#like the important part of this next arc is these two showcasing their love languages and how they have completely different ones

[vaya-writes]

The Wyvern's Bride - Part 3.2

When Adalyn gets sacrificed to the local wyvern, she’s a little annoyed and a lot terrified. Upon meeting the wyvern, she discovers that he’s not particularly interested in eating people, and mostly wants to be left alone. In a plot to save himself from the responsibilities his family keep pushing on him, Slate names Adalyn as his human Envoy, and tasks her with finding him a wife.

2000 words. Cis female human x Cis male wyvern (slow burn, arranged marriage, eventual smut). firefly-graphics did the divider.

Masterlist - Previous

Adalyn wakes early. She’s used to getting up at sunrise to start baking, and up in the Spires with the balcony door propped open, she has an unimpeded view of the lightening sky.  

Slate had woken earlier still and is nowhere to be found. There’s evidence of his stirring here and there. A blanket in a pile by the chaise. Crumbs at the table. A covered plate of cold toast waiting for Adalyn. She bites into it, relishing the jam Slate had procured.  

She’s tempted to go back to bed. To sleep in until the sun finishes rising. To loaf about and relax, perhaps with a book. But she’s not yet game to go through Slate’s collection, and the threat of boredom chafes at her skin.  

Instead, she dresses for the day, gathers up some of her cleaning supplies, and makes for the kitchen. She’s not sure what state she’ll find it in but is looking forward to using the area herself.  

Light streams into the windows as she makes her way down the Tower until finally, she enters the passage that leads to the kitchen. Its dark, but thankfully short, and when she finds the dining room, the skylight illuminates the area enough to see her to the kitchen. 

Adalyn swears under her breath as she locates the flint and steel and lights the nearest brazier. Perhaps lighting is another thing she’ll have to talk to Slate about. 

When the kitchen is lit, Adalyn leans against the counter and surveys the place. Her legs are wobbly from the trek – it had been nice to stretch them, and she can move without discomfort now, but the hike will still take some getting used to. 

The Matron’s staff had tidied the kitchen. Dishes had been washed and put away, and any remaining food had been sealed and put in the larder (dried fruits are all that remain). Still, there are crusts and crumbs scattered about, and the fire pit is overflowing with ash.  

Adalyn sinks into cleaning. She marvels over the plumbing as she wipes and washes the counters. She puts on a pot of tea when she works, settling into the familiar routine. She even rummages through the larder for ingredients, and once the counters are clean, starts baking some bread and biscuits. She’d brought her starter yeast from home, and Slate’s kitchen is stocked with everything else she needs.  

By midmorning she’s surveying the fruits of her labours with satisfaction. There’s a platter of sweets to snack on, jam sandwiches which she eats on the spot, and a tea set which she resolves to take upstairs. She sets aside a handful of other things to take to the Tower, so that she won’t have to descend to the kitchen each morning for supplies.  

Throughout the morning Adalyn had noted a distant rumble. It had been almost comforting. In the stillness beneath the mountains, with Adalyn’s busywork being the only sounds, it soothes her to hear something else. 

When she finishes her work and takes a moment to breathe, she listens to the sounds with curiosity, then recognition. The occasional boom and slight tremors beneath her feet could be indicative of a cave in but had been too consistent. It’s more likely Slate, at work somewhere within the Spires. 

She glances at her food, then around the kitchen. There’s honestly not much else for her to do, and with the rest of the day stretching out before her, she decides to explore. 

She sets off in the direction of the byway, following the distant sounds of earth rending, retracing her steps through the dining hall and a winding passage before she emerges into the enormous cavern. At the size of it she blanches. Awe inspiring as it is, the walls are still unremarkable, and she worries that she might lose her way. She’s looking around for landmarks, anything to help mark one passage from another, when she notices the pile of stones beside her.  

Their purpose immediately becomes clear. Adalyn notes the number of stones and their arrangement – unique. Each door marker is different from the next. She resumes her exploration, walking alongside the stream and taking in the sights. Plant life creeps down from the ceiling, spilling over the edge of the cave opening, high above. The area is almost lush. 

She doesn’t have to walk the entire cavern, thankfully. The sounds are coming from just across the main-way, and she eyes one passage speculatively. The gouge marks around the edge of the doorway are fresh; debris and dust litter the ground and a set of footprints, visible even to her, track through it all. She spies a bundle of white and stoops to examine it. A shirt, discarded in a heap. 

She’d go in after Slate if it weren’t for the darkness. At its thickness, she balks. Even if the wyvern were through the passage, she has no way of knowing about any hazards.  

“Slate?” She calls. 

The noise ceases. For a moment she hears nothing. Then there’s the crunch of footsteps. 

“Adalyn. Are you alright?” 

The air swirls with dust. Adalyn waves the particulates away from her face and coughs. “I brought you lunch, though it might be early.” 

Slate emerges from the darkness, pausing at the threshold of the shadows. “It’s never too early to see you, dearest.” 

Adalyn squints at his outline, using the expression to cover her embarrassment. “Do I get to see you?” 

He straightens, and steps out of the corridor. Contrite, he runs a hand through his hair, smearing a white streak through it. “Sorry. Difference in eyesight, I guess.” 

He’s shirtless, in his demi form. There’s a layer of filth and grit covering him, almost creating patterns against his grey skin and dappled scales. 

She eyes the swarths of them: thick and dark on the backs of his arms and shoulders, lightening colour at his sides, and thinning into skin over his chest. There’s a fresh scar above his left pectoral, and Adalyn recognises it as the place where Slate had removed a scale. 

She drags her eyes away from his chest and forces a polite smile. “Did you want to wash up first, or...” 

Slate gestures towards the cavern. “Let’s go over there. You can sit in the light, and I can take a dip in the stream.” 

Adalyn takes a seat at the bank before unwrapping their food. She sets the remaining sandwiches aside for Slate while she picks at a biscuit. She watches with bemusement as Slate kicks off his shoes and socks before stepping straight into the stream. She catches sight of his back – tessellated scales the colour of coal – and the amusement slips her mind. 

“What are you working on today?” 

His arms are wreathed in shadow, fingers tipped with long claws. Adalyn watches, riveted, as he dispells the claws into puffs of smoke and begins rubbing water up his arms and chest. His skin from the forearms down is still shadowy, and cloudy water streams off him in rivulets. 

“I’m carving the passage from the main-way to where your quarters will be.” 

“By hand?” 

“The first time, yes.” 

He climbs the bank to sit beside her, and she wordlessly hands him a sandwich. He smiles his thanks. “What about you?” 

Adalyn sighs. “I don’t know. To be honest, without a bakery to run, I fear I might get quite bored.” 

“What did you used to do with your free time?” 

She leans back, watching a cloud pass. “Cook. Clean. Garden. Sometimes spin and sew.” 

“Do you like doing those things?” 

“Yes, sometimes. They help me feel in control.” 

Slate considers while he finishes his food. Then rests his hand in his chin. “We could find you a project. I always have several to keep me busy.” 

She grins. Slate seems the type to keep multiple pots on the burner. “You got a list, or something?” 

He straightens and counts on his fingers. “Finish the blueprints for your quarters, carve out the passages and main spaces, contract a smith for fittings, designate a permanent space for my workshops, build said workshops, prototype different elevators,” he pauses, and a blush touches his cheeks at Adalyn’s expression. “To start.” 

She enjoys his enthusiasm. Even if she finds it hard to relate. “I thought you’d finish the Tower first.” 

He brushes some crumbs away and reaches for a sweet. “I don’t want to crowd you longer than necessary. Your space is my top priority.” 

Some of her mirth fades, and she tries to keep a neutral expression. Part of her fixates on those words, searching them for further meaning. Perhaps he is being genuine.  

Tentatively, she replies. “I don’t feel crowded.” 

She misses the way he looks at her, somewhat sharply. Fearing he had misstepped. “You don’t? I- well, I know how humans value their privacy.” 

She purses her lips. Part of her very badly wants to protest the distance he’s literally building between them. But she doesn’t want to push, and risk seeming clingy.  

She lets the topic drop. “So what project do you suggest I take up?” 

He thinks. “You like cleaning.” 

A nod. 

He looks almost pained as his picks his next words. “I suppose I don’t mind if you go through my things. Organise them, I mean.” 

She’s torn again. She wants to react with brevity. Tease him for his tastes. ‘What if you don’t like my system.’  

Instead, she approaches the situation with growing anxiety and caution. She wonders if having her in his space, touching all his things, will drive him to push her away faster. She’s practically a stranger. And he’d been so frustrated with his family meddling.  

“If you’re sure. I know it could be a bother.” 

He shakes his head. His fingers creep towards hers. “It’s not. You’d have to try really hard to bother me. Just wait until tonight. Some of the magical artifacts can be aggressive, and I’d better point them out.” 

She eyes his hand, next to hers, and some of the tightness in her chest lessons. Anxiety temporarily assuaged, she manages a smile. She stands and readies to leave, allowing herself some humour. “Okay dearest.” 

--- 

When Slate joins Adalyn for dinner he is both late and sodden. He lands on the balcony and lingers there, sheepishly wringing his clothes out. 

“There is a bath here.” 

“I don’t want to track dust through my room,” he says before going to fetch a towel.  

Adalyn had rekindled the fire herself and lit the braziers, and dinner is set out when he joins her at the table, once more in his human form. She wonders if there’s a particular reason he chooses the form so frequently. 

“Sorry I’m late. My timepiece is broken.” He bites into a pastry and lets out an appreciative groan.   Adalyn hadn’t found any substantial supplies in the larder and had managed to make some fruit pies with the jam preserves. He swallows and smiles at her. “How are you finding the keep?” 

She shrugs. Adopts a teasing tone. “There’s room for improvement, I suppose.” 

“Oh?” 

“I don’t want to seem like I’m complaining.” 

“Please. Complain to me.” 

“Perhaps you could build an exit or two? I’m getting plenty of fresh air from the balcony, but it’d be nice to go for a walk on the surface.” 

“That’s a quick fix. Though I’d be careful walking around the karst. There’s a lot of places you could fall.” 

“We’re also down to bread and cheese. Some supplies wouldn’t go astray.” 

Slate nods. “I go hunting every few days, but it’s slipped my mind, with all the changes. I’d planned to visit the valley tomorrow; we could stock up then?” 

“What are your plans in the valley?” 

He smiles, coy. “Oh, you know. Post some letters. Check in with some craftsmen. Pick up a gift for my wife.” 

“You’re too sweet.” 

“Right?” 

She rolls her eyes. “I’ll forgive your tardiness then.” 

“Was that all you wanted? A door and some food?” 

Adalyn narrows her eyes. “I could make a list if it pleases you.” 

“I love lists.”

---

Next

[unpopularwiththepopulace]

Here Lies Jenny: Bebe Neuwirth’s under-remembered masterpiece?

