realises Tony has figured out time travel. That they can -potentially- travel back in time and save trillions of lives. And it’s shot, like this

Like a picture from a furniture catalogue. I’m saying furniture catalogue not only because the shot is 80% furniture and 20% character. Not just because it is quite dark, and the pieces that are drawing the attention of our eyes are the various lamps and candles, bright and shiny in an otherwise brownish, muddy frame. 

This moment hasn’t earned its existence in our minds as an emotionally charged one. 

It’s not just that Tony was never the character who envisioned himself as someone capable of “settling down”. It’s that our brains have been trained for centuries to look for visual clues. The wringing of hands, the beads of sweat on a forehead, nervous gestures, restlessness. The symbolism of a storm in the horizon that trouble is coming. They’re all simple things but they’re layers upon layers of meaning.

The trouble isn’t just that the Tony we know is not the Tony we’re looking at. It’s that the way the story unfolds, visually, doesn’t fill us with dread. Instead we are left looking at an image of a somewhat peaceful existence void of any emotional charge. 

How this scene represents the “enormous scientific revelation will restore balance to the universe but will potentially ruin our family” sentiment, is an enquiry for me to make and for the Endgame show runners to never explain.

Exhibit 2: Using visual storytelling elements wrongly

To move forward from that significant for all its insignificance moment, it’s old news in the fandom that Endgame took the concept of found family and kicked it to an alternate dimension. 

What we are looking at here, is the New “But Actually Really Damn Old” Dream of the MCU: Typical affluent white heteronormative Heaven. 

And yet that’s not the problem. It is a problem, in the general “this is the 21st century and it takes a bit more to impress us” sense, but it’s not a problem from the perspective of a story. You can tell good stories for us all to enjoy that begin and end with this narrative, as long as you do it well. 

It is quite obvious that the basic concepts of visual storytelling are known to these people. And they do attempt to use them on occasion. We’re talking about visual clues that will help nudge the viewer in the right direction, so that when the moment comes, the viewer will have seen it coming and won’t get annoyed. 

Thus one could easily assume any form of foreshadowing is better than no foreshadowing, right?

Perhaps. But from my experience, certainly not in this instance. This is one of the big problems with this film, it is not certain where to draw the line on just how much does the viewer know? Is this their first MCU film? Second? Did they see Cap 1 and skip the rest?

Our story tellers don’t use all the information they have provided us with, and that creates traps for them. Even when they do attempt to warn us for what is coming they create more trouble for themselves. Because foreshadowing needs to be consistent. And dead ex girlfriends who got married more than 50 years ago, are not a likely candidate for a love story in the mind of the viewers.

Visual story telling is crucial and it needs to be consistent. You can show me hints that I will pick up on. 

Here's Steve in the Avengers. He's certainly a man out of time, with his old man clothes.   

Thankfully, by the time the Winter Soldier appeared, he was fitting in quite well in the world. A modern man now, with a modern attire.

So I'm left to watch in bewilderment and wonder, why is Steve back in his old man clothes in Endgame? 

When did this regression occur? Viewers are not idiots. Like I said, we are trained to pick up on visual clues, it's crucial to our survival in the world. If I see a monkey eat seeds from a tree and then die, I'll remember not to eat from that tree.

I see the attempt here. The lack of colour and hope in the frame where Steve gazes longingly at the old compass, the soft, dream-like orange of his perfect life with his little wife. I can take a hint. Do I want it though? Have you prepared me for it? Does it make sense in terms of the other visual clues you've provided me with over the years?

Exhibit 3: Shifting the responsibility

Did I mention how much Marvel lucked out with the casting?

There’s 0 visual language employed. There’s no symbolism, no light, colour or perspective of happiness, or hope, or hopelessness. The only thing between those two pictures that says Tony and Natasha are not having some really strange conversation with each other right now, is the expression on their faces.

The fulfilment Tony found in parenthood and Natasha’s heartbreak over Clint’s crimes is visible only through the talent of the performers, not through any visual clues the show runners left behind for us. 

