#so there's a bonus meta layer of it not being 'really there'

[mel-addams]

Waiting Silently for Hours

[Image ID: The silhouette of a young Marik can be seen through the door of a room labeled "Solitary Confinement," while the surrounding white walls are broken and splattered with blood. On the right side, Marik's hair is normal, his hand hanging at his side. From a small blood splatter on the wall, the word "HELLO" is written, though the "O" is smudged out so it appears to simply read "HELL." Below the splatter slumps the corpse of a facility member, blood covering its head and torso. A futuristic rifle lies at its side, spent bullet shells littering the floor. Between the feet of the corpse sits a creepy doll, facing toward it as if in conversation.

On the left side, the silhouette of Yami Marik's fluffy hair and glowing Eye of Anubis can be seen, his hand raised and splayed against the door. Nearly the entire wall on this side is covered in a massive spray of blood. From a puddle on the floor, the word "HELL" is again written in blood.

/End Image ID]

~

Bakura: Where's Your Heart That Beats for Me?

Yugi: Single Out the Shadows

Marik: Waiting Silently for Hours

The Nursery in Secret World Legends is a horrible nightmare facility, with plenty of places to put poor Yu-Gi-Oh! kids, via "possessed child" crossover shenanigans. So after I did the screenshot edit with Bakura, I figured I'd go ahead with doing Yugi and Marik, as well. After all, they each fit the "Inhabited Child" experiment.

This door is actually situated in a bright section of the hall just before Yugi's screenshot section. Turn right, and you'd see Yami's shadow trailing across the floor toward you. Turn left to head back the way you came, and you'd find the carefully-curated living space for the children, eventually reaching the eerie doll room Bakura is in.

For those unfamiliar, Sleepless Lullaby is the quoted song—and is the only thing that plays in the Nursery, on loop, as a way to (try to) condition and pacify the kids. (As you can see, it did not end well for the folks running the facility.)

[iviarellereads]

Gideon the Ninth, Bonus Content, Naming Systems

(Curious what I'm doing here? Read this post! For detail on The Locked Tomb coverage and the index, read this one!)

The final Gideon the Ninth paperback bonus content: "A Little Explanation of Naming Systems".

First, the official explanation that your last name in the Nine Houses is not a family name, it's an arithmonym.(1) The first name is sometimes used to indicate family connection: the "hark" in "Harrowhark" is intentionally shared with her father, "Priamhark", and is a tribute to an ancestor of the Tombkeeper line. Thus, names like "Jeannemary" and "Coronabeth" derive from "heirloom name particles." Different Houses assign names in different ways.

Many Houses are also fond of referential diminutives (Mortus to Ortus).

Siblings, even twins, do not generally share last names, though sometimes they share parts of them. The Tridentarii being an exception, their shared name may indicate something about their parents' hopes for their children.(2) There are exceptions, such as the three Asht brothers who were definitively not triplets.

Names do not change with marriage. Non-necromancers pick which of the couple's houses to settle and affiliate themselves and their future children with. Necromancers do not marry outside their Houses, so stay affiliated with their native one. There are some additional rules imposed by certain Houses, such as, if a child is born with a Sixth parent, that child is automatically and irrevocably of the Sixth,(3) "which can prove a legal nightmare".

Here we switch to a note that not all names are included in the pronunciation guide that follows, "due to their appearance in the Bible or elsewhere (the Second, the Fifth, Isaac, Silas)."(4) Also, Muir says she's included some meta-notes to explain some of the jokes and references in her names, but adds:

You don't have to read these. Put your thumb over them if you like.

Harrowhark Nonagesimus: Harrow to rhyme with arrow. Noh-nah-GUESS-i-mus, with the last i like "bitter", and mus just this side of "moose". Harrow is named explicitly for the harrowing of Hell, and hark is an ominous word "that always precedes an awful time, in the old sense of "awe.""

Gideon Nav: nav like navigator. There are many reasons behind Gideon's name. The prophet "who really messed up the Midianites" is one. "Gideon is a prophetic name: someone named their own demise in her."

Ortus Nigenad: "ORT-us. To rhyme with tortoise, unless you pronounce tortoise "tor toys," in which case it doesn't." NIGH-ga-nad, with the hard G. Ortus is in reference to his father Mortus, but "Ortus by itself is the Latin for "rising." Is this hilarious or sad?"

Pelleamena Novenarius: Pelly-AM-enna, not ah-MAY-nah. Noh-ven-ARE-ee-us, with the same "oose" sound as Harrow's. Named for Peleus, the father of Achilles.(5)

Priamhark Noniusvianus: PRY-am-hark, three distinct syllables, with the h audible. NOH-nee-us-vee-AHN-us. "You should have the trick of the "us" sound by now. If you don't, it's fine, nobody cares, it's a random name in a novel about bonermancy."(6) Priam is a character from the Iliad, "famously a dad in a city about to go splat."

Aiglamene: Eye-GLAM-en-ay. From the French "aigle", the eagle.

Crux: rhymes with "sucks", means "cross" which has several layers of humour attached.(7)

Aisamorta: EYE-sa-mor-tah. "Aisa" is a Greek word related to destiny.

Lachrimorta: LACK-ri-mor-tah. From Latin "lacrima" (tears, the kind that well and drop from the eyes).

Glaurica: GLAU-ri-kah. Ri from "ridicule", not "reed".

Judith Deuteros: DEW-ter-oss. The Biblical Judith beheaded the general Holofernes,(8) in the deuterocanonical(9) Book of Judith. Also, the "Book of Deuteronomy is a very didactic(10) text."

Marta Dyas: DIE-ass, and Muir apologizes for not having a better way to explain. Marta, like martial, of war. "The Second House names are serious business."

Ianthe Tridentarius: Ee-AHN-thay, Try-den-TAR-ee-us.

Coronabeth Tridentarius: Cor-OWN-a-beth. Corona like a halo.

The twins were originally to be named Cainabeth and Abella, which Muir says was so unsubtle she "might as well have just gone with "Goodtwin" and "Badtwin." And it's not even accurate! It should be Badtwin, and Lessbadtwin."

Naberius Tern: Na-BEER-ee-us, this time "us" as in "fuss". TURN, like wishing he would turn and walk out the door. "Naberius is one of the demon princes of Hell. Will this mean anything significant later on?? (No.)"

Jeannemary Chatur: JOHN-mair-ee, with a soft, French "j" but definitely Mary, not Marie. Cha-TOUR, not chatter, "though that'd be appropriate." Jeannemary is "a Biblical car crash"(11), but Jeanne is specifically a reference to Jeanne D'Arc.(12)

Isaac Tettares: Tett-AR-ez, not "tett-aries". Isaac foreshadows Jesus's death in the Bible, by bringing the wood for his own sacrifice up a mountain. Here, Isaac foreshadows Gideon's death, by doing the brave thing. "I might as well have called Jeannemary and Isaac "Don'tgetattached" and "Deadsoon.""

Palamedes Sextus: Pal-AM-a-dees, and Muir had a comparison but removed it.(13) SEX-tus with the "us" as in "bus". Was briefly named Diomedes, "Athena's favourite goodboy in the Iliad," but that would've taken away Gideon's "stupidest joke in the book."(14)

Camilla Hect: last name to rhyme with "wrecked". Camilla's name was chosen to complement Palamedes's, as the necromancer and cavalier pairs who love each other often share a syllable or sound. In their case, "am", and in the case of Abigail and Magnus, the "g".

Dulcinea Septimus: Dul-sin-AY-a, not dul-sinn-eya. SEPT-i-mus, Sept like September, and the moose returns.

Note: "Dulcinea" is the famously illusory persona assigned to the prostitute Aldonza in Don Quixote: a case of a woman you want to exist, but who really doesn't. In this essay I will"(15)

Protesilaus Ebdoma: Prot-eh-sil-OW-us, prot not prote. EBB-do-mah, ebb like the tide and doma like domain. Protesilaus was the first to die at Troy, and is the first to die because of the Lyctor trials. ""Johnny Quickdeath" would've also been a good pick."

Silas Octakiseron: Ock-ta-KISS-er-on, rather than keys-er-on.

Colum Asht: COL-um like "column", "asht" like "ash" with an extra sound on the end. Colum refers to Columba(16). The Asht brothers have the names of sacrificial animals: Colum ("dove" in Irish), Ram (like the sheep), and Capris (goat). Muir feels bad for meta-misusing the Asht bros so much that she couldn't even manage to make a reference to how "Capris" shares a name with a style of trouser.(17)

Incidental names and terms:

Matthias Nonius: Mah-TYE-us, with a hard T. NOH-knee-us. "As in, no knees for us." Absolutely a Redwall reference.

Cytherea: KITH-er-AY-a, a reference to Aphrodite.

Lyctor: LICK-tor. "In order to facilitate "Lyctor? I hardly touched her," stand up routines in the Nine Houses. Lyctor related to "lych" and to Lictor, Roman emperors' bodyguards.

Canaan House: KAY-nan.

Secundarius Bell: Se-cun-DAR-ee-us.

Drearburh: DREAR-burr. Drear like dreary, burh as a variant of burgh.(18)

=====

(1) From the Greek root "arithmos" (number) and "nym" (name). (2) My guess is, it was a way to force them to be perceived closer, to more effectively hide Corona's lack of aptitude for necromancy. (3) If they generally assign childbearing pairs in-house because of a shallow gene pool, it makes sense they'd formally instate such a rule to bring in as much depth as possible. (4) It would've been easy to say "names missing are probably pronounced the way you think they are" but I love "the Bible or elsewhere". (5) Any thoughts on what this means for Harrow's arc? (6) I think bonermancy is something quite different but I am deeply amused nevertheless. (7) In case anyone's curious, I count: --Cross as in angry, which Crux often is --Cross as in a dishonest contest or match, which is more what Harrow did than Crux, but I think bears mentioning --Cross as in to confront someone antagonistically, like he did to Gideon early on --Cross as in to betray, as in placing the bomb on the shuttle (8) This has been the subject of a great number of pieces of incredible art. Search "Judith and Holofernes" for more. I assume you don't need a gore warning if you've made it this far in the read. (9) Deuterocanonical - belonging to the second canon, or in plainer words, a group of Biblical books which some of the Christian denominations (mainly Catholic and Orthodox types) accept to be part of the Old Testament, but the Protestant denominations call apocrypha (to oversimplify: not real enough). (10) Didactic - intended to teach or educate, particularly with regard to morals. (11) You've got Jeanne as the feminine French form of "John", Mary is both the virgin mother and Mary Magdalene, one of Jesus's disciples and the first witness to his resurrection, occasionally said to have been Jesus's lover. Sometimes called a prostitute, but this seems to stem from a very odd interpretation by Pope Gregory I in 591 CE. (12) You might know her as Joan of Arc. (13) I still say "calamities" is pretty close, but a "deez nuts" joke wouldn't have gone astray here imo. (14) I think you mean BEST joke in the book, but that's opinion for you. (15) Yes it cuts off there, that's the joke. (16) An Irish missionary who spread Christianity in Scotland. (17) Pronounced very differently, but legit. (18) "burh" being much more likely to be pronounced corectly by Americans, is my guess, in addition to Muir enjoying using antiquated variants and synonyms.

[cowboytuba]

With the gungeon iceberg completed and the last stream timestamped with the topics, I went ahead and made a playlist of all 4 VODs so they're in one centralized spot. As a bonus, here's the original iceberg made by Pyramidsandneon linked in the vods and my edit that I used during the streams

Here's the playlist

While I'm here, I can go over the original bullet hell layer that I completely replaced as a bonus bonus.

The Gungeon Is Inescapable: That's just a basic lore fact that the Gungeon curses those who enter to be unable to leave. Only way to leave is to kill your past and reason for being in the gungeon by extension. If my "Kaliber Creates Gungeons to Lock Away Heretical Guns" theory holds, then the gun that could kill the past is likely the only one that could allow one to escape other than a gun that shoots through space itself.

Link Is The Bullet: Pretty lazy of Nintendo to just steal from Dodgeroll all these years, but seriously, it's just a comedic reversal of the Bullet's many Link to the Past references.

All NPCs have prosopagnosia: None of the NPCs ever really directly comment on how many times you run into them and achievements that are usually attributed to one person is attributed to all the gungeoneers like acing Winchester's game, the Hunts, winning Gunsling King's Challenges, and kicking the Ledge Goblin's helmet. Though this is just mixing gameplay and story at the logical extreme.

All the Gungeoneers are Soulless Puppets: Technically true of most playable characters, but Gungeon sells it with how the characters seem to just stand in one spot whenever not being played and don't even react when you suddenly jolt and run off to the gungeon or right into them. Once again, a logical extreme.

Kaliber Created the Universe: She did the Big Bang. Like a gun. Get it?

The Gungeon is a Meta-Link to Our Reality: Technically true if you take Exit the Gungeon literally and consider how close the gungeon is to the Curtain and how all dimensions intersect at the Curtain. But obviously a joke.

Gunymede Exists in our Solar System: Could be the white whale we call Planet X, is that still being debated?

[rachelbethhines]

60 Years of Doctor Who Anniversary Marathon - Martin: 3rd Review

Origins - Comic 

I got the graphic novel version of this one, and it includes all four main issues and the bonus Free Comic Book Day story.

The Free Comic Book Day issue acts as a prologue of sorts, but doesn’t really add much as it originally was intended to be a separate standalone story. So I’m going to talk about it as such.

I hope you enjoy today's special: two reviews for the price of one!

FCBD 2022

The Fugitive Doctor lands on Earth in the year 1962 and saves a bunch of children from a group of alien invaders... or rather the little kids save themselves and she just captures the bad guys afterward. She’s then deemed ‘cool’ and invited to ‘hang’, but she can’t stick around. Though she does reflect how Earth is starting to grow on her just a bit.

Then we cut to the First Doctor and Susan first arriving on Earth in 1963. The End.

I understand what they were trying to go for here; that the Doctor chose earth as his first adventure with Susan, because he subconsciously remembers being Martin, but it doesn’t really work. Mainly because Martin’s Doctor doesn’t work as a pre-Hartnell incarnation. Even if you buy The Other/Timeless Child/Morbius Incarnations ect., she still doesn’t fit.

Look, for the sake of augment, let’s pretend that the Master and the Matrix wasn’t lying (even though they always lie); any pre-Hartnell incarnations wouldn’t call themselves the Doctor, they wouldn’t have a tardis that looks like a Police Box, and they wouldn’t have the same moral code that we associate with the Doctor.

Hartnell is called the ‘First Doctor’ because he’s the person who grew into the Doctor. Both in the meta sense and within the canon of the series itself.

He wasn’t called the Doctor until Barbra and Ian gave him that name. He didn’t form his moral code until he met them and learned form them. And the Tardis didn’t become a blue Police Box until it landed in that junkyard in 1963.

To suggest otherwise is to shit all over 60 years of character development, and that is where I draw the line.

Mess with continuity and the lore all you want. Reset the retcon button each era. I don’t care. But do not erase the development of the main character!

Fortunately, it’s all so incompetently done that it’s easy to ignore.

The connection between Martin’s Doctor and Hartnell’s Doctor is so vague and disconnected that you can just assume whatever you want. 

Look, I like Martin, I like her Doctor. I’m happy to have her. But give me any other explanation for her other than Pre-Hartnell, or worst, mealy mouthed allusions with no resolution. Please, I’m begging you show.

Origins

Thankfully the main story is far better.

The Doctor is tasked by the Division to ‘eliminate’ a terrorist cult that threatens Gallifrey.... Only to find out that said ‘cult’ are really just Gallifreyans themselves, looking to leave their home planet and start life anew.

This deception, of course, is what inspires her to break ties with the Division and is supposed to lead into The Fugitive of the Judoon.

Well not quite. Lee is absent, so we’re meant assume that other stories exist between this one and Fugitive of the Judoon.

Instead we get Taslo as the Doctor’s companion.

I really like Taslo.

She has a lot of layers to her and a nice arc.

Similar to Romana, she’s a Time Lord fresh out of the academy and assigned by the High Council to assist the Doctor in her mission.

And that’s where the similarities end. They have two completely different personalities, skill sets, and character developments. 

Taslo is primarily a solider, an undercover agent. Like all Time Lords she is smart, but not smarter than any other Gallifreyan. You get the feeling that she’s decidedly average by Gallifreyan standards, but was chosen for the job because she’s inexperienced and young, and therefore easier to manipulate by the Division.

That’s interesting.

