#some humor or self aware satire.

[mearchy]

I used to read a lot of really really dark sad whump fics pretty much exclusively. Characters getting absolutely mentally and physically annihilated in the worst, most soul-crushing circumstances possible. Lots of hurt no comfort. Lots of apocalypses. Over the past five or six years, I’ve turned to reading mostly stories about characters getting dogs and having adventures with them, or growing old together, or escaping bad circumstances against all odds. Fix-it AUs. Slice-of-life fics. I’m not necessarily a happier person. I think I just value those stories more than I did. Something something the dystopia is here something something wisdom comes with age. Dykwim

[linisiane]

The Self-Aware Player of Harry Du Bois

It's fascinating to me to think about how satire is used as the 'touch grass' or 'be fucking for real' genre. Oftentimes it's making fun of tropes/conventions by humorously contrasting them with reality, which is exactly what Disco Elysium is doing with the RPG!

It goes hand in hand with the idea of RPGs as escapist power fantasy. RPGs are often thought of as the ultimate self-insert fantasy by its detractors or worst players, ahem looking at all those DND horror stories about entitled mangsty murderhobos.

One of the most infamous criticisms of Disco Elysium is its lackluster combat.

ID A screenshot of a random forum discussion post by dungeon master Zed Duke of Banville. It reads: "Disco Elysium has neither combat nor exploration, and therefore is missing two of the three fundamental components (or sets of components) that define the RPG genre." End ID

The game has essentially bordered off your ability to make Harry into a power fantasy murderhobo because you just are physically unable to equip an longsword or cuisse to murder your average citizen on the street of Martinaise.

But even on a less mangsty level, it subverts a lot of the basic expectations of RPGs.

Like the encounter with the racist lorry driver! You never get the ability or quest to change his mind, you only choose how you react to him.

Where other RPGs might let you act as the white savior or the white knight of chivalric romance, no questions asked, you're changing the minds of everybody who's wrong so we can all get along, Disco Elysium really makes you confront your ability to whiteknight, makes you confront if whiteknighting is even helpful, and why you wanted to whiteknight in the first place.

It’s part of the fun/humor experience of Disco Elysium that you at first expect to solve the world’s problems with a couple quests and lines of ‘good’ dialogue and then get socked in the faced with the fact that yeah, you can’t do much, you’re one person, what did you expect, asshole? Cuno doesn't fucking care!

By subverting our RPG expectations, it forces us to become more aware that these expectations even exist and how they fall short of reality. Yet, despite this subversion, the world of Disco Elysium feels so much realer to us.

ID a screenshot of Disco Elysium dialogue YOU - "Don't call it a dump, you've made it nice and cosy here." NOVELTY DICEMAKER - "Yeah." She stares out of the window, not really hearing your words. "Or maybe it's the entire world that's cursed? It's such a precarious place. Nothing ever works out the way you wanted." "That's why people like role-playing games. You can be whoever you want to be. You can try again. Still, there's something inherently violent even about dice rolls." "It's like every time you cast a die, something disappears. Some alternative ending, or an entirely different world...." She picks up a pair of dice from the table and examines them under the light. End ID

Like, Neha is highlighting this little meta element of how you can stack your Harry in any RPG to pursue a certain ending or situation, but the actual outcome is still influenced by a dice roll out of your control.

A lot of the satirical humor in Disco Elysium comes from the absurdity that you can do everything right or everything wrong, and the dice can still fuck it up or save it for you—not just for things like high-fantasy attacks, but mundane things like remembering your name.

The dice are, at their core, about how RPGs aren't just for the control fantasy, of winning high-fantasy battles, but also can represent life as it is, mundane and uncontrollable.

Similarly, Harry is clearly written—complete with all the 'lore' that this would entail—to couch his RPG protagonist nature in the real.

If RPG characters are blank slates? Let's give ours amnesia! Need fast travel?! Kim teases the 41st Precinct for constantly running everywhere by calling it the Jamrock Shuffle. He needs to have deep and intimate conversations with everyone, even when they're strangers? Yeah, that's so weird we gave him the name 'Human Can-Opener,' and everybody remarks on his uncanny manipulation skills.

It's commenting on difference between controlling an RPG avatar and navigating in a human body.

As Kurvits said: “In reality we do not have control, or complete control, of our minds. Just like our body, it is something that we give-not even commands wishes to, and we hope it's gonna do it. We hope it's not gonna break down, we hope it's not gonna rebel against us.”

In one type of RPG fantasy, we don't even question our total control and even assume the joy is from the control.

But in Disco Elysium, we lack control and find joy in it anyway. That is the fun of the game making us, the players, 'self-aware' about its RPG elements, and it especially resonates with anybody not able-bodied, anybody neurodivergent.

[astroyongie]

Why Am I This Way - Psychology Answers

Note: Another one <3 we are almost done with the How Am I section !!

“How Am I” Section

“Am I Really A Good Person?”

What happens in the unconscious brain: 

To start off, it's important that we understand that being wrong and right are social constructs and they will depend on your cultural background, on you ethnic and the way you were born and social class.

Now these feelings of being a good person, of caring from the social norms and looks come from childhood where the family plays an essential role on how we want to be cared for and loved.

In a dysfunctional family they usually have a closed system. For any interest in these topics you can always check the works that are based on little information and the resources are shared between the family members (communication isn't used often). In this cases (these families) communication tend to be rare and the rules of the family are usually strict and not just, working in the favor of the parent authority 

In contrary, in a functional family, the system us open and the information and the ressources shred is shared through communication between the family 

Basically in dysfunctional families the rules are not said. They learn in silence. In function, the parent actually verbalizes the good and the wrong.

back on the dysfunctional family, the communication is so fragile and limited that the little things that are said are usually harsh, violent and painful to the child (for example the child is make a mistake, the parent will proceed with accusatory screaming or physical abuse)

Because of this, the children who got raised in such an environment learn to mold themselves to reach security. They are always weary of their environment and they tend to read people to accommodate and adapt their behaviors. 

Basically they learn to recognize a bad action and a good acio based on their parents' punishments and because of that they tend to always please others or provoke a better reaction in their counterpart to avoid the violence.

These children (from dysfunctional families) can develop four types of communication patterns when evolving with other people. Those are: 

“Appeased” : they are people pleasers and they will put a lot of effort in for that to happen during arguments. To be a good person they use extreme generosity by neglecting themselves and their needs (because their parents have neglected them so much so why shouldn't they do the same?)

“Accuser”: A mirroying of narcissistic parenting/ defensive category. People like that will try to manipulate the situation and turn the tables to avoid being on the receiving pain end. They try to be a good person by using reverse psychology 

“Congruent”: the person is aware of their surroundings, they are aware of signals that can be potentially triggering. These types of people when arguments happen tend to use verbal and non verbal communication at the same type to smooth the situation and avoid being hit. more of a “fight” response to avoid panic and be a good person.

“Evasive”: they are usually people that often retreat in arguments. They will keep themselves shut because they have learnt that speaking will bring them more pain so they usually try to keep themselves shut and repress emotions in order to be the good person. some of them can also use humor as a mechanism 

Usually people that are always questioning their worth as a good people come mostly from a dysfunctional family weather neglect and violence were the main resource and where the people had to learn strategies to survive in that environment

if you are interested in more of these topics you can check the works of Virginia Satir and Karen Horney

So what can we do?

We cannot allow the limited perceptions of others define us

You need to understand that you have lost touch with your inner self in order to avoid conflict. the important here is to learn that arguments and conflicts are often necessary to solve the issues and they are important to communicate feelings and that one should not stop putting their fears first and take time to open up

now this is hard but with therapy and the right relationship, this gets easier and those behavioral patterns can be changed

There’s also the need to stop blaming yourself for everything and prioritize your happiness. 

Learn to say no, learn to stand for yourself and believe that you are worth more than what the dysfunctional family provided. you are worth love

and no, you're not a bad person you are just hurt

Now, you know where to work to become a better version of yourself 

[chaifootsteps]

I’m going to advise that anyone looking for an over the top, edgy animated workplace comedy with musical elements that’s both self aware and actually funny check out Metalocalypse.

The humor can be pretty crude but also incredibly smart if you’re in on the joke. The whole premise is about the world’s most popular band being a death metal band. There’s five members in the band, they are all dysfunctional man children, and the writers *know* that they are dysfunctional man children.

It’s honestly the kind of show that Helluva should have been. Cartoonish hyperviolence. Sharp social satire. Adults being messy bitches who don’t know how to handle problems because most of them have deep seeded family trauma (mommy issues, abuse, dead parents, etc.)

Oh, and said trauma is gradually revealed and explored over the course of 4 seasons and 2 films (one of them is a legit rock opera) rather than dumped on the audience in one flashback then never mentioned again because this is a show that understands how to maintain a basic continuity.

Ahem.

The show has the occasional celebrity guest but it’s Adult Swim so they can afford it without screwing over the rest of the production. Also the guests are almost always singers from various influential metal bands (like George Fisher from Cannibal Corpse) so it actually *fits* when they do show up.

Started in the early 2000s so some of the humor hasn’t aged the best but it gets better over time. The movie just came out this September and it’s tragic that nobody outside the fan base really payed it any attention because it’s objectively an incredible film.

Agreed, can't recommend Metalocalypse enough. It's hilarious, obscene, smart, and can be surprisingly wholesome.

Don't mind me, just gonna drop one of my favorite clips from it.

[nightospheresims]

idk the sims 4 for rent™™™™ has just reminded me how will wright intended the first games to be a semi-satire about capitalism and how weird life is and now we've just... come full circle.

i feel like instead of making social commentary about capitalism (like the first 2 games), sims 4 as a whole has fully embraced it. It's a noticeably less self-aware game. not only because of the separation of pack concepts, but there's literally less humor and irony in all of the writing in the game.

i think this is why people are opposed to the landlord pack tbh (well, that and the landlord "profession" should not be given a spotlight ) They know that the sims 4 won't handle this subject with the criticism and irony it deserves.

All this to say... I hope to god the writers make some bad jokes about landlords being leeches during gameplay

[artofkhaos404]

It's so bizarre to me that I never see anyone talking about or addressing this, so I will.