Natasha stressing

Professor Hulk and Dr Strange paying their respects

Clint’s guilt

Wanda remembering her dead loved ones

Complex emotional moments laid entirely on the shoulders of the actors. Which isn’t entirely a condemnable thing, talented actors can pull strong emotions from their audiences, but they can only do so much. 

Lets reference a pop culture legend most of you will understand

We don’t remember Luke finding out the truth about his father just because  Mark Hamill is a really good actor. We remember it because in that moment, Luke had been brought to his lowest point. He was worn from battle, his life was hanging from a thread. Darth Vader was looming over him, the personification of everything he hated and in that moment he found out that a part of him came from that evil. 

That build up was the result of a well written script, of a masterful piece of music, a visual tone that brought us to the brink of a revelation. The performance was part of the tale that will be retold for generations. 

In conclusion 

While there have been literally dozens upon dozens of articles about fans and viewers and critics having “issues” with this or that in Endgame, the truth is that our real problem, is this mixed bag of hardly ever used, or wrongly used storytelling elements. One that has been building up to a disastrous result for years.

And while all that is the least of Endgame’s crimes in the eyes of a Natasha fan (I have a personal vendetta against the film at this point) I still can’t help but bemoan the loss of a singular opportunity for creating a milestone in cinematic history. 

Because if we can’t revisit Endgame for its story due to a complete lack in originality, and we can’t revisit it for its visuals, we won’t revisit it at all. And with it most of the MCU will go down as a piece of popular media that took the world by storm, but won’t have much to recommend it 10, 20 years from now. And isn’t that a shame. Edit: If you’re wondering why they messed up this badly, there’s a long list of reasons:

This wasn’t actually planned ahead. They didn’t write all the films from the beginning, they were making things up as they went along, so they created pitfalls for themselves.

They ignored the visual language.

They went along with weak scripts.

For Endgame specifically, they did ridiculously extensive re-shoots, which resulted in messy set ups (misplaced items on set, badly lit scenes, bad special effects) and bad editing.

They bit off more than they could chew with the amount of characters presented on screen, and never managed to create complete and fulfilling storylines for them.

Finally, they allowed bigotry and sexism to affect their judgement, thus placing the viewer against their narrative.

[ramblingrachell]

Have You Read This? The Election of 2020

Like many of us, I watched Hamilton on July 4th, 2020 – our nation’s birthday. I met the day with mixed emotions as the spirit and character of our nation as of late did not seem appropriate to celebrate.

As I watched the story about many of the nation’s founding fathers and first leaders unfold, I was struck by the parts of their personal trials and tribulations that went beyond their contribution to the nation. Hamilton was the first politician to be involved in a sex scandal; Layfette – an immigrant, unafraid to step in and become America’s favorite fighting Frenchmen; Washington – a slave owner willing to admit “it probable that I may have committed many errors;” Jefferson – gained wealth profiting from the work of slaves, one of which he fathered six children with after making her his mistress. Burr – the untried murderer of Alexander Hamilton, whom he killed while still holding office as the third Vice President of the United States. In short, a hot mess of moral contradictions. I have been listening to the Hamilton soundtrack ever since my first viewing on July 4th, and realized a number of lines in various songs could be strung together to reflect my perception (key word: my) of the current political climate. Over the last week or so, I finally sat down to string all of those poignant lines together (with a few liberties for relevant context), a lyrical short story I have dubbed, The Election of 2020 (seen further down, further down). The beauty of democracy that is reborn during election seasons is our ability to get a fresh start, gain new perspectives, correct past wrongs, and continually better this land of the free for generations to come. I saw a quote recently that described voting as not so much like trying to find the perfect partner for marriage, but rather like using a bus for public transport. Voting is a map of bus routes that you must choose from in order to get from point A to point B. There may not be one specific bus that is going to your exact destination, but that doesn’t mean you stay at home and give up on travel entirely. Voting is not about waiting for “the one” candidate who is absolutely perfect. Instead, you choose to get on the bus that gets you closest to where you want to be. I know and love many republicans and democrats that have used the privilege of voting to get us all closer to where we want the nation to be. To me, where we are right now does not seem to fit under either traditional party umbrella – no, it’s much more like an umbrella that has been turned inside out and torn apart by a calculated hurricane of divisive and selfish endeavors. Perhaps more than ever before, this is the time to reassess our voting bus routes that will get us from point A to point B. Are we moving from indifference to tolerance? Hate to love? Despair to hope? Chaos to consistency? Negligence to protection? Moreover, before you get on your bus of choice, remember the route is designed to get the whole of our nation where we want it to be. Not just for me and not just for you. For all of US – as in, all of the United States. We will never all agree, I know this, but in spite of these disagreements, I am reminded of the hope that comes from the story of Hamilton. Even 244 years into this nation’s story, despite many dramatic peaks and valleys, the journey to our shared, happily ever after epilogue lives on. It lives on in me, in you, and in every vote cast to get us where we want to be. Regardless of how your vote is cast, the courage to reexamine your route and get on that bus… well, that would be enough.