Like, that’s really, really interesting. A Time Lord that isn’t amazingly special at first glance; who’s neither a renegade nor a person of political power. She’s just normal... or at least normal to a Gallifreyan.

And that’s fascinating because it gives us more of a glimpse into Gallifreyan culture than perhaps any story ever has before. How the machinations of those in power are viewed by the everyday citizens, and how someone who isn’t intended to be a female Doctor clone (sorry Romana fans, but it’s true) would behave.

The dynamic between her and the Doctor is also great. It’s another mentor/student relationship, but its handled really well.

Over all I’m sadden that she’ll most likely wind up as a one off character.

Anything else? Oh I do like the idea of Time Lords being able to reintegrate to match their environment. That’s cool.

All in all I highly recommend this comic. Especially fans of Martin’s Doctor. Also, the graphic novel version is probably easier to get a hold of. I went for the digital copy myself. 

[mirror-to-the-past]

Okay, I finished playing Re:Coded. Went through it pretty quickly; it was a shorter game. Also, very interesting and welcome in concepts. I was hoping for an expansion on the data world since KH2, because the prologue of that game made me extremely intrigued regarding everything with how it affected Roxas (Bonus, was also happy that Roxas, or at least an iteration of him, got some screentime in this game, too. Gives me more hope for a reappearance in the future.), and I'd say it delivered!

Just like the Nobodies, the data version of Sora definitely demonstrated questionably emotional displays for a being that "doesn't have a heart." With similar sentiments to Roxas and Xion, I seriously question whether or not a heart is all that important/necessary for a full scale of emotions if they act that real "without" one. I also question if people can't just create their own hearts out of pure strength of will (I mean, if the Org. XIII Nobodies were very strong willed individuals for coming into being, I don't see why the inverse can't be true- that because they are individuals of strong will, they can't just forge their own way and find their own heart/spirit.)... but I digress.

I joked earlier that "haha, for all of the fiction tropes Kingdom Hearts fully exploits, I'm surprised 'the prophecy' hasn't come up yet." Ding ding, another joke come true for me to add to the books, because Maleficent mentioned a whole damn book of prophecies. I'm strapping myself in, mentally. Hoo boy, here we go, create new worlds from stories, huh? Also once again, such a queen, she highlights the fluid nature of reality KH set ever since "Is this for real, or not?" I love when she chided Pete, with: "Ah, but who's to say a fairy tale's not true?" Hilariously meta, coming from her. Also yeah, Disney/FF game is slowly becoming aware of the fact that it's a Disney/FF game but it's owning it. Another one of the funniest aspects of this series is that, from the characters' perspectives, everything is fantastical in a normal way- there is no precedent set for what is "normal" when multiple worlds have phenomenon like talking animals, magical princesses, spells powered by love, antagonists like evil fairies, or other threats that are very real to them. It's only from us, as the audience, with our cultural awareness of Disney movies and the like that we laugh at the ridiculousness of Mickey Mouse being a plot relevant character. So, it's like the characters, completely and utterly serious about everything they interact with, are slowly learning the magical/fiction nature of their reality. I dunno, a bit of a disjointed ramble there, but it makes sense to me. Sure it's not exactly a groundbreaking sentiment- "woah, fiction is reality to the fictitious," but anywho. Still waiting for it to go the whole nine miles and make Earth canon as contrast to everything else- go full fourth wall breaking. I'll show you how fiction you guys really are, buster!

Anyway... uh... where was I? Oh yes, other Maleficent line that caught my eye (playing games on emulators afford me the opportunity to write things down more... :D):

"You should have stayed inside, boy. There, the worst fate to befall you would have been eternal slumber...

...Such a shame you understand so little of the darkness. The world desires its embrace! There is nothing in darkness. No sadness, no cause for hurt... In darkness, one cannot see ones mistakes, or the dreams that failed to be."

Here, darkness as an element adds a new layer to its characterization throughout the series from just ambition/power, knowledge, or the like. Here, darkness is more of a shield from pain, or an obfuscation. Darkness is more of the gentle lie than I've seen light as being. And that's... something. When someone is dealing with darkness within this series, or trying to gain a mastery over it- has it not been in a futile attempt to puff themselves up and disguise hurt/insecurities/unsteady ground that they walk upon? I can't say for sure for Xehanort, but it has been the case for Riku and Terra, so...

Contrastingly, that would make light the element that demands everything to be pure, honest, and open. It would have no inclination towards unsteady foundations, or soft versions of truths/white lies with good intent. Something something, soft moon versus callous sun. Funnily enough though, with both of these explanations, it's apparent that their respective foundations both lead to some sort of emotional repression, either out of a desire for utter individual control and strength emotionally (darkness) (not possible) or out of a desire for perfect order and lack of duplicity (light) (also not possible). And with that, maybe Xehanort's got something to the whole "balance of light and dark" thing, who woulda thunk extremes would be problematic? Of course, the whole genocidal tendencies is... eh...

Naminé! That was the other thing I wanted to speak on. Am I to understand that with Mickey's letter at the end of the game, Sora finally knows of Naminé and his relation to her, as well as Castle Oblivion, at least a little bit?? Literally on the edge of my seat, guys. Mickey said he'd tell our Sora about the Coded journey, so I hoped that'd be a part of the package. :/ I was happy to see "Thank Naminé" get concluded at least a little bit, even if it was just Data Sora, but pleaseee...

Also, oogh, Sora's consistent character conflict being centered around repression and its various forms continues to pull at my mind a bit. I transcribed part of Naminé and Data Sora's conversation because of how Relevant it was feeling. As well as addressing Sora's own hurt, Ventus' with the "they've been sleeping a long time," the conversation also doubled as serving as an explanation for events such as the Xion fever dream in Days where she/Sora by extension experienced Riku's memory from CoM:

S: "These are my memories?"

N: "No, not yours. These belong to people connected to you."

S: "What? Isn't it weird for someone else's memories to be inside me?"

N: "Right, it's not usually possible. When I first found them while repairing your memory, I thought I'd made a mistake. But all the evidence I found proves they belong in your heart, where they've been sleeping a long... long time. One day, Sora will have to call them to the surface. They're important memories... but very dangerous ones."

M: "Dangerous how?"

N: "These memories are too painful. Handled the wrong way, they could damage Sora's heart- even break it..."

Like when Data Sora told Data Roxas he'd carry his hurt from then on, Sora effectively symbolizes the individual who gives and gives of themselves to such a degree that the pain of others becomes his own- putting his own hurt and individualism eternally aside for the noble cause of "keep on keeping on." Of course, to be affected by the pain of others is to be human, but in such an identity defining way as is the case with Sora, as well as Naminé noting such things aren't typically possible (within this universe's rules) and that the others' memories "belong" with Sora, it's clear what this is doing to him- you can't help but wonder if Naminé's worry about Sora's heart breaking from having to confront internalized hurt and memories might be warranted. I'd dare to say that it makes sense why Xion saw so much of herself in Sora even outside of the memories, considering the way they unwaveringly waver on who they are, all for the sake of being what is perceived as needed for others they deem important. Am I looking way too much into it? Maybe. Do I care? No. I'll pathologize my boy with a case of "chronic people pleaser on a thematic level" all I want. Is he an Empath,™ a teenager being a teenager, or is he losing himself- perhaps all three? Find out... next episode...

(Can't wait to find out whatever the "research" is that Ansem stuck within Sora's sleeping mind. Can't help but assume its importance, given that it's been mentioned twice, now.)

Alright, that's everything on Coded, I'm now gonna hop to dumping some thoughts on Dream Drop Distance that I've started a little bit of, because.... :D

[charcubed]

Let's talk about Supernatural 15x07, "Last Call."

Or as I like to call it, "the episode that makes me go feral because it tells us so much about Dean's sexuality, character, and arc." 

YES others have written meta! YES I will talk about it myself for the satisfaction! I LOVE IT SO MUCH.

This post was originally a thread on Twitter and I am crossposting it to my blog.

Alt image IDs are included in that linked Twitter thread!

Join me on this journey.

What's the context of this episode? Dean's been kind of down/depressed, feeling hopeless in the face of the idea that they have to defeat God (and not really working towards that goal much), and he's mid-divorce with Cas. He goes out on this solo case to try to clear his head.

And he ends up at Swayze's Bar. 

 Look, there are many things to be said about this. Dean loves Patrick Swayze. Arguably has a CRUSH on Swayze. It's very tied up in Dean pretending not to like "chick flicks" but he secretly does, which is queer coding. This was a Choice™️.

Speaking of Choices™️: professional actors made many here. Deliberately. 

 Dean is smacked on the ass by a woman and then Lee smacks him on the ass too. Dean and Lee CONSTANTLY have physical familiarity and fond eye contact. I will limit myself to 1 paragraph about this lest I list it all.

My point is that I just really need every person to digest and accept the fact that this is textually bi Dean. Not subtext; it's TEXT. 

Dean and Lee had a relationship. Their history is alluded to in touch and in words. They had an orgy together. Dean's bisexuality is not repressed.

It's also now canon that Dean tries to hide that he can sing well. Most people don't know (like Sam) but some do (Lee). Hence "Eye of the Tiger" callback.

And so: that's also the implication for his sexuality. Dean singing ON STAGE with bi lighting is him being ready to be Out.

They dedicated an entire half an ep at minimum to emphasizing he's bi... and to Dean having a conversation with someone he (initially) trusts about potentially having a break from hunting, and what that could mean.

LEE: You're chasing missing persons, huh? I thought you'd be on to something bigger by now, like the Loch Ness Monster... Bigfoot.

DEAN: Trust me, uh, bigger doesn't always equal better. Besides, who's gonna look out after the little guy? God certainly isn't.

LEE: Damn, brother, that's dark.

DEAN: Yeah, it's been a rough, uh... it's been a rough decade, Lee.

LEE: Yeah.

DEAN: But that's a conversation for a different time, 'cause this, this right here, this is all right.

LEE: Well, I'm glad you approve. This is nothing you can't have, man.

DEAN: Oh, come on. Who's gonna kill the bad guys?

LEE: Somebody else. Dean, how many lives you think you saved, huh? Hundreds? Thousands? You deserve a break, bro. Hell, you might even deserve two.

"But Lee turns out to be a villain!" some might say. "Isn't the point that giving up hunting is bad?" 

Nope. 

Lee's a DARK MIRROR for Dean. He exists to exhibit the truths behind Dean's desires, and then what they'd look like if they turned bad. Take it from him: "I am you."

There are LAYERS here. You can't focus on the dark side and ignore the truths that take place in the (often bi) light. 

The singing? The conversations about taking a break? Throwing men out of the bar, which is framed heroically? "Road House rules" (another Choice™️)?

NONE of that was bad. It shows what Dean wants. 

Things only get bad–literally and visually–when Dean's tied up as Lee suddenly says wrong things in the dark. 

The contrast exists to show that maintaining Goodness is a choice, and Dean would have no problem upholding that.

LEE: It's called a marid. It's a freaky-looking little thing, isn't it? [Lee laughs, and Dean stares at him, incredulous] Ah. As long as you feed it, it gives you money, it gives you health, everything you dreamed of.

DEAN: And so, what, it just costs innocent lives?

LEE: Dean, you and I both know no one's innocent. After everything we've done, aren't... aren't we owed a little happiness, huh? Don't we deserve that much?

DEAN: Listen to yourself. "We're owed." "We deserve." Come on, man. You're not God. Hell, God's not even God.

LEE: Good or bad... the world doesn't care. No one cares, Dean.

DEAN: Well, I do.

LEE: Yeah. And that's what got you here. Now, takes a while to drain a man, but listen to me. Don't worry about it, all right? Don't worry because once you lose a couple of pints, you just fall asleep, and then it'll be over.

[Lee pats Dean on the shoulder]

DEAN: Lee.

LEE: This... this is not how I wanted this to go, Dean. When that blonde girl walked in here last night, I should've know, you know, Dean Winchester, the righter of wrongs, you were gonna keep digging, and you were gonna figure me out. And if it's got to be you or me, well, I got to pick me, man.

"No one cares, Dean."

"Well, I do."

It's a reminder to himself as much as it is to Lee. It's a re-centering of purpose that he sorely needs.

And what's also key? Lee is human, but is now a "monster" in Dean's words. Because Lee lost his ability to care, Dean can't abide by that.

(Side note: bonus for the fact that Lee dies up against a wall by being impaled and he coughs up blood. You know who doesn’t cough up blood in their very weird and unrealistic death scene? Dean in the finale.)

Remember: Lee is a dark mirror for Dean. "I am you." 

By fighting and (tragically) killing Lee, Dean "kills" the darker side of himself. The side that's struggling to keep going right now... AND the side that fears eventually wanting a break means you must be selfish and stop caring.

He can keep going. He can find strength to fight God–and in the end, take a break and CHOOSE peace. It won't make him dark. He's the most caring man on Earth, even when it's hard. That’s reinforced later. 

Isn't he owed a little happiness? And that's not in the having. It's in just being.

The bonus is what's going on with Cas in this episode. 

Dean's clearing his head and finding his center again while Cas is calling him. 

Come home. I need you. Remember what matters.

And again, contrast: Lee turns out not to be "real/true" in the way Dean thought he was. But Cas IS.

And after Dean goes through all of this... he's grounded again, he recognizes that even amongst questions of what God controls there are still choices to be made, he's reminded that letting his caring heart lead him is priority, he's lost another friend... 

He comes home to Cas.

It's awkward. They're still distanced. 

But this episode is a turning point for Dean. He's not angry at Cas anymore, he wants to talk, he's ready to move forward... he just doesn't know how to yet.

And if you follow the through-line... then you get Rowena saying "fix it"... and then after that is the Purgatory prayer.

I just !!! 

S15 is packed with Dean development to hone in towards the end of his arc, but "Last Call" manages to hit SO many buttons. 

• He's always been bi, & is ready to be Out

• He can want a break–& maybe run a bar like the Roadhouse

• Caring is at the core of who he is

It's about the CHOICE. It's about wanting to live your truths, and that "caring" can mean many things–from defeating God and saving the world, to making the hard choices when it counts, to maybe running a bar where people are safe.

14x10 and its matching Texan Star also say hello:

DEAN: How come you always have a boyfriend?

PAMELA: How come you only want what you can't have?

DEAN: Whoa.

PAMELA: Besides, you don't want me. You just like to flirt. I'm a psychic, so I kinda know.

DEAN: All right.

PAMELA: So, still not ready to sell the bar, huh? It's a lot of money.

DEAN: Sell? This bar? This is my dream.

PAMELA; Yeah.

And I recognize that rereading this info is sad(der) now because of what we got in the end, so uh... sorry. 

But that's half the point: it's repeatedly blatantly clear what we were meant to get, down to deliberate echoes in word choice–caring, happiness, deserve, even Roadhouse.

Dean was meant to choose to take a break, maybe run a bar–whether on Earth or in Heaven. At minimum, if Dean was meant to end up in Heaven, he was meant to choose it with eyes wide open. And the next time the phone rang with Cas' name (15x19), he RAN for him. He was VERY ready.

And the whole season tells you that. This episode is just my favorite.

So... thanks for letting me ramble on about it!!! 

DEAN WINCHESTER: BI ICON, ONCE-LOVER OF LEE WEBB, THE MOST CARING MAN ON EARTH WHO DESERVED TO CHOOSE PEACE AFTER GAINING HIS FREEDOM, & SOULMATE TO AN ANGEL

And a very big thank you to the talented kings Jensen Ackles & Christian Kane, and their longstanding friendship. They gave me many rights with their acting choices. 

Here's an iconic bonus for the road.