TX2 is a popular upcoming emo/pop punk artist. He is phenomenal singer, has a great sound- mountains of potential. There's a couple songs by him I enjoy. However, all that being said, he makes me sick.

He makes frequent jokes about depression and self harm on his YouTube channel- creating skits that treat these real and horrible issues like humor. While doing this he also fuels the stigma of associating the emo subculture with self harm.

He is releasing a song called "Walking Dead Man." The subject of it is a friend of his that died of an overdose. Needless to say, this is a very deep and sensitive topic. The loss of a soul should be revered and honored. Every decent person can agree it's a serious conversation to have. Not a joke.

Yet here he is, releasing comedy skits centered around the song with captions like "IS THIS THE SADDEST EMO SONG OF ALL TIME?!" It's disgusting. One of these skits showed a friend of his listening to it and responding "I think I have depression!"

What an oversimplification and invalidation of mental illness. Also during these skits he makes comments like "You're not emo if you've never hurt yourself!" If this is supposed to be satire, it is not clear enough. I chalked it up as an attempt at satire and self depreciation humor until the release of his recent skits on the topic of overdose. It's disrespectful, it's hurtful and it's toxic.

Another thing that bothers me is a song of his called "Randy McNally (No Love Like Christian Hate." I think the title alone says enough, but I'll continue.

I would like to start this discussion by directly quoting the lyrics of the song:

"There's no love like Christian hate. Let's all count down 'till judgment day."

"I know you want us fags to burn in flames."

"Put a bullet in a kid's head, they think they got the sickness if they're not dressed up straight."

I don't talk about politics much on here because I'm an Anarchist. I believe that it's best to stay out of that mess and most productive to work on changing the world how you can in your own life, without the involvement of government. Now, that being said, you already know how I feel about politicians. I'm not at all familiar with the politician he is speaking of here. That's not what I have an issue with. What I have an issue with is this MASSIVE generalization!

He's accusing my people of hate when he's the one releasing a song disrespecting me and my Jesus! There's one verse where he says in a mocking tone "Do you think Jesus loves me?"

YES TX2, I DO!

I'm aware there are Christians who act hateful towards the LGBTQ community. Some Christians believe homosexuality is moral and some believe it isn't. Regardless of what you believe, there's two main commandments God gives us in the Bible. Everything about our lifestyle can be summed up in two rules: Love God and love each other. So the people wanting to shoot gay boys for wearing a skirt? They're not true Christians. The Bible strictly forbids murder in the ten commandments. That's not Christianity! That's using my Jesus to justify your violence.

And by the way, I'm a big supporter for cross dressing. I wear suits and whatnot all the time, it's what I feel best in, and I think everyone (gay or straight!) should wear what they feel best in.

Now, there are Christians and Muslims alike who respectfully don't participate in or don't support homosexual people's lifestyles. That isn't hate. There's nothing hateful about choosing not to participate in something for religious reasons IF you do not hurt or be hateful towards those who do. It's all about mutual respect. If people choose not to support LGBTQ in order to better serve their God and live their life, you need to respect it. Just like Christians and Muslims should respect the fact that some people are attracted to the same sex or have pronouns that are not typical "he" or "she."

So, in summary, he is recklessly defending trans rights yet he is being disrespectful towards and dumbing down the struggles of the mentally ill. He is propagating and worsening already crippling stereotypes for both Christians and emos, all the while acting like some social justice savior. You don't have to bring some groups of people down to lift other groups up.

Equality, not revenge. Love, not hate.

That's true social justice.

That's uncensored, raw, authentic punk.

That's what I believe.

[wanderinginksplot]

What to watch during the ongoing WGA strike

As the WGA strike keeps going, put the pressure where it belongs: on big companies, not the writers working for better conditions.

While we wait for new content (after an equitable agreement), here are some lesser-known movies, along with the (US) streaming services where they can be found. Feel free to add on with a title, short description, and where it can be found!

(Television show version here!)

Films listed under the cut!

Netflix:

The Gray Man (2022) - Rated R. A CIA spook known only as Sierra Six (Ryan Gosling) is assigned to kill a former Sierra member... only to find himself at the center of a conspiracy. At the same time, he becomes the target of a sadistic ex-CIA mercenary (Chris Evans).

Genre: Action/thriller. There are likely to be more Gray Man films coming in the near future, along with a television show based on Chris Evans's chillingly villainous Lloyd Hansen.

Rocky (1976) - Rated PG. Rocky (Sylvester Stallone) is a washed-up boxer who works as a Mafia enforcer. He gets an unexpected chance at glory when boxer Apollo Creed (Carl Weathers) wants to fight an unknown.

Genre: Drama/sports. If you don't know the story behind Rocky, it's almost as good as the movie itself!

The Imitation Game (2014) - Rated PG-13. The story of Alan Turing (Benedict Cumberbatch), particularly his work in World War II to decode Enigma transmissions intercepted from the Axis powers.

Genre: Biographical drama. The Imitation Game is the story of Alan Turing's life, both triumphs and tragedies. It contains themes of hidden homosexuality, cruel and unusual punishment, and suicide.

Max:

Triple Frontier (2019) - Rated R. An ex-Delta Force soldier (Oscar Isaac) asks his prior teammates to come on one final mission, with the promise of an incredible payout.

Genre: Action/adventure. Triple Frontier is a typical action/adventure movie with some interesting effects and a cast (Isaac, Ben Affleck, Pedro Pascal, Charlie Hunnam, and Garrett Hedlund) that elevates it a little further.

Parasite (2019) - Rated R. The Kim family struggles to make ends meet until Ki-woo is referred to tutor a rich teenager. Through manipulation and daring, the entire Kim family ends up employed by the unknowing Park family.

Genre: Black comedy/thriller. Full of fascinating dynamics and an interesting look at divisions of wealth in South Korea, it's clear to see why Parasite gained such acclaim.

Casablanca (1942) - Rated PG. Casablanca, Morocco is a popular departure point for people fleeing the Nazis. Jaded nightclub owner Rick Blaine (Humphrey Bogart) must decide whether to risk his life to help his ex (Ingrid Bergman) and her husband escape.

Genre: Romance/drama. Casablanca is considered by many to be the greatest movie ever made. If you haven't seen it, try it. Keep an eye out for dry humor and the way the director uses shadows to keep the black and white film interesting!

Ex Machina (2014) - Rated R. Caleb Smith (Domhnall Gleeson) wins an office lottery to help the company's CEO (Oscar Isaac) test his new AI (Alicia Vikander).

Genre: Sci-fi/psychological thriller. With incredible effects, a labyrinthine plot, and uncomfortable questions about what makes us human, it's easy to see why Ex Machina is considered one of the best sci-fi films of the last decade.

Hulu:

The Last Action Hero (1993) - Rated PG-13. Film fan Danny (Austin O'Brien) goes to see the latest in his favorite franchise, he finds himself pulled into the movie, working alongside his hero Jack Slater (Arnold Schwarzeneggar).

Genre: Fantasy/action/satire. Think of every action trope you associate with Arnold Schwarzeneggar, mix it with a vibe like Who Framed Roger Rabbit, and add some self-aware humor, and you have The Last Action Hero. This is not a popular film among internet aggregators, but I enjoyed it!

Palm Springs (2020) - Rated R. Reluctant maid of honor Sarah (Cristin Milioti) is fascinated by a wedding guest (Andy Samberg) who seems to know more than he should. When she follows him from the wedding, she finds herself stuck with him in a time loop.

Genre: Sci-fi/rom-com. Though Palm Springs has some real COVID-19 quarantine vibes, the plot keeps it from feeling like a time capsule.

Whiplash (2014) - Rated R. Talented drummer Andrew Neiman (Miles Teller) is identified for an elite jazz band by sadistic and manipulative conductor Terence Fletcher (J.K. Simmons).

Genre: Drama. Though Whiplash is not a horror movie, it is partially produced by Blumhouse Productions. That darkness really shines through in Fletcher's abusive behavior.

Role Models (2008) - Rated R. After a disastrous, drunken day at work, Danny (Paul Rudd) is assigned community service in a big brother program. He is assigned to awkward teenager Augie (Christopher Mintz-Plasse) and accompanies him during his favorite activity: LARPing.

Genre: Humor. Though Role Models can get a little close to cringe comedy, it's got enough genuine humor and heart to get away with it... and even be a little sweet.

Amazon Prime:

The Grand Budapest Hotel (2014) - Rated R. An author tells the story of Zero Moustafa (Tony Revolori), the owner of a once-grand hotel in the former country of Zubrowka, using several frame stories.

Genre: Drama. Wes Anderson's films have a very characteristic style. The Grand Budapest Hotel features stunning sets, a ton of cameos, and enough quirky humor to keep you entertained!

Hot Fuzz (2007) - Rated R. London police officer Nicholas Angel (Simon Pegg) is reassigned to the small town of Sandford. He's frustrated by the small town at first, but a string of murders make him suspect something more is going on...

Genre: Action/comedy. Hot Fuzz is the second installment of the Cornetto Trilogy. It is a satirical look at the cop film genre - and thus has a lot of overdramatic violence - but it manages to stand on its own at the same time.

Bill and Ted's Excellent Adventure (1989) - Rated PG. Bill (Alex Winter) and Ted (Keanu Reeves) are two teens more interested in their band than their studies. But if they don't pass their history final, Ted will be sent to military school. A mysterious stranger gives them a time machine, sending them off to write the best essay of all time!

Genre: Comedy/sci-fi. If you're used to Keanu Reeves as a broody hero, you're in for a shock and a treat to see him at his surfer/stoner/slacker best!

The Iron Giant (1999) - Rated PG. In 1957, 9-year-old Hogarth Hughes finds a 50-foot tall robot in the woods. He befriends the giant and the two work to evade the government, who suspect it is an attack on the United States.

Genre: Family/adventure. The Iron Giant is one of the most recognizable and emotional animated films of the 1990s - extra impressive considering it's a Warner Bros film that came out in the middle of the Disney Renaissance!

Disney+

The Boondock Saints (1999) - Rated R. Irish Catholic brothers Connor (Sean Patrick Flanery) and Murphy (Norman Reedus) living in 1990s Boston are sick of the crime on the streets. They decide to take matters into their own hands.