The Election of 2020

“America, you great unfinished symphony A place where even orphan immigrants Can leave their fingerprints and rise up We’re running out of time Eyes up Time's up Wise up He's not the choice I would have gone with History will prove him wrong Winning was easy for him Governing's harder Welcome, folks, to a dysfunctional administration! He stands only for himself It's what he does I can't apologize because it's true Have it all, lose it all The President is gonna bring the nation to the brink He’s the villain in our history Frankly, it's a little disquieting that so many are blind to this reality He doesn’t have an ounce of regret He accumulates debt, he accumulates power Yet in our hour of need, he forgets Ardently abuses his post It's hard to listen to him with a straight face Watching the tension grow He cannot be left alone to his devices Indecisive, from crisis to crisis Stay alive 'til this horror show is past We're gonna fly a lot of flags half-mast Chaos and bloodshed already haunt us How many died because he was inexperienced and ruinous? We're too fragile to start another fight Where do we draw the line? Someone oughta remind him We're running a real nation Him and his words, obsessed with his own legacy His sentences border on senseless And he is paranoid in every paragraph How they perceive him Let future historians wonder How he tore so much apart And watched it all burn I wish I could say what was happening in his brain He's not very forthcoming on any particular stances Ask him a question: he glances off, he obfuscates, he dances I will not equivocate on my opinion I didn't say anything that wasn't true His father's a scoundrel, and so, it seems, is this dude He is uniquely situated by virtue of his position Though 'virtue' is not a word I’d apply to this situation He seeks financial gain, straying from his sacred mission And the evidence suggests he’s engaged in speculation Why does he assume he’s the smartest in the room? Soon that attitude will be his doom He knows nothing of loyalty Smells like new money, dresses like fake royalty Desperate to rise above his station Everything he does betrays the ideals of our nation See how he lies Look at his eyes Follow the scent of his enterprise If we don't stop him, we aid and abet it Watching him grabbin' at power and kissin' it Somebody has to stand up to his mouth What do we stall for?  If we stand for nothing, what'll we fall for?