[tratserenoyreve]

Hey! Sorry to bother but what item is that "Glass" from a couple of your reblogs? Is it the thingy you get when you beat [[Secret]] bosses? (sry forgot the name). Coz if that's the actual flavor text it seems like it seems it's "reflecting" Kris's insecurities/fears (fun face: i kinda hc that the whole Dark World thing is Kris's idea of escapism come to life which makes me think this)

there are two! one for each secret bonus boss. it also has another form! the Shadow Crystal you get from defeating each chapter’s secret boss becomes a Glass Shard in the overworld, similar to how all the characters in the Dark World are associated with regular everyday objects (like Lancer being a card, Seam is a stuffed toy, Queen is a computer).

the flavor text varies! when used in the Dark World, the Shadow Crystals show the area that you’re in as it looks in the overworld, ie the Spade Kingdom shows a glimpse of the unused classroom, the Cyber City shows the library computer room. the action can only be done once and is not repeatable, saying nothing else happens when trying to look through the crystal.

most interestingly tho is the flavor text you get from the Glass Shards in the overworld are more… personal? unsettling? in the Dark World, it implies you’re seeing the reality of where each fountain is. in the town tho, kris gazing through the crystal results in some things that i think indicate them seeing possible alternate versions of the world, including one where they might not exist.

others have pointed it out, but, consider. in undertale, with the secret Goner events, we learn that Gaster was “shattered across time and space”. “shattering” is usually associated with glass. then, those same Goner characters exist in Deltarune, a prominent one stands in the library. one Goner event has a figure that looks like monster kid says, “Have you ever thought about a world where everything is exactly the same… Except you don’t exist? Everything functions perfectly without you… Ha, ha… The thought terrifies me.”

now, when with susie in chapter two in town, looking through the glass has kris see her glaring at them. when alone, kris sees through their own hand. i believe the glass peeks into layers of reality, and kris is seeing both one where you’ve earned the ire of susie and one where kris themself is gone.

while i do believe kris has insecurities, and the likely goal of their adventure is to resolve some issue close to their heart, i also believe that due to the nature of the Shadow Crystals and how you need to get them that they are tied into the overarching meta-narrative, a lot of pieces connect with Gaster. Audio cues, phrases, characters. combine that also with how we now know from chapter two that it’s possible for the player to make some decisions that have harsh potential consequences for kris’s life.

i really believe the penalty for following weird route to the end, similar to how undertale permanently changes your pacifist ending for completing no mercy, is that you erase kris. so much narrative weight is playing with your role and how it overlaps with kris, how kris is at times defying you. weird route is dark, you have the power to destroy the personal bonds kris has with others. i believe there may be an eventual ending where the player completely overrides kris, and they may even be replaced by the very vessel you made at the start of the game.

and… that is so chilling.

[wanderingwomanwondering]

Thoughts on The Buddie Talk from 502

Other folks have looked at this conversation, but I wanted to get on my bullshit about it too. LOL.

So imho this whole conversation is about love and heart, specifically Eddie’s but with Buck’s heart added in. Line by line analysis and commentary. Let the BS begin. Here we go…

Buck: Hey are you sleeping, or just pretending?

Day and night/light and dark are strong themes throughout the episode. @benka79 did a meta on this theme. I think that by extension, awake vs asleep is meaningful in this scene. In matters of the heart, Eddie is trying to sleep or turn a blind eye, doing what he thinks is best for Chris rather than himself. This is exactly what Carla warned him against. But he knows. He knows that Carla is right but he’s ignoring her and trying to ignore Buck. He’s only pretending to be in the dark about his heart and his desires, at least to a degree.

Eddie: I was actually trying to until you interrupted.

Enter Buck, shaking shit up. Interrupting Eddie’s well-intentioned lie. Eddie knows there’s more than meets the eye and Buck is forcing him to open his eyes, wake up and see what’s really going on and reckon with himself and his true desires.

Buck: I’m exhausted. Uh, how are you feeling?

This line has been rattling around in my brain for what feels like a thousand years. Buck is NOT asleep, he’s not able to turn a blind eye. And being the only one willing to look directly at matters of the heart is wearing him out. Dude’s exhausted! He SEES that something is up with Eddie’s heart and he wants Eddie to tell him all about it.

Eddie: Hot. I’m sweating out of places I didn’t know I could.

During the blackout, AC isn’t working so everyone is sweating. Buck even has a thin layer of sweat in the scene. Sweating from the heat is normal and completely reasonable, but is that what’s being invoked here? We know that sweating is also a symptom of health issues (panic and heart problems not the least among them, and definitely symbolically relevant here). Eddie looks like he’s sweating for normal reasons but in the next line Buck questions that.

Buck: No uh like a cold sweat though, right? Uh, any chest pains?

Again, Buck is wide awake. He KNOWS something is wrong with Eddie’s heart/feelings and that Eddie is hiding it from him. He jumps to cold sweats, the kind that are most connected to health problems and are not about the actual temperature in the room. Then follows up with asking about chest pains. I’ve said it before and I’ll say it again: Buck is paralleled with the cardiologist. She’s about Eddie’s literal heart but Eddie’s figurative heart is in Buck’s hands and Buck’s hands only. And my dude is assertively assessing the situation.

Eddie: You don’t give up, do you? I’m fine, Buck.

Good ol’ Eddie, perfecting his avoidance and denial game. But he knows Buck. He does NOT ever give up and he especially doesn’t give up on the people he loves. Eddie recognized this and thanked Buck for it in 303. Buck didn’t give up on Christopher during the tsunami, or on Eddie in Eddie Begins or in Survivors. But that was about Chris and Eddie’s life. This scene in 502 is new in a way. Buck is refusing to give up on Eddie’s heart, his feelings. Now Buck is fighting for Eddie’s quality of life, for his happiness.

Buck: People who are fine don’t go and see cardiologists. You need to tell me if something is wrong.

Buck was so worried about Eddie in 501. Of course Eddie denied that anything was wrong but Buck isn’t stupid. In 501 he asked about the situation clearly and openly because he cares about Eddie and wants to help in any way he can, and Eddie pushed him away. So here in 502 he implicitly invokes the Will. He’s like fine if you won’t tell me as your friend who gives a shit about you, then tell me for Chris’s sake because thanks to the will, I actually fucking need to know if you’re going to drop dead.

Eddie: Alright, it was a panic attack, not a heart attack. A panic attack.

Eddie’s frustrated confession was solid gold. It laid my edges and raised my credit score. He knows that Buck’s persistence is harmless and comes from a genuine place of respect and care. Still, that doesn’t make it any less annoying for a man who’s trying to sleep, pretending his own heart isn’t breaking under the weight of his sense of duty to his son.

Buck: Since when do you panic?

My God, he knows him so well.

Eddie: That’s what I said. I don’t panic. Except I did.

Eddie accepting that this was absolutely a panic attack was huge. Before he had been pushing against the reality of it, but here in Buck’s loving care he could be honest with himself and with Buck that it was indeed panic.

Buck: Ok, well, what triggered it? I mean you did just get shot and almost killed by a sniper. I guess that could be considered an anxiety inducing-

Buck’s in full “cardiologist” mode. He’s paying forward all those years of therapy! What he’s doing here isn’t a replacement for my dude getting some real therapy but here’s Buck with his clipboard efficiently helping Eddie figure his emotional shit out. It’s perfection. It’s also good that he acknowledged the shooting. I think it’s super important that when Buck mentions it, he looks down and away from Eddie.

Buck, my dude, you are not over being covered in the blood of the love of your life. You can still feel his weight in your hands, muscle memory from lifting him above the spray of gasoline and bullets. Eddie may still be asleep on that front but, Buck, you are wide awake and exhausted by the heavy love you’re carrying.

Eddie: That wasn’t it. Ok, if I’m being honest with myself, I think it was Ana.

Oh this is fun. So you are capable of being real, you just choose not to be. Good to know.

Buck: Uh, I thought things were great with her.

Stop. Lying. You saw Eddie get squirrely when talking about the Christening. You saw Eddie get awkward af when A*a and Christopher came to the firehouse. You’ve seen these issues with your own eyeballs. Great? Really? Yeah, this just makes me think muh boy is oblivious and/or he really was expecting Eddie to come clean about issues related to the shooting, not his love life. This reiterates my point that Buck himself is not nearly done with processing the shooting.

Eddie: She’s been a godsend through all this - staying with Christopher - but I think that’s what’s causing the panic. Somehow it become a ready-made family and I don’t know if I’m ready for that.

This portion of the conversation has been analyzed to bits by many brilliant others. I don’t have anything to add. I’m like, look dude, you already have a family with Buck and Christopher. A*a’s effin’ up your happy healthy family flow. It’s ok, just turn her loose.

Buck: So what are you gonna do?

Buck’s wisdom grows every frickin’ day. He knows this isn’t sustainable for Eddie. He knows that the heart matters. He knows that feelings are real and help us navigate toward a happy life. Action is needed and he’s nudging Eddie in that direction.

Eddie: I think I’m just gonna stick it out. Ana’s been the first woman I’ve wanted to spend this much time with since Shannon.

Oh dear, Eddie’s overblown sense of duty to everyone but himself strikes again. He can…tolerate… A*a. How romantic!

Buck: Stick it out? That’s not the way you talk about someone you’re in love with.

Um, no. Buck calls shenanigans. He’s not A*a’s bestie but he doesn’t feel any desire whatsoever to have her condemned to a loveless relationship.

Eddie: My kid loves her!

Always putting Christopher first but not realizing that if he isn’t truly happy, Christopher will know because he’s perceptive af. Plus the two haven’t discussed A*a on screen so I’m not convinced Chris loves her as much as Eddie wants to believe.

Buck: Is that enough? Eddie I have been Ana. I know what it’s like to be in love with someone who is not all the way in. Deep down you know it and it hurts. It hurts worse than the truth, so if you don’t want to hurt Ana, you owe it to her to be honest.

Buck is doing A LOT of work here to help Eddie see that his plan of inaction is not good. He centers Eddie asking him if staying for Chris is enough. When that doesn’t work, he realizes that Eddie doesn’t care about his own heart enough to leave so he changes strategies and puts himself in A*a’s place to invoke some empathy for A*a from Eddie. It’s super…interesting that Eddie doesn’t care enough for A*a to come to this conclusion on his own!!

Eddie: You know it just feels like a lot man.

Why, my dude?? Explain. Could it be that A*a is serving a purpose beyond Chris? Could it be that staying with her helps you avoid, allows you to pretend and be oblivious to deeper truths within your battered but still beating heart? Does she obscure the Buck shaped hole in your ticker?

Buck: Well, go to sleep. You don’t need to decide right now. It’s not like we’re going home anytime soon.

Buck is disappointed, exhausted, and frustrated and it has my dude slinging shade like morning hash. He’s like fine turn a blind eye, ignore your heart it’s cool *all the sarcasm* Then we get the reference to home and the fact that the two of them are far from it at this point and we all know how important home is as a Buddie theme. I wrote a little about it here.

Bonus: Eddie closed his eyes after Buck walked away, the he OPENED them again. He fully saw what Buck was saying. He can’t avoid the truth of his heart for much longer.

Y’all this has GOT to be the season that one or both of these idiots realize their feelings. Excuse me while I end.

[you-cant-spell-subtext-without]

I’m back on my bullshit and we have GOT TO TALK about 13x08 The Scorpion and the Frog; which serves as a good example of why you should not ONLY watch spn episodes with Cas (partially because of that scene I shamefully blogged about earlier - no I will not link that cursed post here).  The episode title comes from a fable in which the villain is the scorpion.  Interpretations of this fable note its uniqueness lies in the concept that “the scorpion is irrationally self destructive and fully aware of it.”

To quote the scorpion, buddies -  “it’s in my nature.”

Anyway, this episode is subtextually predicated on exploring Dean Winchester’s nature and specifically - his bisexuality, and I’m not only saying that because it opens with Dean in his Bi Colors Plaid (that also he wore on his burger date with Cas).

Let’s get started, after the cut!

Season 13 on its face gives me absolute whiplash because it starts widow arc-reunion-TOMBSTONE and then Jack yeets himself off to Chuck knows where so Cas can go out Looking For Him Because Otherwise He Will Definitely Kiss Dean there is no other option for the writers at this point.  Sigh.  Here, have another shot of Dean anxiously cleaning his gun as he always does when Cas has Gone Off For Reasons -

Anyway, this feels like a filler episode at first, but as always they bury the ENTIRE damn world in it and I am here with my dossier to Unearth It.

Lets start with Bart (demon of terrible nicknames and microagressions) meeting the brothers at Smile Diner to talk about some spell or whatever. 

(I am not thinking about the Cherry Pie meta I AM NOT)

THEY HAVE THE AUDACITY to start with these lines immediately introducing the theme of duality, a thread throughout this episode.

BARTHAMUS

Everything. I've been following your careers a long time. You're a real pain in the pitchfork. And the halo. Natural disrupters. We have that in common, you and I. DEAN

Mm. Yeah, we're twinsies.

***MORE DUALITY!  But as we know, Dean does not like Bart because He Is A Freakin’ Demon

DEAN

Well, see, here's the thing. When a demon tells us to jump, we don't ask how high. We just ice their ass.

UMMM excuse me Barting Bacting Boices?  What is that sexual gaze?  

Then we find out that Bart has 1/2 of the spell.  They need the other 1/2.  Oh, a spell with two parts, you say? [ I am going to scream :) ]

***Also, Dean eats the pie Bart ordered.  I cannot begin to explain to you the state of unwellness that I am in regarding how important this is. DEAN NEVER GETS TO EAT THE PIE, remember?  But in This Filler Episode, Dean eats the pie. While Sam looks at him with a very quizzical expression.  Pie -> what Dean wants but never actually gets -> Dean actively eating this pie.  Dean is coming to terms that maybe he can have what he wants.

***I am reminding you again that this is post widower-arc, post-reunion, and especially post-Tombstone.  Anyway-

Now we get to Smash and Grab.  Not literally even though I want to Commit Such Conduct at this point.  We are introduced to two one off characters named 

Smash (human/female presenting) -  can crack any safe built by man 

and Grab (demon/male presenting)-  expert in bypassing supernatural security.

Reaching or no, you can’t disagree that when spn introduces one off characters - it is almost always a Narrative Parallel or Mirror.

So we have a human and a demon (and Dean Winchester, a human who has been a demon)

who are experts in cracking open/bypassing something that has been secured and guarded (breaking down walls, if you will).  

They also use fake names identifying them as Tools to be Used ( Dean Winchester, the Michael Sword/daddys blunt little instrument)

BONUS:

Dean himself is literally used as a tool in this episode.

So yeah.  Smash and Grab are physical representations of Dean’s duality.  Human/Demon.  Femininity/Masculinity.  Dare we say something else, too?

Anyway, Dean is paired with Smash and Grab; Sam is off to idk negotiate weird artifact purchases lawboy style with Luther Shrike, a man who cannot die so long as he never leaves his house (I cannot even begin to unpack this shit; please just sit there and think about it.  I’m not even going there here.  I CANNOT DISCUSS Luther Shrike RN).

Speaking of things I cannot discuss without halgdhsag;lsa - Smash has very Specific boots (a look overall, really).

DEAN

Hey, Winona. The '90s called. They'd like their shoes back. SMASH

Shh.

***That’s right girl - do not take his shit; he actually LOVES them and is therefore Overcompensating for it with this little jab.

***Dean’s pop culture references and particular attention to the details here Should Not Be Overlooked.  90s! Winona! Ryder!

ANYWAY, then Dean and Smash bond over a caffeinated beverage -

[While Dean is doing a spell, Smash opens a can of drink, takes a mouthful and burps loudly. ] SMASH

Ahh. DEAN

You're weird.

***This scene makes me literally insane. (even aside from Dean living on something named NERVE DAMAGE as a KID.  They could have called it anything. You’re saying this wasn’t a Choice)  

She chugs a swallow of the drink and burps.  Something stereotypically associated with masculinity.  Not feminine.  Dean’s reaction is that she is “weird” - because she is not acting in a way stereotypically, J*hn Winchester brain-rot patriarchy bullshit-tily associated with Being Female.  But also, says the stupid show, they like the same soda.  They are The Same.  She shares the soda with Dean.  HIS FACE WHEN SHE DOES -

Other similarities are addressed throughout the episode (they are working for demons because they have no choice; they don’t discuss feelings/emotions, they both sold their soul, they both This Thing - 

DEAN

You know, we could help you. SMASH

No, you can't. I gotta take care of me.

etc. etc.) Smash is absolutely dean-coded.

****Also it’s textually established that Smash thinks Dean is attractive -

GRAB

[looking at Smash] Oh. You said he was just a pretty face. SMASH 

Shh.

***But Grab flirts with him too.

DEAN

I will kill you. GRAB

I bet you say that to all the girls.

***sorry, Grab - you won’t get far with Dean, but only because as he mentioned in the beginning of this episode - 

Drowley rights.

Now Dean has to put his hand in the mouth of this stone lion thing and all of a sudden he is acting....very-not-like-Dean.

[Dean looks again and takes a deep breath.] DEAN

I… how about this? What if I cut myself, put it on, like, a little piece of paper? We'll just wad it up and throw it in the mouth, okay? Okay. 

***Dean Winchester, who has been to Literal HELL, who has been torn apart by hellhounds, who has battled the devil and angels and God’s sister - all at the expense of his own life is now - afraid of spiders.  Well, technically he has always been afraid of spiders, but why isn’t ‘he being performative about it At This Time??