Genre: Crime/drama. The Boondock Saints has low scores on almost every film aggregator site, but is widely considered a cult classic. (Edit: warnings for insensitive portrayal of homosexuality and transgenderism.)

Feel free to reblog this and add your own lesser-known film suggestions! Support the WGA strike!

The Reluctant Dragon (1941) - Rated G. Robert Benchley wants to sell a movie idea to Walt Disney. As he searches for Walt, he wanders through the studio and sees how many of the magical movie effects are done.

Genre: Family/fantasy. I'll admit, this film was included on purpose. Not because it's amazing (it's interesting at best), but because of the story behind it. The Reluctant Dragon was released three weeks after the majority of the animators went on strike. (And most of the "workers" in the film are actually actors, another sore spot.) Disney fired all of the strikers before eventually agreeing to let them unionize and rehiring those who wished to return. (You can read more about the strike here.)

[shytastemakerthing]

hi id like to request a romantic twst matchup ^_^ i dont label my gender/sexuality and the way i present myself fluctuaes but i could consider myself as androgyne (he/she). im an afro-carib with caramel brown skin, 4a curly hair. im more on the chubby side with a round face (two moles on each side) and apple body shape. i have a bit of a resting bitch face as well.. and my voice is at most monotone amd flat.

im pretty calm and mellow most of the time.. like an observer in the background. im a soft-spoken guy. usually im relaxed and unshaken, though my motivation seems to come on a whim every other day so i may seem out of it at times. its easy to keep my composure for most things and keep my emotions in check.  i have tendencies to be passive-aggressive when provoked and im kinda stubborn but i swear that im chill and friendly.

its easy for me to pick up from setbacks. im naturally intelligent but i dont really study to keep it.. its not like i dont want because, im quite self-aware, its just the lack of motivation. im also quite clever when the time comes and people still seem surprised abt it. im also a realist and i tend to give advice rather than comfort when the time comes. when im around the people i love i seem more chatty that usual, not like super loud or outgoing but im def enjoying myself.

i also laugh at like everything even if its unfunny as hell. my humor is mostly sarcasm and satire tbh. i like trying new things for the sake of trying new things. i also like playing video games, indulging in my interests (drawing, fashion, movies, etc) or whatever seems to catch my eye. ive been wanting to get a bass guitar and grow a garden one day. im also told im quite good with babies but not toddlers. quite the pacifier. my love languages are quality time and parallel play and id like to receive acts of service and words of affirmation (or the ones i give). thanks!! ^_^

A/N: Hello and thank you so much for your request, anon! I do hope that you like your match-up! Enjoy!

Tw: None

I match you with..........

Ruggie Bucchi

Honestly, with how crazy his life is, between doing jobs for Leona, jobs for anyone else, trying to get his schoolwork done, being like an unofficial vice housewarden for Savanaclaw, he needs someone who is as calming as yourself, After such a long day, knowing that he could easily retreat into the safety and comfort of your arms makes his hyena beyond thrilled. It's his favorite part of the day.

Ruggie loved just how real you can be about things. Too many people just beat around the bush or try to sugar coat things when there are times where you just need the brutal honesty of a situation. Seeing how he grew up, it was easy to say that he had a similar mindset. Not everything is all sunshine and rainbows. So the fact that you'll just tell him things as they are, no beating around the bush or trying to make things better, it is something that he greatly admired about you.

Look at the hyena and tell me he isn't sarcastic in some way, shape, or form. Sure, he absolutely loved himself a good laugh, oh, but he just loved your sarcasm. It always brings a snicker out of him. This means he will also get sarcastic with you and at you, or crack some jokes as well, some being better than others.

Seeing how you keep your composure is something that's always impressed him (even more so if your the Ramshackle prefect, because if he was ripped out of his world, put in a brand new one where he knew absolutely nothing, put in a dorm that was falling apart at the very foundation, he didn't think he could keep his cool the way that you do), and he certainly thinks that a lot of the students here could learn a thing or two from you.

Oh, he absolutely loves your hair! He has seen hair like yours before, but not often. Now, he is a very dedicated partner (and also got some experience with a lot of the kids that were in the village he grew up in), meaning he learned everything about your specific style of hair. How to care for it, how to style it, the whole nine yards. If you ever need someone to work with and style your hair, he's the hyena for the job (he will even do it for free....... or maybe at least for a doughnut)

Overall, Ruggie is a very dedicated partner. He may not have much, but he finds anyway that he can be able to show that he can provide for you. Just the fact that you actually looked his way and gave him a chance means more to him than you could ever possibly know.

[prettysymbiosis]

risk e. rat’s pizza and amusement center

the awkwardly long name (read: it’s always sunny in philadelphia) - both character and show meta incoming and I feel like that’s the first hint of the latter

am I the only one who keeps thinking risk e. rat’s pizza is the pizza for you and me…

“they make kids feel like they’re the ones in charge” - so interesting coming from mac mcdonald. soon followed up by “they were the first set of boobs I ever saw since my mom’s” which ties right into the burgeoning mommy issue thread

at the end of the day it’s all part of the fun!

just the gang singin’ in the car :)

dennis “that’s not my name” reynolds

how have I just NEVER noticed that dee is left-handed???

the broken water fountain - does it mean anything? I’m too tired to figure it out I need my tumblr brain trust

maybe mac being clean-shaven this season is to make him seem more boyish? I have a new theory for this every episode

I think I saw someone else say this but I do think it’s fitting that charlie and dennis are together on the titties storyline because of their shared baggage around childhood sexuality, like no one else in the gang would really be able to relate to dennis here and if charlie is figuring his shit out with that then he'll definitely serve as a parallel for dennis having to figure it out too

I like how they represent three different eras of risk e.’s (frank, gang, present day) to really explore changing values and how things getting softer can be bad in some ways but good in others. this episode definitely feels in keeping with lethal weapon 7 as a very sunny way of critiquing sunny that feels satisfyingly self-aware but also fairly true to form which is a pretty fine line to walk, to give credit to rcg and the rest of the creators

also if you haven’t seen the john oliver piece on chuck e. cheese go watch it because it provides so much context and crazy true history of these types of places that was definitely in my mind while watching this episode

dee and frank paired up again, and in a childhood place, probably ties into the dee parent-issues thing I hope they’re building up to

each character really tells on themself about what fucked up stuff they’ve come to believe is acceptable or even enjoyable but should be questioned:

frank - violence and verbal abuse toward children and everyone; sexually harassing women with impunity; calling people the r-slur

dee - ethnic humor, not racist humor; making her explain how it’s funny and realizing it’s not; ecologically irresponsible plastic cheese that gets immediately thrown away; dimwit duck or whatever his name was; not understanding what satire really is!!! ← they really took one of their biggest critiques head on

here’s a question I have about dee’s character - she tries to justify her problematic sense of humor and every time frank points out the truth behind it, illustrating what’s really awful about it without really meaning to, and dee seems to genuinely recoil like she doesn’t like that. does she feel bad and react that way because she doesn’t want to do harmful things, or just because she doesn’t want to be perceived as being un-pc because that’s what’s uncool now? like remember when charlie said “I think I might’ve called an old lady a cunt this morning” and looked kind of aghast at himself? could dee be developing more of a conscience too and if so, what does that say about her? or is she just a vehicle for rcg to navel-gaze about the show? also remember in lw7 how mac was like “if you don’t praise me for being a good person then why am I doing it?” I lie awake at night wondering how much rcg want to be better people vs. how much they don’t want to be kicked even further down the hollywood totem pole for being yucky. please share thoughts if you have any

mac - simulating real-world violence to get it out of his system; shame - “if you got no shame, you’re never gonna hate yourself enough to stop being bad”

dennis and charlie - being unprotected growing up; that’s what the bone’s for! (there’s nothing like a glenn and charlie riff btw); is it wrong because she’s underage?

sunny is really amping up the inner child work for the gang, I mean arguably the gang have always been childish but this season I feel like they’re exploring it in a more comprehensive way like via the setting of this episode. and it ALSO works as a perfect commentary on the show and we love the layers

there’s no adults around…

“cause we need monster representation” we need some representation for those who are freaky and fucked up okay??

I wish I could remember who said it but someone suggested that the de-breastifying of justine has to do with dennis’ heteroness disappearing and that is a very fun take - I do think it says something that they’re fixated on a very abstracted version of sexuality via these almost disembodied tits that aren’t even human… like are we overcompensating for something gentlemen? can the characters and the show itself have any relationship to women that doesn’t objectify or otherwise dehumanize them?

I for one think sam is supposed to look like a young mac, I saw some people questioning why they cast that kid and this is my theory. this is important for both the inner child and possible child-rearing stuff they’re bringing in

“hey man, I’m a licensed psychotherapist–” “you’re a talking dog”

“guys I hate to admit it but this place sucks now”; “that’s crazy, this was like one of the best bars in town, man”; “they could redeem themselves in the show” all very meta

“you cannot call a place a website” hahaha

“so that these kids can have the same experience that we had when we were younger” fucked up childhoods, the cycle of trauma, but also the show being how it used to be

and of course, an attempted revival of all that leading to immediate disaster. let’s move forward, not backward :)

[othomas30]

Comedy Movie Review: This is the End

"This Is the End," directed by Seth Rogen and Evan Goldberg, is a raucous and offbeat comedy that cleverly combines celebrity cameos, irreverent humor, and an apocalyptic backdrop. This film is not your typical Hollywood comedy; it's a wild and audacious ride that successfully pokes fun at both celebrity culture and the end of the world scenario.

The film stars a host of Hollywood's funniest and most recognizable faces, including Seth Rogen, James Franco, Jonah Hill, Jay Baruchel, Danny McBride, and Craig Robinson, all playing fictionalized versions of themselves. The story begins with Jay Baruchel visiting his friend Seth Rogen in Los Angeles, and the two end up at a party hosted by James Franco. When a massive earthquake devastates the city, the surviving celebrities are trapped in Franco's mansion as the world outside descends into chaos.

The humor in "This Is the End" is bold, irreverent, and often downright absurd. The film takes full advantage of the fact that the characters are playing exaggerated versions of themselves, leading to self-deprecating jokes and meta-humor that is both hilarious and refreshing. The chemistry between the cast members is palpable, and their willingness to embrace their public personas for comic effect is one of the film's strongest assets.

