#some of the stuff he says and does and some scenes and some dialogue choices make my heart so full of love for him............

[astrxealis]

sometimes i think about g'raha tia's little speeches where he goes on about how much he wants to go on an adventure with you and take to the skies upon the eternal wind and i fall in love with him over and over again

[skykind]

A Clone Wars Episode Deep Dive

I didn't discover The Clone Wars fandom until 2021 and only started watching the show in mid-2023 (finished a few months ago), and I want to discuss and analyze all sorts of odds and ends—years after most people watched. This includes cool stuff in episodes I think some fans understandably skip when doing re-watches and therefore no longer remember well, but I’m digging into one of them anyway. So, have a long post about S2:E11, "Lightsaber Lost," and then come talk to me about it if you’d like!

This episode is saying three things at once, and the closer you get to the symbolic message meant for mostly adult audiences, the wilder things get.

The literal plot: Ahsoka’s lightsaber is stolen, and she recovers it with the help of a Jedi elder who teaches her life lessons along the way.

The morality tale for young viewers: gun control (a bold choice).

An eerie interlude for older viewers: A pair of brief scenes—only 45 seconds or so in length combined—communicate the future purge of the Jedi order via symbolic visual storytelling and a speech that’s being broadcast in the background. No dialogue required.

I'm going to focus on this third bullet point, but I also recommend a re-watch for the gun control angle. (Hint: if you think the writers are only arguing for handling guns responsibly, you haven’t taken the Jedi’s current context into account; also, the writers aren't referring to literal in-universe guns—Ahsoka’s lightsaber is the gun.)

Back to the episode’s message for older viewers: Split over two scenes, the audience watches Ahsoka chase a bounty hunter in possession of her lightsaber, then the bounty hunter partially damage and destabilize an enormous levitating billboard so she can get away from Ahsoka, and finally Ahsoka tumble down and precariously cling to the billboard’s screen. The billboard shows Palpatine delivering a—likely prerecorded—speech that is meant to sound supportive of the Jedi, but is instead priming Coruscant residents to believe anti-Jedi rhetoric; just before this two-scene sequence ends, Palpatine also begins to explain why he needs more executive power in order to support the Jedi.

It's great to pinpoint an example of Palatine's propaganda, but what does the visual storytelling communicate, with this speech for a backdrop?

Note: the text of Palpatine’s speech, shown in captions in the following screenshots, is not in alt text as that would chop the speech up between image descriptions, and is instead in a single paragraph after the final screenshot.

Palpatine's Speech

"I have no doubt that the Jedi are doing their very best to ensure the safety of every citizen in the Republic. The accusations that the Jedi created the Clone War to give themselves more power over the government is absurd and I will not stand for it."

Ahsoka as Symbolically at Palpatine's Mercy

After a scene break, Palatine's speech picks up mid-sentence and we see just how small and vulnerable Ahsoka is compared to Palpatine's soaring and vast projection. She appears entirely at his mercy, and somewhat at the mercy of Coruscant as well.

Palpatine's Speech, Resumed

"…Count Dooku and his droid army. To support the Jedi's efforts in the war, I ask the Senate to pass these new laws, giving more jurisdiction…"

The Genocide to Come

As this speech is broadcast to Coruscant, the seemingly trustworthy and dependable Chancellor of the Republic symbolically collapses beneath Ahsoka and leaves her stranded over a chasm. All while Palpatine spreads propaganda that will eventually convince the public to support her people's genocide.

Perhaps the best way to describe this is:

An unarmed Ahsoka struggles to hang onto the edge of a high precipice, that precipice is a symbol for Palpatine—and in a few years, Palpatine will shove the entire Jedi order off the edge of a much higher cliff.

Given how the sheer visual scale of Palpatine in this second scene represents the power he can wield over the Jedi—as the staging emphasizes Ahsoka's relative smallness and her physical vulnerability—it's clear the Jedi will not be able to rescue themselves when this future betrayal comes; Palpatine has amassed too much power and put too many plans in place. And no one who's bought into Palpatine's propaganda will try to catch the Jedi when they go over the edge.