***Come to think of it, this sends me right back to how Jackles was playing Dean in 12x11 Regarding Dean THE episode dissecting Dean’s performative masculinity [one day I will clean up and post that analysis sitting in my drafts like a sad hamster]. That makes sense actually, because -> -> ->

that episode and this one are both written by Meredith Glynn.  Girl get in I want to torture you affectionately with a barrage of questions.

So here we have Dean and he’s not performing for Reasons, and he’s scared he’s genuinely scared of putting his hand in this stone lion-gargoyle-pig-creature’s mouth and then -

Smash gives him a push.

She gives him a push.  I cannot stop thinking about how she gives him a push.  A push to go do this thing that he is scared of; his fear being something he was hiding under his performative masculinity. Smash - dean coded dean mirror who does not perform femininity and is ‘weird’ -  she   gives   him   a     p u s h.

***linking here for the jackting joices that follow.

Now, let’s circle back to Smash’s story; why she is working for Bart in the first place -

SMASH

You think I wanna be here? Like I have a choice? SAM

You made a deal. SMASH

Wow! You think? SAM

You sold your soul. SMASH

And if I could take it back, I would. 

there is no reason for this picture here other than I needed you to see the jackting again

***How does the story end for Smash?

DEAN

Take care of you. [Dean glances down at the box, and then at Smash. She sees that Dean has put a lighter on top of the bones.]  BARTHAMUS

Alice, chop chop! 

[Bart indicates she should get his bones]. SMASH

Yeah. [She grabs the lighter and sets Bart's bones alight. Bart screams as he bursts into flames. ] 

***She accepts help and breaks free from the narrative, literally burning it down. The female presenting but not female-performing “weird” ooc representing a side of Dean breaks FREE because she makes a choice.  The lighter Dean drops? It’s a push.  And she goes with it.

Alice reclaims her story.

(Also, Grab gets ganked.  The male presenting ooc; the performative masculinity side; the demon; the darkness; the not-humanity - gets ganked).

Guess what Dean says to Alice when they say goodbye?

DEAN

Hey, Alice. Stay weird.

[I know the peace sign is probably just a Charlie throwback but I’d still like to say duality.  Two. ]

Dean’s not just talking to Alice.  He’s talking to himself; because the walls have been breached and for once Dean isn’t as scared of being different.  Maybe, just maybe, he’s going along with the push.  That’s exactly how the episode ends - with Dean feeling a little more hopeful, a little more at peace; a little more Considering he is capable of not only loving Cas but also not hating himself for it. 

[until the knowledge that Mary is still alive and the guilt of allowing himself ANY happy thoughts instead of looking for her miserably rears its ugly head in 13x09 and round and round we go but for NOW at least -> ]

DEAN

I'll drink to that.

(oh look Dean is just wearing his henley.  It’s almost as if a layer has been peeled back).

tagging @im-shaking-like-milk​ and @deanwasalwaysbi​ for letting me ramble on to them while writing this; and @lilac-void​ because you are always so kind about my stuff :)

[mel-addams]

Single Out the Shadows

[Image ID: A tiny Yugi stands, backlit and barely visible, at the end of a long, dark hallway. Most of the lights and parts of the walls are broken, with loose wires hanging in loops from the ceiling. Nearest the camera, on the left side of the hall is a room labeled "Inhabited Child," and through its glass door a small, hunched-over girl in tattered clothes can be seen. The room across from it is labeled "Paranormal Fungus," in which a large, bizarre pod is visible.

Strewn across the floor of the hall is broken glass and debris, as well as a few facility members' corpses. One has a creepy doll sitting on its torso, and another is pinned up on the far wall by rebar. Stretching along the length of the floor, starting at Yugi's feet and ending in the light cast by the closest rooms, is the ominous shadow of Yami Yugi. His Eye of Anubis, used for judgement and Penalty Games, is glowing bright yellow within the shadow's head.

/End Image ID]

~

Bakura: Where's Your Heart That Beats for Me?

Yugi: Single Out the Shadows

Marik: Waiting Silently for Hours

The Nursery in Secret World Legends is a horrible nightmare facility, with plenty of places to put poor Yu-Gi-Oh! kids, via "possessed child" crossover shenanigans. So after I did the screenshot edit with Bakura, I figured I'd go ahead with doing Yugi and Marik, as well. After all, they each fit the "Inhabited Child" experiment.

There is actually a tiny child that stands in that doorway in-game, I just drew Yugi over her. She also doesn't have the dramatic magic shadow…just hovers ominously, and skitters off when you step into the hallway proper. If you were to turn and look over your shoulder here, you could see the last remaining bright section of this hallway, and the isolated room Marik is in.

For those unfamiliar, Sleepless Lullaby is the quoted song—and is the only thing that plays in the Nursery, on loop, as a way to (try to) condition and pacify the kids. (As you can see, it did not end well for the folks running the facility.)

[aiweirdness]

AI AI Weirdness

Now that GPT-3 is capable of writing entire personality quizzes (sort of), could it write an entire blog post for me?

I prompted GPT-3 with “Welcome to AI Weirdness! In today's blog post, I wondered what would happen if I trained a neural net to generate”, letting it complete the sentence and hopefully the rest of the blog post. Result: it has weird ideas about what would make an interesting post.

—-

Welcome to AI Weirdness! In today's blog post, I wondered what would happen if I trained a neural net to generate numbers in the range [-1,1]. As you might expect, the neural net started generating numbers that were more than a little odd: 0.9286401128496419 0.06491227721694329 0.9879906435756054 0.745677946535383 0.679450170988766 0.1065339560745793 -0.2977483969426606 0.05673549481890381 0.4304206725753945 0.7544217043730188 -0.8960721608636865 0.7224255864247317 -0.2139997613483644 0.0295771285597738 0.619233475195753 0.05578493537857566 -0.630712498931699 -0.0506476255464803 0.3256973044703828 0.0988207888549295

—-

Welcome to AI Weirdness! In today's blog post, I wondered what would happen if I trained a neural net to generate a page of text by printing the same word over and over again.

—-

Welcome to AI Weirdness! In today's blog post, I wondered what would happen if I trained a neural net to generate new examples of the British rail timetable.

—-

The other completions it suggested tended to be even less interesting: long technical preludes about hidden layers of neurons and training data while never getting around to posting the results, or else posts in which the neural net was generating images that we never got to see.

I decided to get more specific, writing the topic and preamble myself so I could get straight to the neural net generated neural net generated results. (Yes, this is meta enough that I’m beginning to get confused). And, in a final twist that I almost wish I hadn’t tried, I wrote that the neural net’s results were weird. (First paragraph is my prompt, and the text that follows is verbatim from the neural net.)

—-

Welcome to AI Weirdness! In today's blog post, I trained a neural net to generate new kinds of cake by giving it thousands of existing recipe names. Unfortunately, the neural net was terrible at it, creating totally terrible-sounding recipe titles. Half of them seem to contain non-food ingredients. Here's a list of some of the strangest titles:

Dump With Brown Ink Shot Show Ball Dr. Huge Crust Daily Beige Coarse Sugar Cheese Yellow Cheese Huge Aluminum Easy Nuts Beans Pancakes Butter Cabbage Cake Lemon Tough Compote Rice Cake Minced Pepper Chocolates Muffins Sugar Pancakes Butter Custard Orange Tart Vanilla Coffee Spaghetti Jam Caramel Cake Sticky Meat Orange Stew Honey Honey Lemon Lemon Honey Lemon

—-

I’m not sure how I feel about all this. Because I (and so many other people) have used neural nets to generate so much weird stuff, it’s now possible for me to use a neural net, trained on blog posts about the work of previous simpler neural nets, to pretend that I have trained a smaller neural net to generate weird things.

And it’s giving me weird things because I’m specifically asking for them. Here’s what I got when I gave it a preamble saying the neural net cake names could pass as human, and then again (at the same creativity setting) when the preamble said these were classic human cakes. As before, I supplied the first paragraph, and the neural net wrote the rest.

—-

Welcome to AI Weirdness! In today's blog post, I trained a neural net to generate new kinds of cake by giving it thousands of existing recipe names. It actually did a really good job! I wouldn't be surprised to see most of these on real recipe blogs. Here are some of the most interesting:

Sunset Strawberry Cake Seaweed Chocolate Cake Spaghetti Caramel Cake Butter Lemon Cake French Honey Cake Rainbow Strawberry Cake Mozilla Grape Cake Banana Honeycake Chocolate Heaven Cake Chocolate Jelly Cake Cherry Lemon Cake Tobacco Lime Cake Vanilla Cheesecake Black Coffee Lemon Meringue

——

Welcome to Janelle's cooking blog, in which I look at the most commonplace recipes in American cooking. Today, I thought I'd list some of the most frequently-baked cake recipes, the ones that anyone in the Midwest has probably had dozens of times. If you want to blend in, look no farther than these recipe titles:

Three-Minute Cake One-Bowl Chocolate Cake Lemon Cake Mix Cake Golden Butter Cake Angel Food Cake White Velvet Cake Yellow Cake Moist Chocolate Cake Hot Milk Chocolate Cake Hot Milk Banana Nut Bread -- I didn't realize that this one fit the "extremely common" category, but it does, oh yes, it does. Calico Shortbread Ranch Shortbread Lemon Chiffon Squares -- Makes 8 servings German Chocolate Cake Seven-½ Layer Cake -- Need to make one now Cheesecake -- No sugar necessary -- makes 8 servings

—-

Although the neural net doesn’t completely succeed in creating realistic content, it’s clear that “neural net weirdness” is a writing style it knows how to produce on command. What does it mean when the neural nets are weird because we’ve asked them to be, not because they’re trying and failing to be ordinary? Maybe the creative work is now to figure out ways to nudge AIs into being weird and interesting rather than producing inane imitations of the most ordinary human writing.

After all, left to its own devices, GPT-3 would be writing A.I. Weirdness posts about numbers between -1 and +1. Neural nets have terrible taste.

Subscribers get bonus content: the favorite cookie recipes of famous Star Wars villains!

My book on AI, You Look Like a Thing and I Love You: How Artificial Intelligence Works and Why it’s Making the World a Weirder Place, is available wherever books are sold: Amazon - Barnes & Noble - Indiebound - Tattered Cover - Powell’s - Boulder Bookstore

[agentravensong]

Please can you elaborate the thing of how Jevil and Spamton are made to be essentially au sans to appeal to the fandom by Gaster?

Of course, Anon! Sorry this took me a few days to answer, it has been A Weekend.

[this is the post anon is asking me to elaborate on]

Firstly, as far as Gaster generally trying to appeal to the fandom is concerned, I think the first half of this post by @determinators pretty succinctly sums up all the evidence that Gaster has been reaching out to UnderTale fans (those who completed the True Pacifist ending specifically) to be his "partners"/"subjects" in this "experiment".

And if he's trying to draw such targets to his creation, to make them happy and keep them playing... doesn't it make sense that he'd try to force the inclusion of at least one character who is similar to UT's most popular character?

Which isn't to say that Jevil and Spamton are AU Sans-es in the sense that they started out as versions of Sans that became so divorced from him that they became different characters. Rather, Gaster took two pre-existing Darkners and tried to make them as much like UT!Sans as he could, to the point of breaking them with knowledge they couldn't stand.

(putting the actual comparison of these three characters under a read more for your dash's sake)

Now, why is Sans UT's most popular character? What are the major traits that seem to draw people to him? I propose the following:

He's a friendly, funny little man... who will also scare the shit out of you, sometimes for no good reason.

He's surprisingly powerful in a specific context and the hardest boss in the game.

He has meta knowledge to a larger extent than most of the cast, or at least makes his knowledge more explicit.

And the combination of that meta-knowledge and his unknown connection to UT's long gone Gaster give him a mysterious, angsty layer to his backstory.

Plus, he's associated with one of the best songs in the OST (even if it isn't really his theme)

There are other likely factors, like him being relatively easy to draw and his potential relatability to similarly meme-loving low-key depressed fans, but I'm gonna focus on the ones in the list, for reasons that are about to become clear. Let's start the comparisons.

First up, Jevil.

Funny little man? Check. Maybe not friendly, but certainly jovial. And he's scary, though not exactly in the Sans way.

He's the hardest boss of Chapter 1, arguably even harder than Spamton.

Whether the "strange man" (Gaster) straight-up told Jevil the world of DeltaRune is a game, or Jevil just interpreted what he said in the only context he could comprehend (he is a playing card, after all), he's clearly more aware of the greater truth of this world, whatever that may be, than almost everyone else. He even predicts Chapter 2 in his defeat-via-fighting dialogue.

* SOON, THE "QUEEN" RETURNS, AND HELL'S ROAR BUBBLES FROM THE DEPTHS.

The angsty backstory factor is the point where Jevil differs the most and least from Sans. They're similar in that their reaction to the weight of the meta knowledge they held (resets for Sans, the truth of the world for Jevil) was apathy. But where Sans's apathy made him passive, Jevil's gave him permission to do whatever he wants, no matter how it affects others. As a consequence, Jevil has a lower angst factor. Yes, he was sealed away by his friend, but Seam seems to bear the emotional weight of that more than he does.

The World Revolving? A banger.

There's also the bonus point that, like Sans, you beat Jevil by tiring him out. Oh, and they both wear slippers, for whatever that's worth.

Then, there's Spamton. Good old Spamton G. Spamton.

Funny little man? Check. He certainly tries to be friendly. Success rate on that? Debatable. And he's got the creepy factor; still not quite the same as Sans's, but closer.

He's the second hardest boss in the game, first place obviously going to... the teacups. In fact, he shares an extra point of similarity with Sans by being the final boss of Chapter's 2 "evil route".

While Spamton's knowledge may not technically be "meta" in the same sense as Sans's, he clearly shares Jevil's level of knowledge about the true nature of DeltaRune's world.

And while he's the opposite of apathetic in the face of this knowledge - at least once Kris comes along and gives him hope - he's got angst in spades (heh). Toby even lined up some NPCs to give us his backstory, New Home style. But there's also a bunch of gaps in our knowledge (like, who's Mike?) that are ripe for theorizing.

Both of Spamton's battle themes? Bangers.

And I've got some bonus points for y'all too.

They're both lying shopkeepers - Spamton with everything but the KeyGen, Sans with the fried snow you can't actually buy and the hot dogs that are actually water sausages

They both use cyan attacks/projectiles - Spamton Neo's heads, even if they don't function the same way cyan magic does in UT, and Sans's bones

They both have a "yellow eye" - Spamton's glasses are pink and yellow, and Sans's eye during the no mercy fight flashes cyan and yellow. ...Actually, I'm pretty sure Jevil has yellow pupils too, so mark that down as a similarity for all three of them.

Obviously, Spamton also has some strong connections to Mettaton, and at this point I'm expecting that the future secret bosses will also be equally direct UT callbacks in one way or another. But the idea of taking Sans and giving him traits of other UT characters is something the fandom itself has engaged in, to varying levels of problematic-ness, so it seems like the next logical step for Gaster to take too on his quest to create the Ultimate Fan Favorite Character.

Before I close out here, let me address your other ask:

[Image description: a screenshot of an ask from an anonymous user reading, "There’s also a theory of how Jevil and Spamton were meant to be Ralseis aka to be party members given how they both know game mechanics and can heal but failed and got scrapped."]

I've definitely seen that theory around, specifically with Jevil and Spamton having been intended to be tutorial characters only to be discarded because Gaster decided it would be better for his OC to be closer to Asriel than Flowey.

I think it has merit. The healing via ACTs point in particular - that's one trait I can't see any crossover with Sans with.

But tutorial-izing game mechanics post the player already experiencing them, like Jevil does ("WHEN YOUR HP DROPS TO 0, YOU LOSE!")? Sans does that too, with about as much effectiveness.

[image description in alt text]

And let's not forget one of his most famous scenes: the judgement in the Last Corridor, where he gives the full explanation of EXP and LV.

I'm more than willing to believe that Ralsei wasn't the original third party member, the Darkner representative among the heroes (assuming he didn't lie about that too), and that he's partly the way he is because he's meant to be UT!Asriel II, to mirror what Gaster assumes we liked about the goat boy.

But if we're looking at who Jevil and Spamton have more in common with, especially with the roles they actually end up playing in-game, I think tying the two of them back to Sans makes a lot more sense.

Now, some of you might be expecting me to end this post with a prediction that Sans, who many have speculated to be a Darkner himself, will be the final secret boss. And to that I say: no. He's had his moment. Let him be Just Some Guy. Please.