While Bebe Neuwirth is often remembered foremost for her presence in worlds like Chicago, Cheers or Fosse, there’s another piece in the tapestry of her work that brings many notable threads together and is equally significant to her.

Here Lies Jenny is the somewhat under-discussed piece of theatre that in fact has connections to all three of these aforementioned things, because of the people she worked herself on creating it with, and deserves to be brought up with slightly more comparable frequency. 

A moment then to explore some of the history of this elusive but important show.

Here Lies Jenny, recalled as a “surprise off Broadway hit”, opened at the Zipper Theatre in downtown Manhattan in May 2004 and ran there for five months.

The show was an interpretive revue of the music of German composer, Kurt Weill, born out of an idea Bebe had herself. It was shaped by collaboration with close friends – with its initial genesis assisted by Leslie Stifelman (the show’s pianist, who she’d worked with on Chicago), direction by Roger Rees (who she’d long known and worked with since their time on Cheers together), and choreography by Ann Reinking (who was Bebe’s closest dance companion in the Fosse universe).

Set in a dark and shadowy looking barroom, the piece followed Bebe as the central, amorphous female figure named ‘Jenny’, supported by three male cast members and a pianist, through an evening of carefully selected Weill songs. Alongside Bebe and Leslie on stage were Gregory Butler and Shawn Emamjomeh, as two rough denizens of the bar, and Ed Dixon as the general proprietor.

There was no linear storyline to the show and no spoken dialogue, but Bebe described how the evening unfolded “in a very logical and emotional, fulfilling way.” All of the songs presented “[described] the interaction between these five people there, that make it necessary to sing the next song.” Rather than taking a group of songs by a particular composer and imposing a narrative on them, the songs were interwoven together to create an “impressionistic and realistic painting of this person’s life.”

To give a summary of the show’s arc, Jenny initially descends the wire staircase into the bar, with little more than a frightened expression and a small bag of wordly possessions. Accosted by the two forceful patrons, she’s flattened down both physically and emotionally. The men depart and return throughout, and the emotional core of the piece fluctuates from song to song as each number evokes a different picture and interpretation of a circumstance or feeling. As reviewers put it, “she’s sometimes bold, sometimes reticent, until she leaves…with what seems like a modicum of self-possession and hope,” and “climbs that long staircase on her way into the world again.”

The idea for creating Here Lies Jenny came out of Bebe’s own desire to put together a piece of theatre and an evening of performance of her own. It was a notion intensified by growing external interest, or as she recalled, “people have always said to me ‘Do a show, do a show, do a one woman show!’”

But for a while the form the piece would take was unclear. Bebe knew she “didn’t want to do a revue”, and she didn’t want “the usual cabaret thing… [or] ‘Bebe and Her Boys.’”

“I generally hate one women shows,” she would remark, “unless it’s Elaine Stritch or Chita Rivera or, you know, Patti LuPone.”

According to Bebe, she’s “much more comfortable as a character doing something. I'm not comfortable just being myself and singing in front of people.”

On and off for around two and a half years then, Bebe had been considering how to approach this matter while putting together some music, predominantly that of Kurt Weill, with musician, conductor and friend from Chicago, Leslie Stifelman.

Leslie suggested bringing in a director, so Bebe turned to Roger Rees – a person she regards as “not just a great actor,” but also “a fantastic director”, with a “very interesting creative mind.” Showing Roger the songs, he “realised that they all described women, or aspects of women, or different times in women’s lives.”

Roger thought it would be interesting then to combine all of these varied sentiments and have them channelled through one specific woman, in one specific location, to present a complex but diversely applicable tapestry centred around the emotional interiority of one tangible female force.

The show is “fragmented, prismatic…less narrative than poetic,” according to Roger. It’s not prescriptive. Rather, it evokes strong feelings and allows the audience to interpret them into their own individual and personal narrative for this woman. It poses questions and provokes thoughts. Who is this woman? Why is she here? Why is she here now? Is that a child? Or is that just a wish for a child? What did she have in this life before we meet her and what has she now lost?

It is indeed an unusual entity, and atypical from other more standard revues, cabaret acts, or works of theatre. A “self-described Japanophile”, Bebe explained how it played in the “Japanese aesthetic concept known as wabi sabi.” Of this she would elaborate, “There’s no direct translation, but it’s about the beauty of things as they age, embracing what’s painful in life as well as what’s joyful.”

It is certainly a piece that contains beauty as well as pain, which itself is a complexity and dichotomy often ascribed to Kurt Weill’s music.

When initially finding and working on songs for what was to become Here Lies Jenny, Bebe noticed being drawn to the work of one composer most strongly.

Like Bernadette Peters talking about how she gravitates to selecting Stephen Sondheim’s material for her concerts, Bebe would say simply, “all of the music that I loved the most was Kurt Weill music.”

A revue in 1991 called Cabaret Verboten (also with Roger Rees), that sought to recreate a Weimar Republic cabaret and re-conjure some of the decadence of pre-Nazi Germany, increased Bebe’s exposure to Kurt Weill’s music and was where she “first became captivated by the composer”. Building on this strong connection and deep appreciation in the years since then, Bebe would assert of his music, “it resonates for me.”

“Neuwirth knows Weill’s music isn’t for everyone,” one reviewer wrote, “but she won’t apologize for it.” She sees its capacity to be “appreciated on many different levels,” and has described it on varying occasions as “unflinchingly honest”, “very fulfilling to perform”, not just “arch and angular and Germanic…[as] many people think”, but as having “great lyricism and tenderness”.

Bebe feels a strong affinity for Weill’s music in part because of its “ability to convey the truth completely and fearlessly and without artifice”. For example, “If you're talking about heartbreak, [his music] goes to the absolute nth degree of what that really means. The way he shows that is with fearless lyrics and the bravery to make the music as beautiful as it can be.”

“Maybe the way I appreciate it speaks to the kind of person I am,” she would say. “I’m very bright but not an intellectual. I like things in a visceral, passionate and spiritual way.” And to Bebe, Weill’s music certainly provides that – which was why devising this show was of such importance and significance to her.

 Bebe said also that “the show offers the broad range of Weill's songwriting talents.” This is indeed a truism, with the work of no fewer than ten different lyrists being showcased across the nearly two dozen songs during the evening, including Berthold Brecht, Ira Gershwin, Alan Jay Lerner, Langston Hughes, and Ogden Nash.

The different styles and languages of Kurt Weill’s music mirror Weill’s own history and geographic progression through the world. Born in Germany, “Weill, a Jew, had to flee the Nazis at the height of his popularity. He fled to France and then to the United States, where he became a citizen in 1943.”

His songs reflect the world in which he was living. For instance, ‘The Bilbao Song’ is a tale of sometimes gleeful, sometimes regretful nostalgia and comes from a collaboration with Berthold Brecht in German. It is performed here only in English through the use of “Michael Feingold's now-accepted translation”. The Brechtian-ism is a feature of this production as a whole that was remarked on at the time, being appraised there was “more than a dash of an alienation effect at play,” with material being sung for example behind grilled windows or facing away from the audience.

His French material is alternately reflective of the musical identity Weill tried to devise while having to reinvent himself from scratch in France. Bebe performs one of these French numbers here, entitled ‘Je ne t'aime pas’, which has its own poetic lyricism, and indeed mournful significance, given the translation of the title as ‘I don’t love you’.

Alternately, jazzy, Broadway glamour is comparatively evident in some songs like ‘The Saga of Jenny’ from musicals that arose in America on the Great White Way out of the era of Golden Age of the American musical in the ‘40s to the 60’s.

This show was ambitious then, in its mission of exploring a wide range of the composer’s musical contributions across multiple decades, countries, styles of music, and lyrical collaborations.

Beyond his own musicals, Kurt Weill’s music has been notably seen elsewhere on Broadway or in the theatre world via interpretations such as songs in concerts with Betty Buckley, Patti LuPone, Ute Lemper; or full stage productions with Donna Murphy as Lotte Lenya in Hal Prince’s 2007 Lovemusik; or Lenya’s recordings herself.

Much of Kurt Weill’s legacy lives on through his wife, Lotte Lenya, who was seen as his “chief interpreter… [and] largely responsible for reviving interest in the composer” after his death.

Like Lotte with her “whisky baritone”, Bebe is able to convey meaningful interpretations of Weill’s music through her vocal richness and skilled acting choices, carefully controlling factors like timing, pronunciation and syllabic stress.

An example. Bebe does the most satisfying version of ‘The Bilbao Song’ I have heard. There’s a line in this song that states: “Four guys from ‘frisco came with sacks of gold dust,” in which the last portion of the phrase is repeated a further two times. Bebe emphasises the third “SACKS, of gold dust?!” in the dramatic manner stylised through my punctuation in attempts at recreating its phonology, which contrasts against the two previous readings. This gives the line a salient narrative purpose. It conveys not just an observation, but a tale of surprise and incredulity – who on earth would walk into a bar carrying entire sacks of gold dust?

It may be seemingly just one small detail, but it has a large impact. Other versions that intonate all three repetitions of this line the same miss this engaging variation and feel flat in comparison.

This song would justly so later become a staple of her concert material – along with others like ‘Surabaya Johnny’ and ‘Susan’s Dream’.

But there is unfamiliar territory traversed in Here Lies Jenny too. The rendition of Ogden Nash’s lyrics with ‘I'm a Stranger Here Myself’ is ‘new’ – and it’s exquisite, in its melodic, lilting and playful but darkly seductive swirling sentiment.

Another notable number in need of individual mention would be ‘The Saga of Jenny’. There are two Kurt Weill songs most strongly associated with the ‘Jenny’ moniker – this, and the also well-known ‘Pirate Jenny’ from The Threepenny Opera, which Bebe had done a production of in 1999. The latter was trialled in early versions of the show but ultimately didn’t “serve the piece as well as other…moments could,” so was taken out. Fortunately, Bebe would later work it into her concerts.

The former made it in, and provides the exciting opportunity to get to hear Bebe’s take on this song as made well-known by a number of respected performers. ‘The Saga of Jenny’ appeared initially in Weill & Gershwin’s collaboration for the musical Lady in the Dark in 1941, starring Gertrude Lawrence. The song has since gone through innumerable reiterations, such as via Ginger Rogers in the 1944 film adaptation of the same name; Julie Andrews’ big-production performance in the Gertrude Lawrence biopic Star! in 1968; and other high-profile concert performances like via Ruthie Henshall, Christine Ebersole, Lynn Redgrave and Ute Lemper; along with Lotte Lenya’s own recordings.

Further extending the song’s life was ‘The Saga of Lenny’ – a version devised with new lyrics by Stephen Sondheim, performed by Lauren Bacall for Leonard Bernstein’s 70th Birthday in 1988. All of these are on YouTube and I would testify are worth a watch.

In this show, Bebe performs the number with the bravado of a war-time songbird. She strides around with an old-school 1940s microphone back and forth across the stage as she progresses through the song’s distinct chronological sections, grounding the show centrally back to its identifying moniker and characterising an eponymous, engaging and multiply varied ‘Jenny’.

