#of what i must reinforce is a pretty clear characterization and arc

[lizzibennet]

personally the appeal of friends to lovers to me is that i like the idea of a person realizing they’ve always been a little bit in love with that friend, but they needed something to make them aware of it, to point out that that nice, warm feeling that they love about that person isn’t just friendship and perhaps hasn’t been for a long time. i love the idea of “of course i love you, i always have, how stupid of me to not have seen it before.” in that sense, i don’t think it makes sense when people say colin just starts liking penelope in s3/episode 4. the whole point of building up a friendship into a romance is to portray that these characters have deep feelings for each other that may or may not be romantic but that end up melding into a romance in the end. he’s only just understood his feelings but he’s clearly felt them for a long time. the fact he doesn’t understand being a rake doesn’t emotionally fulfill him and processes that through part one is telling, to me, that he’s only now beginning to fully understand what he feels, not only towards pen but also towards himself, towards life in general. so again, i think it makes sense that things become clear to him now, that doesn’t mean they’re just starting to happen now. i think that read of him is really superficial tbh

[japes-the-clown]

THE SPONGEBOB SQUAREPANTS MOVIE: AN INVERSION ON “COMING OF AGE” FILMS AND A CRITICISM OF ADULTHOOD

Hi hello hey it’s me Jericho Jay “Japes” Marshall out here with a pretentious love letter to the filmmaking on display in nickelodeons The Spongebob Movie. Yes, I know it’s a kids movie. Yes, I know it’s not that deep. But I’m majoring in english, and deeply depressed, so I need to get this OUT and onto a PAGE.

I have watched this film many times over my lifetime, a few when i was just a kid, then in my early teens, even when i turned eighteen, and now, a month before i turn 20. Every time, I grow a new appreciation for the nuances that this movie brings to the table, and on my most recent watch my own deliverance from childhood makes me relate to the core themes the hardest I ever have. The Spongebob Movie isn’t just a movie about childhood, but a movie about adulthood.

Today, I’m going to make clear exactly how The Spongebob Squarepants Movie criticizes our understanding of adulthood and how society treats the neurodivergent, while effectively turning the “Coming of Age” genre on its head, within its 87 minute runtime.

START: CONSISTENT CHARACTERIZATION

One thing a lot of films (ESPECIALLY kids films) fail to nail is consistently showing aspects of a character throughout the runtime, enough that changes to a character feel impactful and justified instead of rushed and stifled. The best examples of movies that fail to do this are often the marvel movies that people tend to not remember- the first two thor movies, the avengers age of ultron, etc. In these movies, characters certainly have traits, but their personalities and motives can be very weak and make dramatic changes feel A LOT less dramatic. This can be seen in age of ultron, when quicksilver gave his own life to save someone else, which felt like nothing because he wasn't well developed. He wasn't particularly endearing, nor did him sacrificing his life contradict a part of his character. It felt very much like the writers trying to say "Look, this character which was once opposing the avengers, is now dying for one. Please cry." No hate to the writers of Age of Ultron, but it proves itself often to be an unmemorable part of the catalogue.

In the Spongebob Movie, the characterization is ON. POINT. After the introduction, with the pirates rushing in to watch spongebob, we get so much information regarding spongebob as a character.

Pictured: Spongebob holding a piece of cheese like an operator

The first scene of the plot is a dream sequence a large crowded scene at the Krusty Krab, with a customer not receiving cheese on his patty, and it being positioned in the same way as a bomb being located. In the dream, everyone is panicked, and Mr. Krabs is visibly distressed, almost like a damsel. Spongebob comes in, announcing his position as manager, much to the relief of Krabs. He goes in, and puts cheese on the burger (again, very akin to a bomb defusal scene), bringing the perturbed customer out safe and sound. Everyone lifts spongebob up as a hero, which is interrupted by his boat alarm.

This scene is JAM PACKED with stuff that both introduces the character to new watchers and introduces the crux of his arc to everyone else. Spongebob of course is very fond of the Krusty Krab, and wants to be the manager- he wants people to see him as cool, and as a responsible adult. He wants to be the sort of person that can be trusted with big responsibilities. And we also see, most importantly, that he is extremely childish through his faximile of what it meant to be adult. Everything is scaled up; it's a very silly situation, which well suits both the joke and his character as an inexperienced kid. This is one of the most direct ways to convey someone's character, because a dream can be interpreted as a direct port into a character's desires. This being the first introduction to the character in the movie sets the tone for EVERY following situation.

In the next few scenes you see Spongebob's real life, which involves his lengthy morning routine; his life is sort of whimsical, and so too is his routine. He showers by shoving a hose into himself till he bursts with water, he uses toothpaste to clean his eyes but not his teeth, and he puts on pants which he must fold to make. Again, all pretty solid jokes, but also very telling about his outlook. He is funny, weird, and childish, which is juxtaposed by the scene where he's- he's uh- showering with squidward. Squidward is an example of the "adult" that spongebob isn't. This has always been the case, but here his normal routine makes it very clear that other people in this world aren't like spongebob. They shower normally, they brush their teeth, they put their clothes on like normal. Spongebob's world is one of wonder and without responsibility, which makes it questionable as to whether he could handle one.

Pictured: Spongebob's room, adorned with childhood imagery

Pictured: Spongebob celebrating his position as a manager, despite Krabs saying that it was squidward who got it

Even his room in this scene screams "kid". He has toys strewn about, glow in the dark stars, and pictures of superheroes on the wall. He even says "Sorry about this calendar" as he rips a page, personifying inanimate objects as a kid would. The movie is telling you, "THIS CHARACTER IS A KID", but in a way that's masked because it's also just a set up for jokes. It's done so well, in my opinion, that it would go over your head because from your perspective you would be laughing along as spongebob did his wacky antics.

On top of that, his excitement for his assured managerial position at the Krusty Krab 2 continues to be bolstered. He marked it off with a cute drawing on his calendar, for those familiar he changes his normal "I'm ready" chant to "I'm ready- promotion-", and he's even already set up a party to celebrate at his favorite chain, Goofy Goobers, a child's entertainment restaurant similar to chucky cheese, albeit replacing pizza for ice cream. He hasn't just gotten excited, but has this childish anticipation for something which isn't even assured.

Spongebob arrives at the opening of the Krusty Krab 2, where he is so excited he can't contain his glee. He breaks the silence and makes members of the crowd uncomfortable, reinforcing again that spongebob is a standout in a world of adults, and a kid who doesn't understand certain social norms, which society looks down upon. When Krabs reveals that Squidward got the managerial position, Spongebob hyped himself so much that he starts celebrating, not even noticing that he wasn't picked. He gets on stage, and begins to give a speech, to which Krabs interrupts.

The next part I think best illustrates Spongebob's clear ignorance to society: Krabs attempts to subtly tell spongebob that he isn't getting the job, but spongebob repeats everything he says into the microphone. Again, fantastic joke, grade A, but the amount this shows how invested spongebob was. He already saw himself as an adult, someone who everyone would look up to as a manager- he could take the responsibility, and isn't aware of everyone likely cringing in the audience. This is the natural step for him in his mind, especially because of his exemplary work which had been previously celebrated through employee of the month awards. This was not an option for him. There wasn't a world in his mind where he would be outclassed by squidward.

Krabs has to break to him that he lacks responsibility, and that his childishness makes it difficult for Krabs to give him such a job. This might seem harsh, but I think the intro again shows how Spongebob saw the job; he didn't understand what it would be like, fantasizing another level in the menial work structure to be an amazing adventure of a job. People in the crowd reaffirm that in the eyes of society, spongebob is just a kid, a goofball. In my eyes, this is a story not just of childhood, but of neurodivergence. Spongebob isn't normal, and is blocked by society for his ignorance of social norms and sunny disposition. He finds things fun that other people can not, and he places values in completely different things. So he is blocked from the meaningful recognition he desired, despite the obvious evidence of his commitment.

I think this is a mighty interesting dichotomy!!! Simultaneously, spongebob's understanding of the world truly is warped, often resulting in a lack of consideration for others as well as harm for himself when things don't go his way, AND he is a good worker which puts in MANY hours of work without so much of a complaint. This is COMPLEX. You have to ask yourself, as a viewer, "would I give spongebob the job?" The answer can be different and can be REASONED.

And that's JUST spongebob! There are other characters with characterization that mixes into the themes of the movie very well, but I'm going to bring up any related points in future sections.

Okay, Okay. So now you're saying "WOW OKAY GREAT so why does any of this matter?" I'm so glad you asked. VERY glad.

2: THE BREAKING OF A YOUNG MAN'S SPIRIT

THIS is the point of the movie. The obstacle in this movie truly isn't adulthood, but instead self doubt. Spongebob's whole world is turned upside down by Krab's rejection of his basic personality. Spongebob asks himself: is it REALLY okay to be who I am? Am I an adult? Is the world fair? One of the most shocking scenes in the movie is blended so well in tone with the rest that you don't really notice; spongebob eating ice cream to cope with his disappointment, akin to that of adults drinking alcohol, and appearing to be visually "drunk" and washed up. This is BRILLIANT, and a recurring theme, where the true line between adult and childhood becomes blurry and impossible to see. Spongebob, the representation of a kid, gets hungover, spiteful, and angry about the injustice of his situation. This is often how adults act in the fact of adversity, but what's funny is that this too is how a kid would act; getting angry and overindulging, feeling entitled and acting socially immature when he didn't get what he wanted. He walks in to the Krusty Krab literally just to shit talk Krabs. And it doesn't stop there.