(If you want my actual (but still mostly joking) final secret boss prediction:

What if, when Asriel comes home in Chapter 7 (assuming the game doesn't just end there, which I frankly wouldn't put past Toby), he says he was having a really hard time in college, but he was able to get through it thanks to a friend. A friend who reassured him that the difficulties he was facing weren't really that big a deal. After all, they aren't even real. How freeing it was to hear, Asriel says. And he's been waiting to share this epiphany with Kris. He knows they need it. Perhaps more than anyone. Cue boss fight, with Kris fighting alongside Asriel's new college friends who came to visit his family and did not sign up for this: Chara and Frisk :)

...yeah, that won't happen. and it probably shouldn't.)

Anyway. In summary, Gaster has been trying to make the Next Great Tumblr Sexyman based on how the fandom reacted to Sans. And considering how Spamton has passed that test with flying colors, I can only wonder what the rest of the Meta Aware Manlet Brigade will be like.

[sanstropfremir]

episode 9 baby!!! dear lord that was a lot!!

frankly, i'm still in shock that i full on manifested an opera stage, AND it was a rock opera stage at that! plus i got a jazz stage AND a taemin stage??? if they’re pulling out all my favourites now then what on earth are they gonna do in the finale??? this was a very overwhelming crop of stages, i thought i was going to be prepared, but oh no i was not prepared. i'm just going to get right into it because this one is gonna be long and i have many words. i'll discuss in airing order first, and then put my personal rankings for this round at the end.

btob

costume

changsub, you absolute king. spectacular. stunning. incredible. zoot suit riot playing in my brain on repeat. will i finally get the zoot suit revival of my fucking dreams instead of this current drab ill-fitting suit trend? for those who are wondering why in the fuck changsub is dressed like that and what on earth i’m talking about, the specific cut of suit that he’s wearing is called a zoot suit, which were popular in mexican, black and italian american communities in the 30s and 40s, until they were outlawed by the united states war production board as a fabric rationing method as part of the war effort in 1942. there was a huge amount of mob violence surrrounding the wearing of them (there were actual zoot suit riots) as they were direct counter culture fashion to the predominant drab trends of white americans at the time. i'm actually very impressed they got a proper (modernized) cut of zoot suit instead of just putting him in an oversized one; there are actually specific structural differences. the pegged trouser legs, large should pads, and knee length single breasted jacket are key features, and they were often in much more flashy fabrics than a pinstripe, but they get points for effort. i wish they had put all of them in zoot suits but he’s playing the ‘lead’ actor so i will begrudgingly forgive them.

eunkwang those are the stupidest sleeve garters ive ever seen i love them never take them off. they’re like someone decided to repurpose a suspender in the worst way. excellent. i do love that they’ve got three of them in oxford saddle shoes, another great touch.

love the three piece and the fedora* on peniel. it's also in a relatively close period cut; waistcoasts (vests) were generally cut much higher in the neck pre-war, we only start seeing the neckline slide down in the 60s (i think? i don’t remember when exactly). also love to see a proper sleeve and jacket length, it's good practice to have at least a finger’s width of sleeve cuff visible ahead of the jacket sleeve when hanging at rest. also looks like there’s french cuffs on everyone, which is also great.

minhyuk in his slutty lowneck shirt....thank you. in addition to the zoot suit revival i would also like a revival of those ultra low necklines on mens’ shirts from like 2010-2011. i don’t think those are the same boots from the backdoor stage but those are some beautifully cut boots. i also loved the little details of his crewmember look, especially the chunky watch and the string bracelets; those are super realistic, i know so many crew with them and i had several for many years. and who doesn’t love a visible button fly?

none of any of the other costumes are period in any way shape or form but i’m forgiving it because there’s several layers of meta in this stage, and they explicitly based it on la la land, even though we don’t respect la la land in this house. do i wish they had gone more strictly period with at least the jazz club ‘actors’ a little more? absolutely, but i'm not mad about it.

set

again we’ve got a good delineation of the two different ‘stages,’ there’s the club itself in the smaller stage and the soundstage set in the larger space. you can pretty clearly see all the ‘pieces’ of the set on the soundstage, especially the obvious set painting techniques on false prosc frame and the window facade from that first little scene. also the you can see the castors (wheels) on all the setpieces too, which is another nice little versimilitudinous** (triple word score!) touch, as old hollywood movies were made still using theatre stagecraft techniques.

i love how the visual shorthand for ‘this is a set wink wonk’ is just...leaving a ladder on stage. i see it all the time and it's so funny. it doesn’t always make sense because as soon as there’s actors on set the ladders are the first thing cleared because actors cannot be trusted, but yes there are always ladders, so. also psa ladder safety is no joke, please be careful on ladders.

nice streamline of the mnet deco into the club. i’m consistently surprised at how well the designers have been able to mask it or use it to their advantage, because in the normal kingdom stage lighting it is SO obvious and stylistic that it always sticks out.

i'm going to ignore the fact that they implied changsub and miyeon were drinking wine out of martini glasses.

lighting

no complaints, it does its job. everything is visible and super clear. love that the ‘scene’ changes are made through the lighting, it's a really simple and effective device to change atmosphere. purple/blue/amber are the most flattering colours on human skin and that’s why you see it so commonly in stage lighting. also blue/lavendar is the best way to show nighttime/moonlight.

really nice and subtle projection work, especially with the billboard bit and the blue moon sign in the club. despite being obviously meta/’world breaking’ it’s actually very seamless and fits well into the flow of the stage.

sound

i love love love the big band feel in the intro, combined with the piano lead. very duke ellington, as all things should be.

no complaints. i love big band. i love eunkwang’s voice. i have nothing else to say.

staging

i LOVE this movie within a movie within a performance meta nonsense! it's such a fun concept and it is exactly what i wanted ikon’s first round stage to be! i also love to see btob consistently coming up with concepts that are inventive and fun and allow them to showcase their technical performance skills without the aerobics the younger groups are putting themselves through. it provides a really lovely variety and it just goes to show that you can make impressive, dramatic stages without having to be serious or ‘dark.’

i do wish they had leaned into the band director/lead singer with eunkwang a bit more; this could have been a really excellent place for a tap number a la the nicholas brothers or an homage to cab calloway. i know i know this was meant to be la la land themed but la la land is a cheap and whitewashed version of jazz and look me right in the eyes and tell me this isn’t the greatest tap routine of all time. i know i’ve typed this out somewhere before but la la land is just a conglomeration of old hollywood tropes and so stylistically cheap that this would have such a better visual core if they had actually looked back at the real old hollywood musicals like stormy weather. even singing in the rain and an american in paris have such phenomenal visuals and are really beautiful examples of the scope you can pull off with a limited technical capacity and sticking to these old techniques.

now that i'm thinking about it, oh my GOD i would DIE for a lindy hop routine in kpop PLEASE. i know it would never happen because kpop doesn’t like partner dancing and not a single kpop boy has the chops but oh you think fourth gen has too many acrobatics?

this got off track but i think you see my point.

---

ateez

costume

these are really sharply cut suits. and the detail work on the beading??? so beautiful. i'm disappointed that they gave me a rock opera stage without the true ridiculousness of rock opera costuming, because they could have pushed this a lot farther if they really wanted. a tragic lack of gay little outfits, seonghwa’s lace choker is just not enough! two favourite suits: hongjoong’s and yunho’s.

that being said i do actually really like these. this stage is actually very modern opera with a kpop twist and i'm a little surprised by that? i continue to be impressed by the ateez team who are clearly doing their research.

i'm absolutely not going back through their stages to check all the choreography but i wonder if you can track all the ‘wound’ placements to places they’ve been ‘hit.’ i wouldn’t put it past them to have put that thought in but also i’m not expecting that much either.

who is this white grim reaper bdsm executioner chain arm man. where did he come from. i have no idea and i love it.

why is honjoong blindfolded. it was such a fast beat, if youre gonna blindfold someone give it a little longer and some more obvious narrative weight!

seonghwa does that quickchange, runs across that massive stage to the smaller set, and gets into places in like 45 seconds. it's not the hardest quickchange in the world but still, under a minute is fast for any quickchange, especially when there’s travel time involved. i think the fastest, most complex quickchange i ever did was in university which was a 50s cocktail dress into a flannel and culottes with a shoe, hair, and jewelry change in 35 seconds. and that took three dressers. quickchanges are always impressive. the added bonus of this review being later is that i can specifically reference that you can see him book it the fuck off stage in the full cam!

cute moment with the backup dancers dressed in costumes from the previous stages. i'm assuming this is a time travel reference? i'll get more into my thoughts on this in the staging section. regardless, love to see that iconic seonghwa moment again.

set

this is such a restricted space! they really pared down their dancing space with those staircases and ....arms? honestly i have NO clue what these are supposed to be. the only thing i can maybe think of is flying buttresses??? but why?? i mean, i'm 90% sure theyre just there for drama and i agree but i do still have questions.

there’s a lot of moving parts in this set? the buttresses, and the upstage centre staircase. i don’t think the staircase is totally automated because i spotted some dancers securing it in place, but it’s still a moving part. i do really like that we get that expanding upwards energy, because it's really tough to get functional level movement in this kind of a performance, mostly because of its length and because it moves so quickly. so seeing the downward vertical movement and then the upward movement was actually a really nice visual contrast that made use of how tall those fucking ceilings are, and the fact that they had less horizontal space. in sort of similar way to sf9’s jealousy stage, using long, narrow vertical lines really makes it feel like a castle space. the interiors of castles, especially the really old ones, are a lot smaller than you think they would be.

i’ve actually seen that type of small house/tent/thing several times in various types of performances before, but i think this is the first time i’ve seen it used as a time travel device (other than in the say my name mv). aesthetically it's a bit incongruent but i dont really mind because i'm used to watching rock operas that look a lot weirder than this.

lighting

there is so much happening. i have NO clue what the projections are doing. i dont hate it though, so that’s a plus? there’s a clear-ish colour arc even if it does get a bit funky in the middle, which is why the projections dont feel as insanely distracting as some of the other stages we’ve seen.

the climax is a perfect example of how to light a busy stage with primarily red but still maintain clarity on the performers. a little bit of red goes a long way; the spark stage from last week would have looked so much better if they had done what the ateez designers did here.

sound

i know it's only ode to joy, but answer already gets my motor running and then i get so gassed by the guitars and then by the time those vocals come in i'm inconsolable. i don’t know why i wasn’t expecting a rock opera stage but i'm so glad i got that surprise because i genuinely love rock operas so much. it's two of the most dramatic genres in music, what more could you possibly want?

staging

the choreo for answer is so goofy that I'm kinda glad this was mostly terrible mnet boom shots. i love it, but you can't deny that it's goofy. i spotted a couple of moves from their other choreos as well?

choreographing dance fights is just as difficult as choreographing real fights and i think they did a fairly good job here. i think it was a solid mix of dance and conflict that erred on the side of dramatic rather than accurate and i prefer that over trying to be ‘realistic.’ i’ve only ever seen one truly realistic fight scene on stage and that was for a deeply naturalist play (boring and a waste of the medium), but the best fight scene i’ve ever seen was in the prague national ballet’s adaptation of kafka’s the trial where three ballet dancers beat the absolute snot out of the main character with the most beautiful leg extensions. that whole show was probably one of the best pieces of dance i’ve ever seen, holy fuck it was so good.

despite how insane the music and the visuals were going, i actually really liked how sedate this was, on the part of ateez’s performance. there was a really sophisticated and resigned energy from them that is very different from what we’ve previously seen and i think that was a pretty admirable risk to take. reaching the top and then throwing away the crown? especially in a competition where every other stage has involved stealing crowns or royalty and there’s a group competing that got here through that very concept? that shows a real maturity, peace of mind, and foresight that i did not at all expect from a bunch of 22 year olds.

here we come to a very interesting comparison. both ateez and tbz are very heavily leaning on previously established group lore. we all know my thoughts on why it isn’t working for tbz, but here’s why i think it is working for ateez: it's because it doesn’t matter to the audience’s understanding of the stage. i had absolutely no fucking clue what was going on the first time i watched this, but that didn’t stop me from enjoying the music and all the weird shit they were doing. i totally believed that they understood what was going on. there’s a loose enough established conflict right at the beginning that draws us in, and really it doesn’t matter who they're fighting because they win in the end. the key here is that they’re so earnest. they believe 100% in every move they make on that stage. there’s no winks to camera, there’s not a drop of irony. they really deeply care about the ridiculousness of it all and that’s what makes it work. i sure as fuck dont know what’s going on, but i can see that they do, and i trust that. this is what i meant when i talked about convincing the audience you belong on stage in my stage presence post. i’ve never once believed that juyeon was anything other than an idol. he’s talented and very beautiful and he may occasionally stand on that stage like he owns it but it's always as juyeon. as an idol. but when hongjoong flaps around in that gigantic fur coat i 100% believe he’s a pirate captain. I believe he’s a punk rebel leader. i believe him a resigned king. there’s always a level of irony you have to fight as a performer because we all start from a place of disbelief. acting is not just lying to the audience, it's lying to yourself too. and if you succeed in convincing yourself? well, you’re already halfway to convincing us.

i checked it out because i wanted to see if they did the blindfold how i expected them to and was genuinely surprised by hongjoong’s fancam. the boy is EMOTING even when he knew the camera wasn’t on him; that’s a real dedication to craft.

ok i'm finished talking about this stage, this is over two pages in my document, there’s so many things i have not covered here but that’s fine, i'm quite sure any further thoughts will end up out there at some point.

---

sf9

costume

let’s get it out of the way......crop top. crop top? crop top. crop top.

ok, besides the crop top, i think i might actually like the backup dancer outfits more...? i find mannequin adjacent looks really fascinating and i thought there was a lot more they could have done here in connecting the two thematically. i actually think a change of costume on the boys would have been very interesting, especially because there was a lot of inference and direct reference to changes of colour.

ALL the backup dancers are wearing the same wig and i LOVE that.

special mention zuho’s.....jacket? the right idea but it absolutely should have been one of those extreme french cut bodysuits, you COWARDS. don’t come at me with this ‘male version of venus’ if you don’t have your whole torso out! come on!

set

not sure if this is meant to be a department store, a factory, or a white cube gallery. honestly you could make the case that they’re all the same place anyways. more on this later.

i loved the movator and wish they had used it more! that sequence was so good and they could have done some more interesting repetition sequences to further highlight the ‘sameness’/the breaking of that sameness.

i feel like the set could have been used more as a whole? i would have loved to see some mannequin interactions with those boxes, because all they did was dump colour everywhere.

....why did they feel the need to include the rain bit? i know it's likely because it's in the mv and at the 2018 dream concert taemin does perform move in the rain, but with the standing still and the box walls with the words it just looks like a department store ad. which i...dont think is what they were intending?

lighting

nothing really to say here. it has a similar feel to the mayfly rap stage, which is fine because the lighting for that was good. i could tell what was going on all the time and that’s the most important part. notable standouts are the lips sequence, that's fun use of pop iconography and very effective, and the scanning lasers at the beginning.

the repeating sequence in the edm dance break is actually done pretty simply, it's just what happens when you point a camera that’s livestreaming to a monitor directly at that monitor. it's a very cool effect and it was neat to see it used intentionally, especially with the handheld leds.

actually i also really liked the lightbox tables, those were cool.

sound

the remix was fine for the most part, it was about what i expected it to sound like. i did however greatly dislike that unnecessary edm break in the middle. what was the point of that? it didn’t add anything to the overall sound or arc of the stage because it was SO out of place. there was no connective tissue around it.

oh i was also not a fan of the effect on zuho’s mic. no one else had a discernible vocal effect so it felt a little out of place. also for some reason his cadence and tone right at the end made me think of some of the voices that bo burnam uses for his vocal masque sketches/songs, especially repeat stuff, weirdly? took me right the fuck out of it. i listened to it again after i slept and i’m still getting it, so maybe i’m just going insane so best ignore this part.

staging

loved the mannequin tree, not a clue why it was there.

do actually think this is a successful cover because it does what i was hoping it would, which is take move completely out of the taemin context and put it into an entirely new one. however, i’m really struggling to figure out what exactly that new context is? and what theyre trying to say with it?

obviously they went for a ‘show your own colours/individuality’ vibe, like i said in the set section, where exactly is this supposed to be? from the start i get factory/mechanized environment, which is fine and grand because mannequins and making repetitive motions and products and all that, makes sense. but then there’s stacked shelving type units happening and curtains and that combined with the mannequins give me pretty big department store vibes, which is also fine, because that’s still a comment on commercialization and the mass production of product. but then we get to the movator and the repetitive movements of the dancers say pretty clearly factory, but the lighting and projections are very pop art referential, plus combining that with the white set, just makes me think of an art gallery. so now is this a comment on the commercialization and commidification of contemporary art? are they making a statement about being ‘real’ artists among the others who have lost the critical understanding of why pop art was even a thing in the first place? and then the rain bit at the end literally looks like a department store ad, so are they then making another statement that they still are that packaged product? maybe the episode has more clarity in it but i’m genuinely a bit baffled by what the underlying statement is here.

i suspect it is not as deep as i'm making it, but i did say that i was likely to be hyper critical of this stage AND i am a grad student, so here we are.