When not bound to microphones, Here Lies Jenny also involved the use of Ann Reinking’s “minimal but inventive” choreography to create striking visual images. Though perhaps not resembling the fast-paced, razzle-dazzle of Chicago, these patterns of movement are at times no less impactful. Bebe is dragged fluidly across a countertop, rolled sinuously down pairs of legs, centred in a dark tango (that one review likened as a potential metaphor for a ménage à trois), or spun backwards upside down onto Emamjomeh’s shoulder in the air – to name a few notable moments.

Not a dance show by any strict sense, all of these demands are nonetheless physically taxing. This is a matter of importance given the timing of the show.

What Bebe had long deemed a “peculiar” hip from her early twenties, begun causing notable pain when it “went from peculiar to downright bad in 2001” during Fosse on Broadway. It was recorded the “pain continued during [this] high-concept Kurt Weill revue” in 2004, such that performing this manner of movement in the show can have been no trivial feat. The next three years brought subsequent arthroscopic surgery for cartilage removal, and then total hip replacement.

That being considered, the show was able to run in the highly demanding manner it did for five months straight because of Ann Reinking’s assiduously crafted choreography.

The Zipper Theatre was the “funky downtown Manhattan space” that housed the show for that time. The timing of the production and the nature of the theatre played integral parts in the piece’s characterisation.

Roger took Bebe to see the theatre when they were devising the show, and to Bebe, it felt right. “There is this creative gesture that we are making and the gesture is completed if it’s in this place.” Not in some new, shiny theatre; but here, with a darkness and sense of history that created an evocative mood similar to the tone of the whole show “as soon as you walked into the building.” This was aided by the show beginning at 11pm each night – “absolutely an artistic choice” – given that what “happens between these five people, happens very late at night”, in a shadowy time of day filled by darkness and secrets.

Here Lies Jenny ended its run in New York in October 2004. But this did not mark the end of the piece. Bebe and her troupe took the show to San Francisco in the Spring the following year – after a seven month interim that included filming thirteen episodes of Law and Order: Trial by Jury, the aforementioned hip cartilage removal, and subsequent recovery.

The show was not deemed flawless by everyone who reviewed it. Some thought it too dark or wished for less abstraction and ambiguity. But as one article would conclude, “Faults aside, it’s hard not to recommend a show devoted to Kurt Weill,” ultimately providing a “unique and polished evening at the theatre.”

Roger Rees would reflect on the show, “Weill & Neuwirth work so well together” because Bebe’s “high standard of performance” means she is able to “delve deeply and go on forever” into material he likened to being as complex as Shakespeare.

It “demands a great deal from a performer, and she is equal to it,” Roger said. “She’s very deep in herself. There’s nothing made up about [her], which is a rare and beautiful thing. The match between performer and material is exquisite.”

 This would likely mean a lot to Bebe, as the show itself meant a lot to Bebe. And still does several years later. She would cite it in 2012 as the “role she wish[ed] more people had seen”, as to her, it “was a beautiful, unusual piece of theatre”. Altogether, it was something ineffable and “bigger than the sum of its parts”.

“It’s something I've wanted to do, and I did instigate it,” she said, of putting the show together. But that’s not to say it was easy to helm matters. “For me to be in charge, makes me very uncomfortable.”

That the show got made at all then Bebe would recognise as “a testament to how deeply I love the material and how inspired it makes me.” Her trust in people like Leslie, Annie and Roger enabled the creation of such a project from the ground up that wouldn’t have otherwise existed. Thus, to borrow a phrase from Stephen Sondheim, it was the combination of both personal drive, and also the shared collaboration of four people who all “love each other very much” that ultimately ‘made a hat where there never was a hat.’

It was even further an important show to her, because it was “a very private thing.” She’d describe Jenny as a very physical and emotional role – “the most personal of anything I've done.”

It clearly holds a special place in Bebe’s own heart. Undoubtedly, it would be poignant to revisit again. As we look to the near future of theatre with shows that could feasibly be staged as events start coming back, in tandem with the publicly expressed desire of people wanting to see Bebe back on stage again, this pre-existing, modestly-sized, inventive piece would be no bad suggestion.

How about a Here Lies Jenny reprise when theatre returns?

[mediaeval-muse]

Book Review

In Search of Scandal. By Susanne Lord. Sourcebooks, 2015.

Rating: 2/5 stars

Genre: historical romance

Part of a Series? Yes, London Explorers #1

Summary: All of London is abuzz with the tale of Will Repton. The lone survivor of a massacre in Tibet has returned to England a hero, but the traumatized explorer has no time for glory. Another dangerous expedition awaits. Nothing will deter him from his quest, and no one will unearth his secret—until Will meets Charlotte Baker. Vivacious Charlotte Baker also has a mission—to find a man whose bold spirit matches her own. When she meets Will Repton, she immediately recognizes him as her soul mate, and she’s naively willing to turn her back on the rules of propriety to ensnare him. Will is torn between his fascination with Charlotte and his vow to finish his quest. He knows what it is to risk life and limb—but what if his most perilous adventure doesn’t lie across an ocean, but within his own lost heart?

***Full review under the cut.***

Content Warnings: graphic sexual content, poisoning, physical assault (not sexual), near miscarriage; mentions of: disemboweling, blood, violence, corpses, murder (including the murder of children)

Overview: I will admit that I felt a little uneasy going into this book. Seeing “a massacre in Tibet” in the summary gave me the impression that there could be some Orientalism (or, if not, some straight up depictions of racism), but since my favorite romance author blurbed and recommended it, I decided to give it a try anyway. I can’t speak to the book’s treatment of China and Tibet, though given the history of Victorian imperialism, it felt somewhat “accurate” here; I didn’t get the impression that the region was over-exoticized, though it was treated as a subject of curiosity and characters bring back “artifacts.” I suppose it wasn’t too bad, given the book’s setting, but I still don’t know how I feel about the whole massacre subplot. That aside, the author’s prose was well-crafted, which was impressive for a debut novel. My main reason for giving this book a middling rating, therefore, had less to do with the premise or writing craft and more to do with the characters and the romance itself. I had a hard time rooting for the main couple, and I wish Lord had spent less time forcing them into awkward situations that made for a tumultuous love story and more time exploring characterization and meaningful connection. As it stands, this book receives an average rating from me, but I would be interested to see if (and how) Lord improves in her future books.

Writing: Lord’s prose is surprisingly well-crafted for a debut novel, achieving a nice balance between description and exposition using a straight-forward style that is characteristic of many romances. While Lord’s prose is easy to read, it doesn’t lack fun flourishes, vivid imagery, and compelling figurative language, when appropriate.

I do wish, however, that Lord had been more attentive to how she crafted the scenes in her book. Many individual scenes felt like they were drawn out for no reason other than to provide Charlotte and Will with a chance to encounter one another, which is fine, except that they didn’t really build on one another to create a meaningful progression in the protagonists’ relationship. They seemed rather like a series of awkward moments, following a pattern in which they would awkwardly try to make conversation, get to a point where they were feeling comfortable around one another, do something like kiss or have a sexual encounter, and then Will would push Charlotte away, usually by insisting that he’s not good for her, that he is going on his expedition no matter what, etc. which would upset Charlotte. They would part, and Will would do something to try to make up for his behavior, and the process would start again in the next scene. It was somewhat cyclical and even frivolous at times - many of Will and Charlotte’s encounters didn’t quite end with the two developing as characters or as a couple, and I wish Lord had built her encounters on something more substantial.

On the flip side, this book was also missing scenes that could have helped with characterization. We’re told, for example, that Will has nightmares, but we’re never shown him having one until very late in the book. Having a scene earlier (not necessarily the beginning) might have helped establish why his expedition was so important to him, while also revealing something about his personality that informs his behavior in his encounters with Charlotte.

Plot: The plot of this novel basically follows Charlotte, a well-educated woman entering her third season, as she attempts to find a husband that will accept her family, and Will, a man attempting to raise money to go back to Tibet to make amends for a role he played in a violent encounter. Charlotte’s predicament in itself was very compelling; torn between wanting to be accepted by London’s upper class Society and her love for her family, she struggles to find a husband that will simultaneously make her happy but also raise the status (and thus, social security) of her brother and sister. I do wish Lord had put more emphasis on this aspect of the plot, and perhaps let it be a defining characteristic of Charlotte’s personal growth. Charlotte is torn between selfish desire and doing what she thinks she must for her loved ones, and I think there was a lot of room in there for an exploration of, say, women’s self-effacement in the name of “duty” or “responsibility,” or even more of an exploration of the hypocrisy of Society.

Will’s plot is a bit less compelling. Though we do see moments when he is meeting with potential investors to fund his second expedition into Tibet (and China, by extension), it never feels urgent. While the expedition holds a lot of personal significance for Will, so much is shrouded in mystery that it was difficult to see the stakes of going versus not going, and I personally didn’t care whether Will stayed in London or traveled abroad. I think revealing more to the reader could have helped with this, and the climax of the novel could have been less focused on revealing Will’s involvement with the massacre to the reader and more on revealing it to Charlotte.

In terms of the romantic plot, I’ll discuss that in more detail below, but I will say here that a lot of the drama felt manufactured. Every situation seemed set up to throw the main couple together, allowing them to express their physical attraction while still allowing Will to be obstinate about getting emotionally involved. I especially didn’t find the marriage of convenience compelling, nor anything that happens afterward, and I wish Lord had spent more time thinking about what the conflicts in the relationship might look like if it were built on something other than Will’s own stubbornness.

Characters: Charlotte, our heroine, is something of a social butterfly. She attracts people to her and is beloved by almost everyone, and she always has something to say to fill gaps in the conversation. While I did like that she was very agentive, pursuing her desires and doing what she wanted despite what was considered “proper,” I did think some of her more interesting characteristics were overshadowed by her obsession with Society and her single-minded pursuit of Will. Lord writes of how Charlotte reads Will’s more scientific reports by begging her brother to acquire copies from the Geographical Society, which is exclusive to men. Charlotte also meets with a group of women weekly, and Lord mentions that part of what guides their conversation is the fear of men seeing them as “too intellectual.” I honestly think Charlotte’s character could have been better served by having her thirst for exploration and knowledge denied to her by her gender competing with her desire to provide for her family by marrying well. It would have presented an interesting conflict for when Will comes along, who has traveled and seen the world, but doesn’t hold the social sway of a duke or earl.

Will, for his part, wasn’t an enjoyable character. He spends much of the book speaking gruffly to others, and when he’s not wallowing in self-loathing, he was saying things to Charlotte that were at best awkward and at worst cruel. He starts out reserved, but quickly grows possessive, and his temper could become violent. His main saving grace is that he’s attentive - he brings Charlotte the flowers she likes when all other suitors ignore her preferences, and he notices the care she puts into things like her appearance. But other than that, I did not find him likable, and my sympathy for his on account of his trauma ran out quickly.