Pictured: Plankton finding "Plan Z" and looking at it like a centerfold in a playboy magazine

Almost every character in this movie juxtaposes another, again smearing the line of what it means to be an adult. For example, Spongebob and Plankton are polar opposites; plankton is cold and vengeful, angry at the world around him, and spongebob is a happy person who tends not to take things personally, a friend to all. In planktons first appearances in the movie, he is portrayed with clear adult themes, mocking spongebob, making pinup jokes about plan z, and living in a fairly dark and grey space. But, as the story moves along, we see many similarities; both spongebob and plankton are fairly one track minded, and when spongebob's perception is broken he himself gets a little vengeful. When eugene is put in danger over this, though, we do see that he places the lives of others over his own wants. And, even at the end of the movie, we see their similarities. Plankton reuses the "Sorry Calendar" joke that spongebob used at the start of the movie, drawing another line of what it means to be an adult. Is it childish of plankton to say that? Is the inherent irony he has impactful here? His want for something that isn't his, and his disregard for others in pursuing it feels just like how a younger child may steal the toy of another, without understanding what it means to share.

Pictured: Neptune flipping his shit at his lost crown

Then, there's the character of Neptune. Neptune is a big man baby. He rules the entire land, commands the most respect, and is considered the most powerful person under the sea, and yet, we see that he gets overprotective of his property, prepared to execute anyone who even annoys him. Throughout the film, he's obsessed with chasing an image of youth, as he is bald, and ignores the suffering of the people on bikini bottom to make sure no one sees his bald head. He throws what's equivalent to a tantrum when he finds his crown is missing, and believes a very crude note written by plankton saying that it was eugene who stole it. His character is an "acceptable" child because he's in a position of power, where spongebob is an "unacceptable" child as he is just a working class member of society. And the funniest part is, that he mocks spongebob for wanting to go for the crown, when even he, the strongest person in bikini bottom, refuses to go out of fear.

We see that these "bastions" of adulthood, plankton and neptune, are the ones who are responsible for missteps of society; we're ALL children in the long run, but the strict enforcement of a perceived true adulthood creates a space where they can act immaturely yet those under them/around them cannot. Dennis makes this case even more, as the only thing he does in this movie is hurt others. There's only one thing that seems to truly denote adulthood, and it's cruelty.

Even squidward, the adult that is supposed to be more responsible that spongebob, refuses to go on the quest to retrieve the crown, as he acts mostly in self interest, even later claiming to only care that plankton was stealing the secret formula as it was hurting his own paycheck.

Spongebob is the only one willing to go, willing to defend the man who wronged him, willing to value life over his own interests. He is both child and adult, just as the adults are too children.

As he moves through the plot of this film, he becomes less confident in his disposition, with his naivete causing moments like him and patrick crossing the state line and immediately getting carjacked, or them being put into an uncomfortable situation by all the bubbles they blew when they tried to get their car back. His bright personality is questioned constantly: Only five days to shell city? BY CAR. This is man's country. But weren't we the double bubble blowing babies?

Pictured: Spongebob caught trying to take back the key to the patty wagon when patrick fails to distract everyone

This is made more obvious to him as patrick remains oblivious throughout; patrick is a mirror for him, that acts as a childhood constant, that makes it clearer for him every day the draws of his childishness. There's the moment in the club where patrick's distraction was poorly thought out, and only because he said he wanted to do it adamantly, there's the moment where patrick challenged neptune on how many days they would have to do it, which served no purpose but for his own fun, there's the moment patrick points out the free ice cream trap- he is the unemployed uncritical lens that spongebob is afraid he is.

So everything's fucked, and anyone who is childish is bad i guess!!!

But that isn't so,

3: The illusion of manhood

So we've talked about spongebob's characterization as a naive child, how this is impactful in his transformation into someone who is anxious about that aspect of his personality, and how the society around him is hypocritical in it's own immaturity. But where does this all come together?

Pictured: Planktons dystopian world, which Mindy shows Spongebob and Patrick

It's at spongebob and patricks "conversion to manhood". At his lowest point, spongebob becomes a squidward- he becomes critical of his AND patricks interests, and regards them as childish, deciding that this means that they can't make it to shell city, as it requires them to be adults. When mindy shows them the dire situation back home, she hopes that spongebob's sunny personality and care for others would shine through, but instead he turns to what society has been telling him; it's impossible. He can't do it, he's just a little kid, and there is no point to any of this as he'll fail regardless.

Thinking about it like this, it truly is one of the darkest points in the entire series; spongebob just openly admitted that there was nothing he could do, that all of his friends were goners because he was effectively useless.

Mindy comes up with an idea; she'll trick spongebob and patrick into believing they're men; she convinces them of mermaid magic (their innocence allowing them to believe) and uses kelp to make them think they've matured into adults. Notice that physical modifiers being the only key to this "fake adulthood". With this, they jump off a cliff because they believe that with adulthood, they are invincible.

This is really telling about how the society they're in thinks of being an adult, and relays that to children. There's another level, a distinct separation between spongebob and adulthood, which seemed like the difference between a squire and a knight- being an adult means that you aren't weak anymore (as though he was weak in the first place), and thus you can do things you never thought before. Is it truly healthy that this is how a society tells kids that adulthood is like, for them to enter the world and feel a truly awful financial and literal hellscape waiting for them? uh, you can, you can decide that for yourself i think.

Nonetheless, they survive the fall, and conclude that they really are invincible, able to power through a ravine with their happy go lucky attitude, eventually befriending the monsters which were once trying to kill them. They weren't acting like adults, but the labels themselves made it possible for them to soldier on with the childlike disposition they had. I find that to be powerful. If we were able to be more hopeful as adults, and power through the worst things brightly, could we do great things? Idk but these depression meds sure do taste good nom nom

After crossing the ravine, spongebob and patrick meet dennis, and have their worldview crushed as it's revealed that they are actually still kids. Dennis being the "alpha male" that he is, is characterized by violence and a lack of morality. The pair are saved by a giant boot, which is the first of two humans in this movie. Spongebob and patrick are both taken by the man in the diver suit, as we fade to black, marking the end of their illusion of adulthood.

4: Back from the Edge (of death)

Spongebob and Patrick awaken in an antique shop, realizing that they were surrounded by fish that had been killed specifically for sale as tacky antiques. They are lifted out of their fishbowl, and put under a heatlamp, as their fate is sealed to become a member among those dead fish. In spongebob's final moments, he mourns his inability to be an adult, as well as to reach shell city; but before they both die, patrick points out that they truly did reach shell city, as the crown was within their reach.

This. This is a phenomenal scene. Why? Because of what it means for spongebob's arc.

Pictured: Spongebob and Patrick on their deathbeds, finding happiness

He sees the crown, and realizes that, unequivocally, that even if he didn't bring the crown back, he made it to shell city. Every person he met told him that he couldn't even do that. and he did it. He is a kid, yes, but he's a kid who went where not even NEPTUNE dared go. Everything people said about him, about how him being a kid stopped him from success, was suddenly shattered. He has been asking himself if it's okay that he is a kid, and he saw, unambiguously, that it is. He is allowed to be happy. He can enjoy things that other people don't. He can be naive. He can be himself, no matter what anyone says. And so can you. Great things can be done by people who are "childish", who are "naive", who are kind without expecting a return, all of it. YOU are okay. Your stims are okay, your comfort series are okay, your interest in tropes are okay, YOU'RE OKAY!!!!

with that, spongebob and patrick are dehydrated on the table, and ostensibly die, the kids that they are, shedding one final tear each, forming a heart beneath them.

...

Miraculously, the tear electrocutes that lamp at it's socket, causing smoke to rise and set off the sprinklers, rehydrating the pair, and bringing them back to life. The "Man in the Suit" attempts to capture them, seeing them about to lift Neptune's crown, but the rest of the dehydrated fish come back to life- squirting him with his own glue and beating him to the ground, as spongebob and patrick run out with the crown. David Hasselhoff offers them a ride back to Bikini Bottom, and the pair begin their ride back.

5: The confrontation of Adulthood and Childhood

Pictured: Dennis looking all lame and shit

As spongebob and patrick are being swam back to bikini bottom, the boot under which dennis was crushed rockets to Hasselhoff, spitting him back out to finish the job. The appearance of Dennis, IN MY OPINION, makes him look rather goofy, with his broken glasses making him look more like a office worker than a badass assassin as he attempts to kill spongebob and patrick. Spongebob, in trying to reason with him, is able to ruin his eyes with bubbles, and then survives as dennis gets hit by a raised platform which spongebob and patrick are too low to be hit by.

Having defeated one representation of adulthood, spongebob and patrick are shot down by HasselHoffs MASSIVE MAN TITS with the crown in order to prevent Krab's fate, blocking Neptune's lazer just in time as they crash in.

All seems to be well, but plankton uses one of his mind control helmets (which we'll be getting into later) to enslave even Neptune, putting mindy, spongebob, patrick, and Krabs against the wall.

In another stark moment of characterization, Spongebob tells patrick that "Plankton Cheated", which prompts plankton to tell spongebob that the situation wasn't a kiddy game, and that it was the real world. This sort of distinctions in their ethos tell you how spongebob interacts with justice; he believes in "playing fair", while plankton is bitter and believes in getting what he wants.

Finally, the apex to our plot, is a musical number. Spongebob begins to make a long-winded speech, where he takes ownership of every label he was called as he stood on the stage at the beginning, the similarity between the two events being clear (holding a microphone at an inappropriate time, making a speech as he blocks out input from an adult trying to talk him down). Spongebob then busts out into the film's rendition of Twisted Sister's "I Wanna Rock", "I'm a Goofy Goober". This results in spongebob reversing plankton's whole plot with "the power of rock and roll". Plankton is made powerless, and thrown into a little padded cell.