Ahsoka’s Survival

Ahsoka’s individual survival of Order 66 is signaled here by her ability to get off the levitating billboard, but nothing about the staging suggests this comes down to unique skill—any number of well-trained Jedi could have gotten out of her predicament when the right opportunity (a single speeder that veers out of its lane and passes unusually close to the screen) presented itself.

In both “Lightsaber Lost” and "Victory and Death" (S7:E12, see below), her survival involves flinging herself through open air (and into an out-of-place flying vehicle), a nice nod to Ahsoka’s association with flight and Morai, though I feel like that’s a coincidence (?) as of season 2. Or maybe not. I have no idea if Ahsoka’s symbolic associations—flight in the case of “Lightsaber Lost,” rather than Morai specifically—were planned out in advance.

What About the Propaganda?

Returning to season 2, we come to the final big-picture takeaway of the "Lightsaber Lost" scenes: I’ve referred to Palpatine’s speech as something that plays in the background because Ahsoka doesn’t pay attention to his propaganda, even though it’s literally in her face. What does this mean if we treat Ahsoka as a stand-in for the Jedi, and Palpatine’s speech as a stand-in for his growing threat to the Jedi?   In these scenes, Ahsoka first doesn’t pay attention because she’s trying to stay alive in precarious circumstances, just as Jedi across the galaxy are kept distracted from the big picture by trying to keep themselves, their Padawans, their troops, and civilians alive as war swallows up the galaxy. Then, Ahsoka is distracted by tracking the bounty hunter who has her lightsaber; in the context of this episode (which asks, ‘who should be allowed to use a lightsaber, and when?’), Ahsoka’s lightsaber also comes to represent Jedi’s efforts to fight the Clone Wars as ethically as possible. It presumably takes more time and effort to fight a war when you’re concerned with morals, at least when the opposition is perfectly happy to commit war crimes.   By tossing the Jedi into a war, Palpatine keeps them too busy to systemically search for the Master Sith (in addition to Sith stuff diminishing the Jedi’s ability to use the force), as their time is eaten up by upholding the equivalent of the Geneva and Hague Conventions (etc.) when almost no one else is, by protecting as many other lives as possible, and by staying alive.

And The Clone Wars communicates all of this in a minute! Though I’ll admit my final point about Ahsoka’s lightsaber representing ethical combat is a stretch. I love it when TV shows and movies make full use of visual storytelling, and The Clone Wars is fabulous at it.

Whew—and that’s that! I’m grateful if even a single person has read this far and would love to know what you think, but regardless, I had fun analyzing this episode and organizing my thoughts about it. Cheers to the Clone Wars fandom.

[fumifooms]

Did you notice that in the anime chilchuck blushes when he sees marcille in the red dress? I skimmed through the marchil crumbs master post and from what I saw you didn't mention it

Also its not from the ale since he wasn't blushing right before that

Ah yeah, don’t worry it’s because part 8 of the crumbs masterpost isn’t out yet, I’ve been lazy with it but it’s been overdue ever since the second half of season 2 started, and it does have a buncha stuff don’t you even worry lol my god… I just need to get out some stuff for it first. Ahh good times

On this though: I personally don’t give it much weight but it’s valid to read into it.

What we know:

Against: - Kui does make characters blush both when they’re drunk AND when they laugh. - Chil is confirmed drunk/tipsy in that scene because in the picture above his little mood chibi is drunk lol. - The point of the scene is that he laughs at her, the joke is that he laughs at her. If there’s subtext it’s still very much secondary and easy to miss and ‘besides the point’ anyways, buut does this subtext exist? Well…