Supporting characters were a bit more enjoyable to read. I liked the bond that Charlotte had with her brother, Wally, and wish more was done to showcase their closeness. I also liked that Charlotte’s sister, Lucy, married for love, and despite being socially shunned, their happiness seems to set the bar for what Charlotte wants in her relationship. I would have liked to see some of the main, unimportant scenes between Charlotte and Will cut and more scenes devoted to Charlotte’s relationship with her family, and perhaps even more done with Wally, whose sexuality caused the family to fall from grace in the first place. Perhaps if Wally had a subplot where he finds happiness again would have been a nice compliment to Charlotte’s arc of defying Society for the sake of her passions.

The antagonist, however, was not nearly so intriguing. Starting as one of Charlotte’s admirers, he quickly becomes over-the-top evil when rejected. I guess powerful men can be reactionary when it comes to not getting their way, especially if they’re sexist to begin with, but I just didn’t care for the conflict with the villain. I was much more intrigued by the possibilities of the protagonists’ inner conflicts.

Other: As I mentioned above, I had a hard time rooting for Charlotte and Will as a couple. Charlotte admits to imagining herself with Will before they even meet, and her reaction to him when they do come face-to-face for the first time is something like insta-love. For the majority of the book, Charlotte’s one-sided love for Will and pursuit of him despite his behavior towards her feels juvenile. It felt a lot like hero worship or a celebrity crush, and even though Charlotte says she becomes disillusioned with him and sees Will as a person, the fact that she sticks around when he’s acting like a jerk did not endear me to her or their relationship.

Will, for his part, seems to fall in love with Charlotte for no reason other than she’s pretty, and even though he’s attentive to her favorite things, I couldn’t see what Charlotte saw in him. He constantly pushes her away and says or does things to upset her, including directing his unattractive anger at her, and I was wishing that Charlotte would just cut her losses and find someone better. I think their dynamic could have worked if more focus was placed on Will’s social awkwardness rather than his self-imposed denial of romantic affection. For example, if he’s shy and awkward in Society, maybe Charlotte’s social personality draws him out of his isolation and allows him to connect with people. Maybe her influence also allows him to attract investors, and he finds himself so impressed by her abilities and support for his expedition that he finds it harder and harder to leave. Something more than the manufactured drama that makes every interaction between the two feel cyclical.

Recommendations: I would recommend this book if you’re interested in historical romance (especially set in Victorian England), 19th century exploration, botany, love triangles, and marriages of convenience.

[aadhiskanmani]

I am back with Part 2 as promised earlier also because it was bugging me that i have left it incomplete the other day. The formatting is going to remain exactly the same way.. am just saving myself some extra text clutter , time and  typing/copy paste this time round LOL. 

DISCLAIMER: THIS IS COMPLETELY MY OPINION ABOUT THE FOLLOWING FEATURES.  I feel the need to say this again because last time too i got a message but x,y,z film has x,y,z issues . I've said it before and i will say it again  It is all a mixed Bag, Mixed Genres, Mixed reasons to suggest them right from the quality to acting to cinematography to story to critical acclaim to some just for PURE ENTERTAINMENT PURPOSES.  I makes these lists because I feel these features deserve love and appreciation and because some made me feel Proud and some just for pure entertainment factor . Sidenote.. all titles are actual links where you can watch the features with subs and most of these are On prime video or netflix as well

K.G.F: Chapter 1 |Kannada| *Yash | alt Link  A young man's promise to his dying mother leads him on a dangerous quest for power and wealth.  If I may say so this One pretty much did the same thing in terms of opening doors to kannada film industry like Baahubali did to tollywood. This one  followed the formula and dubbed it in multiple languages and gave it a wide release worldwide which raised eyeballs and got me curious too esp caz this one has a similar plot with the rise of a hero and the hunger for power just set in a completely different world and era. Now the Strength here is the screenplay  and the non-linear pattern which keeps you engaged, with the growth of Rocky being shown steadily. The film is set between 1951 to 2018 and maintains a sense of curiosity as each character is unveiled. Yash is Phenomenal in it as rocky. I said it back then when i watched it and i will say it again He exuded the same kind of charisma say like a 70′s 80′s hero e.g Mr Bachchan from his blockbuster hits where he Played similar roles or salman khan in his typical masala characters basically Larger than life even if he has this arc of being a nobody to Rocky Bhai to Rocky the messiah. One word of Caution... This one gets a lil confusing in Kannada  and with subs as there are too many characters and each one has his/her own agenda. i was confused at many parts but then i watched the hindi dubbed version and it made a world of difference. this one is fairly well dubbed too just like baahubali and what i mean is the voices didn’t sound robotic. Also i personally felt they went a little too far with the dukhi  junta in prison in 2nd half and the violence as in it got very tedious but thank God that got over soon with the rise of this hero but it is worth watching and rest of it is really good, esp the last 15 mins WOWWWWW I cannot wait for part 2. Also my only sandalwood entry.

p.s all dubbed versions are available on prime including Hindi but i have linked the kannada originals  

Fidaa | tel |*Varun Tej, Sai Pallavi  (on Prime as well) Two young people embark on a winding and rocky path to love after meeting at a wedding. First of all supercute romantic, comedy/ family drama but what is refreshing about it is that it is Mainly from the Heroine’s POV and we have a VERY STRONG heroine who has her opinions, her say ,her own thought process and who is just so real. On the surface it looks like just another tollywood rom com but it’s Not. the music is really Good too and Sai Pallavi is A bundle of joy as Bhanu who calls the shots  mostly here. Needless to say it is one of my Feel good films when  i want to see something that makes me smile and gives me that comfort vibe i  go to this one mostly.

Tumbbad|hin|*soham shah . A man and his son encounter a legendary demon while searching for hidden treasure in 19th-century India. 

This one will come as a surprise to many as it is a hindi title but This one a rare gem that is Underrated af and i haven’t seen a finer hindi film in the last year because of how rich it’s content is and how thought provoking it is. The makers have invested years in getting to final result and it shows. this one gave me goosebumps, sacred me, left me mesmerized and make me go WHAT too. This is also on this list because you may not have heard about it at all just like myself who had no idea and jumped into it out of supreme boredom and was left in complete awwwwww and then did my reading and research. This one is a well thought out psychological horror film with strong visuals and metaphors and makes you question as it plays with your mind. Tumbbad is a perfect example of a film that creates a surreal illusion.

Imaikkaa Nodigal| Tam| Nayanthara,Atharvaa, Anurag kashyap: alt link  A suave CBI officer (Nayanthara), is in search of a serial killer who kidnaps and kills the children of important people. The killer, however, is targeting his nemesis next. a revenge thriller with a strong Plot unpredictable and amazing twists.Each character has an important role and Nayan As a Bad ass cop who freaking sets the bar too high for female officers in desi films. THis one is one of the finest Thrillers in recent years which actually gives you thrills and Shocks and most of them one can’t guess. Let me be honest i gave upon this seeing anurag kasyap as the antagonist as i was unable to bear rudra and just his Ottness on top of that atharvaa’s lovestory as the parallel track mad me go ehhh as i initially clicked on it for nayan and there was so little of her in the beginning but then i gave it another try and couldn’t stop & was WOWEDDD by the Film and Nayan as anjali and yeah she is the MAIN CHARACTER so we get a lot of her later. She is at her FINEST as anjali. this is the film one wants to watch to get a high of sorts. WATCH IT FOR NAYAAAN FOR A STRONG FEMALE ACTOR/CHARACTER Taking the center stage and BEING FANTASTIC. This one is so just so entertaining in so many ways and the film one can watch on any given day despite knowing the plot twist. Beware Nayan and Vijay’s little arc is heartbreaking and i cried a lot tooooooooo... i was shattered at that part..... it is so hauntingly shot too. TW: Graphic violence  In that scene 

Mahanati|Tel|* Dulquer Salmaan, keerthy suresh, samantha, vijay D |alt link  Biopic based on  The life story of South Indian actress Savitri, who took the film industry by storm in the late '50s and '60s Mahanati is a film about the rise of the first female south Indian superstar – Savitri. Her story one of the most heart wrenching romantic tragedies of our times.This film tells a story of the Mahanati; her life, her journey to fame, and the dramatic downfall. Keerthy Suresh, elegantly brought Savitri to life, and Gemini Ganesan, played by Dulquer Salman, makes this film a true pleasure to watch. I had no idea who Savitri was i went into it because DQ and Again was BLOWN AWAY by How well made this film is and how it is made with so much sensitivity and rawness. it keeps the real journey part intact as in doesn’t sugarcoats or overly glamorizes things to show Savitri as some mahaan hasti. They make this film the Grand celebration of her life with all her struggles and tragedies  and makes you connect with her in a very real  manner and All this Makes this film so much more than a film. this one becomes that Larger than life Grand,SHE IS A HERO More because she truly is rather than OH because she had this sob story IYKWIM  like hindi Biopics do. They have made savitri Grand By her resilience by her courage by her will power and invested in the character and plot rather than all taam jhaam. This one is By far the best Biopic i’ve seen from desi industries and Not One and i mean it NOT one Hindi biopic even comes close to this one in terms of presentation. Keerthy suresh is a joy to watch as savitri. i am not gonna lie i broke down at few points and that is because of her acting and laughed too i connected so strongly to an actress’s story (who i had no idea about as in savitri i had 0 knowledge about savitri or in general about south industries retro eras ) only because of keerthy’s presentation.Also dulquer is a Joy as gemini ganeshan. he really slipped into it with ease and lived upto the part. they have achieved finesse in  showcasing a life story and recreating old songs from black & white era. If nothing else on this list watch this and imaikaa nodigal and you won’t regret it 

Rangasthalam |tel| *Ramcharan, Samantha :  Chitti Babu, a hearing impaired boat skipper, becomes caught in the middle of a political feud in the village of Rangasthalam. Watch this one for Ram charan’s performance  He is a delight to watch as chitti babua and this easily is his Best WORK till date this character have so much to play with and He ACES IT . The strong and intriguing story line is also a Plus . The film is not just set in the 80s; it also picks a story template from that era and narrates the tale in a refreshingly raw manner but the characters are so well fleshed out they don’t look caricatures by any means. the songs are grand and super fun to watch too. 

Maari 2 |tam|* dhanush, sai pallavi :  Maari, a gangster with a heart of gold, tangles with a new nemesis who is determined to bring about his downfall. First things first this one is mileas ahead of the previous version in everything. A much stronger film in every way. Otherwise it is a pure masala entertainer with all the masala elements and  dhanush and sai make a BOMB pair and their lil story is ahh sooo full of feelz. 

Sudani from Nigeria |Mal|* soubin shahir:  When a soccer club manager brings one of his injured foreign players home to recuperate, they form an unlikely bond despite their cultural differences.. A refreshing sports drama that touches your heart. explores the cultural differences so beautifully. the characters stay with you much longer after the film is over. The film effortlessly explores iissues in the neighborhood and much bigger political issues too. overall SImply an underrated film and one should watch it for it’s warmth and sincerity.