The final scene in the movie has Mr. Krabs freed from his imprisonment in ice, and spongebob is offered squidwards position as manager of the second Krusty Krab. He seems hesitant, and squidward offers an insightful analysis of what spongebob might be feeling (the typical analysis of a coming of age movie, where the protagonist finds out that what they wanted all along is not what they wanted, but it was what was inside all along). Spongebob refutes that squidwards fly was just down, and GLADLY accepts the job.

AND THAT'S THE MOVIE

6: AN INVERSION ON THE COMING OF AGE GENRE

A coming of age story tends to be one which is focus on the growth of a character from childhood to adulthood, asking questions about what it means to be an adult. A character reaches for their perceived adulthood, and realizes what it means to ACTUALLY be an adult, typically juxtaposing what people think (drugs, parties, sex) versus what the movie postures as the correct adulthood (responsibility). In this, I think that the spongebob movie directly criticizes the position of what "an adult" is, in the sense of how someone acts.

Like we discussed in part 2, every adult character in this movie tends to be very childish in themselves, unable to see through simple ruses, and often very possessive of personal property. I don't think we actually see a child in this movie as a speaker at any point, only really as background characters (in goofy goobers to solidify spongebob as childish, and I believe in the chum bucket as they're lead to an unsafe place by their parents, who are supposed to be responsible). Thus, what is mostly examined is how adulthood and childhood is a very thin line. Squidward, for example, going directly to plankton to accuse him of stealing the formula, instead of taking it to the top immediately, which would have ended this whole thing fairly quickly; that was rather silly, and was the fruit of his need to assert himself as an adult.

Spongebob goes through this movie FIRST not caring much about whether or not he was an adult, and it is only after the social pressure from adults does he start to chase it. He then chases his perceived image of an adult, going on an adventure, and is crushed by the fact that he isn't an adult. Instead of finding what an adult is, he instead becomes comfortable with his existence as a child, finding himself at the end of the movie able to comfortably chase after an ideal again, where in a normal movie he would humbly reject the job he was offered.

This is, truly, what we should all take from this film. Spongebob realizes that people who aren't necessarily socially adjusted or acceptable can do great things, regardless of what the people around them say, especially because the people around them are liable to throw tantrums and be actively harmful to society. He is allowed to find comfort in childish things, and to be naive, because the world needs more people willing to help others. It's a scathing criticism on the imposed adulthood that exists in a lot of coming of age films, which begs us to drop fun in the interest of doing the right thing, as though those two ideas are contradictory.

BONUS: EXTRA STUFF THAT I LIKED

The goofy goober song became really good storytelling, at first marking childishness, then marking a level of discomfort and judgement in the club, then marking spongebob recognizing that his happiness came from what he liked and not some vague idea of adulthood, and finally marking his full acceptance of his childishness, taking the form of rock, the music of rebellion. It's not as subtle as leitmotifs, but it works really well in how the same song can give very different feelings throughout, and inform how we interact with a story.

There are a lot more examples of adults being pressured into childishness, with the connected twins who liked goofy goober at the club, who were beaten senseless for absolutely no reason, which highlights the way that the society hurts people that, by all means, are just as much adults as anyone else. There's of course Plankton's helmets which created a society of people who simply slaved away with nothing to say, taking life as it came and listening to authority.

On top of that, this movie is PRETTY ANTICAPITALIST AND ANTIMONARCHY, despite those things being allowed to continue to exist at the end- monarchy is seen misusing power constantly and often for unfounded reasons, and Spongebob's diligence at work is rejected by a penny pinching Krabs, who cares only about money. Like, THE KRUSTY KRABS ARE RIGHT NEXT TO EACH OTHER? THAT IS SOME MONTY PYTHON ASS SHIT. This year is the first year i laughed at that joke, because it's really some "capitalists are fucking dumb as shit" humor that slipped over my head when i was a kid. The villain literally being defeated by Rock and Roll, which was sung with a message against the oppression of differences in people? Yeah, I think the spongebob movie hated rich mother fuckers.

END: UH YEAH THAT'S WHAT IT IS

So yeah. The movie is good I think. There's a lot more i could go into, but I've been writing this post for hours and at this point i haven't even read it so...

I recommend going back and giving this film a rewatch!!! Pay attention to all the moments where adults act like children/kids act like adults, because it'll make ur brain pop like a zit. Anyways that's me, I'm Jericho Jay "Japes" Marshall, and I HATE facism.

[michaelburnhamfanclub]

season three is where star trek discovery claims to have found its stride, and i must admit that with the season’s premiere, i was more than inclined to agree. however, now that s3 is complete and we’re able to take a holistic view of all of the resolved and unresolved arcs, i’m still pretty unsatisfied

with the s3 finale, it became clear that the season’s mission in terms of its protagonist was a concise one: to fully prepare michael burnham for the captain’s seat

i was thrilled when michael finally was promoted to captain, but it’s really worth examining the ways that the show went about its final preparations for such a promotion. there were a few major tenants to michael’s character arc across these thirteen episodes, and the following two themes are the ones i think are most worth unpacking in terms of what they do in service of michael’s promotion:

1. michael’s ongoing and complex relationship with isolation

2. michael’s inclination to subvert authority and protocol in service of what is right

i’ll try and unpack these a little bit below the cut

michael and isolation

ever since the very first episode of the very first season, michael burnham has been a character entrenched in her own isolation. in season one, michael found friendship and community on the discovery by forging bonds with sylvia tilly, ash tyler, and paul stamets and by redefining previously broken bonds with saru and the alternate philippa georgiou. one of the main reasons why s1 is kinda still my favorite season is this very aspect of it: michael’s success and the federation’s survival depended on the creation and strength of these bonds

season two continued michael’s experience of isolation by introducing her estranged and tortured relationship with spock. the major theme of michael’s character in this season was her instinct to “reach” for the people who always seemed furthest from her despite everything (i.e., she “reached” for her parents, spock, tilly, etc.). this was the final message she imparted to spock: the act of reaching for others will always be the most worthwhile thing, even if you are unable to ever touch them. michael was finally able to connect with spock only to be launched into the future

season three picks up on this theme in what i think is the most conceivably devastating way possible. michael is isolated for a whole year from the crew of the discovery, and when she returns into the fold, nobody reaches for her.

now, a huge part of why the first and third episodes hit me so hard is because i really thought they were going somewhere meaningful with this. she loses so much, and the gratitude directed towards her in the third episode is directly acknowledged as NOT ENOUGH. michael stands among her found family in the halls of the discovery, a family she has mourned for a year, and tilly says, “you let us go, didn’t you?” and there seems to be purpose to it

the first half of season three sees michael feeling lost, struggling to find a single reason why she should feel like she should belong with these people on this ship anymore. tilly and saru both clearly understand this, and instead of seeing any efforts on their part to welcome her back into their family, they further contribute to her feelings of isolation and make HER apologize for keeping THEM out of the loop (and yeah i understand that these apologies have to do with breaches in starfleet protocol but rn i’m only focusing on the interpersonal implications). the only meaningful connections that michael is able to maintain this season are with book and georgiou. and while i adore them both, georgiou leaves before the season ends and book is from the future and isn’t a discovery crew member, which makes it feel like when michael says she doesn’t think she belongs on the discovery, she’s RIGHT

this first half of development would’ve been all well and good if it had been carried out to its logical conclusion, which would have been the discovery crew fighting to make michael feel like she belongs, but that never happened. instead, we get unification iii, which is a great episode on its own, but it only resolves michael’s internal feelings regarding her place in starfleet, not the interpersonal tension that’s made her feel more isolated than she’s been since, like, maybe even early season one.

this is all to say that i don’t understand how this unfulfilled arc generates michael’s preparedness to stay on the discovery as captain, unless we’re going with the “the captain defines themself as separate from the crew because they’re the captain” narrative that star trek does admittedly love. i would be more into it if i was sure that discovery would actually explore that isolation with the care it deserves

it could be cool to potentially explore a discussion or resolution of this arc next season by bringing commander nhan back as michael’s first officer, another character who felt disconnected enough from the discovery’s crew to actually decide to leave, but idk i guess we’ll see

michael and authority

i’ve talked about how michael’s s1 character arc was a journey to learn how to subvert authority before. she starts the show as “the mutineer,” and this is a signifier we can’t forget

my roommate and i have also talked a lot about how the command structure of the discovery is so fucking weird, and i think a large part of it is because it naturally organizes itself around its heart, which is a position that michael instinctively and effortlessly occupies (though that is not to say that this effortlessness is not without its own suffering---michael being the heart of the discovery is what leads to the reinforcement of her martyr complex, though that’s not the focus of this post so i won’t dwell there)

season three’s essential question that it sets up with michael centers around doing the right thing her way or doing the right thing starfleet’s way. in her year alone, michael is finally able to define herself outside of starfleet, and she likes who she finds. this is one of the main reasons she struggles to reinsert herself into the crew of the discovery, this is the reason she rejects the idea of being the crew’s captain outright, and this is the reason saru gives for demoting her. this is the eventual reason that michael sends paul in an escape pod to the federation hq instead of immediately trying to jump for hugh, saru, and adira. this is the reason that she is eventually promoted to captain

tbh i would have had less issue with this storyline if not for a couple key details: (1) michael was punished for subverting starfleet protocol when other characters (like keyla or tilly) were encouraged or rewarded for it. (2) idk i feel like we’ve exceeded the bounds of the whole “needs of the many/needs of the few” ideological tenant, which was (i think) something that the ni’var president even SAID.

when it comes down to it, i just think that michael’s complicated relationship with subverting authority deserves a much more complicated storyline. i do think that this is something we’ll see more of in s4 because it’s always going to be one of the greatest tenants of her character, but that doesn’t change the fact that it seems to have fallen rather flat in s3 for me. i’d argue that this is because discovery doesn’t seem to want to commit to its serialized style as much anymore, but maybe that’s for another post lmao

i don’t think i’ve quite found a way to properly articulate it yet, but michael taking the captain’s seat was supposed to be the culmination of three seasons of buildup. however, the buildup that the show suggested in the s3 finale seemed to be based on things that michael had already earned by the s3 premiere. her relationship with authority this season felt. idk. maybe it’s because this was kinda the first time the show attempted to show michael as a subordinate on the discovery instead of as the heart of the discovery, but it felt like it just wasn’t the natural place to take that particular element of her characterization. i’m hoping that s4 will deliver on this front, but the main thing is that i don’t think s3 did

tl;dr s3 was not what i was hoping for in terms of furthering michael’s character, and now that she’s captain i would love for these two elements of her characterization to be explored to their full and complicated conclusions

[trixree]

Feminist, Queer, Playboy, Philanthropist: Why Ironman Belongs to the Shes, Gays, and Theys

Introduction:

This material originally comes from a media critique project I did for an undergrad philosophy course and I've attempted to adapt it into a tumblr post that doesn't make your eyes bleed. I may or may not have been successful. Upfront, I'm giving you a trigger warning for discussion of sexual assault/rape. If you'd like to skip that part of the analysis, mind the red content warning [start/end].