For: - In the dating sim cover, the other option was "tell her she looks pretty". None of the choices seem outrageous for his character so it’s not random throwaway lines, though of course the reasoning behind it may be as simple as ‘it’s formality’. In the chapter cover, Marcille’s section is the one on top of every other one at center stage, which makes sense since it’s for bicorn chapter and bicorn chapter is THE Marcille & Chil chapter. In all of the choice dialogue bubbles on the cover, out of the 7 ones the hand is always over the choice he picks except for Marcille’s and Falin’s, indicating he might have hesitated. - Short of being a half-foot with a sultry face, Marcille is Chilchuck’s type. - The face he’s making in his little mood emoji in the dating sim picture lol? You may be drunk but pull yourself together omg - Chilchuck does deflect his more compromising feelings so this would be in character. Marcille is the only character he teases so much so often and it’s implied to be because he finds her reaction fun, full with shojo filter and sparkles all around her with his mind. Do with this what you will… Schoolboy pulling on the pigtails of the girl he like’s pigtails.

Neutral: - we don’t see the milisecond of realization on Chil’s face in the manga. - we don’t see his face after spitting out all his ale in the anime lol. - what could be "canon" in the manga may not be in the anime and vice versa.

Also whatever the hell this is. We all know not to give too much weight to VA’s takes but also what!! I always thought in the manga that Chilchuck wasn’t the one calling frogsuit Marcille cute so that was already a steel chair to me but lol the point of him saying that in the scene was still very much to follow through on the bait she took lmaoo. I don’t thiiink Chilchuck would think the frog suit genuinely makes Marcille look cute idk. Kigurumi enjoyer Chilchuck confirmed… And I feel like if this is true then Chilchuck wouldn’t have much problem giving her a casual compliment over her looks in the golden kingdom scene either. But also?!! 👁👁

Chil’s jp VA has also said that Marcille is cute (Marcille’s jp va said Chilchuck is cute too but that’s besides the point. 16:05 here). And got into some trouble for acting overly familiar with Marcille’s VA, somewhere in this haven’t looked myself yet. So there might be a whole unrelated thing there?? I’ll cover it more fully in the crumbs masterpost hopefully, after some more investigation. Gdbdg so yeah several layers of putting crumbs under magnifiers like they could be fake gemstones to appraise their authenticity and thus value

Stare. Play it cool.

I love it when he does this it’s so cute. Cheers, raising my cup to you

[maryellencarter]

Andy Serkis, of course, as *the* expert in motion-capture acting ever since he first played Gollum 20+ years ago, is a shapeshifter in ways beyond even most character actors to achieve.

He's also a high-level shapeshifter by normal character actor methods -- when I saw him in Black Panther (I think possibly the only place I've seen him wearing his own face, me not being a great moviegoer at the best of times), there was only one brief moment where an expression that reminded me of Gollum flickered through.

Recently, it turned out that a free trial of Amazon Prime which I happened to have running could be converted into a second free book credit on Audible if I should take a free trial there. I've been curious for some time about the 2021 audiobook of LOTR performed by Andy Serkis, and while trying to get my sleep schedule right way up for job-hunting purposes, I've been working on listening to his Fellowship of the Ring. (I've just reached Moria.)

It's a straight-up audiobook, not a play, by the technical definition: one performer, no music or added special effects. But *damn*, you want to talk about shapeshifting? Serkis does startlingly accurate impressions of every actor in the Peter Jackson movies, plus unique voices for characters with no movie casting, and he sings the songs that are described as having tunes.

(I don't have the ear to tell whether he's using new compositions or some kind of traditional tunes, except that I can say for certain he doesn't use Tolkien's rendition of "A fox went out on a winter's night" for Sam's "Troll Song". If anyone with a better ear than mine happens to investigate, I'd be delighted to know what's discovered.)

His narratorial voice isn't 100% Jirt, which is a Choice, but one I honestly support. The Professor had a thick Old English accent which would probably be a chore to listen to or perform for 60+ hours of total audiobook length. Serkis seems to be using something close to his natural Middlesex accent for the narration, as far as I can tell, but there are enough of the familiar Tolkienian twists (like using the "o" sound from the word "tossed" in "shone" and "wroth") that I'm favorably impressed so far.