Be careful with that one He will do what it takes to survive No one knows who he is or what he does His pride will be the death of us all God, we hope he’s satisfied This man has poisoned our political pursuits Destroyed our reputation I can almost see the headline, his “career” is done Ya best go run back where ya come from! This dude is out! You ever see somebody ruin their own life? History obliterates In every picture it paints It paints him and all of his mistakes It's him against us, the world will never be the same He better get ready for the moment of adrenaline Try not to crack under the stress When he finally faces his opponent They’ve fought on like seventy-five different fronts He smacks others in the press and doesn’t print retractions We're breaking down like fractions But when all is said and all is done I have beliefs, he has none Gotta get us out of the mess he’s got us in There’s a reason no one trusts him No one knows what he believes I get no satisfaction witnessing his fits of passion The way he primps and preens and dresses like the pits of fashion Our poorest citizens, our farmers, live ration to ration As Wall Street robs 'em blind in search of chips to cash in He’s askin' for someone to bring him to task While we were all watching, he got Washington in his pocket But the sun comes up And the world still spins I hear wailing in the streets There is suffering too terrible to name This is not a moment, it's a movement Are we a nation of states? What's the state of our nation? The issue on the table: We are engaged in a battle for our nation's very soul I’m past patiently waitin'. Let’s passionately smash every expectation For the first time, I’m thinkin' past tomorrow. We're gonna rise up - time to take a shot This nation better rise up Raise a glass to freedom Something they can never take away No matter what he tells us Look around at how lucky we are to be alive right now But we'll never be truly free Until those in bondage have the same rights as you and me Seek out injustice in the world and correct it Life doesn't discriminate Between the sinners And the saints It takes and it takes and it takes And we keep living anyway We laugh and we cry And we break But can l be real for a second? For just a millisecond? We gotta make an all-out stand Get him out of power So he holds no office We are a powder keg about to explode We gotta stop 'em and rob 'em of his advantages Let's take a stand with the stamina God has granted us We pick and choose our battles and places to take a stand We will fight for this land Summon all the courage that’s required Be a part of the narrative The story they will write someday How we emerged victorious Leaving the battlefield waving Betsy Ross' flag higher No one has more resilience Let’s move under cover and move as one We have one shot to live another day Don’t throw away this shot We will fight up close, seize the moment and stay in it And so the American experiment begins again We bleed and fight for the next generation We'll make it right for them If we lay a strong enough foundation We'll pass it on to them, we'll give the world to them For a strong central democracy We may never all agree, but There's only one man and woman Who can give us a command so we can rise up Throwing verbal rocks at his mediocrities What do you stall for? What was it all for? We studied and we fought For the notion of a nation we now get to rebuild Life, liberty and the pursuit of happiness We fought for these ideals; we shouldn't settle for less I don't pretend to know All the challenges we’re facing But this once, take a stand with pride This is not the time to stand to the side Stand with us in the land of the free To get the people that we need to lead We need the votes We need bold strokes When there’s skin in the game, stay in the game We don't get a win unless we play in the game We may get love for it We may get hate for it We get nothing if we wait for it I wanna build something that's gonna outlive me I dream of a brand new start I want real leaders that can save the day We won't be invisible We won't be denied If we get this right The nation can start to move on It outlives us when we’re gone We are the one thing in life we can control We are inimitable, true originals We can’t stand still Or lie in wait We don't wanna fight, but We won't apologize for doing what's right Together we can turn the tide If we manage to get this right They'll surrender by early light We have no control Who lives, who dies, who tells our story But I know that we can win I know that greatness lies within us But remember from here on in History has its eyes on me and History has its eyes on you”

(All Lyric Credits: Hamilton: An America Musical. Performances by Lin-Manuel Miranda, Daveed Diggs, Renée Elise Goldsberry, Jonathan Groff, Christopher Jackson, Jasmine Cephas Jones, Leslie Odom Jr., Okieriete Onaodowan, Anthony Ramos  Phillipa Soo, and Original Cast Company. Atlantic Records, 2015.)

[allthefilmsiveseenforfree]

Magnolia

I don’t know much about Magnolia or Paul Thomas Anderson, but I do know that it takes someone paying me to get me to watch a 3-hr+ drama that doesn’t star Kate Winslet, Leonardo DiCaprio, and a really big boat. This is one of my mom’s favorite movies which is why she requested it for me to review. It’s packed with a balls-to-the-wall star-studded cast (Tom Cruise! Julianne Moore! Phillip Seymour Hoffman! John C. Reilly! William H. Macy! Felicity Huffman!) and I’m genuinely excited to see how they all fit together. Cause they have to all fit together in some coherent way, right? Well...