Trix, what are you up to today? Well, I’d like to present an alternative narrative interpretation of the capstone of the MCU. At face value, Tony Stark shows us a wise-cracking, suave, and hyper-masculine superhero. His soundtrack is AC/DC and he arrives on the battlefield in a shower of gold sparks and hydraulics, wearing sunglasses that cost more than my uterus would fetch on the black market. However, this character presents us with so much more than just a hyper-masculine caricature of straight, cis heroism. Not only does he embody typically “feminine” film tropes—such as the hypersexualized “fighting-fucktoy” role, the policing of his body and promiscuity, and the climactic “rape scene” in which his predatory father-figure drugs him and steals his “heart”—additionally, he embodies classically queer film tropes. Unlike most male action-movie protagonists, his story line is an identity crisis at heart, culminating in a climactic “coming out” scene. His character is promiscuous and spurned for it, and camp is a constant underlying theme in his character design as a whole. I explore these themes in two main parts: the femme and the queer. We'll start with the femme.

Hyper-Masculinity & Tony Stark

In order to understand the subversive nature of Tony Stark, we must first establish the typical nature of hyper-masculine and the hyper-feminine character tropes. Before we can ask the question, “how is this character coded as femme?'' We must first ask, “how is this character coded as masc?”. Further, what do these tropes tell the audience about those characters? Ultimately, the hypermasculine caricature lends power to the subject while the hyperfeminine caricature strips the subject of all agency.

Hypermasculinity is defined, generally, as the exaggerated portrayal or the reinforcement of “typically male stereotypes” (typical male meaning, in this context, that of a Westernized man) such as aggression, strength and power (both physcial and otherwise), as well as sex appeal, and integrity. Hypermasculinity takes a keen focus on the physical male form as a dominating force (1). A hypermasculine character, then, would be one that portrays a domineering, powerful man that is above his peers in some way, and is sexually desirable, in that he exemplifies a pornified picture of a male physique. This desirable and desiring caricature of manhood “socializes boys to believe that being a man means being powerful and in control” (2).

In contrast to this idea of hypermasculinity is the media’s typical portrayal of women. The typical hyperfeminine characterization of women in media is that of a passive, pretty, and overtly sexualized side-character with little agency or autonomy within the story. This is true of both blockbuster hits starring men and movies starring women, too. “We had many more interesting characters on screen in the '20s, '30s, '40s than we do now… They could be the femme fatale and then turn around and be the mother and then turn around and be the seductress, and then turn around and be the saint, and we accepted that. They were complex human beings” (2). This is no longer the case for a typical role for women on screen.

The documentary Miss Representation (2) presents a common caricature that a woman in Hollywood might find herself portraying. Action movies with a female lead surely must exhibit agency in their own story lines. However, the female-action-movie-lead is dubbed the “fighting fucktoy” by Miss Representation. Although she makes her own decisions and it is her narrative that drives the story, she primarily exists as eye-candy. Thus, even the “fighting fucktoy” is just that to audiences--a “fucktoy”. She may be “strong” but primarily, she must be pretty. The MCU character Black Widow perfectly exemplifies the “fighting fucktoy”. Her physical strength may be unquestioned, but primarily it is her beauty that is the focus on-screen. Never do we see her fighting in a t-shirt and sweatpants. Even outside of the skin-tight deep-vee catsuit, Black Widow’s plain clothes outfits consist of tight jeans and even tighter shirts.

This is true for both hyperfeminine and hypermasculine stories. Both the men and women starring in mainstream productions are expected to exemplify a western ideal of peak beauty standards at all times. However, where the hypersexualization of male’s bodies is associated with power, dominance, and strength, the sexualization of women’s bodies is linked to submission, frailty, and possession. Hence the name, “fighting fucktoy”. Her beauty does not make her powerful, it makes her a “toy”, an object, a possession. The sexualization of men in media gives them power within their narratives. For women, it does the complete opposite. It makes them objects, even when they are strong. Beauty and sex make them the victims of their own stories. Ultimately, the hypermasculine male character is envied and emulated, not coveted.

Ironman: Femme Fatale

The storyline of the first Iron Man movie is one concerned with bodily autonomy in a way typically reserved for women--Tony Stark is presented as a fighting fucktoy with an unattainable heart. Not only that, he must struggle against the literal policing of his body by friends, family, and government agencies alike. This subversive, unexpected feminine story culminates in the pinnacle “rape scene” wherein a trusted older-male drugs and assaults Tony in order to take advantage of his “body”, the arc-reactor.

Let’s examine Tony’s coded “fighting fucktoy” persona in two parts: the “fighting” and the “fucktoy”. Miss Representation identifies what female leadership often looks like in movies. “When it comes to female leaders in entertainment media, we see the bitchy boss who has sacrificed family and love to make it to where she is” (2). Odd as it may seem, this perfectly encapsulates the metaphorical role of the arc reactor powering the Iron Man suits. First and foremost, the reactor represents Tony Stark’s heart. Not only is it literally located within his heart for the purpose of keeping it intact, it represents his rebirth as a caring, philanthropic man--it encapsulates Stark’s “fight”. Before his kidnapping and the subsequent implanting of the reactor, Stark was every inch the “bitchy boss who has sacrificed family and love” as well as morals themselves in order to be a war profiteer. His “fight” consists of standing up against the same system that had allowed him to amass his fortune. This “fight” is inextricably tied to his “bitchy boss” caricature as someone who has had to surrender love.

It is clear to the viewer that Stark has had to sacrifice love to get where he is in life. Many allusions are given towards the “will they won't they” nature of his relationship with Pepper Potts and Stark’s work is identified as the reason why they won’t. At the end of the movie, Stark attempts to seduce Potts, asking if she ever “thinks about that night” to which she replies, “Are you talking about the night that we danced and went up on the roof, and then you went downstairs to get me a drink, and you left me there, by myself?” The viewers are aware that the reason Stark ran off was because he had received news that Stark weapons had gotten into the wrong hands. Later, Potts will gift him the original arc reactor with the engraving: PROOF THAT TONY STARK HAS A HEART surrounding it. In an unconventional way, Stark portrays the frigid boss who sacrificed everything to get where she is in his titular fight against a war profiteering machine.

Next, let’s examine his role as the fucktoy. This is a more subtle theme throughout the film, present in body language and subtext. I will focus mainly on scenes which present a femme-coded sexualization--scenes where emphasis on Stark’s body does not lend Stark power, but instead strips him of his autonomy. Take for example the scene pictured below. In this scene, Stark bares his chest to Stane. He is quick to cover up and fruitlessly attempts to redirect Stane’s curiosity. Much like a scene where an attractive woman shows skin, the emphasis is placed on Stark redirecting Stane’s predatory interest. Notice the tension in Stark’s stance, the challenge in his eyes and the contrasting pose of Stane, mid-motion, pushing so close into Stark’s space. Stane is clearly coded as the aggressor once the reactor comes out. The same effect is observed as when a woman bares skin--an apparent loss of autonomy as other characters (and even the cinematography itself) takes a pornographic view of her body. Instead of a powerful male character baring his chest in the heat of a battle, giving the audience a glimpse of corded muscle and strength, this scene leaves the viewer feeling uncomfortable on Stark’s behalf.

[TW Start] This femme-coded sexualization that leads ultimately to a loss of autonomy again rears its head in the titular “rape scene”. This is the clearest instance of the reactor--a literal part of Stark’s body, symbolically present as his heart--lends itself to his victimization. Just as a hypersexualized female character with no bodily autonomy, Stark’s bodily autonomy is forcefully violated so that a powerful male figure in his life can exploit a part of him. This theme becomes horrifyingly clear when the scene is examined up close.

Notice the position of their bodies. Once again, Stane towers over Stark, pressing into his space on all sides. In the first image, to the right, he has an arm draped over the back of the couch--a parody of a romantic or perhaps affectionate gesture from one intimate partner to another. Stane visibly radiates power in this position, even if the viewer were unaware of Stark’s paralyzed state. Stane’s shoulders are squared, even sitting down. The position of the reactor in his hand is relaxed and undeniably taunting. Looking at Stark himself, the horror and powerlessness of his situation is clear. His eyes are open, but almost appear to be unseeing. He is not looking directly at the reactor nor at Stane. In fact, it seems as though his eyes are looking below the reactor and to the room at large. I can only describe his expression as hollow--the blank eyes fixed out to something the viewers cannot see, his mouth partially open, his skin sickly pale.