Koode|Mal|*prithviraj,nazriya nazim, paravthy  A family tragedy causes a young man to reflect on his childhood and reassess his future.Anjali Menon and that brilliant cast should eb your reason to watch. i don’t think i need to say another word to convince you but still anyway. it takes you on and emotional roller coaster ride. it is a flawless film with an extraordinary cast. also Naz is as charming as ever in her comeback film. there are very few films who actually jump into exploring the bond between a brother and sister and this one aces it with reflecting upon various issues and things they had to go throughasa family  as well as their individual struggles. AMAZING AMAZING AMAZING. Also Paro and prithvi yeah. .. simply OUTSTANDING film

Varathan |mal|* fahadh faasil,Aishwariya lekshmi:  After losing his job, Abin and his wife, Priya, move from Dubai to Priya's family estate in Kerala, but peace eludes the couple. It takes it’s time in the first half but in second it comes all guns blazing and turns into a worth watching survival thriller. it does makes one uneasy at times with the contsant stalker guys lurking around but it is all worth the wait at the end. trust me..

Chekka Chivantha Vaanam |tam| *vijay sethupathi,arinswami,jyothika,simbu;  An attempt is made on the life of a reigning don, and it sets in motion a succession battle between his three sons. In other words Godfather with Mani ratnam  twists A delicious film to devour it si an out and out maniratnam film with massy fan moments and smart filmmaking techniques. watch it for performances esp. i wish jyo had more to do but she is good at what she does in her supporting role. . this one is a true blue  multi starrer ,family drama.

Merku Thodarchi Malai |tam| Antony, Gayatri Krishnan, Abu Valayamkulam :  it  revolves around the life and times of a group of people living along the foothills of the Western Ghats. basically we travel along with Rangu ( teh pratagonist) who is a daily wage worker and his struggles in bringing that load upto the city  and his one dream to own a piece of land someday. this oen is almost like a documentary. this makes you thank and count your blessings. feel every bit of pain and effort and struggle that these daily wage workers have to go through in their daily lives. i broke down at so many points and i just wanted to do something to help makes lives a bit easier. IDK it hit me so hard at places and made me thankful for all the things i have. 

Mayanaadhi |Mal|*tovino thomas,aishwariya lekshmi : A mule driver in a gang and an aspiring actress try to navigate their way through an unexpected romance. Mayaanadhi is a beautiful tale of love. The emotions it conveys needs to be experienced and the movie gives us a taste of life. Aashiq Abu really knocked it out of the park once again with this one. this one. It is a simple enough tale with a plot that is real to life and familiar.It is perhaps the most Soulful Romantic film i’ve seen in last year or so. 

Takeoff|Mal|*parvathy,fahadh :  A young Muslim woman (Parvathy) struggles to find love and happiness in midst of the ongoing civil war in Iraq. It  an ode to the Indian spirit. This is a riveting survival saga, made by a team gifted with acute political and social awareness. It is, in one word, stunning. Paro Simply have slayed. A bit like airlift as in the basic setting and premise is similar but poles apart. it is one hell of a film( in a good way) PARO,PARO,PARO. this is all i have to say to explain the brilliance of it. 

and with that this comes to an end.. again please feel free to share your thoughts and opinions with me i would love to see you guys actually taking the use of this list and sharing your thoughts. Bye and Have a Wonderful Summer binge watching these hehe. i hope you love them as much as i do. looking forward to your thoughts 

[kerryhudson]

Aye, that’ll do 2017

I started 2017 on a beach in Portugal. I had a perfect bruise imprint of a giant black dog’s teeth on the fleshy part of my upper arm. That morning a dog had leapt at me, teeth bared and bit down hard while its owner casually hit it until it released me. Thanks to my big winter coat, I didn’t lose a chunk of my arm and we caught a coach to the beach as planned. At midnight we watched fireworks over the inky sea and then later, down at the shore, witnessed a line of over-boozed teenage boys peeing long arcs into the famous Nazare waves while their skimpily dressed girlfriends shivered patiently beside them.

I woke on the first morning of 2017 knowing how I should restructure my third novel (which had massively and fucking annoyingly eluded me for most 2016) and with a fresh understanding that, in the wake of Brexit and Trump the rise right wing fuckwittery generally, I needed my writing to ‘do something’. Of course all writing ‘does something’ but I needed what I wrote to fit into my own personal sense of trying to resist, persist, to fight…and that is when I started thinking about writing a book about what it is like to grow up in poverty, to grow up in a society which is structurally unequal and to question how, decade to decade, nothing seems change though the problems are clear.

In 2017 we travelled through ten countries. From Lisbon we travelled to Bangkok where we spent two months exploring our neighbourhood Sois, careening across the city on motorbikes, sometimes taking a trip to the sea where we slept in bamboo rooms on stilts, the sound of the waves whooshing underneath us like breath.

Next, I wanted to show Peter my beloved Vietnam. We took sleeper trains from Saigon to Hanoi. I showed him my old haunts, we found new ones. On a windy mountain pass in Sapa Peter proposed with a tiny sapphire ring carried with him all the way from Saigon. I said yes and we sat down with our motorcycle drivers and a man who owned the tarpaulin shack at the edge of the mountain and drank 2in1 coffee and Redbulls in celebration. It was perfect.

We flew to Malaysia and trekked a National Park where giant lizards roamed and ended up on a beach with hammocks and cheeky one armed monkeys. Otherwise in Malaysia we ate. Bowls and bowls of Chinese, Indian, Malay food our faces full of happiness and noodles.

After that there was a month in Prague, two months in a much changed Budapest in a grand, crumbling apartment, a month in summery Krakow swimming in quarries and drinking in Absinthe bars. I briefly returned to the UK to meet a ton of excellent writers and literary types as part of International Literary Showcase in Norwich. I have plenty to say about these places and that time but probably the most important thing to mention is that in Krakow I finally (fucking finally) finished that tricky (so fucking tricky) third novel and wrote the proposal for my first nonfiction book, Lowborn - the book I want to write to ‘do something’.

When we’d left the UK our intention had been to travel and work indefinitely but, as has always happened to me after five or more months on the road, I started to wish for ‘home’. Nowhere seemed quite right enough to put down roots, learn a language and bend ourselves to a place’s new ways. Besides, I had a book to write which would see me travel up and down the UK. And so we moved to Liverpool.

I wouldn’t quite say we picked Liverpool by sticking a pin in a map but mostly we did. We knew that London, as much as it was home, had become financially impossible – we didn’t want to be clinging on to our fingernails to a city. We wanted a city that wanted us. Scotland was too far from our former life, friends and family. We’d both visited Liverpool and quite liked it, it was ‘in the middle things’, it was a city, it had a Tate and the seaside nearby. OK, we thought, why not there?

It was risky and it was also the best decision we ever made. Liverpool is one of the warmest, most humane places I have ever lived. Every day I leave my house and have an interaction that renews my faith in the inherent goodness of people. There is gold to be found in Liverpool – brilliant art, gigs, food, drink, cinema and all the rest of it. London will always have a piece of my heart. I miss the hubbub, the sheer abundance of life there. It was the closest thing I’d ever had to home. But Liverpool is treating us so well. There’s less ‘noise’, it’s less exhausting and in that new space there is time to think, to be creative. Every day I say to Peter, ‘I love it here’. 

In Autumn I announced my new books would be published by Chatto & Windus. This is not a literary climate in which to count your chickens and especially not if you’re writing feminist, working class, literary fiction and happy is an inadequate word for how I feel about getting to write two more books, particularly with a publisher who have always championed (and an editor who makes infinitely better) my strange brand of writing. Lowborn will be published a January 2019, the novel after that.

There have been other wonderful things this year. The opportunity to write a monthly series about writing Lowborn for The Pool (side note: in 2017 writing a single article for The Pool was my greatest ambition). Those pieces are the most personal thing I have ever written, I feel nervous to the pit of my stomach each time they are published, and they are one of the best things in a good long run of best things I’ve had.  Getting to write about things that I feel are important, for such a broad audience and the responses to those articles have been a joy, an utter joy. Likewise, my beautiful three weeks in snowy, mystical Latvia on residency thanks to the Writer’s Centre Norwich and the British Council. I ate a lot of soup, drank gallons of coffee, wrote tens of thousands words of Lowbown, fell in love with the residency cat, Rudi, and wandered the winter streets thinking, untangling, reassembling. It was bliss.

2017 hasn’t all been cake and delight, mind. I’ve struggled with anxiety this year and have fought those untamed things that have followed me for years no matter how far I travelled. But, like that big black dog in Portugal trying to sink its teeth in, they bruised but didn’t break the skin. Instead, they allowed for a big shift and an important change of perspective. But that’s probably another piece of writing for another time.

In 2018? I will write each day, think about the messy world we live in and where I stand within it. I’ll continue to explore how to make change, resist, persist, live well and with decency and I can’t think of anything I could be more grateful for.

Happy new year to youse lot. 

[rachelbethhines]

The Antoine and Bunnie Retrospective - 132

The 25 Recap - 6th Era

So this might be the most decisive of eras yet...

The 6th era includes….

Sonic the Hedgehog 126-150

“Two steps forward one step back” is the phrase that comes to mind when discussing this era. A lot of effort went in to reexamining what went wrong in previous eras and improving upon those problems, while also setting up a whole host of new bullshit to work through. And then there are many instances where the writers prove they didn’t learn a damn thing. 

Major events of the era are….

Sonic figures out the Bem cured Robians and meets Tails’s parents while traveling through space - StH 129 

Sonic returns home and finds he’s been gone for a year - StH 130 

Mecha and Adam are introduced - StH 130

Mobuis Years Later series begins - StH 131

Bunnie’s and “Antoine’s” breakup is revealed - StH 133

Sally breaks up with Sonic in the infamous slap moment - StH 134

“Antoine” becomes King Max’s personal bodyguard - StH 134 

Tommy Turtle joins the FFs - StH 137 

 Finitevus and Knuckle’s baby brother Mace is introduced - StH 139

Angel Island is rescued from Eggman - StH 141

The Egg Grapes are first seen - StH 141

Amy officially becomes a Freedom Fighter - StH 142

M25YL ends - StH 144

Shadow meets Hope - StH 145

Nicole and Sally swap bodies temporally - StH 146 

The Chosen One Arc finally comes to an end - StH 149 & 150 

Scourge replaces Sonic and reveals that “Antoine” was Patch all along and the real Twan is held captured on anti-mobius - StH 150

Favorite thing about the era: Consequences 

My biggest complaint about the previous era is that nothing felt like it mattered. Individual stories had little impact with those around them and even important ones were handled with little gravitas. Here though, there’s more of an effort to have interconnected stories and a fully fleshed out world. Actual story arcs return, Knuckles and the Chaotix are part of the main cast and not off doing their own thing, events that were previously seen as insignificant or were ignored for a long time come back to bite the characters in the ass, and most importantly events during this era set up important developments for later on.