His Elvish pronunciation isn't perfect, but it's solidly movie-quality (positive); you'd likely have to be me, with a quarter-century and counting of Sindarin as a second language, to snag on the tiny things I'm snagging on, stuff like the Finnish-style double-length "m" in Remmirath or the "eth" sound represented by the "dh" in Caradhras. (There is properly no D sound in Caradhras; the middle consonant sound should be that of the "th" in "these clothes", but I've never actually heard anyone besides myself say it that way.) He gets a lot of the tricky sounds correct, better than I do when I'm being sloppy, like the long-i-adjacent diphthong in Edain or the broad second A in Gandalf.

Also, the unique voices and the vocal effects he brings in for certain scenes are just... I don't even have words. The Barrow-Wight is as terrifying as it was when I was ten. Tom Bombadil sings about 95% of his dialogue, which I've never imagined any performance acknowledging unless it were the hypothetical LOTR opera I suggest every so often, but goddamn if he doesn't somehow make it work. For the movie-cast voices, he flips so smoothly between the mishmash of accents that I keep forgetting I'm not actually listening to a full-cast play with Billy Boyd's chirpy Glaswegian, Sean Bean's gruff Yorkshire, and Sean Astin's earnest put-on West Country all complete.

As for the lowest bar, the reason I refuse to recommend Rob Inglis's older unabridged audiobooks as an entry point -- Inglis regularly inserts contractions that aren't in the original text, turning the formal tone of scenes where "cannot" and "will not" are important signifiers into something incongruously conversational. I do not forgive that kind of alteration in a text where the formality level, and the changes between levels, are such an incredibly fundamental part of what's being conveyed. Serkis has already successfully cleared one dialogue point where it would have been easy to change "can not" to "can't" (Pippin talking nearly as fast as hobbitly possible), and I'm very optimistic that he'll continue to hit those marks.

Wow, that got longer than I expected, but I'm *really* enjoying this rendition. Unless it majorly blows up in my face somehow, I fully expect to have a new go-to recommendation for How To Experience LOTR for people who can't get through it by reading the text. (And even for people who can. I've said on many occasions, that book is written to be read aloud.)

[paintingpuff]

Netflix ATLA and the Air Nomad Genocide

I've started watching NATLA, and though I'm not really enjoying it, I've found it really interesting to compare its writing decisions to the show as a way to break both down and see how their parts tick. Since NATLA is trying to be more faithful than some other adaptations, the changes it does make stand out more and reveal the mechanics of the storytelling.

While I overall think a lot of NATLA's changes--even the minute ones--made the story execution weaker, the more complicated and interesting change of theirs is the intro, showing the day the Fire Nation ambushed the Air Nomads.

Pacing Criticisms

Cards on the table, I think that putting this sequence at the very beginning was a mistake. Watching Aang's emergence from the iceberg in NATLA made me realize how much the original cartoon imbues its beginning with mystery that makes for a much more active viewing experience. Aang doesn't know much about the present, Katara and Sokka don't know much about Aang's origins, and in their back and forth of information, we the audience organically learn both. Watching Katara and Aang piece together how long he's been frozen in ice was more satisfying and natural than Grangran deducing everything immediately when Aang showed up.

But Sherlock Grangran was kind of the only decision the writers could do, because if they tried the build up the cartoon did, it would just feel tedious to the audience, because we already know everything from the start. They kind of wrote themselves into a corner there.

But let's ignore that problem. We could imagine in another draft that this sequence of the Fire Nation attack shows up as a flashback, kind of like what happened in ATLA with The Storm.

That then begs the question: How does this sequence’s inclusion change the audience's experience, and is it for better or worse?

Facing Vs. Hiding the Horrors

Both series portray very dark and horrific situations, but the way they try to evoke horror from the audience are very different approaches, and for me raises a question I've been asking myself for a while: When wanting to display discomforting violence, is it more effective to imply/hide it, or to show it in detail? Somewhere in between?