In the second image, pictured above, Stane leers over Stark’s body, cradling his head in, once again, a parody of a lover’s tenderness. He coaxes Stark’s now limp form down onto the couch, having just paralyzed him with a fictional, technological nerve agent. The horror is shockingly clear on Stark’s face and the perverse joy is just as clear on Stane’s. This scene itself is an undeniable parody of rape, or, at the very least, physical assault. [TW End]

Tony Stark presents us with a clear, femme-coded character as his story line draws upon classicly feminine tropes wherein the sexualization of the character’s body is exploitative at heart and leaves them vulnerable to physical predation. In this way, though he is strong, his “body” makes him the victim of his own story. Not only that, his character arc itself travels from the heart-less profiteer to the philanthropic man with a heart of gold, drawing upon another classically femme-caricature of the “bitchy boss”.

Queer Tropes & The Closet

Queer tropes are much harder to draw upon than that of feminine tropes. Queer tropes in film developed in a time of great censorship and as a result are often subtle. There are three main tropes I would like to reference for the purposes of this critique. Within the Iron Man franchise, there exists a distinct sense of camp, a problematized sexual promiscuity, and, ultimately, an identity-reveal/coming out storyline.

One of the most obvious of these tropes is camp. Camp is “defined as the purposeful and ironic adoption of stylistic elements that would otherwise be considered bad taste. Camp aesthetics are generally extreme, exaggerated and showy and always involve an element of mockery” (3). Camp is present in queer culture most commonly in the ball and drag scenes. Camp is the gaudy, the glitzy, the over-the-top, the classic-but-not, the in-your-face… Camp is all of the above and more. This is why it is so easily recognizable to audiences.

The Advocate identifies a series of seventeen queer caricatures in media for consideration, one of them being that of the “promiscuous queer”. Everyone knows the myth of the promiscuous bisexual, even when the reality is that bisexual individuals are no more or no less likely to view monogamy as “sacrificial” than gay or straight individuals (4). The stereotype of the promiscuous bisexual is inaccurate and harmful, and they are by no meals alone in being labeled overly promiscuous by a general audience. The “promiscuous queer” is defined as a character that may struggle with emotional intimacy and, as a result, sleeps around to mask the love they are missing in their life. “Films going back as far as the ’80s British period piece Another Country have featured gay male characters who use sex to cover for their inability to feel true intimacy with another human being” (5). Among their list of guilty perpetrators are Queer as Folk, The L Word, The Good Wife, and How to Get Away With Murder.

The last trope I’d like to present is that of the “coming out” story. Far from being problematic, the “coming out” is often necessary when telling a queer story. Coming out storylines can be problematized when they are presented as “Big Dark Secrets” that weigh heavily on a person until they are spoken. Ultimately, coming out is a choice. Many queer people choose to come out while many do not. There are many people who fall in between--some people may be comfortable being out to select individuals while not to others or to the world at large. In any case, people can be satisfied and fully fulfilled in any of those choices. Coming out stories are undeniably part of queer culture in media. Consider the recent hit, Love Simon alongside Transparent, Empire, Supergirl, and Glee.

Camp, Secrets & Sex

Through the camp of the Iron Man persona, the problematized sexuality of Stark, and the underlying theme of a “coming out” journey, Tony Stark presents audiences with a classically queer experience in film. Take the Iron Man suit itself. The iconic red and gold, the whine of the repulsors, the sleek metal edges and the furious glow of the arc reactor all scream camp. The red and the gold, the opening bars of Back In Black, the facial hair cut into odd spikes, and the sunglasses do, too. Each and every part of the Iron Man persona is camp. “Stylistic elements that otherwise would be bad taste”... talk about gold-plated biceps and a bright red, glowing chest piece! It's camp, baby!

The problematized sexuality of Stark is harder to see as reminiscent of a queer trope. Take, for example, one of the first scenes in the movie. “I do anything and everything that Mr. Stark requires, including, occasionally, taking out the trash”, Potts remarks in reference to a one-night stand she’s ushering out of Stark’s home. Here, Potts implies that Stark sleeps with “trash”. The following scene gives us the feeling that this is not a one-off occurrence. As Potts enters the room, Stark asks, “how’d she take it?” References to his repeated promiscuity are obvious. “Playboy” is an integral part of his persona. Equally obvious is Potts’ disapproval. Taking these inferences of his playboy lifestyle with what viewers know of Stark’s lack of attachments--his “bitchy boss” exterior, if you may--it appears as though his promiscuity is a symptom of the promiscuous queer stereotype.

“Don’t ever ask me to do anything like that ever again,” Potts says after removing the initial arc reactor model from Stark’s chest cavity. “I don’t have anyone but you,” Stark replies. The viewer has a clear picture of Stark as a playboy type who is truly lonely on the inside--who struggles with emotional intimacy. This struggle is evident, given that Potts, Stark’s secretary and co-worker, is the only person in his life he trusts to assist him in what is essentially open heart surgery. His playboy lifestyle mirrors the circumstances of the promiscuous queer trope in media.

Finally, we come to the last scene of the movie-- the climactic reveal. “I am Iron Man”, Stark says. This scene most clearly illustrates a queer story-line. Stark reveals his “identity”, shedding his last secret, and declares to reporters (and effectively the world) that he is Iron Man. To understand how this scene evokes such a strong sense of queer experience in viewers, I’d like to reference another recent in-universe identity reveal in the Marvel Cinematic canon. In Spiderman: Far From Home, the end-credit scene shows Peter Parker reacting in horror to his identity being leaked via doctored footage from the villain Mysterio. This scene can read as nothing but a deep violation. Even the main characters themselves react in abject horror at the news. The Spiderman identity reveal and the Iron Man identity reveal are two sides of the same coming-out process. In one, the character had full agency. In the other, the reveal was non-consensual, a complete violation. It is clear that both of these scenes draw explicitly upon themes that resonate particularly with queer audiences.

To Infinity(War) and Beyond

Growing up, I latched onto Iron Man and Tony Stark as an outlet for my “otherness”. I was well and truly obsessed with the character for reasons that I could not really put into words. He was weird, he was loud, and he was, frankly, unapologetic about any of it. I remember very clearly on my first day of tenth grade listening to Thunderstruck by AC/DC in the car and putting on the brightest shade of red lipstick I could find. Tony Stark gave me confidence. He gave me a voice. Throughout high-school I must have watched the first Iron Man movie upwards of twenty, maybe even thirty times. It was a comfort to me because it showed experiences I resonated with and it showed a strong character recovering from them. Tony Stark rose from the ashes every time and gave me the strength to rise from my own ashes every time he did.

Our heroes can be anything. And Tony Stark was mine.

[thewillowbends]

Thoughts on Lucifer (TV) Season 4

So I've spot-rewatched parts of season 4, and I've more or less got a sense for what did and did not work for me.  Lucifer is the kind of trash television I reluctantly love because I enjoy the characters so much, even as they are stuck in a painful mishmash of bad writing with the occasional moment of brilliance carried along by dedicated and talented actors.

SEASON 4 SPOILERS AHEAD OBVS

Let's get what I didn't like out of the way first -

Stuff That Makes Me Cringe

1.)  Up first is my completely shallow dislike for the new devil makeup.  The wings were really well done, but the face/body is kind of meh to me.  It's not badly designed, per se, but it's definitely narm territory in some places.  (While I do like the whole "king of hell" scene at the end and what it portends in terms of Lucifer's final decision, it is hilariously campy, too.)  In my opinion, season two and three still feature the best up-close devil look, particularly in the reveal scene to Linda.  It's disturbing in an uncanny valley sort of way that gets lost with the heavier makeup, and also...the wet blood is a really nice, creepy touch that I'm sad got dumped after the first try!

Also shallow opinion - Tom Ellis is fine as hell, don't get me wrong, and I appreciate that he worked out like crazy for this season, but I actually kind of miss his slightly less muscular look from the earlier seasons.  I feel like he's a guy who looks better with shoulders that are a tad less broadly defined, yeah?  It felt like it made more sense for Lucifer to be well built but not hyper muscular, since he wasn't a warrior in the way, say, Amenadiel or Michael were.  Samael was the tempter - he's built for beauty and desire, with kind of a sly appeal to him.

2.)  Eve.  I really like Eve as a character over all, but I do wish her motivations were explored more explicitly.  I do really like the vaguely feminist undertones of her story, that she's a woman whose entire life has been dictated to her by God and husband, and her decision to leave Heaven is a rebellion against that, a desire to pursue what she wants for herself even as she struggles to break free of old patterns.  While the story does seem to suggest this is her true motivation, I do wish it was given a little more individual reflection.  The thing I find the most poorly handled about her character is the punishment fascination.  I get that it's part of her tendency to try and mold herself into what she thinks the men in her life want, good or bad, but I would've liked more clarity on whether it held any personal appeal to her - i.e. she discusses her son, Cain, but there's little attention given to what it must have been like for her to watch him walk the Earth cursed, much less losing her son Abel to Hell.  Does she resent God?  Is she angry that human life is so short yet the recompense for a life well or poorly lived is so permanent?  Does she feel like her life was stolen for her in a way that other human's choices weren't?

She's already a foil for Lucifer in that she's daring to go against God's plan to explore her own freedom of choice, with the major caveat being that she left Heaven willingly in contrast to his exile.  So while I do feel she was a relatively well rounded character (as far as she could be with what they wanted to do with her), a little more exploration of those motivations was in order, but I absolutely would love for her to come back in a potential season five.  She has a lot of opportunities for growth and a lot of directions they could take her.