Least favorite thing about the era: Character Assassination

Or should I say attempted character assassination. Fortunately other writers would come in and fix or better yet build off of the OOC writing that was rampant during this era. Creating arguably stronger stories and better character development out of the mistakes of this era. That is perhaps why I don’t hate the 6th era as much as most. I knew before going into it that most of the out of place character moments would right themselves out. (Well that and there are some genuinely damn good arcs here)   

However, I don’t blame a single person for despising the writers for what happened during this era. Characters like Rotor becoming cheap mouth pieces for the creators’ political beliefs despite not fitting the character’s previous seen actions. Sally being deliberately written as unlikable just to jump start yet another forced love triangle. Antoine being written as a villain, undoing years of character growth, all for sake of contrived drama. Ugh!   

Favorite Antoine Story: “Hero to Zero In No Time At All” Sink or Spin I - StH 150 by Ken Penders    

I would include the whole arc here, but half of it is in the next era, so... meh. This story technically wins by default as this is the only story to feature the real Antoine in the era. Outside of the pointless flash back in “One Part Ooh-La-La and Two Parts Treachery!” it’s really Patch on screen. That said this is still a major, major development for Twan. One that will come to shape his character from now on. 

Favorite Bunnie Story: “Finale” Home IV - StH 133 by Karl Bollers    

Bunnie has more of a presence during this era than her significant other, but she still winds up taking the back seat a lot to the other power players of the book. (ie. the game characters) Home is the only story where she gets to physically take part in the proceedings and one of the few times she’s saved the day since the 2nd era. It also has the added bonus of furthering her development by introducing the break up. And regardless of how poorly that plot point would develop later; it’s effective and well handled here. 

Favorite Buntwan Story or Moment: Bunnie missing Antoine in “Love and Loss” - StH 144 by Romy Chacon and Jon Gray (uncredited) 

So the only time we see Bunnie and the real Ant together is during the flashback in StH 137. Unfortunately that story A. shit and B. completely redundant as it tells us nothing new about the characters or their relationship.  

However “Love and Loss” makes the absence of their romance the focus. Reaffirming why they’re such a great couple while also revealing new insights into their flaws as characters and how that effects their romance together. 

If the comic took more time for introspective stuff like this instead of the “oh he loves me; he loves me not” bullshit, I would probably be a bit more favorable towards it’s romantic drama. It of course becomes all the more frustrating when you realize that Romy Chacon wrote both this and “One Part Ooh-La-La and Two Parts Treachery!”. Which means the writers are capable of doing more, they’re just too fucking lazy or too self adsorbed do so. 

Favorite Single Story: "Circuit Me" - StH 146 by Romy Cahcon 

While I’ll praise some of the arcs during this era, the one off stories were a mite on the weaker side of things.  "Circuit Me" stands out because it happens to have some emotional heart to it. Nicole finally learns about human emotion as she and Sally switch places. This also becomes a starting point for both Nicole’s character development and some major plot points in the future. 

Favorite Story Arc: Return to Angel Island - StH 138 - 141 by Karl Bollers 

While Home is still one of my favorite arcs its held down somewhat by Bollers more annoying excesses *cough* the slap *cough* . However,  Return to Angel Island, is near perfect. Showcasing just how good Penders’ concepts and ideas could be in the hands of other writers. And while the relationship drama is still present it’s handled much more maturely and shown to have real consequences on the characters’ behaviors and outlooks outside of just will they/won’t they triangle BS. 

Favorite Artist: Jon Gray 

I was a fan of Jonathan Gray’s work long before I started reading Sonic. He’s done a lot of work for various Disney comics and I find his unique style very appealing. There’s a lot of flow, energy, and movement to his action. Even in more subtle scenes, like the one above, he has a clear way of presenting emotion through a character’s body language. He’s also fantastic at large group scenes, giving everybody, no matter how minor, a story of their own in the background. His world just feels alive. 

I know that he’s not everyone’s tastes, but I often point to his work when I’m trying to describe the difference between personal style and actual bad art. Like Spaz or Sam Maxwell, Gray’s art can be off model and exaggerated but there’s an intended purpose behind that. These artists have control and can reel in the excesses when needed and unleash their zany action upon the page to give the illusion of movement. Unlike say, Ron Lim or Jerry Gaylord who also frequently go off model due to personal style, but lack energy or focus. Making their subtle scenes stiff and their action scenes poorly laid out and confusing.  

Yeah, I still maintain that this isn’t the absolute worse era, but it’s still pretty damn close. Fortunately there’s a light at the end of the tunnel folks. So tune in next week when we start on the 7th era and the end of the Bollers/Penders run. 

[a-non-sequitur]

Rogue One: Second Viewing

- link to my other Rogue One blabberings -

Watched Rogue One for the second time today on the big screen.  Here are some more thoughts since I’m not inundated by “HOLY SHIT” feelings from experiencing it the first time. There may be some repeat thoughts.

NB, as usual: have only seen the movie and read a small portion of its prequel Catalyst so far. I try to talk about individual characters themselves, but shipping thoughts concerning RebelCaptain (Jyn/Cassian) and SpiritAssassin (Chirrut/Baze) still occur.

Warning: THIS IS REALLY, REALLY LONG. Not exaggerating in any way.

Quick General Thoughts 

I’d seen the movie a little more than a month ago and have swamped myself in fandom, so I thought I wouldn’t have Extreme Emotions from seeing it again. I even thought I’d be bored for some bits.

I was wrong.

It’s a beautiful movie, and I honestly liked every single performance by the actors and actresses. I thought they were all really good or amazing.

By far one of the most intense movies that I’ve seen in general, not just the Star Wars ‘verse.

Lah’mu

There’s a piece of symbolism in some Rogue One book material that talks about how the movie bookends the theme of “Jyn” and “home.” AKA: Jyn starts the movie by having a home, and Jyn ends the movie by rediscovering home. Figuratively, this is shown by Lah’mu with her parents (start) and the Scarif beach with Cassian (end) (or you could argue the entire Rogue One team becoming family, a la Baze’s “little sister”, as “home”).

However, now I can see there’s also a literal interpretation of this: Jyn’s Lah’mu home is next to a beach. And you remember where she dies? A BEACH.

If one of the Stormtroopers was taught even a little bit of forensic science, Jyn would have absolutely been found underneath that damn rock. They live on rich, loamy soil. Anyone heard of footprints or tracks? I guess Death Troopers are too busy learning how to kill people.

Lyra Erso continues to grow in my heart as a hero and wonderful human being, and I am sad and bitter that beyond one or two lines from Galen and Orson (tangentially for the latter), she is never discussed or mentioned post-Lah’mu. Read Catalyst; Lyra is a badass. 

“You will never win.” = Erso Rebels, one for one.

Lyra/Galen4lyfe. They love each other so friggin much (again, read Catalyst for the one-two-three punch in the gut feels (even though I’ve only read a little)).

I wonder what sort of crops the Ersos grew.

Rings of Kafrene

I originally thought Cassian was very blank-faced about killing the informant and any guilt he felt wasn’t expressed except 100% internally or at a later time on his own. Nope, he definitely shows guilt/regret immediately after shooting the guy, even with Stormtroopers converging. Throughout the movie, in fact, he shows a LOT of guilty faces/body language. Not as perfect as a spy as I thought! (at least 100% of the time)

Wobani Prison

FN-2187 is a reference to Leia’s prison cell 2187. At Wobani, cell 4227 is mentioned. They don’t mean Jyn’s cell, but it finally explains to me why one of my favorite fics (Death Trooper One) uses the designation DT-4227. Tricky, tricky, tricky!

Yavin 4

Yooooo, Jyn is amazing at doing a non-reactive, “I won’t tell you shit” face.

Whatever you say about Draven’s duplicity and cutthroat tactics, Mothma’s democratic idealism is unsustainable bullshit. A lot of fics like to uphold her as this Kind Rebellion Paragon Leader vs Draven, but you know what? Saw had a point in separating from the rebellion. I don’t condone his “civilian deaths are unavoidable” tactics, but Mothma’s path is a fruitless endeavor, and she should have been completely aware of that after twenty years of Empire rule.

This is a passionate, immediate response after seeing the movie again. Maybe someone has some meta to calm me down/see Mothma’s side of the story.

Jedha

So many Asians on Jedha! <3333 (now all dead </3333 )

Small funny moment: the scene where Chirrut and Baze come to the rescue, there’s two little old Asian ladies sitting in the corners of the courtyard just chilling around.

I believe Cassian’s feelings for Jyn went from “unwanted charge” to “shit DEVELOPING FEELINGS” sometime between Jyn saving the little girl and Jyn beating the asses of Stormtroopers with her truncheons. I told you guys that Cassian has a Competency kink.

Jyn’s feelings, on the other hand, went from “jailer” to “friendly.” And I think that explains the level of betrayal she expresses to Cassian after Eadu; yeah, she’s pissed that he was planning to kill her father, but she was also pissed that he had lied to her. She had considered him a friend by the time they had arrived there, and she hadn’t had friends for a long time.

I think it says something about Jyn that, even if she is at most amused by K-2SO or at worst annoyed/indifferent to him, she still is the one who jumps in front of his body when Baze points a gun to him. She responds faster than Cassian, who (definitely) considers Kay his best friend. When Jyn is in a team, she is loyal. (I really, really like Jyn, okay.)

Bor Gullet (the tentacle creature) continues to be gross-looking, and even though I admire the subtle acting choices of Bodhi’s character arc by Riz Ahmed from “nervous defector to traumatized pilot to recovering person”, I do wish we got a better understanding of how damaging this creature (nonhuman sentient?) is. (Apparently the book does a good job?)

Again, I desperately desire more background on Saw’s spiral into severe paranoia. At one point did he start thinking that everyone was going to betray him? At one point did he find the Bor Gullet?

We know that the Empire hates non-humans, but do you know what I found really interesting?  The Rebellion actually showcases only a few nonhumans. Do you know which group represents the most non-humans (besides local populations)? Saw’s Partisans.

There’s not supposed to be galactic racism in Star Wars (I don’t know about extended universe materials, so maybe (most likely) racism exists on individual planet cultures). Rather, it’s replaced by speciesism. And I find the fact that the Partisans are heavily made up of non-humans (and the Rebellion not) extremely interesting if you parallel it to American politics on race throughout the centuries. I’m simplifying the issue, but in fights for equality and justice, who are the people associated with violent protest and riots by society?  Who often feel and are sidelined by mainstream movements?

Still curious at what point Saw separated from the Rebellion. I assume post-Lah��mu, just because Galen seems under the impression that Saw is still in contact with the Rebellion. 