Do you remember in Sorry to Bother You when the Equisapiens came out and things just took like...a real turn? That’s kind of what this was like. Whereas StBY pushed a thought to its most extreme, but logical, conclusion, what Paul Thomas Anderson has done here feels like a magician doing a lot of impressive illusions - sawing a lady in half, making a motorcycle disappear, pulling smaller things out of bigger things - and then for his final trick, walking onstage amidst a grand plume of smoke, dropping his pants, taking a gigantic shit, and then saying, “You’ve been a great audience, thanks a lot and goodnight!” It’s not like you can say the experience was BAD. Everything up to the finale was a really great time! But when you’re left on a note that is that bafflingly odd, it kinda colors the way you’ll remember the whole thing.

Magnolia is the story of one long day in the life of 12 people living in Los Angeles who are all connected via an extensive web from acquaintances to married couples to parents and children to paid caregivers and beyond. It’s a day that has the same kind of ups and downs as any other day until it, well, turns into something else entirely. I’m not sure how else to explain it, but if you want to know more, spoilers will be spoiled below.

Some thoughts:

Patton Oswalt cameo! I am a massive fan and thought I knew his whole filmography and OMG how did I not know that he was in this!!

Ok, in spite of my skepticism this entire opening sequence about coincidence had me hooked IMMEDIATELY. Like, this is some damn good storytelling, if this were a novel, I would not be able to put it down - that pull, that’s what it feels like.

Am I the only person whose encyclopedic memory of character actors/roles gets distracted when they see someone from something that is wildly disparate compared to the role you’re currently watching? For example, I had to pause the movie and confirm via IMDB that I did just see Professor Sprout from HP scream “Shut the fuck up!” at her husband while brandishing a shotgun.

Would people really recognize a grown ass man from being a successful child game show contestant? I’ll tell you the answer, no they wouldn’t, because no one realizes that Peter Billingsley (aka Ralphie from A Christmas Story) is the head of the elf production line in Elf.

I knew this was a stacked cast, but holy SHIT this is a stacked cast. If I had $1 for every fantastic character actor I recognize in this, I would have at least $37, and these are people in the film who have maybe 2-3 lines each. It’s a deep bench is what I’m saying.

This makes me miss Phillip Seymour Hoffman so, so very much.

Watching PSH care for and be so compassionate and gentle with his hospice patient, Earl (Jason Robards),makes my heart ache terribly. All of the people who have been unable to perform this kindness, this type of compassionate care for their closest loved ones as they lie dying in isolation of Covid...it’s overwhelming.

OMG I’m counting 1, 2, 3, 4, 5 Very Good Dogs in the old man’s house!

I know Scientology is evil and he’s undeniably a complicated and morally grey person. I know all that. But goddamn I just love watching Tom Cruise COMMIT. Particularly when he commits to just absolute fucking sleazebag slimeballs. And boy oh boy is Frank Mackey an absolute fucking sleazebag slimeball.

Related - I know Frank looks like Tom Cruise, so he could get people to sleep with him no matter what, but I honestly feel like as a human being, this flesh suit is WAY more attractive balding and fat in Tropic Thunder than he is in this shiny brown shirt/leather vest/long hair combo.

I’m getting an uncomfortable vibe about these black characters being written by an artsy white dude, because I don’t know any young black kids who want to hang around with cops and offer up information about who committed a murder in their building. In fact, the way all of the black characters are treated in this film - as liars, criminals, the disingenuous “main stream media,” and thieves - feels rooted in some racist ass bullshit. We see a lot of nuance in our white characters, but even in a film that has, shockingly, more than one key black role, we don’t get that spectrum or nuance.

There is nothing I would love more than to learn that Frank Mackey is 1) gay 2) impotent or 3) both. He’s so disgustingly over-the-top misogynistic, it honestly feels like it should all be a complete act.

I confess I am on the edge of my seat trying to figure out how all these narrative threads tie together. It’s compelling as hell, even though half the time I don’t know why these people are having these long, meandering conversations. The pacing feels so deliberate, like a puzzle coming together. There’s real craftsmanship in how every scene is plotted to feel connected rather than manic or disjointed.

This pharmacist is being unprofessional as hell. Judgy McJudgerson, mind your fucking business, Julianne Moore’s father is dying! [ETA: ope, that’s embarrassing, Earl is actually her husband.]