The film's satirical take on celebrity culture, along with its self-awareness, provides a unique lens through which the story unfolds. It's a delightful blend of social commentary and absurdity that doesn't take itself too seriously. The apocalyptic setting serves as a perfect backdrop for the characters' various eccentricities and comedic misadventures, adding an extra layer of chaos and humor.

Visually, "This Is the End" offers impressive special effects, particularly when it comes to the apocalyptic elements. The CGI sequences depicting the end of the world are well-executed and contribute to the film's overall entertainment value.

While the film excels in humor and celebrity satire, it may not be to everyone's taste. The crude and over-the-top comedy style, along with numerous references to pop culture, can be polarizing. Additionally, the film's humor sometimes veers into the juvenile and offensive, which could be a turn-off for some viewers.

In conclusion, "This Is the End" is a gleefully outrageous comedy that pushes the boundaries of humor and self-parody. Its cast of well-known celebrities playing exaggerated versions of themselves, combined with the apocalyptic scenario, creates a unique and entertaining cinematic experience. If you're a fan of irreverent, R-rated humor and enjoy seeing celebrities poke fun at themselves, this film is a must-watch. It's a hilariously wild and end-of-the-world party that provides plenty of laughs and an enjoyable ride through Hollywood's darkly comedic looking glass.

[abruisedmuse]

Okay, you don't really have to answer this, I don't mean to bring any negativity to your lovely blog, so if you delete this instead of answering, I'll understand.

But I'm just so confused with the Taylor-Matty relationship....one on hand, she says she's happier than ever, which I love for her. But also....Matty has made such incredibly offensive statements over the years, and I'm just very confused here. Half of Tumblr is squealing over him, and the other half is, from what I see, very understandably upset.

I know we don't really know these people and who they are aside from what they present themselves as publicly, I just don't understand what part is an act and what's not. And even if it is an act, are statements that have genuinely offended specific groups of people something to brush off as satire?

Hey nonnie!

Can you believe I typed this answer four times and keep deleting? I just keep rambling. I'm trying to cover all bases here even though you didn't ask for all of that.

POSSIBLE TW: For slight mentions of racism and homophobia

I'd honestly believe Taylor. We have no reason not to. They're happy right now. Maybe he's the one for her and maybe he won't be. But They're happy and despite everything they are trying to make this work. Clearly I'm on the squealing side of this. I've followed both of them for years. The news kinda surprised me first but the more I thought about it. The more they just make so much sense to me. Even if they didn't, It's not my place or anyone's place really to judge. I would have supported it anyway. I don't think there relationship is an act. Not in the slightest. I do however believe they had a looong talk or talks about his past, and his Truman Black persona he does on stage.

If you don't know allow me to explain, Truman Black was a name he used for socials when people found Matty Healy on facebook years ago due to his mom, Denise Welch. He created the name Truman Black instead and used socials. Truman Black is basically this anti woke character that makes an appearance at the 1975 shows. He's used in mockery to modern issues such as political, race, gender identity, etc etc. (If you've seen those "I don't think it's racist to say.." or "I don't think it's homophobic to say.." clips and then Adam cuts him off. That is Truman). (Here's a compilation of these to show it's a bit.)

This is all an act, as Matty is the complete opposite. Matty is a leftist who albeit extremely intelligent and self aware, does not have a filter. He often thinks before he speaks which as we know has placed him in some heated situations. Some within reason and others, have been pulled out of context. He has spoken on the ones out of context and fully explained. The within reason from what I've seen is when his fans are deeply upset and he realizes he fucked up. Then he addresses it. If people are pressed but not troubled he lets it go. Look at the podcast people were upset, especially with comments regarding Ice Spice. He took the time at his show to apologize. (you can find here on tiktok)

Recently, I wanna say in Feb/March he deleted all his socials. When a fan asked he said, "The 1975 is an eras based band and the time of him being an asshole is over." (you can find here on tiktok) I think moving forward Truman is gone. He's done with the act. I think Taylor had some part in that RE: them having long talks about his persona.

Now the podcast...people have a right to be upset. The conversation was jarring to say the least. I don't think it was podcast he should have ever been on knowing fans would listen and majority of fans don't find this satire, dark humor. From my understanding the The Adam Friedland Show's podcast (which was originally called cum town.) lines up with South Park in terms of humor so it seems to be if you get it you get it and if you dont you dont but that's not our fault you didn't get the joke. At least that's the vibe I get from hearing them. What's crazy to me, is everyone is blaming Matty when the dudes on the podcast said he didn't start anything. I do suggest people watch this:

TW: MENTIONS OF GRAPHIC NSFW TOWARDS POC (it's them talking about the buzzfeed article) Hopefully it helps put things in perspective.

Should we brush this off because it's satire? No. we should not. I don't and will never understand why people believe this kind of "humor" is funny. It's tasteless in my eyes due to the topics and the thin line this type of comedy is. At the end of the day that didn't mean intentional harm unlike certain politicians and other people in the world.

One more thing I wanna say before I end this, If you're unsure on your stance on Matty I suggest you look at videos of him with fans, of his talks during shows, and with actual interviews like the ones he does with Zane Lowe. You still might be put off by him and that's totally fine. I just simply encourage everyone to do research and not rely on a Buzzfeed article and what people who admit they don't know him say. I know people who just don't like them much like how some people don't like Taylor. That's okay!

[strangepeacewasteland]

Exploring Hilarious Anime Comedy: A Blend of Laughter and Entertainment

Anime, the vibrant and diverse world of Japanese animation, encompasses various genres that cater to a wide range of audiences. Among these genres, comedy holds a special place, providing viewers with moments of laughter, amusement, and light-hearted entertainment. Comedic anime series often utilize witty dialogues, absurd situations, and clever visual gags to tickle the audience's funny bone. This article delves into the realm of hilarious anime comedy, showcasing some notable examples that have successfully brought laughter to millions of fans worldwide.

The Essence of Anime Comedy

Comedy is a universal language that transcends cultural barriers, and anime comedy is no exception. The genre can take various forms, from slapstick humor to satirical social commentary. It thrives on exaggeration, unexpected twists, and relatable characters placed in comically outrageous situations. Anime comedies often exploit cultural nuances and references, making them a unique blend of humor that resonates with both Japanese and international audiences.

Notable Examples of Hilarious Anime Comedy

"Gintama" "Gintama" is renowned for its irreverent humor, anachronistic setting, and eccentric characters. Set in an alternate-history Edo period where aliens have invaded and taken over feudal Japan, the series follows the misadventures of Gintoki Sakata, a lazy samurai-for-hire, and his quirky companions. The show's self-awareness, parodies of other anime and pop culture, and the seamless blending of comedy and drama contribute to its comedic brilliance.

"One Punch Man" "One Punch Man" flips the superhero genre on its head with its protagonist, Saitama, who can defeat any opponent with a single punch. The comedy arises from the stark contrast between Saitama's overwhelming power and his lack of excitement due to the absence of challenging fights. The series is filled with epic battles, absurd villains, and Saitama's deadpan reactions to the chaos around him.

"Nichijou" (My Ordinary Life) "Nichijou" captures the everyday lives of a group of high school girls in a hilariously exaggerated manner. The show employs surreal visual gags and absurd situations, such as a deer attending school or a girl engaging in epic battles with household items. The juxtaposition of mundane settings and extraordinary occurrences contributes to the show's unique brand of comedy.

"Konosuba: God's Blessing on This Wonderful World!" This isekai comedy follows Kazuma Sato, who dies in a comically embarrassing way and is offered the chance to be reborn in a fantasy world. He forms a dysfunctional party with equally flawed adventurers, leading to a series of comedic misadventures. The show thrives on character dynamics, witty banter, and the characters' hilarious flaws.

Hilarious anime comedies offer a delightful escape from reality, providing a good dose of laughter and entertainment for viewers of all ages. Through their clever writing, eccentric characters, and creative use of visual gags, these shows create memorable moments that stay with audiences long after the episodes end. Whether it's the absurdity of "Gintama," the unconventional hero of "One Punch Man," the surreal occurrences of "Nichijou," or the quirky adventurers of "Konosuba," anime comedy continues to captivate and charm fans around the world. So, if you're in need of a hearty laugh, dive into the vibrant world of anime comedy and let the giggles commence! read : anime and otaku

[linisiane]

What do Rick Sanchez, Don Quixote, and Harry Du Bois Have in Common?

In all three of these stories, these characters are ‘self-aware’ in that they intentionally play into the tropes of the stories they’re satirizing (Rick Sanchez satirizing sitcoms, Don Quixote satirizing chivalric romances, and Harry Dubois satirizing roleplaying games). However, the trick to their ‘self-awareness’ is that they’re lying to themselves.

This post is LONG, so feel free to skip to the end if you're just interested in "The Self-Aware Player of Harry Du Bois" (in bolded green) if you don't feel like reading the rest of the analysis. I go into the meaning of the political vision quests, the meaning of the 4th wall breaking RPG elements like copotypes and Jamrock Shuffling, and the effect this has on the player's relationship to Harry Du Bois!

(Common) Rick Sanchez (L)

Although Rick acts like he can see the audience and uses marketable catchphrases like “Wubbalubbadubdub” to appeal to sitcom sensibilities (“Bazinga;” “Did I do that?” “Legen- Wait For It -Dary;” etc.), the truth of the matter is that WITHIN HIS REALITY, he is not a sitcom character.

He truly does not know he’s in a sitcom.

He’s just an asshole.

ID A screenshot from the show Rick and Morty, with subtitled dialogue that says: Wubbalubbadubdub! That's my new thing! I'm kind of like, what's his name, Arsenio! Wubbalubbadubdub! See you next week. Beside the screenshot is a picture of the mentioned Arsenio, who is the titular character to a sitcom called The Arsenio Hall Show End ID

Rick has ATROCIOUS main character syndrome. Truly obnoxious. We happen to be enjoying (debate-able) it from our TV screens, but he doesn’t know that! Hoe’s just calling his family ‘side characters’ and taking them on traumatizing ‘B plot’ adventures to humor-cope with his multiverse induced nihilism. (it is NOT WORKING)

Dan Harmon, as a big fan of the storytelling theory behind sitcoms, has a thing for these type of self-aware-but-not-really characters in his shows. Abed (from his other well-known sitcom named ‘Community') is basically a film student obsessed with film tropes—

Which means he’s eternally making meta self-aware quips on the show without actually being self-aware. He’s not Deadpool, he's just a movie nerd.