Saw says outright that Jyn was his best fighter. SO MANY RADICAL!JYN FEELINGS. 

and this is why I can’t really support Cassian’s side of the argument after Eadu - Jyn had been involved in the Fight for a very long time. When she says at her interrogation that she “didn’t have the luxury of political opinions,” she has a good reason in saying that! She was never allowed to have a choice: she was born in a Separatist prison, raised by the Empire, ran away from an Empire, and then absorbed into a radical Rebellion cell. It isn’t until Saw abandons her that she makes a choice: the Empire and the Rebellion both hurt her deeply. These weren’t minor hits against her; they performed acts that damaged the core of her soul and transformed her personality. Why does she have any obligation to support either in any way?

Even if you think that abandoning the Fight was a very selfish thing to do, I think it would be incorrect to say that it was an unfounded decision on her part.

Galen mentioning Lyra (;_______;)

I loved all the performances, but Forest Whitaker’s is actually my favorite. Just, wow. (And Jyn’s heartbroken face when Saw refused to leave with her: :( I mean, considering his broken body, no way would he have been able to get out of the mountain, no less to the ship, and he absolutely knew that.)

The destruction of Jedha City was awe-inspiring, in the original etymology of the word (fear, terror). Alderaan’s destruction is sad, but it’s distant - a sphere blows up. The detail of Jedha City’s annihiliation... even on-the-ground videos of nuclear bomb testing and Hiroshima/Nagasaki don’t strike as much fear into my heart (please don’t attack me).

Baze’s FACE when the City is destroyed. It’s SO HEARTWRENCHING. Like, you can see his non-belief in the Force get even worse after the destruction.

Krennic’s “It’s beautiful” brought horrified shivers. I can’t find the tumblr post anymore, but the user talked about the importance of art in injustice (or something like that).

Eadu

All Cassian had to do was snipe Krennic while on that ledge instead of angsting over Erso, and the ending of Rogue One would probably have been less soul-destroying.

I do not understand how geography and the passage of time occurs in some of these scenes. Between Jyn being able to cross the valley and climb up that ladder in the period of Orson’s and Galen’s conversation, Cassian getting to Jyn after the platform is bombed, and Jyn and Cassian crossing back to the other side in no time at all, I assume Einstein’s relativity is involved.

I’m trying to decide whether K-2 revealing that Cassian’s rifle was in a sniper configuration was because (a) K-2 has been described as basically being a child and so he doesn’t even think about it, (b) K-2 didn’t know about Draven’s extra orders to Cassian, so he didn’t know it was supposed to be a secret, or (c) K-2 knows that Cassian would really, really regret assassinating Galen (moreso than anything else he did). My strongest option is (b).

We have to give Draven credit: he only sent the Alliance ships because he thought Cassian was probably dead and Galen still needed to be killed. As soon as he heard Rebels were on the platform, he tried to call off the squadron (I mean, if he had heard it was Jyn and not Cassian, he probably wouldn’t have cared, but still).

I knew beforehand that Chirrut and Baze were married, but holy shit are Chirrut and Baze married. Baze’s self-suffering and resigned sigh after the “I have you” quote!

Little detail I liked: Chirrut puffing air into his hand before shooting with the Bow of Death. Combination of “Gimme luck, Force!” and “Gotta warm up my hands before kicking ass.”

Chirrut is definitely Force-sensitive (I have Headcanons about his pre-movie arc), but there’s no way that Baze isn’t even a teeny-tiny little bit Force-sensitive, too. There’s no way a sharpshooter can be THAT accurate from THAT distance THAT accurately in EVERY battle (every single shot hits someone or some ship).

I’m impressed that the movie did not try to beautify death. Galen died in a super awkward position, and I love the realism of it (even if there was a lot less blood than there should have been).

By the end of the scene, Krennic visually confirms to me that the Galen/Krennic ship is actually a completely one-sided infatuation (seriously, read the book. Galen is laughably blase about the dude).

“You willl never win.” = Erso Rebels, two for two.

Lyra/Galen4lyfe

Some fandoms I can ship characters with multiple people. 

Rogue One is not one of those fandoms.

Jyn had, like, a 2% chance of actually being alive when the platform was bombed, and Cassian still went after her. He’s got it SO BAD. Like, this is the dude who killed his informant ASAP and who K-2SO was certain enough about that he said “we’ll be leaving without you” re:Chirrut & Baze leaving the ship ten minutes ago in the movie. 

Chirrut grabbing Jyn’s hand before the Argument gives me sad feels because it makes me wish that the Jyn+Chirrut+Baze adopted family vibes could have been explored more.

As I said earlier, I don’t think the claims Cassian made against Jyn in their argument had a lot of merit (and I think Jyn knows that, too). But Jyn definitely understands Cassian a lot better after he describes his past, and that’s why she doesn’t dislike/hate him by the time they arrive on Yavin 4. She’s definitely angry and betrayed about his actions/lies, but she now understands why he did them. And I think that’s when she really decided that he was a friend (+ probable realization that this was the second time he had come back for her).

And even though Cassian already feels guilty about almost assassinating Galen, I think his defensive justification took a serious, serious, serious blow not because of Jyn’s words (though that did have an affect), but from the Absolute Overwhelming Disapproval and Disappointment from all the humans on the ship. 

Baze is actually really, really hilarious? His tired collapse against the ship’s closed landing platform post-Argument made me burst into inappropriate giggles.

Mustafar

Darth Vader is terrifying.

I wonder if they hired an actual amputee for the reveal of Vader in that cylinder? Or if it’s CGI.

I’ve never really understood the eye-rolls over his “don’t choke on your aspirations” pun. I thought it was a terrifying addition and very apropos . (Though, if you’re familiar with medical terminology, you’d probably get a giggle from it.)

Krennic gets more and more pathetic every scene.

Yavin 4

Now, I know I talked all about the POC-nonhuman parallels above, but I do want to applaud this movie for its POC representation. The Empire, of course, has always been White As White Can Be, but the modern decision to make the Rebels so racially diverse? And to specifically have the Council be so racially diverse? (look at it! I think only Mothma and one other human was white. The rest of the humans were nonwhite!) That was a calculated decision to comment on today’s political climate.  Think about it: the leaders of the Rebellion were mainly POC. Yes, they unfortunately did not get as much screentime or lines as Mothma and Draven, but what a wonderful step still.

A council that can only make decisions based on unanimous agreement is a terrible idea with that many people.

Cassian showing up with an entire crew of people = moment Jyn DEFINITELY develops Feelings for him.

This gif is always necessary to post:

Cassian has a lot of sway/respect from the people he was able to recruit, but I’m 100% certain that he basically sang Jyn’s praises during the recruitment process. This is the reason they were so okay with her being the mission leader.

STILL ANNOYED ABOUT THE ZERO WOMEN IN THE ROGUE REBEL GROUP.

The trip to Yavin 4 to Scarif really, really highlights the fact that the entirety of the Rogue One family looks towards Jyn as their leader. Yeah, her speech to the group (”Saw always said carrying a stick...”) was, eh, pretty weak compared to Cassian’s (”Make ten men feel like a hundred!”) (Jyn’s not a great public speaker, ok?), but Cassian constantly defers to her. Speech time? You go first, Jyn. Is it time to blow up the mines? Tell me, Jyn. They ain’t co-leaders, and Cassian’s not a shadow leader. Jyn leads, Cassian is her right hand, and everyone else are her believers. (Remember that at Eadu, Chirrut outright states that Chirrut “follows her,” and I’m already forgetting the exact scenes, but I remember having the impression that Bodhi seemed to constantly look towards her (no surprise considering she’s related to Galen). And Baze’s “little sister”! (why no 500+ hours of these people being family. why.))

The side-eye Jyn gives Bodhi when he decides to call their group “Rogue” is still my favorite funniest moment.

Cassian and K-2SO are my favorite friendship in the crew, but I have to admit that K-2 and Bodhi would have definitely developed a pretty funny bromance if they had survived.

Possible RebelCaptain Kiss Moment 1: on the trip to Scarif

Scarif

Sidenote: this review is so friggin’ long, I’m already forgetting the things I want to say.

Seriously, why didn’t Cassian shoot Krennic on Eadu. WHYYYY

The grabber thing that picks out the data files? Reminds me of the claw game in arcades. I would have completely failed this mission purely because of that.

I didn’t realize this the first time, but Admiral Raddus had left even before the Alliance got news that Rogue One had landed. Raddus just up and went “EH FUCK THE COUNCIL LET’S DO THIS” and he had an ENTIRE NAVY follow him despite the very public refusal by the Council. Standing ovation for this dude.

FEMALE PILOTS!!! SO MANY FEMALE PILOTS!!!

Okay, it’s time for me to sing the praises of Bodhi Rook and Riz Ahmed:

Riz Ahmed deserves all the acting awards. Whitaker is still my fave RO performance, but Ahmed is second. It’s such a subtle transition but WOW. 

On Jedha, we meet non-traumatized Bodhi. A little stammery, but he’s being pushed around by the Partisans and no one is listening to him. I’d stammer, too. He’s panicking re:plans, but there’s still steel in him though, a type of confidence.

Then we meet post-tortured Bodhi, and he’s a discombobulated, disjointed, confused mess of a human being. Within the prison cell to his escape outside the mountain, he shows someone whose reaction time is fifty times slower than a non-tortured human being. His dazed look and delayed movements before Cassian pulls him towards the ship is perfect.

Eadu: he’s a nervous wreck. He can’t stop stuttering, even when he’s trying to guide K-2 and Cassian to fly through the rainstorm. He can’t look people in the eye.  

To Scarif: still nervous, but becoming more forward.

Scarif: When Cassian tells Bodhi to find a way to communicate beyond the shield: NO FUCKING STUTTER. HE ORDERS THOSE MEN AROUND AS IF HE’S BEEN ORDERING PEOPLE FOR YEARS. REMEMBER THAT HE’S A FUCKING CARGO PILOT. His voice is so firm, so direct, that none of the soldiers hesitate. When Bodhi makes the run to the shuttle with the cable, there’s a cut to a soldier watching him, and it’s after seeing Bodhi run that the soldier stands up again to fire at the Stormtroopers. I think this soldier is also the one that first decides to run to the master switch, too? (Not sure about that one.) 

And Bodhi basically orders Admiral Raddus to do shit. An Admiral!

BODHI WILL SAVE HIS FRIENDS. HE WILL NOT DISAPPOINT HIS FRIENDS.

BODHI’S LAST WORDS ARE “THIS IS FOR YOU, GALEN.” 

!!!! my heart

“THIS IS FOR YOU, GALEN.” 

IF I WERE TO MULTISHIP A RO CHARACTER, IT’D BE GALEN/BODHI.

I just... I love Bodhi’s character arc so mUCh????11!!? And Riz Ahmed was amazing portraying it????

Melshi seems pretty damn cool. Too bad we didn’t hear more from him.

Baze looks SO BETRAYED when his cannon didn’t take down the AT-AT unit.