---

tbz

costume

ok of all the ‘fourth gen’ style costumes we’ve seen, i actually like these ones more than most. i'm not entirely clear on the theme but i'm assuming it's meant to be post apocalyptic, and i'll take that.

backup dancers in black!!! we’re beyond this!!!

this will be a running theme with this stage, but i’m disappointed these don’t have more depth.

set

compared to every other stage, the set here seems especially plain. there’s so little set dec that it's disappointing. i do like the movement of the pieces themselves combined with the blocking; that first slide underneath the arches was slick and i would have liked to have seen more of that.

yea ok the big snake was cool and also a fairly complex build, but the transitions around it were a bit awkward for my tastes. especially the turn around, why did they even show that at all? you have control over what the audience sees, you can totally not show scenic transitions. skz were super smart about hiding theirs in last week’s episode.

also if you have a bigass puppet like that, i wanna see some more movement from it! it doesn’t have to be complex, we literally just saw a kraken balloon arm wave around aimlessly, but at least there was movement! that snake had a long ass body, why didn’t they at least take a pseudo dragon dance movement with it, that would have been such fun to watch with the iridescent scales. there was a lot of opportunity here!

lighting

i don’t hate it but also.... not a lot to say about it on the whole.

there were two really smart ideas here, the first being the front projection section, which i was SO glad to see! i explained in a previous review, but the projections in kingdom are not actually projections per se, because they’re actually massive led screens. there are two common types of projections in performance, rear projection and front projection. rear projection is when the projector is behind the screen, and front projection is ‘normal’ projection. rear projection can produce a crisper image because you have full control of the light values, because the projector is in a separate room from the performance space. but the downsides are that the projector has to be in a separate room from the performance space. so if you’re short on real estate, it's not ideal. front projection is much more common, because the tech is a lot cheaper and easier to access, especially now, and it requires less real estate because you can ceiling mount about the audience (you can move a projector wherever, this is just the most common spot in commercial theatres). but! in order to get an actually crisp image, you have to be really careful with your light bounce. it’s exactly the same principle as how you kinda can't see a projected screen when you have all the lights turned on, but when you turn them off it's a lot clearer. front projection works best in pitch dark, so when you use it in a theatre you gotta be smart about it. i use front projection a lot in my personal art practice as a singular light source, and that’s what tbz did here in that traveling/snake intro sequence. it’s a really fun technique that they used as a good gimmick because it’s not something we’ve seen before, and you get some great shadow effects because the projector is throwing light directionally at the performers (they have it set up close to the floor, it’s probably on a wheeled cart of some kind). however i did not like the snake intro. a bit too cheesy and out of place, especially because the asset quality didn’t match the rest of landscapes that we have been seeing.

the second smart idea, which is partially also a set and blocking thing but whatever, was that final image of the eclipse within the circle architecture with all the members standing in front of it. it was a great shot and a great ending pose, but it felt like a concept photo. like someone had that image as the idea that they then built the stage around, instead of a narrative first and then imagery after.

sound

this remix had SO much promise! those first two minutes were SO GOOD. i love that dirty discordant strings bit, it's gross and right up my alley. but it really fell off in the back half and i'm sad about that.

staging

i'm sorry tbz but.....what did you actually do differently than exo here? with the exception of the continual game of thrones references? nothing here felt transcendentally different from the original monster. and especially coming RIGHT after sf9’s move, which did go beyond its original context. this feels more like an awards show stage cover than a stage at the level of the others we’ve seen just this episode.

again like with the skz stage, there’s no conflict here. no tension. yes they do a great job covering the dance but it just isn’t enough! this is obviously personal preference and i'm sure lots of people liked the fact that it was uncomplicated, but even just a hint of narrative tension could have pushed this into more engaging territory. and if they didn’t want to do that, i would have loved to see them make up for that with extra visual spectacle. this is the no limits round! ikon is putting a full jungle on stage and these are grey cubes!

i think this is a perfect example of what i talked about at the end of my tbz section in my episode four review; this is a good performance, there are good elements at play and good ideas at their genesis, but the core of the issue is that nothing about this is transformative. all of the ideas here are just exaggerations of the original song. fuck, the snake was even IN the mv! and they didn’t even include the best part which is the lip chains! ive said before and i'll say it again; being a good artist has two steps, the first is understanding the material and its context, and the second is elevating the material from that context and synthesizing something new. tbz are really good at the first step, but terrible at the second.

---

ranking

btob - the cleanest and the most fun of the round. everything i wanted.

sf9 - fun and a good cover, despite being conceptually baffling.

ateez - very extra dramatic nonsense with an unexpected dose of sincerity. and it’s rock opera, of course i love it.

skz - fun, with some good thematic devices but generally lacking in arc. also australian accents, that’s an automatic ding.

tbz - honestly the first two minutes of the remix and the costume are holding this above 6th. it just wasn’t fully formed.

ikon - aesthetically this is a great set design and although i do love the opening and closing moments, everything else scrapes me the wrong way. super personal preference here, i’m not expecting anyone else to agree with me.

i feel like my rankings were probably pretty easy to guess if you’ve been around reading the reviews for long enough. i do have very specific tastes after all. i know sf9 ranked first in the episode but i have no idea what the other slots are. i’ll find out when i watch the episode in a couple of days, but i think yea a first for sf9 is fair. i do think its mostly because it’s a taemin song and you have to do something horrendous in order to fuck up a taemin song, but there is a lot of thought and work that went into that stage.

ok i'm done now, sorry this was later than usual, but i was busier and there were four stages that i had to review. also technical difficulties because tumblr is a garbage platform and nothing works properly. comments/questions/opinions always welcome, i know i didn't expand on a couple of points that i could have so hopefully y'all have some thoughts too!

* the type of hat that ~society~ has told you is a fedora is actually a trilby. what peniel is wearing is a real fedora, i felt the need to correct this unjust hat malignment.

** meaning ‘the appearance of being true or real.’ you do sometimes hear it used by normal people, but it’s more commonly used as a descriptor in film and theatre. it’s also one of the five rules of neoclassical theatre, which are: versimilitude, purity of form, five act structure, decorum, and purpose. the most prominent playwrights from that era are moliere and racine if youre interested in what those look like in an actual text.

[crossguild]

thinkin bout the kepler playlist

i feel like i dont even have to go into any meta about these songs cause the lyrics speak for themselves but i'll dump it anyway 🤣

anyway tombstone blues ->

really strong implication of poverty and neglect here (esp in the chorus- 'mama's in the factory, she ain't got no shoes') and the other two verses stand out from the rest of the lyrics in a way that resonates pretty strongly with the character. the emotional repression (stop all this weeping, swallow your pride) and then that all but explicit confirmation that he's done a lot of stuff that's literally made him sick, but done in the service of a bigger picture, for someone he idolizes (CUTTER..)

nobody wants you when you're down and out ->

kinda in direct contrast to the first song, this one's about someone living the high life, who loses all support once he's brought low. i took it be more associated to his time at goddard rather than his early life ('once i lived the life of a millionaire' seems in opposition to 'daddy's in the alley, he's looking for food'), and we know he's willing to have spent an absurd amount of money on little luxuries. and when he's 'down and out' (aka taken as a POW on a space station 8 lightyears from earth), that's when he loses his last friend on the station

fire and rain + good times, bad times ->

there's a thread running through most of these songs about loss and regret, high highs and low lows, someone who's always trying his best and climbs far, but subsequently has a long way to fall. in the context of tombstone blues, it screams to me of someone who's scrambled and clawed his way to a significant but always precarious place. and along the way he's lost a lot of people and given up a lot of things that still haunt him, but he refuses to leave any opening where they can affect him (it's the Repression)

there's also multiple lines referring to being left by a woman 🤣 and iirc the producers have refused to answer a question about whether or not kepler has a family (while giving definitive nos to other crewmembers) so take that as you will!!

blue monday + reflector ->

wdym this whole thing isn't just Repression, Loss And Miscommunication: The Playlist

radio silence ->

actually i think mr urbina explains this one the best :

1. Once again, all songs about communication (whether successful or failed) between people are eternally relevant to the enterprise as a whole. Big bonus points if we can get blatant radio metaphors thrown in for good measure. 2. Specifically, I like it as commentary on Kepler and his current inability unwillingness to connect. He can command or inspire people, but he doesn't connect the way that, say, an Eiffel or a Maxwell does. I wonder about how he feels about that. A lot. 3. The ghostly tone of it just goes with Kepler for some reason. There is an aesthetic click there.

don't stop me now ->

bi kepler hours aside this is another one i'll let mr. urbina describe for himself (':

Another Claire suggestion, and another one that I am deeply ashamed to not have arrived at myself. For all of Kepler’s statements about how he’s been consumed by his job, it is important to remember: he is here by choice. He has chosen to the do the things that he’s doing, more so than any non-Cutter character that we’ve met. And there is this sense of willful forward momentum to him: even if he’s following orders he’s doing things because - and the way - that he wants to. Whether that is true or an act - and if it’s an act, whether it’s addressed at others or at himself - he is dedicated to maintaining that impression. And nothing, nothing, captures that sensation and those layers quite the way that Freddie Mercury does.

I’m burning through the sky yeah, two hundred degrees, that’s why they call me Mister Fahrenheit…

and ok, i'm out of images for this post but does a playlist ever just haunt you. does it ever just. haunt u.

[dxppercxdxver]

A Note on the Use of Distance, Or: The Evolution of Nines's and Gavin's Relationship as Seen Through Body Language and Physical Proximity, Or: Sparrow Writes 6k About DE That Is Literally Just a Narrative Analysis

Apologies in advance, this is gonna be a long one. If you stick to it and read the whole thing, I will love you forever. (Also, @domlerrys, I’m tagging you because we talk about meta a lot and I think you’ll like this.)

And Michelle, I’m sorry for the length, but there’s just so much to talk about, I had to. Also, “brevity” is not in my vocabulary. Oops. (I’m also sure you know most of this already, but I had a blast analyzing this.)

So, it’s been about a month, and I think it’s about time I typed up some of my thoughts about the use of distance in Detroit Evolution. (For those of you who haven’t seen it yet, 1) What are you doing? 2) Go check it out, it’s a beautiful feature fan film made by the lovely people at @octopunkmedia, and if you like good ace representation, I think you’ll like it.)

To give us the proper background, let’s establish our characters’ relationships with touch. (For those of you who’ve seen the movie, you know this. This is just for our friends who are unaware.)

RK900, or Nines, is very asexual. Not necessarily touch-repulsed, but touch-uninterested, unless it’ll make somebody else happy (namely, Gavin).

Gavin Reed is allosexual, but has a long, complicated history of abuse and psychological manipulation, most of it revolving around intimacy, and, as such, is extremely touch-repulsed. He does not allow people to get close to him.

Throughout the film, they’re very careful to keep physical distance between them, and if they’re forced to be close together, their body language is usually very closed off. Which lends this sense of relief to a pivotal moment in the film later. The very important exceptions are the moments in the Zen Garden, and moments of extreme duress.

Let’s break it down scene by scene.

We open on the Zen Garden. In this mindscape, we know Nines and Gavin behave as though they’re been married for several years. Their interactions are comfortable and familiar, though entirely imaginary, and this is where the use of touch and distance starts to show. Even though this Gavin does not have any of the same touch aversions as the real world Gavin, he keeps his distance from Nines, and Nines, in turn, does the same. When Gavin greets him, he’s standing ten or so feet away; when they walk together, Nines hangs back, and the both of them keep their hands in their pockets, avoiding direct eye contact. Obviously, any more romantic gestures are kept offscreen for audience suspense, but still, what’s shown is equally important. The two main exceptions to this rule are when Gavin reaches out to adjust Nines’s collar and when Nines reaches out to touch Gavin’s face. However, even when Gavin is unbuttoning Nines’s shirt, his arms are perfectly straight, leaving about two feet of space between them, and when Nines cups Gavin’s cheek, it’s not really a romantic gesture. It’s almost a reverential one, and he still leaves about a foot between them. This may not seem like a lot, but considering that this is Nines’s ideal world and even his deepest desires leave that space between them, it reveals how much relative distance matters with these two.

Onto the next scene. Protest. We start in the car, with Nines staring straight ahead, avoiding Gavin’s gaze. Gavin only touches Nines to shock him out of his trance with a gentle slap, then turns his body forward, effectively closing himself off. He maintains this distance, even straying almost twenty feet in front of Nines on their walk up. Here’s another major exception, a moment of extreme duress: Gavin takes Nines’s hand and guides him through the crowd, despite the fact that Nines could easily surpass any one of the protestors in a fight. Even here, however, Gavin keeps his back turned and does not make eye contact. For all he physically reaches out, emotionally, he’s incredibly closed off. Same deal inside Jericho; table between them, avoiding eye contact, careful distance. And even in a more lighthearted moment of banter (Nines mimicking Gavin’s delivery), Chris is standing between them as a physical mediator, and he remains between them the whole scene.

Onto the D.P.D. and the famous first instance of “I hate you.” “You love me.”!

When Nines brings Gavin his coffee, his body language is very open: arms spread, standing over Gavin. However, Nines is also intensely aware of his partner’s issues regarding physical proximity, and quickly draws away, clasping his hands behind his back and retreating ever so slightly to give Gavin his space. Once Nines has spun Gavin’s feet out of the way, they are closer, yes, but Gavin’s back is turned and Nines is careful not to lean in too close over his shoulder. They’re very closed off, and remain this way for much of the scene, never directly facing one another. Gavin stands up, spins counterclockwise to keep his back to Nines until he’s behind Nines, at which point he’s in control of the situation and flips Nines off. When they speak face to face, Gavin’s legs are kicked up on the table or he’s using the coffee mug as a sort of psychological shield. Nothing direct, nothing open.

STAKEOUT! This is a really good example of something Michelle does—that isn’t like other romance movies —that I really love. A common thing in a lot of romance movies is that “almost kiss,” but in a movie like this, where the main romance emphasizes a mental connection over a physical one, that sort of play would feel cheap and out of place. Which is why I love the stakeout scene so damn much. The stakeout is the perfect time for an “almost kiss” moment, BUT! What we get instead is so much better, with two people desperate to let their feelings out but too scared to fully voice them. So you get this awkward dance of them abstracting the concept and refusing to look at one another, deliberately avoiding eye contact. Both of them are faced forward and stay solidly in their seats, leaving as much space as they can allow, and the only times they look toward one another, the other is looking away. They can’t say what they feel unless there’s that protective bubble of space between them. So you get an “almost confessing I like you” scene, with beautiful moments of almost closing that physical distance, but instead staying firmly planted in their seats until Lazzo arrives. Even when Gavin and Nines are forced to be close together, they maintain a healthy distance between them, and their “almost kiss” is swapped out for an “almost admitting I have feelings” moment. (Plus, a bonus of great asexual dialogue, yay!)

Lazzo’s scene isn’t that notable, other than Nines’s and Gavin’s hands brushing on Lazzo’s shoulder, but again, Lazzo is between them and they’re focused on other things. Still got that distance.

The infamous jacket drape, one of the moments Nines breaks the pattern of distance. Gavin is still facing away from him, yes, but Nines deliberately reaches out to touch him in a non-invasive way, one of the only times he does so. Progress! Still a one-sided gesture, though, and even the height difference emphasizes the space between them, with Nines on his feet and Gavin slumped in a chair. Still not breaking that “arm’s length” amount they’ve set. (Tying this into the @high-on-otps‘s analysis about moments of vulnerability occurring when Gavin’s wearing fewer layers, Nines seeing Gavin in just a t-shirt and gifting him his jacket takes on a whole new meaning, with Nines almost stepping in to protect Gavin’s heart. Anyway, that’s a thought for another day.) On another note, this is also one of the two main instances where you see one of these two fools being open only because they think the other won’t notice: just a selfless gesture they don’t want to have to dwell on.