It's a wink and a nod to show the audience, Hey, we’re aware that nowadays people are savvy enough to comment on when they’re in a wacky sitcom plot.

This is ‘some looney tunes type shit,’ amirite guys?

(This trick is called lampshading, it got popular recently with Marvel movies and the influence of Joss Whedon's writing (@dingdongyouarewrong), but it's also going through a bit of cliche fatigue right now. "That happened" jokes are an example that I know so many people are sick of, partly because it feels like writers include self-awareness/lampshading as a shield from criticism by pretending you can't critique a problem they're self-aware about!

Let me highlight it to you in the rest of this essay as a tool in satire/pastiche.)

'Donkey Hotel' (according to my speech to text)

To explain Donkey Hotel's deal, I must remark: This guy is on some ancient mental illness type beat.

Now, in the ancient era of Hippocrates, there used to be the hot idea that there are four major human temperaments, and these temperaments are influenced by the balances of liquids in our body called humors. And that an imbalance of the four would lead to an over representing of a temperament.

Don Quixote had a 'Choleric' temperament, which is an overrepresentation of yellow bile and characterized with qualities such as 'hot and dry' and emotional irregularities such as increased anger or behaving irrationally. That's our knight!

Now obviously we know that the idea of 4 Humors in our body controlling our temperament is a BS simplification of mental health, BUT, there’s usually a kernel of truth in ancient theories. The universe really was made up of elements like Aristotle theorized, just not the fire, earth, water, air that he thought they were.

Similarly, our author our man, Cervantes, was using the 4 Humors more to develop a physical/biological explanation to Don's mental illness.

All this to say, Don Quixote is currently deluding himself into believing he is a gallant knight, off to defend the honor of his lady love, the total paragon of a chivalric romance novel because, and I quote, “he became so absorbed in his books that he spent his nights from sunset to sunrise, and his days from dawn to dark, poring over them; and what with little sleep and much reading his brains got so dry that he lost his wits.”

Let's pause.

An escapist stupor that completely wiped the mind of its host?

(FANART BY @so-engery! Check them out!)

ID Two images. One is is Gustave Dore's "Don Quixote Dreaming" drawing. The other is Disco Elysium fanart by Marie Enger @so-engery. Both showcase the main character of their respective works, slumped and surrounded by mad figments of their imagination, highlighting the parallels between the two. Harry with his Skill voices and Don with knights and fairytale creatures. End ID.

That’s our boy, Harrier Du Bois right there!

And while obviously Harry's condition at the start of Disco Elysium is more based on modern understanding of psychology (aka alcohol did it to him, not intense insomnia and a chivalric romance bookathon), it’s real neat we get this this little parallel before we even dig into Harry!

Now, with that neat explanation of why he’s self-aware out of the way, Don Quixote’s deal: Again, he’s not actually self-aware, he’s quite possibly the opposite of self-aware, and EVERYBODY (even the audience!) knows it. He’s only self aware in the sense that he’s acting like a character in a fictional story, which he is, but he’s got the wrong genre.

He thinks he’s in an action/romance, but he’s actually in real life—A satire of the action/romance genre!

Well, caveat.

Is Don Donning the 'Don' Inspirationally or is he Donning the 'Don' to Act as a Don About the Downs of Chivalry?

I read it as Don Quixote donning the 'don' title to act as a don at the college of 'please touch grass and stop romanticizing romantic chivalry.'

A super popular adaptational take, however, is to read him like he's an inspirational dreamer held back by a harsh reality.

Big Nate's Book Reviews on YouTube did a sweet review that highlights this perspective, along with his lil doobie,

that Don Quixote's perspective brings fresh child-like imagination and fantasy to the mundanity of the lives of the people around him. Nate says that Don Quixote and Sancho are "Truly the homies;" they're the first times he's ever felt that he could "find friends in characters in a book."

So there's definitely a joy and a message to the dreamer reading! BUT I tend to be a bit cynical about this, like it can feel a bit too similar to USAmerican Exceptionalism to me.

To clarify what I mean, let's do a Rick parallel.

Don Quixote, as a character, is more similar to the FANS of Rick and Morty than he is to Rick. (Which is its own commentary about how little we have progressed as a society since this book was published like 400 years ago, but also the way media is influenced by prior media.)

To explain THAT, lemme first say that there’s a sort of meta irony (which is how I describe this phenomena according to J-Reg’s theory of satire, but I don’t know the actual name of this) in the ‘he’s just like me fr’ guys. ‘Literally me’ guys. Guys who pseudo imitate Patrick Bateman, literally any Ryan gosling character, etc.

ID A youtube screenshot of 3 different videos titled "literally me" "Literally Me" or "Literally me (I'm mentally insane)" with different Ryan Reynolds characters as the thumbnail. In the "I'm mentally insane" video description, one of the tags is the word "sigma." End ID

Often these characters are meant to be made fun of as parodies of another trope, like Don Quixote is to a chivalric romance protagonist, but there’s a certain subset of the audience that is either too dumb to get it or just doesn’t have the context or background to get it.

Like the dudes who watch fight club, and just end up making fight clubs of their own. Or the way people misinterpreted Bruce Springsteen’s ‘Born in the USA’ as celebrating the US, instead of its true message of lambasting the US for its hypocritical treatment of its veterans. Or the glorification of Rorschach from Watchmen despite him basically being a MAGA. Or the way USAmericans didn’t get Starship Troopers because it was a parody of US military fascism.

There are tons of examples of these because of satire usually says more about the reader/viewer than it does about the author, like a Rorschach test (he really is aptly named). (And it’s why it’s more often fascists/conservatives wildly misinterpreting leftist media. People are more likely to come with a conservative perspective than vice versa bc conservatism is, by its definition, the norm. Though this does still happen on more progressive sides e.g. TJLC.) They didn't see or chose not to see the irony.

Cue the Reddit dudebros misinterpreting Disco Elysium as pro centrist or “all ideologies are equally bad" and the INSANE 'you have to have a high IQ...' 'rick is good and objectively correct' Rick and Morty fans.

ID Two screenshots. One of the infamous "To Be Fair, You Have To Have a Very High IQ to Understand Rick and Morty" copypasta. One of a Disco Elysium Reddit post titled "Disco Elysium is Not Politically In Favor Of Any Ideology." End ID

Speaking of Rick and Morty fans, this is what I mean by the idea that Don Quixote is more like Rick's fans than he is like Rick. Much like the way Don un-self-aware-ly misinterprets his satirical reality for the chivalric romance of his favorite novels, so too do Rick and Morty fans un-self-aware-ly misinterpret Rick's nihilist satire on the sitcom for what is cool and good to do in real life. Plus, I can totally see these type of dudes unironically saying "Milady" to keep chivalry alive. But, there's one level further to this, beyond even seeing the irony, which I call the 'he's just like me fr' guys.

Now, in the case of the 'he's just like me fr' guys, it's not that they're mistaking the satire for sincerity—they totally understand that Patrick Bateman is a satirical take on Yuppie 'grind till you make it alpha' culture.

They're doing a secret third thing—meta irony—where they understand that Patrick Bateman is meant to be bad but act like they're un-self-aware and missed the irony anyway.

It's supposed to be a joke, buuuuut it's a joke the same way people will say "SLAY!" as a joke until it's unironically a part of their vocabulary. The ambiguity is key.

I'd argue that the dreamer Quixote approach is an application of 'he's just like me fr' view to Don Quixote, where he's 'a Chad rejecting reality in favor of the perseverance of man's whimsy' to some people, even as they joke that he's delusional ("Literally me (I'm mentally insane)").

Don Quixote certainly isn't doing it on purpose—again, he's un-self-aware, and he even got bullied out of it in part 2 (which admittedly I haven't read). Yet, there's a genuine sadness there of a man with such a penchant for adventure getting bullied that makes you wanna start humoring him.

It's ironic but not: Meta irony.

ID A screenshot of Jreg's "Post-Irony, Meta-Irony, and Post-Truth Satire (Video)" thumbnail. End ID

But yeah, meta irony is all fine and dandy when it's about slaying, but when it's about emulating the patriarchal psychopath, Patrick Bateman, or using edge-y humor to spread alt-right talking points, you start to wonder if there can be something insidious to the 'he's just like me fr' approach.

To put it best, the wild popularity of the Dreamer Don Quixote interpretation feels like the result of USAmerican 'grind till you make it' 'individual exceptionalism' 'it would suck for you, but i'm built different' values distorting the absurdity of being a reality denying dreamer, the same way we struggle to understand the Starship Troopers because it just feels normal/celebratory to us.

Don Quixote

So I think Don Quixote resonates strongest, for me, in the way it boldly states that reality is beautiful and worth living in without needing the opium of escapist fantasy.

For one, Cervantes is a rare ye olden feminist king who takes the time to point out that one man's escapist chivalric masculine fantasy is another woman's misogynistic reality.

To demonstrate, he has many examples of female characters telling off men for projecting romantic fantasies on them, but a more relevant way is how he writes Don Quixote as literally renaming some random woman he's never met 'Dulcinea' because he's decided she is his Lady he's given his eternal servitude to.

He renames her Dulcinea because it's "a name, to his mind, musical, uncommon, and significant, like all those he had already bestowed upon himself and the things belonging to him."

Which is PEAK satire of the misogynistic objectification of chivalry. If only the Rick and Morty "Milady" stans had the self-awareness this book had 400 years ago.

(Sidebar, but does anybody else think Don Quixote would make an absolutely killer Drag King persona? Don Queerote... Plus the ballet about him would help with the pre-existing choreo/music. Just a thought!)

But on another level, Don Quixote is full of interesting characters or stories outside of the chivalric knight conceit!