NO THE DOG IS EATING THE PILLS OH NO VERY CONCERNED ABOUT THE DOG.

I think I knew this, but this soundtrack is fantastic. All Aimee Mann and Supertramp, and Jon Brion’s score is this thrumming, anxious thing full of strings that underscore all these nervous conversations, and then it shifts into these low, mournful horns when things start to take a turn and everyone is reaching their lowest points.

I love this interviewer (April Grace) who is taking Frank (Tom Cruise) to task. I think it’s particularly noteworthy that she is a black woman, because the kind of misogyny Frank peddles is rooted in white supremacy.

Stanley (Jeremy Blackman) is breaking my goddamn heart here. I think he and Phil (PSH) are my favorite characters.

Jim (John C Reilly) is the perfect example of how even a cop with the best intentions, with absolute kindness and love is in heart, is abusing his power and sexually harassing a woman he encountered in the line of duty, who is eager to appease him because she doesn’t want to be charged with a crime. This movie reads a LOT differently than it did in 1999.

I normally really love Julianne Moore, but she is a screeching mess in this. I can’t stop staring at her mouth and all the contortions it makes as she delivers every line in hysterics. She’s one of the few weak spots for me here.

Listening to Frank go on his whole diatribe about what society does to little boys to break them and victimize them HAS to be the source of where Keith Raniere got at least half of his NXIVM bullshit. Like, some of these points are word-for-word.

Also if Frank makes as much money as he seems to, there’s no way he would drive a shitty Saturn sedan.

It feels like the common thread of this movie is everyone is terrible and cheats on their spouses, and you should come clean when you get cancer so you can die peacefully. Weird moral, but ok.

If Jim is a cop, how does he not see that this woman he’s interested in (Melora Walters) is coked out of her mind?

Y’know for being a quiz kid, Donnie (William H. Macy) sure is kinda stupid.

I confess I’m not taking many notes throughout this because I’m just kind of sitting breathlessly still watching all these conversations unfold because I am on the edge of my fucking seat to find out how all this is gonna come together.

Secret MVP of this movie is the mom from A Christmas Story (Melinda Dillon) who is giving the performance of her goddamn life as Jimmy Gator’s wife.

Did I Cry? On the surface it appears ridiculous, but when Tom Cruise is having his breakdown at his dying father’s bedside, I admit, that really got me. If you’ve ever been faced with that kind of hysterical, I-can’t-believe-this-is-happening, it feels like the whole world is ending kind of shock and hurt and anger, that’s what the crying looks like.

Are those......frogs?? That landed on Jim’s car? It’s raining fucking frogs???? OK for those of you sensitive to frog harm, this movie is going to take a real hard left turn for you, because I swear that came out of NOWHERE.

Um.

What.

Pray tell.

The fuck.

The climax of this movie - is when literal frogs rain from the sky.

And we finally got resolution about the dog, and the dog DID die, and I’m pissed about it. It’s offscreen but still.

I'm sorry - I know I’m fixating. But how is it possible that I knew about all the characters performing a sing-along to Aimee Mann’s (excellent) song “Wise Up” but I did NOT know that the climax of the film involves literally thousands of frogs falling to their death from the sky? How is that something that escapes entry into the cultural zeitgeist? I’m with it, you guys. I have been Very Online for over a decade, and before that, I read a lot of Entertainment Weekly, and like it just seems that this is something that pop culture really should have told me.

I think the funniest moment of this movie might be the credits in which I discovered that not only is Luis Guzman playing a man named Luis, he’s actually playing himself. I don’t know why, but I can’t stop laughing about it. That was a 189-minute setup to one dumb punchline.

I think I loved this movie but I don’t quite know. The frog thing really threw me. What I’m taking away from it is that even when it doesn’t feel like it or seem like it, we are all connected to each other, always, in ways we can’t see or know. As Wife astutely pointed out, it’s reminiscent of the pandemic - we’re all in the same storm, but we each have our own boats and our own experiences within that storm. And it’s kind of nice to remember that right now, that connection still exists even when it feels so far away. Just not if you’re a frog I guess, cause they really got the short end of the stick here.