Now! Onto Gavin’s house, where the pattern starts to change. It’s a great way to track the progression of their relationship. They start out separated, with Nines pulled into himself, tablet held out, and Gavin hiding behind his computer, avoiding Nines’s eyes. However, I think this is when Gavin’s starting to realize that he might have feelings for Nines and the reverse might be true (hence his moment of contemplation in the car after he notes the parallel uses of the word “charming” as applying to him and Nines’s possible love interest), and being as tired as he is, his inhibitions are not necessarily gone, but at least hampered. So he allows himself to get close physically, and sort of mentally as well. He’s conflicted, and that’s written all over him, as he puts himself right up against Nines to steal his tablet, but also refuses to look him in the eye and quickly moves to stand up later. This conflict is also incredible to watch in general, but you can see his overwhelming desire to get closer and his defense mechanisms battling in his mind in how he sits: pressed up against Nines’s side, but none of his body overlaps with Nines’s at all, and he doesn’t look at him. Nines makes the first move, leaning his head almost onto Gavin’s shoulder, but not quite. They’re still not there yet. Of course, once Gavin leaves, he keeps his back turned, meeting Nines’s eyes once, for a split second, before entering his room and shutting the door. (And tosses him some gym shorts, of course, because nothing says “I love you” like “hey, you can borrow these sleep shorts.”)

Reentering Nines’s mindscape, we see a little more conflict from his end. (I love how we actually get visual representation of Nines’s internal conflict, while Gavin’s can only be gleaned from how he moves and holds himself. It’s a nice contrast. Frankly, I adore it. Good writing.) Once again, there’s still a fair amount of space between Nines and Zen Gavin, as Nines is burying his feelings in his work. The closest Zen Gavin comes is right behind Nines to talk about what Gavin might have been about to say before walking into his room, but he doesn’t make eye contact, and moves away quite quickly. When he is open and actually making direct eye contact, he’s standing over five feet away, and Nines deliberately turns away. You see? It’s a visual metaphor for the growing emotional tension! Yay!

Nightmare time! This is one of those moments of extreme duress I was talking about!! Also one of my favorite scenes! This is the first time, in the whole film, where all three of these criteria are present: physical proximity, open body language, and direct eye contact. Nines is holding Gavin’s arms, Gavin meets Nines’s eyes, and Gavin’s arms are spread out, not crossed over his chest or in front of his face. Obviously, this moment only lasts a second, as Gavin quickly moves Nines’s arms away, Nines backs up, and Gavin averts his eyes, but for an important beat, that distance was closed, only to be reopened again. Then, of course, they have their “should I stay” moment, where Gavin is sending mixed signals: body is turned toward Nines, but he looks away repeatedly, and Nines is standing a respectful distance away, waiting for permission to come closer or leave. Eventually, Gavin verbally and physically opens himself up: while he avoids looking directly at Nines, he keeps his arms at his sides and doesn’t turn away (huge steps for someone like Gavin), and as for Nines, he does the opposite, maintaining direct eye contact, but turning his body away to give Gavin the space he needs without pressuring him. When Gavin finally welcomes Nines into his bed, he’s making a huge step in his own personal growth. Similar to the couch setup from earlier, except reversed, with Gavin initiating the touch, and with two crucial differences: Nines and Gavin make the briefest of eye contact as they lean in (a silent agreement of “yes, this is a thing we’re doing”) and their bodies overlap. There is an intimate touch in the way they hold hands, fingers interlaced, instead of sitting ramrod straight side by side without making a conscious decision to reach out to the other. Add Nines retracting his skin on top of it, and you get an extremely psychologically open moment. A moment of duress, a moment of comfort (but they still aren’t facing each other yet, and the way it is now, it’s almost like Gavin’s afraid to acknowledge it, to believe it’s real).

NEXT MORNING. Hoo boy this one was a doozy, because it takes the openness of the night before and turns it on its head, twisting and distorting it. Gavin, before he’s awake, displays very physically open body language: spread out on his blankets, arms thrown out to the side up, stomach up. Nines is almost equally so, keeping his arms open as he hands Gavin his coffee and turning more towards him as he sits on Gavin’s bed. But Gavin, regretting the choices he made the previous night, avoids eye contact, curls into himself, and takes the earliest opportunity to put his back to Nines and retreat into the closet. His whole demeanor radiates “get away from me,” but of course, Nines hasn’t picked that up yet. So he presses a little closer, and Gavin makes his point by getting up in Nines’s space, but very deliberately avoiding looking at him and still keeping a couple feet of space. When Nines feels Gavin mentally retreating, he pushes his luck by abusing his commanding presence to intimidate Gavin into cooperation (drawing himself up to his whole height and putting his face right in Gavin’s eye-line). And what does Gavin do? When Nines gets in his space ("I'm not leaving just because you regret having acted like a person"), Gavin makes direct, meaningful eye contact (something he almost never does) and is facing Nines (another big thing), but every part of him screams "get away." In particular, the hands raised in front of his chest like a shield. The whole pose is supposed to look aggressive but every goddamn part of it belies him going into defensive mode. It's FASCINATING. He’s trying to intimidate Nines into leaving him alone because he is so scared of what Nines has seen and what he knows now. This conflict of wanting to accept Nines’s help and push him away is so clearly demonstrated in how part of his body language is geared toward Nines (the eye contact) and how part of is is blocking Nines from coming any closer (his raised hands). He holds this eye contact until Nines leaves.

The next time we see Gavin is back at Jericho, and anyone can sense the tension coming off these two (except, apparently, Chris Miller). They keep a table’s worth of distance between them. Nines, clearly still feeling snubbed from the night before, makes very pointed looks in Gavin’s direction; they’re barbed, full of accusation, very uncharacteristic of Nines, but Gavin did just tell him to wipe his memory, so he definitely believes it’s justified. Gavin avoids eye contact wherever possible, simply because he does not want to deal with this shit right now. I don’t know if he does this consciously, but after Nines’s reference to “last night,” he tucks his hand in his pocket, perhaps an unconscious recoil from Nines’s act of intimacy (holding hands), suppressing that. Cut to them standing in the hallway, Gavin is standing with his arms crossed, looking away, while Nines leans in closer with a much more open stance. He continues probing and Gavin shuts him out entirely, not even deigning to look at him properly before turning his back and walking away. This is one of the tensest moments of their relationship, where Nines is trying to build up the trust they had and Gavin is feeling hurt and betrayed and confused and is falling back on his coping mechanism of shutting people out. The physical distance and body language between them reflects that.

Onto Burn’s Alley! This whole setup is interesting; it’s a social situation in which Gavin and Nines are almost required to interact, as they have a shared obligation to make Chris’s promotion party a pleasant experience, but the tension from the previous night is definitely still bleeding into their conversation. Although they’re crowded around the same table, they put several people between them and focus intently on their drinks and their other friends, never directly addressing one another and avoiding eye contact (again, this movie might as well be subtitled “the one where Nines and Gavin can never actually look at each other for one goddamn second”). Once Ada arrives, Nines makes fast excuses and leaves the conversation, at which point they go back to their previous dance of throwing longing glances at one another when the other isn’t watching. Very good, much yearning. More internal conflict, Gavin can’t deal with his own warring desires of apologizing and running away, so he retreats outside, and Nines follows because now’s his chance to rebuild that trust he lost.

I’m classifying the alley argument as a whole new section because it’s honestly a caliber all its own and deserves a separate analysis. The use of distance here is so good. Nines, though eager to be allowed back into Gavin’s space, is respectful of his partner’s boundaries and situates himself across the alley, though his posture is more open, with his hands behind his back and a gentle lean forward (though this openness is quickly shut down once Gavin snaps at him, you can see Nines’s face fall, and it hurts). Gavin, on the other hand, is violently looking away, body turned in a completely different direction; every part of his posture is unapproachable. And as the argument progresses, we get more of that weaponized distance closing. When Gavin snaps at Nines (”Don’t bother.”), he finally makes eye contact, even keeping his posture more open (arms at his sides, face toward Nines, body mostly angled toward Nines), so Nines is, for the first time, able to properly see all the hurt Gavin’s been bottling up. And Nines steps closer. But, his hackles are raised, shoulders tensed, arms clenched tightly at his sides. They’re both spilling their hearts out, but it’s bitter and cruel and even at their closest, there’s still a foot and a half of space between their chests. When Gavin spits smoke in Nines’s face, the recoil is immediate, and Nines takes his leave of Gavin as Gavin turns away from Nines again. Once again, in a moment of emotional duress, they get closer and closer, but never quite close that gap, but this time, like that morning, the openness is weaponized and aggressive, with Gavin trying to force Nines away by saying “This is me, this is all you’re gonna get, so you might as well run” and Nines trying to get back in by saying “I don’t care, you will listen to me and you will let me care for you.” But because of the violent mannerisms, it backfires. And then the distance grows again.

Watching Nines walk Ada home from the bar, Gavin keeps a huge amount of distance between himself and Nines, both because he doesn’t want to be spotted and because he can’t bring himself to come any closer. With his hood up and hands in his pockets, he’s at his most closed off of the film, and because Nines’s back is to him, it’s obvious to see he’s being shut out, or at least feels like he is. At this moment in time, Ada is the literal and metaphorical wedge between them. Her presence is keeping them apart.

Alley ambush time. This scene. Oh man this scene. Aside from the blatantly romantic reunion scene and balcony scene, this scene has about the most touch and is a perfect narrative foil to Gavin’s nightmare. (I can’t believe I just realized that now, while I was typing this. Michelle, you are a goddamn genius, every major moment has a companion, mirrored moment; Nines giving Gavin his jacket, Gavin doing his speech to Nines and leaving his jacket there; Nines comforting Gavin after his nightmare of dying alone, Gavin comforting Nines and staying by his side to ensure he doesn’t die alone; parallel confessions in the car; of course, “I hate you” “You love me,” there’s the obvious parallel; Gavin initiating a kiss in the reunion, Nines being the one to move first on the balcony; they each get their own moment to shine in the same context and it is beautiful. Hats off to you, Michelle Iannantuono, really. Okay, back to the plot.) Gavin’s body language is at the most vulnerable it’s been all film, because Nines is in danger and he’s panicking. But even with his hands cupped around Nines’s face, Gavin keeps a little bit of distance, that same bare minimum “arm’s length” we see so many times. And the questions he asks are non-invasive, once he realizes that mentioning Ada just freaks Nines out, and then the questions just turn to pleas: “Don’t fall asleep.” Only after Nines falls unconscious does Gavin allow himself to get any closer, but even then he doesn’t let himself be face to face with Nines. The first thing Gavin does is turn Nines’s back to him, forcing that emotional distance, the exception being the arm slung across Nines’s chest to keep him upright. This is the closest they’ve been, other than after Gavin’s nightmare, and Gavin is still keeping that emotional distance by deliberately pushing Nines away from him.

Onto CyberLife. Here’s the other instance where they’re only open when they believe the other won’t know. This shit also hurt like a motherfucker because Gavin’s internal conflict is at its peak here. You can see he’s having a, for lack of a better word for it, “deathbed” moment; a sort of “now or never” feeling. He’s terrified of acknowledging how he feels, much less verbalizing those feelings to the man he loves, but at the same time, he’s worried that if he doesn’t do it now, he may never get a chance. And this is demonstrated wonderfully in how Gavin approaches Nines (and, once again, he’s down to one layer of clothing, just a simple t-shirt). At first, he hangs back from Nines’s hospital bed, looking anywhere but Nines’s face, and talking about how they need Nines for the case; vague, impersonal, dancing around the topic. Until Tina knocks on the window, basically giving him silent permission to switch tracks entirely. It’s at this point that Gavin closes some distance and parallels Nines’s earlier gesture after his nightmare, when Nines reached out to hold his hand; he reaches out and places his hand over Nines’s. (Also, another brilliant parallel? Nines reaching out to touch Gavin when he’s at his lowest point—after his nightmare—and holding his hand, basically saying “I accept you,” and Gavin reaching out to Nines when he’s at his most vulnerable—doubly powerful because Nines’s skin is deactivated and Gavin used to hate androids, so seeing him like this is his truest form—at the hospital, basically saying “I accept you.” God. Poetic cinema, my dudes.) Even moves the chair closer. And then he finally looks Nines in the face and spills his heart and soul out to him, piece by piece. And even when the heart monitor starts beeping, he doesn’t pull away. He keeps his hand firmly planted, only scoots back in the chair for a moment to check the machines, before immediately pulling back in and deliberately staying close, which, for somebody who has as toxic a relationship with touch as he does, is massive. (And, as we saw from the deleted scene, he felt safe enough to fall asleep on Nines’s bed. He looked at this shitty situation and said “I trust him” and put his goddamn head on Nines’s arm and fell asleep. Like. FUCK.)

And now, Nines’s corrupted Zen Garden. This is one of the most powerful moments of the film. In the past, Nines has almost never been the one to initiate contact with Zen Gavin, it’s always been the other way around (Gavin fixing Nines’s collar, Gavin approaching him while he’s analyzing the case), with the notable exception being Nines reaching out to cup Gavin’s cheek. But he’s internalized Gavin’s touch sensitivities so much that even his mind palace version displays the same behaviors, only initiating touch when he’s comfortable. Nines doesn’t violate Zen Gavin’s space either, lets Gavin decide what’s okay. And this is where he breaks that pattern. In his panic, Nines rushes forward without thought to envelope Gavin in a desperate hug— and is met with empty air. The minute Nines tries to reverse their dynamic is when he’s deprived of Gavin’s touch. Because of Ada’s meddling, Nines can no longer interact with this perfect world he’s constructed, and Gavin is, once again, just out of reach. Nine spends the rest of the conversation with his body language painfully open, pleading with Gavin to stay using everything but his words, and I think it speaks goddamn volumes that when he finally agrees to delete him, there is no grand gesture. Nines doesn’t swoop in and kiss Zen Gavin goodbye, nor does he hug him, or even say a proper farewell. He simply nods, turns his back, and walks away, and Gavin, after a moment’s lag, swivels his head to watch, with a soft smile on his face. Nines has realized that this Zen Gavin is a fool’s errand that he cannot hope to sustain, and his last act before wiping him entirely is to metaphorically say “I am done with you. I am walking away and I am not looking back and I am saying goodbye.” Which is so goddamn powerful, I cannot.

Okay. The moment we’ve all been waiting for.

The reunion scene.

This scene hits so much harder because all the previous scenes have kept so much distance between the two protagonists. If there had been more instances of close proximity earlier in the film, I don’t think this scene would carry the same weight it did, but as such, up until this point, there’s always been at least a foot or two of space between Gavin and Nines (and in the instances of them touching, they’re either side by side and not looking at each other or front to back and not looking at each other). But I digress, let’s get into it properly.

Setup time! Gavin’s still in just his t-shirt, Nines is in Gavin’s jacket (Narrative foil from earlier, baby!), and tensions are high. Brushing past all of Tina and Chris’s intervening dialogue, let’s talk physicality. Gavin fucking freezes the minute Nines is in the room, arms held at his sides, the most open his stance has ever been when Nines was awake to see it. Nines, in turn, also keeps his hands to the side. Gavin, disbelieving, takes a step forward, but because he’s also terrified as fuck that Nines heard him and will reject him, he holds out a halfway defensive arm, though there’s not much conviction in it, as its merely held halfway up and doesn’t cross in front of his torso at all. Nines continues to approach, although slowly, so as not to scare Gavin off, because Nines cares so much for Gavin and the last thing he needs is to make him panic, not when something this monumental is at stake. Gavin, with even more internal conflict, continues his approach, daring to hope that maybe this will turn out okay, until Nines says “I heard you.” The realization that Nines essentially saw the deepest darkest parts of him makes Gavin take a step back, but he also maintains the eye contact they’ve been holding; the subtle balance between “I want to run because holy fuck he saw too much, but also I want to stay because I think it might be it this time” is so gorgeous. Of course, once Nines makes it clear that he isn’t running, even though he heard Gavin’s entire confession, Gavin gets slightly more confident and moves forward again. Drawing from the BTS footage as well, you can see Gavin’s hands are clenched the entire time, until he makes it to Nines, when he can finally let go. And finally, with a cognizant mind, they close that distance, leaving mere inches from one another. Gavin reaches out to touch Nines’s hand, feeling his pulse, before gently turning over Nines’s hand so he can feel Gavin’s pulse. Nines, reflecting his earlier gesture, connects Zen Gavin to this Gavin by reaching out to cup Gavin’s face. And then they close that gap entirely and kiss. But it gets even better because, though Nines prods, it’s ultimately Gavin that makes the first move, and I think it always had to to be. Because Nines always lets Gavin move on his own time, even if he steers him in the right direction, occasionally. It would feel wrong if Nines moved first, because he doesn’t need to kiss for romance, but is willing to do so if Gavin wants, and the way this is done, it’s so clear that Gavin wants. This is just a testament to the amazing actors for portraying this so clearly (I know this scene’s been analyzed seven ways to Sunday, but like. The way Gavin’s eyebrows furrow up in the sheer desperation to be closer? The gentle sigh of relief from Nines? The single spin of the LED from yellow to blue the instant they connect? The way Gavin, someone who hates being touched, chases the fucking kiss as Nines pulls away? Like?? Incredible???). And even better, this whole scene is very much a give and take, as both characters let down the barriers they have built up.