ID Pen illustrations (aka engravings by Gustave Dore) of two events happening simultaneously at the same inn in Don Quixote. The one above is of Don's assault on the wineskins in his sleep. The one below is of the reunion of Dorotea, Luscinda, Cardenio, and Fernando in the inn. End ID

People often clown on the novel for having so much time dedicated to the soap opera antics of side characters totally unrelated to the knight plot, but their antics being outside of Quixote's chivalric view emphasizes how life is interesting even when you're not following a delusional knight lifestyle!

Romance and reunions and betrayals that Don never really understands because he's too busy fighting windmills and wineskins! Yes, the delusion allowed him to go out and explore the world, but there's something so silly and sad about missing whimsy of real life in favor of living in escapist Knight Fanfiction. Reading about Cervantes's soap-opera-worthy life only reinforces this whimsy for reality and touching grass.

The Self-Aware Player of Harry Du Bois

Preface: My main experience is JRPGs, not so much other Western RPGs and tabletop games. So although I’m saying it’s a satire of these tropes, and I noticed a lot of these things as ‘satire’ and 'parody,' I’m not totally enmeshed in the subculture the creators were going for, so I might need some corrections. 

Finally, this transitions into the deal with Harry! It's fascinating to me to think about how satire is used as the 'touch grass' or 'be fucking for real' genre. Oftentimes it's making fun of tropes/conventions by humorously contrasting them with reality—so how does this play out with the RPG!?

Weeellll, it goes hand in hand with the idea of RPGs as escapist power fantasy. RPGs are often thought of as the ultimate self-insert fantasy by its detractors or worst players, ahem looking at all those DND horror stories about entitled mangsty murderhobos.

One of the most infamous criticisms of Disco Elysium is its lackluster combat.

ID A screenshot of a random forum discussion post by dungeon master Zed Duke of Banville. It reads: "Disco Elysium has neither combat nor exploration, and therefore is missing two of the three fundamental components (or sets of components) that define the RPG genre." End ID

The game has essentially bordered off your ability to make Harry into a power fantasy murderhobo because you just are physically unable to equip an longsword or cuisse to murder your average citizen on the street of Martinaise.

But even on a less mangsty level, it subverts a lot of the basic expectations of RPGs.

Like the encounter with the racist lorry driver! You never get the ability or quest to change his mind, you only choose how you react to him.

Where other RPGs might let you act as the white savior or the white knight of chivalric romance, no questions asked, you're changing the minds of everybody who's wrong so we can all get along, Disco Elysium really makes you confront your ability to whiteknight, makes you confront if whiteknighting is even helpful, and why you wanted to whiteknight in the first place.

It’s part of the fun/humor experience of Disco Elysium that you at first expect to solve the world’s problems with a couple quests and lines of ‘good’ dialogue and then get socked in the faced with the fact that yeah, you can’t do much, you’re one person, what did you expect, asshole? Cuno doesn't fucking care!

ID a screenshot of Disco Elysium dialogue YOU - "Don't call it a dump, you've made it nice and cosy here." NOVELTY DICEMAKER - "Yeah." She stares out of the window, not really hearing your words. "Or maybe it's the entire world that's cursed? It's such a precarious place. Nothing ever works out the way you wanted." "That's why people like role-playing games. You can be whoever you want to be. You can try again. Still, there's something inherently violent even about dice rolls." "It's like every time you cast a die, something disappears. Some alternative ending, or an entirely different world...." She picks up a pair of dice from the table and examines them under the light. End ID

Like, Neha is highlighting this little meta element of how you can stack your Harry in any RPG to pursue a certain ending or situation, but the actual outcome is still influenced by a dice roll out of your control.

A lot of the satirical humor in Disco Elysium comes from the absurdity that you can do everything right or everything wrong, and the dice can still fuck it up or save it for you—not just for things like high-fantasy attacks, but mundane things like remembering your name.

The dice are, at their core, about how RPGs aren't just for the control fantasy, of winning high-fantasy battles, but also can represent life as it is, mundane and uncontrollable.

Similarly, Harry is clearly written—complete with all the 'lore' that this would entail—to couch his RPG protagonist nature in the real.

If RPG characters are blank slates? Let's give ours amnesia! Need fast travel?! Kim teases the 41st Precinct for constantly running everywhere by calling it the Jamrock Shuffle. He needs to have deep and intimate conversations with everyone, even when they're strangers? Yeah, that's so weird we gave him the name 'Human Can-Opener,' and everybody remarks on his uncanny manipulation skills.

It's commenting on difference between controlling an RPG avatar and navigating in a human body.

As Kurvits said: “In reality we do not have control, or complete control, of our minds. Just like our body, it is something that we give-not even commands wishes to, and we hope it's gonna do it. We hope it's not gonna break down, we hope it's not gonna rebel against us.”

In one type of RPG fantasy, we don't even question our total control and even assume the joy is from the control. But in Disco Elysium, we lack control and find joy in it anyway. That is the fun of the game making us, the players, 'self-aware' about its RPG elements, and it especially resonates with anybody not able-bodied, anybody neurodivergent.

Harry Du Bois and Self-Awareness: Copotypes? More like Cope-otypes.

So that's on Disco Elysium and being aware of RPG elements in general, but let's deep dive into Harry and his Copotypes and political alignments like the OP!

I kind of want to round this last one out with what this all means. WHY am I, and others, linking self-awareness and satire? What's the link here?

Irony is one of the major tools of satirical writing, and there's always a little irony in being self-aware and doing it anyway, I think. It's specifically that Meta-Ironic element/Lampshading that is so rich for Touch-Grass satire because it parallels the futility/irony of self-awareness in real life.

The copotypes work this way.

ID A screenshot of a youtube comment. @jbeast3385 "Harry fundamentally takes on extreme interpretations of every ideology in the game as a coping mechanism for the tragedy that is his life, and it's amazing to see the amount of care given to extending an understanding of why each ideology appeals to his fractured mind. Each quest makes him something of a Don Quixote, searching for a purer purpose through political thought, failing spectacularly with it, but still fundamentally developing him and inspiring others beside him." End ID

The copotypes and the political alignments are a parody of classes and moral alignments. Rather than being a knight or a wizard, you're a superstarcop or a sorrycop! They don't do much, like there are no fireballs for an art cop, but they do poke fun at the ways the player is choosing to play Harry! Instead of chaotic good or neutral evil, you can be a communard or an ultralib! Which both involve spouting hilariously inappropriate talking points to the other citizens of Revachol.

What's fascinating, as @fagcrisis of this post says, is that these alignments are statements of how your Harry copes with the real world and the past/how he justifies what he does.

From the Solution to the Boring Cop Thought:

When someone says something political, the first three thoughts in your head are a ludicrous hodgepodge of communism, fascism and stock tips. When they ask you why you did something, it's superstardom, apocalypse, or the *mea culpas* of a flagellant cop monk

You start off making some choices based on the limited dialogue options of Harry's bizarre personality. If you play it like any other RPG power fantasy, BAM, the game hits you with the "Regular Law Official" thought, and you're labeled "Boring Cop." Or if you're apologizing to get the 'good' route, BAM, the game hits you with the "Rigorous Self-Critique" thought, and you're labelled "Sorry Cop!"

The game makes you 'aware' of your playing style, a little poke to say 'Stop being so scared of failures! You're boring! Sorry is not enough! Stop trying to be 'lawful good' (ACAB) and be a human!'

From the same Solution:

It's not easy, reaching for the fourth option -- the normal one. But you have. And now you're not *just* crazy, you're also *boring*.

Some people get this taste of self-awareness and fully embrace diving into the deep end of the game—Disco baby! Others lean into the sorry/boring/moralist cop in an ironic 'self-aware' sort of way—like the technique of Lampshading, since we're our own writers as RPG players.

But on a Harry level, it's also about HIM becoming self-aware of his habits, of internalizing these thoughts about his actions, his past, his coping mechanisms.

Seeking either “sweet oblivion” or to become “a different kind of animal,” many of the possible roleplaying choices are rooted in his desire to forget, evade or reframe the past. Whether self-destruction through drug abuse, fantasies of superstardom or visions of impending doom; it’s all in the service of not wanting to face the past, and the disastrous effects Harry’s continuous failure to do so has had on his life. - Vice

As the @fagcrisis of this post noted, Dora pretty much ALWAYS mentions the way Harry escapes reality by thinking of himself as an archetype, like other people are NPCs in an RPG. "like hes a self aware character but in the shitty way where him knowing he is a character and him acting like it only makes it worse because there isnt a story to escape from, he just cant cope with the real world" He's pulling a meta-ironic ''he's just like me fr" with Guillaume Le Million (who hangs himself) and superstardom the way "he's just like me fr" guys do it for Ryan Gosling.

And each copotype and political alignment are an opportunity to satirically critique the flaws and failures of each coping mechanism.

Cope-otype: Fascism

"Fascism, being marked, according to Paxton, by a need to compensate for humiliation, promises easy solutions to someone like Harry. It’s a crutch to prop up threatened masculinity, a rhetoric to shift blame for personal failings to ominous outside forces." - Vice

This game's satirical take on fascism is sort of perfect, literally making it about the lower intestines, 'gut instinct,' and bullshit (@spilledkaleidoscope). To be frank, fascists are 'full of shit,' and the vision quest highlights the way fascism isn't about a coherent ideology like 'returning to the past,' but rather it's a hodgepodge of SHIT thrown together to prop up hurt ego, threatened masculinity, of giving an easy scape-goated answer to the question of how Harry's supposed to face his past and his future.

The answer? He shoots it.

It's accurate in a way that doesn't reinforce the 'cool' aesthetics and pageantry fascism is obsessed with, what with literally calling fascists full of shit and all. Kim notices your change in expression, your stoic 'noble suffering' fascist face, and immediately calls it constipated. Bless.

Yet, even as Kim calls you out, even as you're aware of fascism's failures, how it destroys you ala Harry Du Bois -> Detective Raphaël Ambrosius Costeau, Fascist!Harry still believes because he can't face a wounded ego.

Cope-otype: Ultralib

Ultralibs on the other hand? I think it's telling that Idiot Doom Spiral is basically ultralib Harry's foil and a major questline NPC—the one who gives you Tequila Sunset.