(I specify discomforting violence, as opposed to violence meant to be catharsis or spectacle.)

There are arguments for both. Explicit violence can create a visceral, physical reaction to an audience member (especially the squeamish ones), though for some it can come across as gratuitous and even exploitative.

Whereas hiding the violence can horrify the audience by leaving a lot to the imagination (insert that quote about fear of the unknown from Hack Penmanship Lovecraft), or give the sense that the events are so awful that even the camera has to look away. Some also say this gives the characters more dignity, though others think this softens the emotional reaction almost as a form of self censoring (there's a reason kid's media often tries to show horrific stuff off screen, such as the original ATLA).

Ultimately I've come to the conclusion that the former approach works for some stories, whereas the latter works better for others, all of it based on a ton of factors.

So I don't think NATLA's choice to delve into more detail about the Air Nomad genocide is an illogical decision. I wasn't sure about it when I heard it, but I thought that maybe I'm just attached to ATLA's off screen approach, so I kept myself open.

And dialogue issues aside, I don't think the scene is that poorly done. But it did ultimately solidify for me that ATLA's narrative is stronger without an explicit depiction of the Air Nomad genocide.

The Grief of Never Knowing

The image of Gyatso’s skeleton from ATLA has haunted me ever since I saw it as a kid. It was an emotional gut punch in a very well done episode, but this particular screenshot has stuck with me, and that is because of the Fire Nation soldiers. A lot of people have pointed this out, but there are a lot of bodies here, and it implies that Gyatso managed to not only kill these soldiers, but do it when they were strengthened by the comet. That image is very discomforting--Gyatso is always seen from Aang’s perspective, and thus we only see him as the gentle old mentor and friend, one who cheats at games and throws pies he meticulously baked.

It also puts into Aang’s position and the grief he has to face. From his perspective, he was gone only a few days as 100 years passed. He never gets to see the interim, and thus neither do the audience. He is left with the same implications as we are, and has to face the realities of grieving the fact that sometimes you’re not there when they leave.

An excellent point from @endless-nightshift here is how one of ATLA’s core themes is coping with the aftermaths of atrocities and war, analyzing their long-lasting affects rather than just the initial shock of violence--something I had never consciously realized but once said out loud makes a lot click into place for me. There is a reason the show starts a full century into the war rather than just a few years. 

François Truffaut once said that “there is no such thing as an anti-war film,” because the medium of film is inherently better at elevating and glorifying what it shows rather than deriding or deconstructing it. While I don’t think it’s impossible to do the latter, the extended action sequence that is the intro to NATLA causes that sentiment to echo in my mind as I watch, rather than invest me into the story. 

The implied atrocities of ATLA draws me in to empathize with the wounded characters and world, whereas the explicit action of NATLA pushes me away. 

…and that’s where I was planning to end this analysis, but there is one thing NATLA’s intro adds into the canon that I think is actually genius--if they take advantage of it in the future. 

The Air Nomads are Joy

When I first saw the addition of the Comet Festival, I saw it as a purely mechanical decision to have all the Air Nomads in one place for the attack, as well as to make the act even more scummy. However, the more I thought about it the more I realized how it could tie into one of my favorite themes of ATLA: the Air Nomads (and especially Aang) as the joy and hope of the world. 

(I saw an old tumblr post about this theme that inspired this section. I wish I could link it but I can’t find it anymore, I’m very sorry and if anyone can help me find it tysm)

There is a recurring motif of associating the Air Nomads with humor and fun. Iroh mentions their good humor; Gyatso baking pies just to prank the other masters with it; Roku’s first airbending flashback being him using it to mess with his friend. This is a core tenet to Aang’s character as well. The first line he has in the show is inviting Katara to go penguin sledding with him. Half the stops he makes in Season 1 is purely to have fun. He excites Kyoshi island with an airbending party trick. The humor in ATLA’s tone isn’t just there because it’s targeted towards kids, but is the bedrock of the series’ themes. 