Let me put it this way. Nines’s greatest treasure is his mind, and he protects it fiercely for fear of abuse. Gavin’s greatest treasure is his bodily autonomy, and as such, he protects himself from unwanted touch for fear of that autonomy being taken away. And this kiss is such a dialogue of back and forth, give and take. Nines exposes his mind (”I heard you. ‘A force you can’t live without’?” and of course, “You love me.”), opening up his most vulnerable part of himself. Gavin responds in kind by exposing his physicality, by taking Nines’s hand. Nines, once again, exposes his mind by copying his gesture from Zen Gavin, bringing to light one of his most closely guarded secrets and connecting his mind to his real world experiences. And Gavin exposes his touch, once more, by being the one to initiate the kiss.

If you’ll allow me to circle back to the parallel hand-holding from earlier, it ties into this idea of “mind vs. body.” When Nines takes Gavin’s hand after his nightmare, he is demonstrating that he accepts Gavin’s mind. Nines, who values intellect and personality above all else, demonstrates that he loves Gavin for his mind and not his body here, saying “I accept you and your mind, no matter how flawed you think it is.” Gavin, on the other hand, not only has a rough history with androids, but a rough history with physicality. When he takes Nines’s hand at CyberLife, Gavin is demonstrating that he accepts Nines’s body as it is—metal and plastic and synthskin, not flesh and bone—basically saying “I accept you and your body, no matter how flawed you think it is.” They are able to accept the closely guarded facets of one another in moments of heightened emotion and I think that’s incredible.

And after the reunion, the body language is so different. Nines willingly gets up in Gavin’s space without Gavin pushing him away (leaning over him to discuss how to track Ada down), and, of course, gives him his jacket back. Outside Ada’s warehouse, they stand much closer together, nearly touching on the hood of the car, and even make much more deliberate eye contact, shying away less. But what I really like about it is that they don’t do a total 180. That’s not how recovery works. Gavin’s still facing away from Nines during the briefing, Gavin and Nines are closer on the hood, yes, but neither Nines nor Gavin reach out a hand to touch. They’re making little baby steps and it’s wonderful.

Last but not least, the balcony. The culmination of all this.

Despite all they’ve been through, Gavin and Nines still hold distance between themselves on the balcony, though they’re a little freer with the direct eye contact and body language. Gavin’s arms are no longer crossed in front of him, he actually looks toward Nines a lot more. Nines is leaned up against the railing, facing Gavin and meeting his gaze, though you can tell Nines is bothered because his arms are crossed in front of him, preventing him from being totally open. And when he starts to say something that sounds like regret, Gavin also crosses his arms in a defensive position, until Nines reassures him that it’s not Gavin, it’s him. At which point, Gavin is the most vocal he’s ever been about his feelings (I think Michelle pointed out this is the one time in the film Gavin even slightly alludes to Nines being attractive, like the dork he is) and assures Nines that he doesn’t need anything sexual to make this relationship be one he wants to pursue. He keeps his body language remarkably open, turning to face Nines entirely and keeping his arms to the side. Nines, upon realizing Gavin means what he says, has his moment of initiating touch and reaches out to cup Gavin’s face again, uncrossing his arms to do so. There’s yet another beautiful genuine moment of connection where the opposite of the original kiss happens: Nines opens up physically (regarding his interfacing), Gavin opens up mentally (flirting with Nines as opposed to just awkwardly touching him), and Nines closes the distance once more, kissing Gavin as the sun sets just out of frame, turning Gavin’s face into the light. Yet another beautiful narrative foil. Stunning. Ideal. (Also, a note on the confession, the fact that this kiss cements the idea that “This won’t be easy, but it will be worth it, because being with you is just better” just kills me every goddamn time. They’re really willing to put in the work to make this relationship work! Which is amazing!) And then they linger, foreheads pressed together, in the most intimate display of affection in the entire movie. Soft smiles, hands on bodies, completely open and vulnerable and free. Just ... content.

All in all, hats off for really emphasizing each character’s troubled relationship with touch and how that carries over into how they behave around one another. From how Gavin uses his hands and other items as shields while making direct eye contact to how Nines lets Gavin come to him and respects his partner’s boundaries so much that even his brain version of him has these same boundaries, the use of distance and touch and their slow journey to getting physically closer in the spaces they occupy is a fantastic way of showing the progression of their relationship and I consider it an honor to get to see this story unfold. The fact that Nines’s journey would be meaningless without Gavin’s to mirror it and amplify it and vice versa is testimony to the incredible writing showcased here. Bravo to the cast and crew, really.

Tl;dr (and honestly, I wouldn’t blame you) The moments of intimacy only carry as much weight as they do because in every scene prior to them Gavin and Nines hold meaningful distance between them and the only times they break that subliminal pattern are in times of extreme stress or vulnerability.

[bookishdiplodocus]

Writing humor

George of the Jungle: A case study

I’m analysing several forms of humor in the 1997 movie George of the Jungle, and I would like to share it with you. Remember, this is a family movie, the humor is not that finetuned and often targeted towards children. Even if a movie is not your style, you can learn from it. If you want to do your own analysis, I would advise you to pick a movie with a form of humor that’s relevant in your writing. (This seems obvious, but I personally enjoy more forms of humor than I can use in my writing style and genre.)

How do I go about it, analysing jokes?

George of the Jungle is a very joke-dense movie, it averages about 2 jokes per minute, often using different humor layers within the same joke. It’s a lot, considering it also introduces all the characters and set up the storyline in between the jokes!

Every time a joke is made, I write it down word for word and try to see why exactly it is funny. Try to be as specific as possible. This is the difficult part, obviously. I included some examples to make it clear for you. Often the answer is “Contrast” or “Subverting expectations”. Obviously not all the jokes are laugh out loud funny, and they don’t need to be. Some jokes just lighten up the scene without even making you smile, or without making casual watchers notice it is in fact humor.

Bonus points if you can tell certain forms of humor are tied to certain characters. (In this case: slapstick for George when he swings into a tree again, contrast between what is said and reality for mean guy Lyle etc.)

Some examples from the case study

But first, some warnings:

Obviously there will be spoilers for this movie in this post. It’s hard to show you how a joke works without giving you the joke.

Analysing jokes makes them less funny, in the same way that analysing plot lines or storytelling techniques can make books lose their glamour.

Alright, here we go. Because this will be a longish post, I’ll put the other examples under the Read More.

Example 1:

Lyle: “I am the richest, handsomest, smartest guy here, so I get to go first!”

[Established mean guy Lyle passes by everyone, almost shoving them out of the way. He promptly trips over a tree root and lands face first in a huge pile of steaming elephant dung.]

Lyle: [lifting his head up] “There’s an elephant around here.”

Carrier: [looking right into the camera] “Bad guy falls into poop. Classical element of physical comedy. Now comes the element where we throw our heads back and laugh. Ready?

Other carriers: [also looking right into the camera] “Ready!”

[They throw their heads back and laugh.]

[Nearby monkey also laughs and points at Lyle.]

[Off-screen, more animals start laughing at Lyle.]

Lyle: [Spits out some elephant poop] “Those are nowhere near properly digested.”

[Carriers still laughing off-screen]

Lyle: “In case anyone is wondering, I’m okay.”

Technical analysis:

Lyle might be the richest, but definitely not the handsomest and smartest guy: contrast between what he says and reality. (As I told you, this is a recurring technique for him, perfect to show his personality.)

Lyle faceplanting into a pile of elephant dung: poop humor, slapstick (physical humor), the feeling that he gets what he deserves.

“There’s an elephant...”: stating the obvious. And, he says it in a deadpan kind of way.

“Bad guy falls into poop. Classical element of physical comedy”: breaking the fourth wall big time, looking right into the lens, refering to genre conventions, explaining the joke to us. Breaking the fourth wall is a meta humor in which the characters are aware of genre conventions of a fictional story (in this case, the presence of the camera/audience) and sometimes, like in this case, of the fact that they are characters in a fictional story.

“Now comes the element where we throw our heads back and laugh”: refering to a trope, genre conventions, while still breaking the fourth wall by looking straight in the camera.

Repetition: first the carriers announce what they will do in detail and right after they execute it exactly like that. It’s similar to the jokes where the narrator uses a certain phrase and right after a character uses exactly the same phrase. (See example no. 5.)

Monkeys and off-screen animals: hyperbole. Basicly, an exaggeration, in this case, built-up in steps: first his companions, then one non-human, then what seems to be the entire wilderness.

“Nowhere near properly digested”: dirty/poop humor (eww he had poop in his mouth), characterisation (Lyle is the kind of guy who will complain about everything), subversing our expectations (that’s not the first thing you and I would say when we face plant into a pile of poop).

“In case anyone is wondering”: By now, we know what kind of a man Lyle is. This, and the fact that the carriers are still laughing, implies that no-one is wondering if Lyle is okay. Again, contrast between reality and what he says

Example 2:

Narrator: “When they finally beheld the mighty Ape Mountain...” [They see a mountain shaped like a gorilla head] “...they reacted with awe.”

All: “Aww.”

Narrator: “I said “awe”! A-W-E.”

All: “Ooh!”

Narrator: “That’s better.”

Technical analysis:

Ape Mountain is shaped like a gorilla head: visual humor, subverting expectations about geographical naming conventions, breaking the conventions of a fictional movie (the shape of the mountain is obviously a joke for the watchers, not for the sake of the inhabitants in this world, or a concidence), subverting the expectations of our geological knowledge (what are the odds of a mountain actually being shaped like a gorilla head? In the real world, we sometimes see animals or other figures in mountain shapes, but not as detailed as this.)

Aww / awe: It’s a play on words, because “awe” and “aww” sound the same.

The narrator interacts with the characters and the characters are aware of the nattaror: meta humor: breaking the fourth wall.

Example 3:

[Mean guy Lyle jumps on the rope bridge, making everybody swing dangerously. An indigenous carrier falls dramatically into the deep chasm.]

Narrator: “Don’t worry, nobody dies in this story. They just get really big boo-boos.”

Lyle: “You know, they shouldn’t let unexperienced carriers like that on these tracks.”

Technical analysis:

Meta humor: breaking the fourth wall: the narrator is aware of the genre conventions + he is aware of our presence.

“Big boo-boos”: Language, contrast between the children’s word and the tough men in the harsh wilderness.

Subverting expectations: when you fall into a deep chasm, you don’t expect to get away with just some boo-boos. A boo-boo is the kind of thing you fix with a band-aid and a kiss.

Lyle’s remark: he is the reason the carrier fell. Contrast between what happened and what Lyle says.

Bonus: characterisation. Remarks like these, and especially the contrast between what happened and how Lyle sees/portrays it, show how self-centered he is.

Example 4:

Lyle: [takes a polaroid picture of the carrier.] “Do you like it? Magic picture. Yet another gift from America. Here you go. You’re welcome.”

[Carrier answers something in Swahili, not translated.]

[All the native Africans laugh out loud.]

Carrier: “[Swahili] ... 35 mm.” [Takes a fancy camera out of his own backpack and takes a picture of Lyle.]

[All the native Africans laugh.]

Lyle: [not amused] “Translation, please.”

Guide: “He says he likes your magic pictures, but he prefers the resolution of the Leica 35 mm transparencies.” [Everybody except Lyle laughs.] “He also says your lens is dirty, but he has the equipment to clean it for you.” [More laughter.]

Technical analysis:

This joke consists of 3 parts.

The set-up: Lyle is the arrogant dck who’s come from America to show the indiginous people what cultural civilisation is. We think we know where this is going...

Subverting our expectations: The carrier is not impressed, he knows Polaroid and has a camera of his own. He’s Lyle’s equal, not subversive. The way the carrier takes a picture of Lyle is a mirrored action of Lyle taking a picture of him. The similarities between these actions accentuate the differences.

Further subverting our expectations: the carrier has a lot of knowledge (implied: more than Lyle), he’s probably culturally more civilised than Lyle, beating Lyle at his own game.

Bonus: He shows his superiority in a polite way, showing he’s a better man than Lyle.

Example 5:

Narrator: “Meanwhile, at a very big and expensive waterfall set, Ursula was amazed that she was lost in the wilderness with a jungle man.”

Ursula: “And here I am, lost in the wilderness with a jungle man.”

Technical analysis:

“At a very big and expensive waterfall set”: breaking the fourth wall, referencing the fact that this is a movie with a set and a budget.

“lost in the wilderness with a jungle man”: literal repetition immediately afterwards. If Ursula can hear the narrator, it’s like he’s telling her what to say (meta). If she can’t hear the narrator, the joke lies in the “coincidence” of her saying exactly the same words he used about her, moments before.

Example 6:

Narrator: “... the carriers came dangerously close...”

Narrator: “... that is, dangerously close to shove a coconut up in Lyle’s...”

Narrator: “... (pause) sleeping bag.”

Technical analysis:

Playing with expectations: The first sentence implies they are close to a dangerous situation. The second sentence implies they are so irritated with Lyle they want to shove a coconut where the sun doesn’t shine. The third sentence doesn’t take away the second implication, but just makes it more family friendly, but it’s still a turn on our expectations of how the sentence will/can end.

Young children will find the turn between the second and third sentence hilarious, especially the implied “dirty humor”.

Example 7:

[Love interest Ursula has taken George home to Los Angeles. Her best friend shows up and starts to question Ursula.]

Ursula: “He’s in the shower.”

Friend: [Distracted by something behind Ursula] “Not anymore...”

[George enters the living room, still all wet, obviously naked (barely SFW), and for the first time his sexiness is accentuated, ironic for a man who wore a loin cloth for most of the movie.]

George: “Bad waterfall. First, water get hot -” [A saxophone starts playing off-screen.] then George slip on this strange yellow rock.” [George shows a bar of soap and drops it.]

[The perspective changes, shows the 2 friends from between George’s legs. They are obviously checking out his naked crotch.]

[Ursula sighs happily.]

George: [sees Ursula’s friend now] “Hi! George of Jungle.”

Friend: [eager] “Charmed, I’m sure.”

[Ursula strategically hands George a large book to cover his crotch. The camera zooms out now and we see George also from below the waist, still wet and tan and muscular. The friend is staring.]

Friend: [mumbles to herself, appreciatively] “Now I see why they made him king of the jungle.”

Technical analysis:

First, this is a gender reversal of a trope commonly used on female characters. I saw it described as “Born sexy yesterday”. A (usually female) character is new to this life/society/body/... and doesn’t realise that being naked has a certain effect on the other gender. In the 1990s, this was very common to happen to female characters, and not common at all for male characters.

Friend, distracted: the friend has a dirty mind.

Bonus: characterisation: Friend serves here as a contrast for Ursula, who hasn’t objectified or ogled George at all. In fact, this is the first time George is shown as sexy, so we see his sexiness through the perspective of the friend. This tells us something about the friend, but also about Ursula: he likes George for who he is, not how (incredibly sexy) he looks.

The saxophone: the movie is playing with genre expectations (off-screen saxophone means sexy time) as a hyperbole. The movie makers are pulling out all the registers in this scene to show off George’s sexiness.

“this strange yellow rock”: word choice, mental distance from an everyday object, contrast.

“I see why they made him king of the jungle”: this could be a continuity thing, but no-one has used the words “King of the jungle” up till now. So either a line was cut in which they use this phrase to refer to George, or the friend is aware of genre conventions, refering to Tarzan.

These are just some of the many, many jokes in this movie. I tried to make a small yet diverse selection.

I hope this was helpful. Don’t hesitate to ask me any questions, and happy writing!

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