Even the names are foils. Idiot Doom Spiral names himself that way to romanticize it, to make it into a marketable story, "but it keeps him in this state too, like a vicious cycle. The name ‘George’ is a name that still connects him to humanity," while Idiot Doom Spiral is a way to 'accept his place' even though it's miserable and keeps him from doing something about it, nor connect with other people, as @kindaeccentric put it in this post.

Similarly, the megarich light bending guy in the UltraLib quest LITERALLY is much more unlikely to connect with poorer people because the Rougon-Macquart coefficient literally dictates that we cannot see the richest people because their networth bends the light around them. It's an inversion of the way rich people are ignorant to poverty in real life, and here's a really good fic that covers this coefficient!

Finally, this mirrors Tequila Sunset as a name as well, the way it's a cope for hating himself. Instead of being miserable, he glorifies his misery by calling himself a funky, disco drink name, even as it symbolizes being washed up or even symbolizes the pale swallowing all, depending on how you play him (@palin-tropos).

So much of the ultralib plotline is about adding value — whether by sprucing yourself up with a new name like Tequila or Idiot or by 're-conceptualization' — through stuff like grind/hustle culture. An obsession with increasing networth but also 'giving back' to the community, as philanthropists put it.

But the satire of the ultralib vision quest is highlighting how hollow 'adding value' is, how much of it's just competition for wealth for the sake of wealth with no real meaningful answer or value.

ID Two screenshots of the game Disco Elysium. The first is of the horseback monument as it is. A matrix of cables and ropes isolate the fragmented bits in thin air. The second is described as this through in-game dialogue: HORSEBACK MONUMENT - The scaffolding around the old monument has been taken down, In its place are the spoils of your investment. Numerous rods and ropes still hold the original reassemblage in place. YOU- Reflect on the re-conceptualization. HORSEBACK MONUMENT - An apricot sceptre shines party-bright across the monument. Glitter balls dangle like severed heads below the eternal king of disco. It is unmistakably a vision of you in your prime -- a killer on the performance floor, icon for all. End ID

It's 'reconceptualizing' the Horseback Monument — the symbol of both the bombing of the revolution and the enduring of spirit the communards anyways, the way they've built a monument to freeze in time the moment of the profligate king being blown up — by building it in your own image. The fact that to do so you need to exploit the labor of an artist so you can make a profit, and it doesn't truly 'give back' to the community in any way. In fact, it's almost the opposite, like you've ruined the community monument by painting yourself AS THE KING.

It's why even Harry admits that "You're just insane, insane and gone. Even six billion won't fix you if she’s not there." Each copotype and political ideology contends with their own version of this as Harry learns to grow and face his past head on.

The Marriage of Fictional Conventions and Real Human Psychology

In the end, you can't just lean into an ideology or an archetype and hope that it'll answer all you problems.

But more than that — being self-aware about your issues doesn't solve anything either, no more than lampshading "fixes" any problems with your TV show.

It is this parallel between what Harry learns as he progresses and what the player learns as they progress that makes us empathize/resonate with Harry.

From acting erratically, then realizing it's part of an ideology, self-awarely adopting an ideology, to seeing how it fails and learning not to hide behind it. From "He's a blank slate so I can project my power fantasy onto him," then "I don't actually have a lot of power or control here," to "He's not just my RPG character, he's a person."

He's becoming a person, twice over.

It's ludonarrative resonance or consistency. A marriage of literary convention and real human psychology, on two scales.

And this resonance demonstrates why this genre of self-aware pastiche character is so popular: At it's best, you're forced to contend with the characters as fully realized people, paradoxically because they highlight the difference between fictional conventions and reality.

By acknowledging and poking fun of the fictional conventions, Harry Du Bois, Don Quixote, and Rick Sanchez feel more real to us.

And their stories come packaged with rich themes about dangers of disconnecting yourself from reality and the short distance 'self-awareness' alone can take you, which will resonate with almost every one of us here on the Internet. At least, I know it resonated with me.

BONUS:

Shen Yuan from Scum Villain Self-Saving System (@whetstonefires) also fits this list!!!!!!

[lucky-clover-gazette]

Top 5 novels(or series)? 👀

i miss being a bookseller and talking about books irl so this ask makes me super happy! also this is going to be long and i apologize in advance

beauty queens by libba bray

my favorite book of all time. i read it WAY too young, like in 2011 at age 12, and it massively influenced my awareness of the world, personal philosophy, sense of humor, and creative identity. beauty queens is an ahead-of-its-time ya satire novel about teenage girls getting stuck on a deserted island and going feral (positive connotation).

it features a well-balanced main cast of about a dozen diverse young women, including the first trans character i ever encountered (because i read the book pretty young, it's actually how i found people can be trans at all). while this character's execution does include a few now-questionable tropes, she's written in incredibly good faith and i am so grateful for her being in this book. beauty queens also introduced me to perspectives from women of color, disabled women, and women from religious communities that i hadn't really gotten the chance to encounter in my bubble of a hometown. while the author is admittedly a cis white straight woman, she pours so much empathy and love and nuance into each individual beauty queen, and especially for 2011 i think she did a really good job.

in addition to All That Deep Meaningful Stuff, the book is like a james bond parody with a villain clearly meant to be sarah palin set in a hyper-capitalist satirization of america, characterized by super weird and out-of-the-box "commercial breaks." i describe it in my review as "weird, campy, tropey, and over-the-top," and warn that, "if you take everything very seriously, you will have trouble with this book."

my general creative philosophy is that art is at its best and most meaningful when you have no doubt anyone else could have made it. libba bray knows exactly what she wants to write, and she fucking does that, even if some people won't understand or enjoy it. the world is a better place because this book exists, which is true of everything on this list--but this deeply weird novel, seemingly lost to time, is my all-time favorite for a reason.

sharp objects by gillian flynn

gillian flynn is my favorite AUTHOR of all time. she wrote gone girl, sharp objects, and another lesser-known novel called dark places. sharp objects is a hard one to gush about without spoilers and/or triggers, but oh my god it is a masterpiece. its final line is my favorite final line in any media, ever. i am a huge lover of the domestic thriller genre, and while gone girl is more domestic thriller than sharp objects, i think this one is the better BOOK. huge trigger warning for self-harm if the title and cover aren't enough of a hint, but hoooo boy this book is the best kind of brutal

the illuminae files trilogy by jay kristoff & amie kaufman

these sci-fi ya thrillers are told entirely through transcripts, message logs, and other "found evidence" in a dossier meant to expose an evil corporation. the characters are clever and interesting, the conflict is layered, and there's some awesome space-horror a la alien movie. there's a love story and philosophical musings and wise-cracking idiot teenagers who i adore. there's a deranged ai and beautiful page layouts and the quote, "you have me. until the last star in the galaxy dies, you have me." these are great books for people who can't stand large chunks of prose, appreciators of comics and mixed-media storytelling, and the AUDIOBOOKS are like full-on radioplays with voice actors and sfx. all three novel hold their own while still feeling cohesive when read sequentially. so unique and so freaking cool

no exit by taylor adams

idiot college art student gets snowed in at a rest stop, realizes that someone is in the middle of trafficking a child and has to a) figure out who it is and b) stop them. this thriller is gory and fast-paced and darkly comedic and does the whole cat-and-mouse hero and villain thing that always lives in my head rent-free. it's gleefully violent and reminds me of films like kill bill and american psycho. i can't and won't spoil more but this book is so fun to read, especially if you enjoy media that doesn't take itself too seriously. the movie adaptation sucks and i'll be mad about it forever, especially because taylor adams comes from a screenwriting background and i doubt they let him touch the script. there's a thematically-relevant garfield clock and nail gun used several times as a murder weapon. in my storygraph review of this book, i summed up my love for it pretty well: "Sometimes a book just speaks to you. Probably not great that this one does it for me, but at least I had so much fun."

the stepford wives by ira levin

people discuss the stepford wives as a Cultural Concept, but i wish more people actually read the novella. it's really freaking good as a work of horror and satire. it's short, too. i've been dreaming up a stage adaptation for years.

other honorable mentions: the hunger games trilogy you know who wrote it, solutions and other problems by allie brosh, anya's ghost by vera brosgol, all of mary oliver's poetry, never saw me coming by vera kurian, in a dark dark wood by ruth ware, dead to her by sarah pinborough, annie on my mind by nancy garden

[amandamazzillo]

REVIEW: You Season 4 Part 1- A Welcome Twist on the Narrative While Maintaining its Darkly Humorous Satire

Season Four Part One of You, created by Sera Gamble and Greg Berlanti, adapted from Caroline Kepnes series of novels--just landed on Netflix, and you don't want to miss it.

You twists the focus of its story in a new direction, which explores literature tropes and Joe's dislike of being trapped in a whodunnit--a genre he feels is below him. While maintaining its focus on satirizing the rich, academia, and literature itself with wit and complexity, You explores how Joe Goldberg (Penn Badgley) reacts to going from the stalker to the stalked.

Twisting the Formula and The Series' Essential Satire

What truly sets You season four apart is how the series made massive changes to the formula, while still perfectly maintaining the tone of the series and its well-developed characters.

With season four, we see Joe finding himself the victim of a stalker and caught in the middle of a whodunnit. Joe, once again, finds himself in a new city and a new group of 'friends' who personify what he hates the most--rich, intitled, pretentious people. But as usual, Joe's self-awareness makes it so he doesn't recognize these traits in himself--making the darkly humorous satire of the series that much funnier and pointed.

The satire in You has always been one of the most important aspects of the series, giving You its unique tone and mixture of thriller and dark comedy. The best satirical moments come when Joe tries to paint himself as different and outside the groups he looks down upon.

Season four points its satire again at rich people, but also subverts specific tropes and genres of literature. Like season one pointed toward rom-com tropes distilled to explore just how creepy they are, season four looks toward the tropes of the whodunnit and the nature of redemption arcs.

Putting Joe in the middle of a murder mystery allows the show a chance to breathe and evolve, and find new, exciting avenues to explore. This next installment of You is a blast to watch as this mystery gets unfolded, and we learn more about each new character.

New Characters, New Stories, Strong Performances

With so many new characters, it's easy to be overwhelmed, but the first episodes of season four introduce everyone seamlessly, and some of these new additions are especially complex, well-written characters that we can't help but love.