3.)  Mazikeen.  I'm actually not completely unhappy with the direction of her story.  It feels like a natural continuation of her struggles in season 3, learning how to "human" and find her place in the world, but the problem is she isn't being given much to do outside of that.  I like that her relationship with Linda is emotionally complicated (it's honestly one of the best female friendships on the show) with elements of platonic, erotic, and maternal love woven into it, but that the story is making it clear she still needs to learn how to develop herself independently.  In season 2, Lucifer states that Maze is like a "baby bird  that imprints on anything near."  Now that we know demons are naturally inclined to want leadership and direction, that actually provides a literal context for why she's clinging to Linda for purpose afterwards.  We just need to move that into a more strongly defined character arc.  Since we know have the Lilim introduced as a legitimate threat, I feel like that's a no-brainer for what should happen if season five occurs with her.  Let's see a storyline with Maze dealing with her family history (the Lilith), having to confront the fact that Hell is no longer her home, while grappling with a life on Earth minus the companion she's had for nearly all of her existence (Lucifer).  Let her evolve into a fully fleshed out character.

4.)  Cain.  I'm not sad to see him go out with a whimper since they clearly had no idea what to do with his character in season 3, but the fallout gets completely brushed over way too easily.  There's no way a federally investigated criminal revealed to be chief of the LA police wouldn't lead to absolute chaos in the precinct for quite a bit afterwards, and God knows, Chloe certainly would've been under the microscope for her role in what went down.  It would've made more sense to have a throwaway line about how she was suspended for a month and kept away LA proper for a few weeks until they made certain the danger was clear and the drama had settled down media-wise.

5.)  Chloe.  I'll be up front that I actually don't mind her more dramatic response to Lucifer's face.  For how easy it is to want to imagine she would handle it better, we've seen pretty much everybody freak the hell out when they see it, so she really shouldn't have been different.  The context also matters significantly here - she encountered it at a violent crime scene shortly after he killed a person.  HUGE difference from how a lot of the other characters were introduced to the truth.  So I don't find her characterization completely OOC there, but what I wouldn't give for just one more episode this season exploring her feelings during that period, what drove her to Europe, what destabilized her sense of who and what Lucifer is.  What I do like is that we got to see her make mistakes and have to answer for them - up until this point, it's been about Lucifer improving who he was to be somebody worth pursuing, but here we finally get to see Chloe's flaws, her struggles to be the better person she wants to be, to get told 'you f*cked up' and have to accept that she's possibly missed her chance.  I felt like her relationship with Eve was well done, that they didn't go the easy route of them being catty with each other all season, but that each provided a different but ultimately legitimate perspective on Lucifer's complicated character.  She could easily be set up as a primary protagonist of season five now with all the changes she's going through.

6.)  The Father Kinley plot.  I actually have no real problem with it for the most part - it provides a central antagonist that is far more threatening than Cain ever was, but I do wish they'd rethought the story of his introduction to Chloe.  It seems to me it would've made more sense for him to seek her out in America.  As a writer, I would've kept Chloe relatively local and had her confessing her fears and secrets to a local church pastor - who could have contacted the Vatican and brought Kinely to her in L.A.  That would've conveyed a sense of Kinley's operation being part of a vast network of religious authorities "in the know" and provided a possible set up for later conflicts if there were others out there like him.  Kinley actively seeking her out would've also reinforced her sense of how dangerous Lucifer is knowing that authorities had been tracking him for years, which could have undermined her own beliefs about who he is.

7.)  The Caleb plot.  I get what they were trying to do, and I appreciate that the show attempted to go there even as it is didn't fully succeed in treating the subject matter as well as it should have.  I get that it's meant to show us that life can be unfair, and that embracing the right to free will comes with the potential cost of suffering, that we must accept the risks of loving and caring for each other.  However, at the end of the day, you have a male POC killed off for a plot that ultimately leads nowhere, and that's...not great.  I mean, I'd rather them try and stumble then completely ignore such things, but it's definitely not the season's shining moment.

8.)  Other thing this season didn't shine on - the pacing.  I get why it happened, since these writers are used to having more leeway to work with time-wise, and ten episodes is not a whole lot to pack in all of the emotional and story conflicts, but the first four episodes in particularly really feel strained.  Even the humor feels slightly off kilter, like they were struggling to find the right tone.  It's better than season three's tendency to sacrifice pathos for humor, but to date, season two remains their best work in terms of the over all pacing and tone.

9.)  Dan.  His backsliding and self-destructive behavior makes sense in light of his depression and sense of powerlessness, but it does feel redundant in light of Lucifer's own backsliding in season 3 and even here.  Frankly, Dan has a legitimate point about how their tendency to write off Lucifer's worse behavior doesn't help him in the long run, but he's, y'know, one to talk.  I honestly think the best direction for his character in season five is to leave the police force.  In particular, I would not be unhappy to see him team up with Mazikeen to fight some supernatural demon crime, actually.  I feel like their relationship has a lot of potential.

10.)  Dan/Ella.  I don't hate it, per se, but I'm just very neutral on it.  The age difference is a little off-putting (he's fortyish, divorced with a kid, yo, and she's clearly a twenty-something), but I don't mind it being a hook up that occurred when they were both in a low place.  I'm uncertain if I want to see it go beyond that.

11.)  Remiel is a lot of fun, but I vacillate over whether her presence is particularly significant in light of Amenadiel's ultimate decision to stay on Earth.  I highly suspect she's being introduced now as a placeholder for further events down the road if the show gets renewed.  She's clearly there to generate conflict in Amenadiel rather than be the conflict itself, but I wonder if they plan on making Charlie's existence more of an issue if the series progresses.

12.)  As always, I appreciate that the series' maintains an unflagging dedication to diversity.  They cast an Israeli Jewish women as Eve.  All of Lucifer's siblings have been POC.  The show has probably MORE bisexual members in the cast than any other mainstream series that I've seen.  It's not perfectly handled, it it definitely has its stumbles where race and LGBT+ content is concerned, but it's trying.  That's more than I can say for most series.

The Stuff That Gives Me Life:

1.)  Tom Ellis acting the shit out of that script, no matter how ridiculous the scenes they gave him were.  I really appreciate that he's so gung-ho for giving his all to the character even when the material fails to rise to the occasion.  Respect, too, for what I assume was basically him living in a gym for the past year.  If Leslie Ann Brandt had to squeeze herself into leather pants two months after giving birth, I appreciate that he rose to the occasion for getting naked all over the place and providing an ass tight enough to bounce a quarter off it.

2.)  Lucifer's character development was on point for me across the entire season.  I feel like everything we saw building up from previous seasons - the anger, the grief, the self-inflicted wounds he refused to let heal - finally came together here.  That moment at the end of episode eight is the perfect culmination of his character development, the painful realization he has about who really is responsible for everything that's happened to him.  And now he can start making the real journey to being a better person.  What happens at the end of the season is exactly what was bound to happen, no matter what story came before, because he needed to recognize the importance of punishment as a LESSON about the consequences of our actions.  Responsibility sometimes means sacrificing what we want to protect what we care about.  That's actually a rather clever nod to the comic version of the character who ultimately had to give up his individual existence to achieve total freedom - this version chooses submission out of recognition that to love and be loved, to be good is to be fettered to our responsibility to others.

(Which makes me really wonder if they are going to eventually push a story where Lucifer becomes a true king of Hell - not only a tyrant who deals punishment and controls the demonic masses but one who begins to show mercy and help some of those souls find release and forgiveness.  Ah well, don't worry friends, if they don't write it in show, I'm already writing it in a fanfic.)

3.)  Deckerstar 4 lyfe.  I didn't expect them to wind up together because they weren't there yet, but it ended on such a pitch perfect note.  Something this show has done remarkably well is avoid the idea of Chloe as the sole source of motivation for Lucifer to improve himself.  It's emphasized over and over again that he has to want it, that he's the one who had to desire the good in himself.  The worthiness comes with the recognition that you want to be worthy of love - and that you are.  Lucifer had to come much farther than she did, but it was nice to see the dynamic switched up a bit with Chloe having to grow, mature, and reconcile herself to her mistakes.

4.)  Eve was MUCH better as a character than I'd thought.  I'm a little smug about predicting so much about her, but that's not an entirely terrible thing.  While her storyline isn't perfect, I did like that it's a deconstruction of an idea of the "perfect woman/partner."  Eve is in love with the idea of Lucifer and the idea of who she can be with him, not so much the reality of who they are.  It makes me a little sad because I do think if they'd met at a point where she was further along in her character development, or he wasn't already in love with Chloe and so far ahead of her in growth, they could have actually worked and fallen in love with each other.  And that's fine!  Part of the point it's making with her character is how important our individual journeys are.  At the end, Eve recognizes she needs to figure out who she is outside of God's plan or what she THINKS is what she wants.  That honesty toward the end, that she really left Heaven for *herself* and not for Lucifer, is a huge revelatory character point that can go a lot of places next season.

5.)  The demons.  Just...everything with Dromos is gold to me.  From his initial excitement at seeing Lucifer to his frustrated attempts to reason with him...to being much craftier and scarier than anybody possibly expected.  Regardless of how we look at it, he played the endgame to the benefit of his stated purpose - loyalty to the infernal throne.  Hell has a king again, one way or another.  And now we have an established threat to keep Lucifer in line over the next couple of seasons, as well as tying up the arc that was begun all the way back in season 1.

6.)  Pulling in the Vatican and a secret society of "in the know" sects was wise.  While I wish the introduction had been slightly different, it leaves open opportunities for later.

7.)  MY GIRL LINDA.  Rachel Harris is such an underrated part on the show.  She has such great chemistry with Ellis in the therapy scenes, and her becoming a mother feels like a natural extension of the underlying maternal element she provides the show.  I like that we get to see her outside of the office now, engaging in a story of her own, which allows her to stay in the cast without losing significance of no longer being Lucifer's therapist.