(On a personal note, the humor is also what got me and my family into the show. We saw the intro sequence with Aang crashing into the statue and it made my mom laugh so hard that we watched the whole series, and years later we’ve rewatched it dozens of times and own all the DVDs)

Joy and fun and hope were the first things to die when the Fire Nation attacked, and part of Aang’s job is returning that to a world that has been scarred by decades of war. You may already be seeing where I’m going in regards to the Comet Festival. 

A core conflict in the cartoon finale is Aang wanting to keep to the principles of the Air Nomads while still finding a way to stop the war (side note: I think the resolution and Aang’s decision to spare Ozai was a good one, I just think the execution was a little janky). Beyond the surface level conflict of who wins in the battle between Aang and Ozai, there is the additional tension of who will win ideologically. The return of the Avatar State is an interesting development in this dynamic, having Aang suddenly physically winning the fight, but spiritually losing up until the last moment. In the end, it is a triumph where Aang manages to find a third option to win both conflicts, despite them seeming diametrically opposed. It is about defeating Ozai and the Imperial Fire Nation by wholeheartedly rejecting their ideology of violence and might-makes-right. 

But now I see a really cool opportunity for NATLA with what they’ve established in the intro sequence: What if Aang reclaimed the symbol of Sozin’s Comet for his people? That day of the Fire Nation attack, centuries of the Comet Festival were wiped over in history, with people now naming that event as Sozin’s Comet and the beginning of the war. Wouldn’t it be poetic for Aang to mark the ending of the war by wiping away that stain done to his culture, taking it back from the Fire Nation in what ways he can? To turn a tool for genocide into an event of joy and fun once more. 

I’m reminded of moments from the cartoon like Suki commenting how beautiful the comet looks. It would just tie everything up beautifully, and I really really hope the NATLA writers--if Netflix does give them enough seasons to get there--take advantage of this.  

So, to sum up what I think of NATLA so far: I think a lot of its changes have made the story weaker, but I don’t want them to stop trying changes. If I wanted a 1:1 copy of the cartoon, I’d just watch ATLA--it’s also on Netflix, after all. With more work, I can see the writers making changes that accentuate and build on the beauty of the original. 

(Note: These are the thoughts I’ve accrued from just watching the first episode. I plan to watch more, but it does exhaust me at the moment. Still, I hope I can do more of these kinds of analyses, it’s a really fun writing exercise for me)

[loopy777]

So I've read 'The Reckoning of Roku'

This isn't a real review, just my impressions and reactions. No spoilers.

I'll start by admitting that to me, Randy Ribay is no F.C. Yee. I vibe perfectly with Yee's stuff, to the point where he's on my "Read Anything They Write" list; I vibe with his genre choices, his dialogue, his characters, his scope, his storytelling, etc. By contrast, Ribay's writing is functional for me, but nothing more, and feels bit more narrow. There are a few instances, even, where I think he made some amateurish wording choices, but most people probably wouldn't be bothered by it and that's likely me just being snobbish. What I'm leading up to is that I think the story is Fine, and I don't have the enthusiasm for it that I do for the earlier Avatar novels, but neither do I think it's bad.

Part of that ambivalence is our familiarity with Roku. Compared to Kyoshi and Yanchen, we know a lot more about him. We have an entire episode of AtLA devoted to his life story. This book finds a slot we haven't explored before, but I think I could summarize the feel of the story by describing the prologue: the book opens after Roku has learned he's the Avatar but before he says goodbye to Sozin, then skips the scene where said goodbye is said (since we saw it the cartoon and I guess there was no desire to novelize it), then resumes the next morning for their final public formal goodbye, all while trying to achieve the same feel and impact of the actual goodbye scene from the cartoon. Similarly, my impression is that the book covers a character arc for Roku which feels very much like what was covered in 'The Avatar & The Fire Lord,' presented as a kind of microcosm of that lifelong story, via events set shortly after he begins his Airbending training.