Each new character has their own mysteries and secrets--making the central whodunnit of the season that much more involved and captivating. And with this new cast of characters, we are provided some truly shocking and dramatic moments that you won't believe until you see them.

Season four introduces us to so many new characters, but a few of them really stand out in their complexity, charm, and down-right absurdity (this is a compliment of the highest "screwball comedy, socioeconomic class differences" order).

Out of all the new characters, Kate (Charlotte Ritchie), Lady Phoebe (Tilly Keeper), and Nadia (Amy-Leigh Hickman) stand out.

Kate is one of the most interesting characters to join You in season four and Charlotte Ritchie's performance is quietly discerning and wonderfully charming. She's a mysterious, complex character and it is a joy to see Ritchie's performance evolve throughout the season, as more layers of Kate's personality come bubbling to the surface with each new episode.

Tilly Keeper's performance perfectly captures Phoebe's underlying anxiety hidden beneath her bubbly and friendly personality. Keeper plays Phoebe so well, displaying the character's complexities and electric charm.

Amy-Leigh Hickman's Nadia--a student in Joe's/Professor Moore's class--is a strong, opinionated character with her own thoughts about literature, especially the aforementioned whodunnit, and she is not afraid to speak her mind.

Nadia is a great character that is always a delight to see throughout season four, especially her conversations with Penn Badgley's Joe where she stands up for her literary opinions, no matter what. Amy-Leigh Hickman gives a great performance, making Nadia one of the stand-out characters.

Penn Badgley's performance this season explores a new side of Joe, while maintaining the vital creepiness of the character. Seeing Joe becoming the one being stalked is interesting, and Badgley plays Joe's surprise and exasperated confusion well, while making sure we know Joe's crucial lack of self-awareness is intact.

Suspense, Pacing, Cinematography

You season four part one is a suspenseful journey that does not let up. With each episode, we learn more about the central mystery, piece by tantalizing piece, but with each answered question, twice as many take its place.

This makes for a wonderfully engaging experience where you can't help but start the next episode to figure out what's going to happen, which characters will grow closer, and who might find themselves the victim of this unidentified murderer.

This season of You is well-paced and always keeps you on the edge of your seat, while maintaining a quiet, introspective humor with each new episode and each new detail we learn about this new cast of characters.

You is a dark, chilling series with moments of humor that should be given more credit in the world of horror television.

The agonizing moments of suspense paired with haunting atmospheric music, and dark, muted locales give You a captivating tone befitting a space among the best of horror/thriller TV.

The cinematography of this season perfectly establishes its new setting and new group of characters for Joe to tear down in his blunt narrations. The subdued neutral shades work wonderfully to capture the menace hiding among the sparkly dresses and rainbow coats of London's elite--exploring how everything isn't always what it seems.

The costume design this season does a wonderful job showing us the differences between Joe and his new 'friends', creating memorable moments where Joe is thrown into the deep end and tries to fit into this world that he doesn't really want to be a part of. Sam Perry--costume designer who previously worked on Killing Eve, Flowers, and Sandition among others--joins You for season four to create captivating looks that will become iconic parts of the You world.

University Setting

One aspect of season four that could have been stronger is its use of the university setting. With Joe living as Professor Jonathan Moore, the season could have used more scenes showing Joe's job as a professor and his interactions with students and colleagues.

Viewers hoping for a season heavily steeped in the darkness of academia might be disappointed in how little time we spend inside the university's walls and Joe's classroom. But these scant moments are memorable and this darkly academic tone becomes imprinted on the season, even when we venture away from the physical university buildings.

Using the university setting to jumpstart the season's focus on whodunnit tropes works especially well, and the series does a great job of connecting these worlds and showing how Joe found his way into this new circle of elitist friends that leads him down an ever-bending pathway to find answers.

Conclusion

You Season 4 Part 1 takes the captivating thriller series in a new direction--trapping Joe in his own whodunnit--with darkly humorous satire and captivating performances--especially from Penn Badgley, Charlotte Ritchie, Amy-Leigh Hickman, and Tilly Keeper.

[kevinsreviewcatalogue]

Review: Seed of Chucky (2004)

Seed of Chucky (2004)

Rated R for strong horror violence/gore, sexual content and language

<Originally posted at https://kevinsreviewcatalogue.blogspot.com/2023/07/review-seed-of-chucky-2004.html>

Score: 2 out of 5

Seed of Chucky is, without a doubt, the most overtly comedic entry in the Child's Play franchise, specifically serving as writer and now director Don Mancini's take on a John Waters movie, right down to casting Waters himself as a sleazy paparazzo. It's a film full of one-liners, broad gags, gory kills that are often played as the punchlines to jokes, and most importantly, sexual humor, particularly in its depiction of its non-binary main character that is admittedly of its time in some ways but also a lot more well-intentioned than its peers, and holds up better than you might think for a movie made in 2004. This was really the point where Mancini being an openly gay man was no longer merely incidental to the series, but started to directly inform its central themes. In a movie as violent and mean-spirited as a slasher movie about killer dolls, this was the one thing it needed to handle tastefully, and it more or less pulled it off, elevating the film in such a manner that, for all its other faults, I couldn't bring myself to really dislike it.

Unfortunately, it's also a movie that I wished I liked more than I did. It's better than Child's Play 3, I'll give it that, but it's also a movie where you can tell that Mancini, who until this point had only written the films, was a first-time director who was still green around the ears in that position, and that he was far more interested in the doll characters than the human ones. The jokes tend to be hit-or-miss and rely too much on either shock value or self-aware meta humor, its satire of Hollywood was incredibly shallow and made me nostalgic for Scream 3, and most of the human cast was completely forgettable and one-note. Everything connected to the dolls, from the animatronic work to the voice acting to the kills, was top-notch, but they were islands of goodness surrounded by a painfully mediocre horror-comedy.

Set six years after Bride of Chucky, our protagonist is a doll named... well, they go by both "Glen" and "Glenda" (a shout-out to an Ed Wood camp classic) throughout the film and variously use male and female pronouns. I'm gonna go ahead and go with "Glen" and "they/them", since a big part of their arc concerns them figuring out their gender identity, and just as I've used gender-neutral pronouns in past reviews for situations where a character's gender identity is a twist (for instance, in movies where the villain's identity isn't revealed until the end), so too will I use them here. Anyway, we start the film with an English comedian using Glen as part of an "edgy" ventriloquist routine, fully aware that they're actually a living doll and abusing them backstage. When Glen, who knows nothing about where they came from except that they're Japanese (or at least have "Made in Japan" stamped on their wrist), sees a sneak preview on TV for the new horror film Chucky Goes Psycho, based on an urban legend surrounding a pair of dolls that was found around the scene of multiple murders, they think that Chucky and Tiffany are their parents, run off from their abusive owner, and hop on a flight to Hollywood to meet them. There, Glen discovers the Chucky and Tiffany animatronics used in the film and, by reading from the mysterious amulet they've always carried around, imbues the souls of Charles Lee Ray and Tiffany Valentine into them. Brought back to life, Chucky and Tiffany seek to claim human bodies, with Tiffany setting her eyes on the real Jennifer Tilly, who's starring in Chucky Goes Psycho, and Chucky setting his on the musician and aspiring filmmaker Redman, who's making a Biblical epic that Tilly wants the lead role in.

More than any prior film in the series, this is one in which the human characters are almost entirely peripheral. Chucky and Tiffany are credited as themselves on the poster, the latter above the actress who voices her, and they get the most screen time and development out of anybody by far, a job that Brad Dourif and Jennifer Tilly proved before that they can do and which they pull off once again here. Specifically, their plot, in addition to the usual quest to become human by transferring their souls into others' bodies, concerns their attempts to mold Glen/Glenda in their respective images. Chucky wants them to be his son, specifically one who's as ruthless a killer as he is, while Tiffany, who's trying not to kill anyone anymore (even if she... occasionally relapses), hopes to make them her perfect daughter. Their arguments over their child's gender identity are a proxy for the divide between them overall as people, building on a thread from Bride of Chucky implying that maybe theirs wasn't the true love it seemed at first glance but a toxic relationship that was never going to end well, especially since they never bothered to ask Glen what they thought about the matter. Glen is the closest thing the film has to a real hero, somebody who doesn't fit into the binary boxes that Chucky and Tiffany, both deeply flawed individuals in their own right, try to force them into, and series newcomer Billy Boyd did a great job keeping up with both Dourif and Tilly at conveying a very unusual character. Whenever the dolls are on screen, the film is on fire.

I found myself wishing the film could've just been entirely about them, because when it came to the humans, it absolutely dragged. As good as Tilly was as the voice of Tiffany, her live-action self here feels far more one-dimensional. We're told that she's a diva who mistreats her staff and sleeps with directors for parts, but this only comes through on screen in a few moments, as otherwise Tilly plays "Jennifer Tilly" as just too ditzy to come off as a real asshole. As for Redman, it's clear that he is not an actor by trade outside of making cameo appearances, as he absolutely flounders when he's asked to actually carry scenes as a sleazy filmmaker parody of himself. Supporting characters like Jennifer's beleaguered assistant Joan and her chauffeur Stan are completely wasted, there simply to pad the body count even when it's indicated (in Joan's case especially) that they were shaping up to be more important characters. There was barely any actual horror, to the point that it detracted from the dolls' menace. The satire of showbiz mostly amounts to cheap jabs at Julia Roberts, Britney Spears, and the casting couch, and barely connects to the main plot with the dolls, even though there was a wealth of ideas the filmmakers could've drawn on connecting Glen's quest to figure out their identity with the manner in which sexual minorities and other societal outcasts have historically gravitated to the arts. This was a movie that could've taken place anywhere, with any set of main human characters, and it wouldn't have changed a single important thing about it, such was how they faded into the background. At least the kills were fun, creative, and bloody, including everything from razor-wire decapitations to people's faces getting melted off with both acid and fire, and the fact that I didn't care about the characters made it easier to just appreciate the special effects work and the quality of the doll animatronics.

The Bottom Line

Seed of Chucky is half of a good movie and half of a very forgettable one, and one that I can only recommend to diehard Chucky fans and fans of queer horror, in both cases for the stuff involving the dolls. It's not the worst Chucky movie, but it's not particularly good either.