8.)  AMENADIEL.  He's probably had the strongest and most well directed character development out of any secondary cast member on the show.  Having him forfeit his power to stay on Earth with the humans he loved is such a nice touch, but I like that it was a decision he had to wrestle with.  The idea of human life necessarily being complicated, messy, even unfair and unkind fits well with the theme of responsibility for our choices.  If he stays on Earth, he has to accept that his son will not have a perfectly Heavenly life, that to be human is to accept all that comes with it.  DB Woodside has great chemistry with the cast, and I'm looking forward to seeing what they'll do with him in future seasons.

9.)  Lucifer holding baby Charlie for two seconds, awkwardly cooing at him, then immediately passing him off like a hot potato.  That's real character development, guys.

10.)  Amenadiel saying goodbye forever to Lucifer in the baby ward, for what is ultimately and tragically not the reason he expects it to be the last time he gets to say it.  Woodside and Ellis have such great chemistry.

11.)  Ella's loss of faith is handled pretty well.  I appreciate that she had to reclaim it herself and not because she got to see the divine is real.  Fits nicely with the theme that we have to actualize our own beliefs and realities.

12.)  LGBT+ representation was better this season.  It's too late for Lucifer's pansexuality to have any real meaning at this point, but I appreciate him stroking the guy's face while using his eye voodoo in episode 1.  Little touches like that make the "Bi the way" aspect of his character seem less tacked on.  Mazikeen, on the other hand, is where things got much better - she's actually seen dating both men and women, having difficulty parsing her complex emotional relationship with Linda, being openly attracted to and pursuing Eve (also openly bisexual).  Please don't disrupt this improvement next season by giving her a male love interest, Netflix, I'm begging you.  Give us at least SOMETHING here.  She's got the most open-ended story for a relationship, and her development is clearly suggesting she wants family to call hers outside of what she has with the rest of the cast.  (I know I was saying I low key ship her with Dan, BUT I TAKE IT BACK.)

13.)  The dragon wings are admittedly very cool looking.  I prefer the more streamlined devil makeup otherwise from seasons 2 and 3, but the wings can stay.  I imagine the amount of fic tagged "wing kink" on Ao3 is going to increase several fold now.  (Yes, that is an actual thing.)

14.) Lauren German showing up to play this season!  She finally gets to do more than just be the straight man.  All of her dramatic moments with Ellis were well done.  No complaints.  I have way more faith now seeing her move into a primary protagonist role in season 5 if we get it.

15.)  LESLIE ANN BRANDT CAN SING!!!  What a sweet moment and what it says about Mazikeen's development as a character (even if it is ruined by Eve's obtuse logic afterwards).  How much do we want to bet that Lucifer's reaction to that is what made him decide to leave her behind on Earth?

16.)  AJKLSJD;FLSAFDAS THANK YOU FOR FINALLY BRINGING IN MORE SUPERNATURAL STUFF.  We finally get to see the throne!!!  There are prophecies!!!  WINGS!!!  (How cool are Remiel's??)  Demons can possess people canonically!  The Lilim are a well established thing!  Lucifer is back in Hell!  So many place this can go now.

Anyway, I have good feelings for the most part.  It’s still a heavily flawed series, but it’s not so bad that I’m going to dive out of it ala Hemlock Grove, which I’m fairly certain gave me brain damage by mid-season 2.

[lotrewrite]

Recap of 8.26.17 Chat

So in this chat, we started out with some general points which all writers should take into account when revising their episodes, and then went episode by episode. This time around, episode-by-episode, I've focused more on the substantive comments rather than the love (there was love for all the episodes)

First: for everyone's convenience, someone apparently wrote a script to put in all of the html code needed to transition your fic from gdrive to ao3: https://docs.google.com/document/d/19eZnBQ4989Dr17v2ODFgE8QWAo9Oahi4USDNS3hOSvM/edit

Second: We’re going to be using TV Rules in terms of rating – no sex/full nudity, avoid swears like ‘fuck/shit’, but ‘damn/hell/crap’ are OK. Seemed easier to have everyone try to keep this in mind for a consistent tone than to try to figure out how many f-bombs we can drop in an episode

Third: The “basic” introduction we’ll be using is "Time travel is real, and all of history is vulnerable to attack, which is why we must travel through time to keep anyone from damaging it. We are a team of outcasts and misfits. So please don't call us heroes, we're legends."  If you’ve already come up with an alternative intro, feel free to keep it! if you want to alter the above intro, feel free! This is just the most basic, unadorned version.

Fourth: Things we should include more references to in various episodes:

Mick being a pyromaniac

Ratigan exists (post episode 9)

References to Nate and Lisa once they’re gone (i.e. "Lisa would've liked this" and "Nate's going to hate us all SO BAD when we tell him" and "wish we had Nate/Lisa here")

Mentions that Oculus!Len has attempted to make contact with the others and failed (post episode 12 only)

Fifth: Names (for consistency)

Len: In episodes 1-12, we call him "Len" in narrative and "Snart" in speech (except Lisa, who refers to him as "Lenny"); post episode 12, Len is introduced as "Legion!Len" and "Oculus!Len" respectively - use the full names (i.e. Oculus!Len not O!Len) for clarity; this applies even when a given Len is alone on screen, but exceptions can be made if you're deliberately trying to confuse the issue of which Len is which

Eobard Thawne: "Eobard" in narrative, "Thawne" in text; Legion!Len starts calling him "Bard" or "Bardy", followed by Oculus!Len once he hears it, but Legion!Len stops once he has been brainwashing only to slowly resume once it begins fading

Damien Darhk: "Darhk" in narrative, "Darhk" when the Legends are talking about/to him, "Damien" when the Legion is talking about/to him

Queen Bee: always referred to as Queen Bee unless someone is explicitly making a joke

ASIDE: I feel like we're missing a lot of jokes for Queen Bee's name

Someone needs to tell her to buzz off

"You've been busy." "...is that supposed to be a pun?"

"Queen Bee? Yeah, Queen B-rated"

"BeeGees"

"It's the Bee Team" that's DEFINITELY a Ray comment, which he'd ruin by going "Get it? 'cause we're the A Team???"

these puns are giving me hives

she needs to call everyone honey

crowdsourcing puns, who would BEE-lieve it??

(also at some point you should also make a joke about there being "Lenses". You can see better with two Lenses.)

Let’s move on or we’ll bee here all night (sorry)

Gideon and Rip call everyone by Mr./Miss, except for “Captain Hunter” and “Captain Lance”

Everyone calls Jax "Jax" except Stein (Jefferson) and Gideon/Rip (Mr. Jackson)

Mick has nicknames for everyone: Ray (Haircut/Pretty), Nate (Pretty), Sara (Blondie), Stein (Professor), Len (Boss, Len, Lenny), Kara (Skirt), Jax (Kid), Amaya ("Rules"), Lisa (Goldie), Rip (Englishman)

For historical characters, use whatever works for the historical time period but is understandable to readers of a modern audience (i.e. use "Octavian" not “Gaius Octavius/Octavianus”)

Episode 10

They should look Queen Bee up at some point after the initial fight

Gideon confirms that Queen Bee is an enemy of Mari’s and thus would know something about Amaya’s future, making Amaya more anxious

Episode 14

It'd be great if Amaya could look up her future at the end of the Tudor episode, maybe while Mick and the others go burn down the Globe; that way, Amaya can struggle with it and Queen Bee’s comments in the next episode

maybe in Episode 14, after O!Len's shock at seeing his "other" self we might want to have a short scene where he asks Gideon what the hell was that, and Gideon explains that he was picked up in 2014 and he has a moment where he goes "wait, so that's...me? that's really me? a me that's not DEAD yet?"

Episode 15

Make Amaya being picked up by British/white colonialist forces to be used by them, so she was fed a lot of propaganda, and most of the lessons about the British should come from Ching; possibly also a conversation with Sara in which Sara explicitly notes that she can’t understand the experience of being colonized - "I can give you examples about what they've done but I can't tell you how you or anyone else they affect should feel about it" kind of thing

Amaya should be struggling with her knowledge about her future - I really like how you have Amaya resisting Queen Bee's offers; but I think the resolution might work better with Amaya deciding against making Sara's mistake from Episode 4 rather than not looking it up at all? That would explain the dialogue where Amaya’s considering changing the future

Lily aberration arc: the end of episode 15, she forgives Stein for keeping it from her, but she's still upset and "needs space" because she's still an aberration and scared - leave it ambiguous at the end of 15, so the audience initially thinks she's still angry about Stein hiding it from her

Shay Hannibal Houlihan - immigrants were told (or forced) to change their name, maybe he could mention that, you can mention that they changed his name to Hannibal at Ellis Island, but he still prefers Shay, you could also have Josephine calling him Hannibal; Maybe his bar is name Hannibal and when asked, he explains that's his legal name

Len arc: Len starts encouraging Mick to go talk to his other self so that he can tell him not to die - the emphasis should be Oculus!Len wants Mick to go to his other self rather than the Legion

Episode 16

I really liked the characterization in this episode; I thought it was really spot on

Lily aberration arc: at the end of episode 16, when Stein gets back to her, he basically announces that he will fight ANYONE who tries to hurt her even a little and the Legends back it up and agree that no one will be "fixing" her aberration

Lily needing a bit more to do this episode, maybe a conversation with Jax, who she can have that "I don't know what being an aberration means and it's freaking me out" conversation with. The conversation could maybe go while they're following Rip to the place with the ship parts

Len arc: the emphasis should be Oculus!Len wants Mick to go to his other self rather than the Legion

Episode 17

Fantastic episode, emotional whiplash, so much fun

They're dropping Lily off - do we make it clear enough that happens before episode 17 starts? maybe we could put in a brief comment about how it's been a few days since they dropped Lily off or something?