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[minaminokyoko]

A Love Letter to ‘Knives Out’

Disclaimer: This isn’t even a review. This is literally just me freaking out about what a great movie I just bloody watched and I just need to vomit words everywhere about it. Sorry in advance.

I think the best thing ever is I went into this with zero information. I remember seeing the original trailer months ago, but it wasn’t detailed. Just the short one of the premise, and to be honest, I’m not really into Whodunits. Clue is one of the exceptions and Castle is the only detective-related thing I’ve ever liked and followed religiously (up until the final godawful two seasons), so I have no predisposition to even care about murder mysteries. But then Rian Johnson dangled the juicy carrot of Chris Evans playing against type (because we all know the man is a sweetie and I can personally vouch that he’s great at hugs) and so I decided to add it to my watchlist. Then the reviews came pouring in that it was great, which surprised me, and so I decided to take a leap of faith to see if the hype was real.

Oh God, was it ever.

Y’all know me by now. I’m a hard, cynical old bitch. It’s tough to impress me, but fucking hell, I really loved Knives Out.

It’s not that it does anything new; it’s that it is a fresh, creative spin on tropes we’re used to and it’s also the strong performances that just make it a delightful film. It’s kooky and dark and offbeat. It’s charming. It’s wonderfully political. It’s irreverent. This is the niche kind of writing that I adore. It’s why I’ve loved shows like Frasier or movies like Snatch. I love the interwoven mess between the plot and the characters and everything coming to light in a big explosion.

Spoilers down below for my talking points, naturally.

I want to start with Marta, simply because I love how this movie framed the character as innocent, but not stupid, useless, or weak. I love that she had a great relationship with Harlan. I love that Harlan didn’t have any evil ulterior motives. It was simply a man who looked around and realized that he thought he was providing for his family but all he really was doing was supporting selfish, downright cruel people. That family basically just siphoned off of him and had the entitlement complex that is currently killing this country right this fucking second. It was very satisfying when he left them nothing and gave Marta the money and the choice of what to do. The final shot of the movie is genius.

Which segways into probably my second favorite thing about the movie: the commentary about the entitled upperclass versus the working class immigrant. The whole Trump debate during the party made me groan because we all just wrapped up three holidays, so I know that people were having to go home for the holidays and listen to the broken-ass logic of their Trump supporter relatives. Especially since they dragged Marta into the bullshit conversation. I LOVE the writing of having this girl who busted her ass, who listened, who was a genuinely good person, still being able to be a good person in the end after one hell of an ordeal. I loved how the movie poked all kinds of holes in the fake narrative of inheritance and immigration and patriotism. Fuck that. This country isn’t some holy land. This country was stolen from the people who were born here and then they built a fake fucking pedestal on top of the mass graves and proclaimed it theirs. Fuck that revision history and fuck the people who believe these lies. This movie is so satisfying because it’s a giant middle finger to those people and it’s a reminder that the future is these hardworking, kind people who care about society and they are the ones who have earned all the good things this country has to offer.

I also love the examples of bigotry and microaggressions that were more subtle. The WASPs in this movie don’t even realize the backhanded compliments and the truly insulting shit that they do since they’re so entitled. For example, Richard handing Marta his plate while he was arguing for Trump. That’s brilliantly done. He thinks of her as a servant while he pretends she’s on equal footing: saying one thing and yet his actions prove the opposite. There’s also Meg’s comment of “we’re his REAL family,” showing that those bastards all will smile and welcome you until the second you cease to be useful to them and then they show you just how truly ugly they are beneath those “civil” masks. When the will was read, it was the exact shitshow we all knew it would be. That was a great representation of the upper class. It’s not about being loud and racist; it’s all those subtle, hideous things they do to suppress people of color and the working class so they can stay on top where they think they belong. This narrative is powerfully woven in that regard and I really needed to hear this story in today’s climate, especially since we just started 2020 today, which could be the end of everything all over again. I applaud the writing. As a woman of color, I see this kind of shit every single day, especially now that I work in higher education, so I really hope it opens more eyes to the shit that not only immigrants but working class POC deal with on a daily basis. I likened it to Zootopia, where you came to the movie for one reason but then you were served an absolutely piping hot side dish alongside the entrée. Well done, Knives Out. Well done.