Baze and Chirrut at Chirrut’s death was so painful and heartbreaking to rewatch. I like to think that the only reason Chirrut didn’t cup Baze’s face in that moment was because he lost the strength to lift his arm higher and that’s why they just held hands. And the only reason Baze didn’t kiss Chirrut’s hand is because of movie industry homophobia :))))) Also, I realized that Chirrut was hoping/thinking Baze would survive because he says, “Look for me in the Force, and you’ll find me.” :(((

BAZE TURNING HIS GAZE BACK TO CHIRRUT’S BODY WHEN THE GRENADE LANDS BROKE ME EVEN MORE THAN HIS RECITAL OF CHIRRUT’S PRAYER. I could almost hear the “I’ll be with you soon, love,” voice-over.

MY HEART

“Climb! Climb!”

MY HEART

Possible RebelCaptain Kiss Moment No. 2: right before they jump onto the center tower.

Jyn and Cassian must have arms of steel, I’m just saying. If the claw thing didn’t trip me up, I’d fail the mission purely because I couldn’t climb more than one row.

Trying to figure out how many stories Cassian fell down. Fics keep saying really high numbers (like 8 or 12), but it didn’t seem like that? Though that just might be because we were watching it from a higher perspective. (I’m not implying Cassian wasn’t severely injured. I cringed every time he struck a beam. I was just wondering how long the fall was.)

If Cassian shooting Krennic on Eadu would have probably changed RO’s ending, do you want to know what would have completely changed the entire original trilogy? SOMEONE SHOOtinG THE FUCDKING SATELLITE DISH. HOW DID NO ONE HIT THAT EVEN BY ACCIDENT.

“You lose.” = completion of “You will never win.” = Erso Rebels, three for three.

So, since we’re nearing the end, I’d like to quickly talk about Descent/Climb (though Fall/Climb is a more catchy term, if less accurate).

If “abandonment/returning” was one of Jyn’s themes, “climb/descent” is another one.

She “falls” every time Krennic is near her: (1) Lah’mu: she descends the ladder into the hideout; (2) Eadu: she nearly falls off the platform after it’s bombed; (3) Scarif: not Jyn, but Cassian-Jyn are basically inseparable by now anyways: Cassian falls at the Citadel; (4) Scarif: Jyn falls when trying to get back to the transmission tower.

She climbs: (1) Lah’mu: towards Saw (unseen); (2): Eadu: to get to her father; (3) Scarif: to get the plans.

Ok, honestly I have no idea/don’t have the energy to figure out what this actually means, but Jyn went up and down too often for it to not have some sort of importance.

Speaking of themes: from Jyn’s perspective, the entire movie is basically a mirror of her life:

Home on Lah’mu.

Lyra abandons her.

Jyn sees Krennic. Lyra shoots him in the shoulder.

Lyra dies.

Galen “abandons” her.

Saw abandons her.

Jedha: Jyn reunites with Saw (and sees that she’s loved). [Cassian comes back for her x1]

Hologram/Eadu: Jyn reunites with her father (and see’s that she’s loved). [Cassian comes back for her x2] 

Scarif: Jyn thinks Cassian is dead after his fall.

Jyn sees Krennic. Cassian shoots him in the shoulder.

Cassian comes back for her x3.

Home with Cassian/the beach.

Possible RebelCaptain Kiss Moment 3: Side of the head kiss after Cassian stops Jyn from murdering Krennic.

Possible RebelCaptain Kiss Moment 4: Elevator.

Possible RebelCaptain Kiss Moment 5: Beach.

Don’t know the proper term for it, but the quickly-gradual white-out of the screen as Jyn and Cassian are being burnt to a crisp is one of the most visually stunning moments in the film.

MY HEART.

Ships jumping out of hyperspace: cool.

Star Destroyer slamming into Star Destroyer and hitting that Ring Thing: cooler.

Star Destroyer jumping out of hyperspace and Rebel fleet crashing into it while trying to escape: coolest.

Another detail: the ship that had engaged the Star Destroyer and pushed it into the other one was a suicide run. I mean, I’m sure all the fleet knew that this mission was probably a suicide mission, but that ship in particular knew that what they were about to do was a kamikaze move. Serious bravery.

Darth Vader is fucking terrifying.

CGI Princess Leia would have been less uncanny valley if her nose and her eyes weren’t so far apart vertically.

So, the mission plans were on this big cassette thing. And then they were downloaded onto this tiny disc thing. Does the Alliance have better data storage equipment? Or is it like downloading the jpeg version of a CAD file? These are the important questions, people.

FINAL THOUGHTS:

 movie is still amazing and emotionally traumatizing.

god knows how long i’ll be in this fandom. i’m guessing a long, long time. it will never leave my heart even if i visit another one.

every single rogue one family death made me tear up in the theater.

this is fucking long, jesus, i should be spending my time doing other things, like reading Catalyst.

- link to my other Rogue One blabberings -

[aion-rsa]

WonderCon: DC Universe: Rebirth Panel

A year ago at WonderCon 2016 in Los Angeles, DC Comics announced its initial lineup of “Rebirth” titles and creative teams. WonderCon has returned to Anaheim for its 2017 edition, and brought with it a new “DC Universe: Rebirth” panel showcasing the line on Saturday afternoon. No roster of creators has yet been announced for the panel, but expect plenty of the current Rebirth talent.

CBR is there live, so keep hitting refresh for the very latest details.

DC All Access host Jason Inman took to the stage as the moderator of a massive panel of DC’s creative talent, including the Benson sisters, Sam Humphries, Phil Jimenez, James Tynion IV, Chad Hardin, John Semper Jr and Danny Miki with surprise guest Geoff Johns.

Inman began the panel by asking Johns for his favorite moments of Rebirth. Johns replied by first, thanking the fans for supporting Rebirth across the board. “I’ve worked with everyone on this panel, and I’m so proud of the work everyone has done,” Johns said, before singling out that Jimenez is one of the first artists that Johns met at DC.

Inman asked for a tease for Rebirth’s future from Johns. “I’m going to be returning to comics to do a series this year.” Johns said, surprising the audience. “You’ll hear more about that soon.”

Next up is the Benson sisters talking about the “Birds of Prey” — Shawna Benson spoke about bringing Roulette in to the book to make the universe feel more “lived in” with a meta-human fight club. Inman asked about bringing a new Oracle in for the Birds as a team, and Julie Benson fielded the question saying they will be looking into Gus’s origin soon.

The Bensons also spoke about Black Bird, the new villain for the Birds, who will be “a real problem” for the birds in the future.

Johns then spoke about how the Birds about how the Birds of Prey as a team are a corner stone of the DCU, and then continues to tease a potential Rebirth for other “cornerstone” teams like the JSA and the Legion of the Super-Heroes, to a very excited response from the crowd.

The focus then shifted to “Detective Comics” where Tynion IV takes over talking about Cassandra Cain’s role in the story. “I started reading comics monthly around “No Mans Land,” Tynion said, “Which is when Cassandra was really introduced to the comics. She’s very important to me.”

Tynion continued, “This upcoming arc [of “Detective Comics”] is when we find out what the connection between the League of Shadows and the League of Assassins actually is, and where Ra’s Al Ghul comes into play. He is not there as an ally.”

Inman asked Tynion about a twitter interaction between Tom King and Tyion on Twitter about who the most skilled fighter in the Batfamily is — King said Cassandra, and Tynion said he definitely agrees. “Cassandra’s first language is fighting,” Tynion explained, “If Cassandra and Batman wanted to fight and go-all-out, Batman might not win.”

“The core tragedy of Cassandra,” Tynion went on, “Is the danger in her. She’s afraid of herself, in a way. And she worries that the people around her are also afraid of her.”

Johns then went on to shed some light on the creative process in deciding the roster of “Detective Comics” “You can’t say “I loved this character as a kid” that’s not good enough, you really have to get under the hood of that character and that’s something I think James has really done with Cassandra.”

Inman then asked about the process that went into creating “Green Lanterns” behind the scenes, since they are characters that Johns himself created. “When DC approached me about the book,” Humphries said, “I was like “where’s Hal? But as time went on I realized that these new characters were the next Hal Jordan, the next Kyle Rayner.”

“Green Lanterns” is a story about “courage over fear”, Humphries elaborated, and expressed his excitement about the depth of the world of Green Lanterns with “Hal & The Green Lantern Corps” being so different a story. Johns chimed in at that point to explain that Jessica Cruz and Simon Baz’s contrasting personalities are what make “Green Lanterns” so strong, and singled out Cruz’s anxiety as a specifically relatable concept for fans like himself.

Inman then steered the conversation toward cliffhangers and Johns chimed in “Writers out there, don’t ever do a cliff hanger where your characters walk into a building and that building blows up. It never works.” Humphries laughed, “No, no, there always has be a personal component for a cliffhanger.”

“I don’t know if I’ll ever do a cliffhanger as crazy as the one I did in “DC Universe: Rebirth,” Johns laughed.

Next up, the focus is moved to “Superwoman” with Phil Jimenez. Inman asked for some retrospective from Jimenez now that “Superwoman” has been collected.”

Jimenez laughs and says “I have a hard time reading my own work. I wrote Superwoman about two characters who may have not ever gotten along or been friends, but they realize they’re better together. I didn’t want to be the “Superman” guy, I wanted “Superwoman” a little more off beat and quirky. I wanted to address some of the weirder parts of the Superman world.”

“I loved writing a moment in “Superwoman” #5 when I got to write Lana call Lex Luthor out on being an awful human being. He’s an awful human being, and I was so glad I got to write that scene,” Jimenez recounted.

Johns had to depart the panel, so Inman refocused to “Harley Quinn” with Chad Hardin. “The whole creative team is like a group of 12-year-olds,” Hardin said, “Sometimes we push it too far and have to dial it back, but we’re having a lot of fun.”

Danny Miki, inker of “Batman” then took focus for a moment, when Inman asked Miki what it’s like to ink David Finch. “He’s got this heavy metal feel to his work,” Miki said, “It’s like a puzzle. It’s a wild ride.”

“Is there anything David just doesn’t like to draw that you just fill in? Like does Finch hate drawing cars?” Inman teased, but Miki laughed and responded “No no, he’s down with everything.”

Next up is “Cyborg” with John Semper Jr. “Now John,” Inman started, “You’ve been writing “Cyborg” for 11 issues — are you afraid of your phone yet? Skynet? Technology?”

Semper laughed, “I’m always afraid of my phone.”

Some teasers for upcoming issues of “Cyborg” were presented on the screen featuring Cyborg facing off against a villain in a stylized 8-bit world, which Semper explained was partly inspired by his own interest in classic video games and his love of pushing new limits with Vic as a character.

“Was there any difficulty in finding Vic’s voice as an individual hero apart from the Teen Titans?” Inman asked, which was met with a quick “No, no, I was given a blank slate with this character going into it,” from Semper, but he went on to explain that the complicated elements of “Cyborg” are leading up to a “cataclysmic” event he can’t talk about.

Updating…

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