Episode 18

Legionnaire Len joke

Len calls Eobard ‘Bard’ at the end, causing them to comment about possibly needing to reinforce the brainwashing, but Queen Bee resists because how dare they question her

Gag reel: Darhk in a leather skirt with lace up sandals; "Show some leg, Damien! That'll distract her!" "Shut up, Snart!"

They can’t read the graffiti because it’s slang/graffiti, not because they can’t read the foreign language - the babelfish applies to that too

Episode 19

Awesome representation, superpowers, fantastic battle sequences, emotional moments; it was a great episode AND it felt like a great backdoor pilot for a Ystina-themed episode

the only section I had any issue with was there was one or two that had no Legends

scabbard – Nimue stealing it or maybe when she's knocked over (iirc?) it can fall under her or some other object and out of sight

can mick just watch the cigarette burn down? Yes

Doomworld:

Jessica Cruz should show up as a Green Lantern, since she shows up in episode 17

Jax goes to QB's place in Africa to get Amaya, but it seems like this is really far to travel and be back in time within an episode. should she have a hq somewhere closer, just for visiting while at board meetings? Yes, they should go to Queen Bee’s local embassy

I really liked Mick's opening.

I also like that Nate bursts in but they don't even humor him

what exactly is the brainwashing cure? don't think we had one; I think we just planned to have Ray design a mind-fixing gun again - I did make a note that they could pick up Ted's BB gun which works on light spectrum; it also used the emotional spectrum in the comics; that could work

The second part seemed short – maybe add the part where we picked up Rip again - there should be a scene where they break in and steal him and the waverider

also there's a comment about the lanterns going away to space and coming back to a mess, but it contradicts Queen Bee complaining about her 'pest' problem in the first half

There should be a moment where Len weakens the brainwashing and becomes aware that he’s being brainwashed, and is now resisting unsuccessfully

what O!Len's motivation is for not revealing L!Len's brainwashing to Mick - O!Len can dance around the subject until he tries to warn Mick about L!Len going to kill him; Mick probably wouldn't believe that so easily until O!Len blurts out "He's been brainwashed! Since before all this happened!" "...Why didn't say that earlier, I would've listened to you then!" I don't think Len would ever be able to actually say the words brainwashed about himself, too horrifying maybe some reference to "remember what the Time Masters did to you? to make you Kronos?" "yeah?" "that's what they did to him. to make him like that." That scene would fit in well in Doomworld and explain his earlier reluctance to speak

Finale

after Rip, Len and Mick decide to take a break, maybe everyone feels they deserve a vacation until, whoops- dinos in LA they do still have family outside the Legends after all!

can Bambi be our new mascot?

Queen Bee says something like "It is beneath my dignity to brainwash people like you!" I can add a line to mine where they comment on "you did it before" and she tries to bluster

[wendynerdwrites]

Wendy, can you reassure me? I want to go see Wonder Woman, but ... Friend: "I hope you're keeping your expectations for Wonder Woman low. I went with a friend who studies film and she thinks the movie is not very feminist"

TBH, I found it feminist, but I’d really have to know what the arguments are. I don’t hang my standards for a feminist film on “Female lead who beats up people”, but I’ll admit, some nuances can escape me. But it is hard to give a full answer without spoilers and without knowing what the exact arguments are.

I’m of course going to say “go see it”. Even with its flaws, it’s one of the best movies currently playing, it could potentially lead to more female-centric films WITH female directors getting work, it might lead to Warner Brothers learning from the success and giving us decent Gotham City Sirens and Harley Quinn movies, and it’s also just a purely enjoyable movie. (even my mom, who normally doesn’t even like superhero films, loved it).

Could there have been more PoC taking more central roles among the Amazons? Yes. Could Etta Candy have had more to do? Yes. Did the characterizations of Charlie and “Chief” get to me? Totally (They had good characters, but the stereotyping was, uh, heavy. I mean, the Native guy is literally named “Chief”, FFS)  But one of the things I enjoyed about the movie is that it doesn’t make the female empowerment about men through big moments where Diana has to “prove” she can do things despite being a woman where she’s framed as “showing up” the boys. (sorry, but those moments end up being more about the men than the women. And it does sort of reinforce the idea that men SHOULD be surprised by competent women, and yes, can even send the message to women that 1) Their skills are “threatening” and 2) That such behavior from men is acceptable.). In much the way Fury Road does, there’s no time wasted on “But you’re a girl” and “I feel emasculated!” People just do what they have to do and believe in each other. There’s a ton of “Diana, No!”/”Diana, YES!” moments, but it has more to do with her doing things that are superhuman (like deflecting a bajillion bullets and ripping apart trenches without breaking a sweat). Diana’s naivete, when I first heard about it before I saw the film, made me worried, because I was afraid that it would involve stereotypical moments where she has to be “humbled” or talked down to by (mostly male) characters. But it’s scripted very well. Steve knows she’s smart, he argues his points, but it’s never a one-way thing. 

The fact that this takes place in World War I has a lot of good reasons for it, but among them is that it works better thematically than WWII. Diana definitely doesn’t get why people are fighting this war and doing the things they’re doing, but you still get the clear sense that neither does anyone else, entirely. WWII, there WAS a genuine, straight-up villain where, yes, many of the Allies did not great things that enabled the Axis, but it was up against Nazis, so… WWI, on the other hand, was just a clusterfuck of unclear, mixed, and contradictory motivations, pettiness, and incompetence on all sides. If you fought for any side, it was simply because your country is on that side. So while Diana’s naivete still stands out, her confusion and struggle really does mirror any other character or even any soldier in WWI. She has a character arc that makes sense, is served by the setting, and she’s at no point infantilized or condescended to for it. So I was actually, truly pleasantly surprised by how well it was scripted. I know some might have some issues with Diana’s arc being naivete on principle, but honestly, I can’t think of a way for her not to be naive that a) would stay true to her origin story and b) not be totally disingenuous. She grew up on an island utopia totally isolated from the rest of the world where the biggest issue was “SHOULD we train Diana to fight?” and she’s entering the rest of the world in the midst of the biggest war ever, of course she’s not going to know things. Neither did any of the other people who entered the war who WERE raised in this world. Her naivete stems from her upbringing. And pretty much EVERYONE entered WWI totally naive, anyway. 

Also, the way she does things, the determination she shows, actually make sense. She isn’t a complete moron or paranoid a-hole like the other “heroes” in the DCEU thus far. Despite being the “naive” one, she’s not incompetent enough to flatten entire cities like Superman, not as easily manipulated and paranoid as Batman, not as idiotically poor at communicating as Batman or Superman, she’s not got the near-suicidal hubris of whoever it was in Suicide Squad that claimed to be Amanda Waller. Like, objectively, she is easily one of the smartest, most competent, characters in the DCEU, even during her “you should be very proud of your ice cream!” phase, it’s very clear that both Metropolis and Gotham City would be waaaaay better off with her as their defender since she’s the only person who can actually wreck shit without DESTROYING ENTIRE CITIES FULL OF INNOCENTS, would never try to defend the world with an EVIL GOD WITCH whose only leash is a heart you’re not bothering to properly monitor (and then your other failsafe is a team of other people you can barely control, most of whom, rather than superpowers, just have excellent sniper abilities, martial arts, and a boomerang…? THAT was supposed to both combat SUPERMAN and your god-witch? Seriously, I will NEVAH forgive Suicide Squad for making Amanda Waller into such a corrupt, incompetent asshole. Sorry, tangent, but Amanda Waller is sacred to me, and making her such a FAILURE to me is like making Steve Rogers a HYDRA agent. Just… No.) and doesn’t get turned into Lex Luthor’s dumb puppet so easily or want to murder someone just because they’re super strong. UGH the DCEU… 

She’s competent always. And while she does learn things from Steve and the others, she does everything on her own terms, and doesn’t get “shut down” in any way where she’s just so absurdly wrong about a thing and Steve Trevor just lets her know what’s what and she just starts doing things as he wishes. 

Spoilers below:

Even when it seems like the moment comes where it seems like she’s “learned” that Steve was right and she was wrong all along, it turns out to be more complicated than that.

On one hand, he is right about people being grey morally, and that it’s not just one God of War making people do bad things. On the other, Diana is ALSO right that there is, in fact, a God of War still influencing people (even if he isn’t forcing everything and just “whispering inspiration”) and that he must be destroyed. And she still has the mission of the Amazons to destroy Ares she has to fulfill. He does exist, and she still has that mission.

Granted, there may be/are some things that make this movie seem less groundbreaking or feminist due to some possible constraints, like the deliberate  courting of a family-friendly MPAA rating, and the superhero film and origin story formulas. And, like I said, there are flaws, but I honestly can’t imagine a superhero film, or think of many mainstream blockbusters (aside from Fury Road) that are more or even necessarily as feminist as this one. 

I’d like to know what your friend’s points are. I’m not a student on film techniques, and it can come down to a perspective thing. I mean, there are people who seem to truly think that the live-action Cinderella remake is “more empowering” and “feminist” than the original animated film. Whereas I actually think it managed to somehow be LESS EMPOWERING and “feminist” than the 50′s film featuring female characters either being petty or dressing up and the line “leave the sewing to the women.”

It possible I missed something, or that I simply don’t agree. But I’d like to know what your friend has to say. 

Still, go see it. Even go see it with her and see what you think. It’s awesome and fun. Is it the perfect feminist film? No. But I don’t even think that exists anyways, so…