I need to give a nod to this powerhouse cast as well. I forgot Michael Shannon was in this movie so seeing him made me giddy, as I’ve always liked him since he’s so damn sinister. He’s a great antagonist actor and I almost wish he’d been given more to do. Jamie Lee Curtis did great as well.

But y’all know what’s coming. I mean, look at my profile picture. You know I have to stop and talk about my future husband’s performance.

Chris Evans as a villain.

Not only that, but Chris Evans as a GREAT villain.

Oh, God, pass me the cigarette.

We all knew from his work in the MCU that the man can act his fine America’s ass off, but boy, did I really like his role here. I compare it to Chris Hemsworth in the godawful movie Bad Times at the El Royale, because while that is one of the worst movies of the decade, it was extremely smart in casting Hemsworth in the villain role. Why? Because it sold the believable factor. Chris Hemsworth is so handsome and charismatic that he COULD in fact be a creepy ass cult leader. You take one look at that man’s chest and tell me you wouldn’t fight a smelly hippie to jump in his bed. Damn right I’d be in a Chris Hemsworth cult. Point being, Chris Evans as the handsome but cruel Hugh was phenomenal. I really enjoyed seeing everything unfold. He did such a great job. It’s all the more satisfying knowing that in real life, he’s the cutest, sweetest goofball on earth. I’m so delighted he took this role because he knocked it out of the park.

Which brings me to my next point.

I’m gonna be a basic fangirl bitch for a second here. Just hear me out.

I’d LOVE an alternate ending to this movie where Hugh didn’t do it.

I know, I know. That’s super basic and dumb and I know part of it is because I just wanted to like Hugh anyway, but it actually would be a great piece of storytelling if you changed the ending.

In this premise, Marta really did mix up the bottles and accidentally killed Harlan. Well, what I would change is that Hugh really did have a benevolent epiphany and he decides to come back to stick it to his shitass family and he figures out what Marta did and decides to help her so she’ll slip him his cut. Then the rest of the film is Hugh and Marta trying to cover the rest of their tracks so that Blanc doesn’t piece together Marta’s accidental crime. Over the course of helping her, Hugh gets to know her and they become friends, so by the time they pull it all off—mind you, I’m ambiguous in this AU, I’d be fine if the detective works it out but lets them cover it up or if they actually manage to just destroy all the evidence so he can’t convict her and he admits defeat—he’s now invested and doesn’t accept the money when she goes to pay him. Bonus points if he falls in love with her during the cover up. It’s not necessary, but I saw a couple little sparks, so I think it would be very cute if Hugh and Marta hooked up to protect each other from the horrible family and build their own empire together. But that’s me.

Trust me, this movie is brilliant as written. It doesn’t need that alternate ending. But I have to admit it got my mind churning about what a fantastic character arc it could be if Hugh hadn’t been the bad guy and he and Marta learned things about each other and formed a friendship. I’m a writer, it’s kind of a hobby, sorry. I hope I’m not the only one who thought that, but we’ll see.

I’m so glad I started 2020 with this film. It’s a rare gem. I can’t wait for it to get on DVD, because I am gonna snag it asap and watch it again. What a romp. It’s also gratifying in a petty way that J.J. Abrams went out of his way to undo Rian Johnson’s work in the Star Wars franchise and it’s backfiring majorly critically speaking meanwhile Knives Out is getting bomb ass good reviews, so good for you, Rian. Your revenge is at hand. #TEAMPETTY

I can’t recommend this hard enough. If you love murder mysteries or if you just love Clue-style quirky black comedy, please see Knives Out. It’s worth every red dime, to quote the movie.

Kyo out.