For all that, though, it fits poorly considering what we already know about Roku. These novels have been very free with retcons, especially when it comes to Avatar Kuruk, but I've been pretty tolerant of that since so little was known about those characters previously and they obviously weren't constructed to be protagonists of their own stories, just props to Aang's. But Roku was a bit more developed and got a whole episode devoted to his life story, so I feel like some things are revealed about him in this book that should definitely have been mentioned in 'The Avatar & The Fire Lord.' Likewise, what we see of Roku's Airbending training in the cartoon doesn't really fit with this story, and I feel like a hint about Sozin's father in the cartoon is interpreted in an awkward way here. None of it "breaks canon" or anything, but it sticks out as a poor fit.

But I'm sounding pretty negative so far. Let's talk about what I like in the book.

Young Gyatso is wonderful. 10/10 no notes, as the kids say.

Sozin is a real piece of work, as he should be.

Ta Min is a lot more interesting than I expected.

As I've noted in a lot of my talk of the AtLA comics and the other Avatar novels, I'm usually very down on forced references to random stuff in AtLA/Lok, and especially needless explanations for elements of those stories which would be better just as something random. However, there's something in this novel that's both a forced reference and a needless explanation, and I thought it was hilarious and wonderful. So good on Ribay for making that work for me. I'm still grinning about it.

The plot is more straightforward than the previous novels, but still creates tension and mystery. It also has a few beats that feel rather mythical, which I always enjoy. And I think it does a great job creating a balanced set of stakes, where things feel urgent and important without leaning on the old Fate Of The World too much.

The story feels complete while also having some very clear paths for the sequel to follow.

So, overall, I think the Avatar novels continue to outshine the comics, even if I don't want to kiss this book.

[rocketrouquine]

So I watched the 2 last episodes of Loki (including the finale) and well I have thoughts.

All in all, except for the beginning and the last two episodes, I really thought it was not as good as the first one. (Probably because Majors as Timely was excruciating, I hate when actors are trying stuff like this, it feels forced, it doesn’t work, I wanted to punch him every time he was opening his mouth) BUT …lokius. Yeah let’s talk about it.

It’s crazy to me how in the first season I was all for sylki because I thought their relationship and feelings were really well done and realised (whereas I saw what the mobius shippers saw but thought that it wasn’t really there there) BUT in the second season, I felt absolutely nothing between Loki and Sylvie. There was no more chemistry at all (it was like it never existed in the first place, it was bizarre) and even the actress playing Sylvie played it like a sibling or a good friend kind of fed up, just want to be left alone, not missing him for a second. And Loki pining for her but like a nerd is pining for a cheerleader in a bad teen movie (like boy, you’re not obligated to love her, you know), like you don’t even understand why except for the fact that it was here (emphasis on the was)

NOW Mobius and Loki in the second season ??? BAM 💥 Like sheesh everything : chemistry, banter, touch, exchanged looks,protectiveness, an ease like they are really soulmates. You could feel it all in every single one of their exchanges, it really was like watching a romcom where the protagonist fails to see what is in front of him and I was getting frustrated each time he was going all misty eyes for her, I was like « come on man let her go, we don’t fucking care about her anymore !! » Then, the finale…. The scene with Loki coming to see Don at his place with all the tension of a « is he here for this or ? What should I do? » gay panic, with Loki fucking putting his hair back and taking a breath before going to see him, like WHAT ?! That’s not what a friend does before seeing one other !!! You know what you are doing, so commit for fuck’s sake. But well… then they did (sort of) with the end of the finale. And it gutted me.

The moment with Sylvie and Mobius looking at him through the window… we know you put her there because it would have been impossible to brush it off if it was just Mobius juxtaposed with Loki’s « for you » but we know. I mean the last exchange with Sylvie at Don’s place before Mobius is saying « let time pass » (gu-tted I tell you). You can see that Sylvie is like « whatever » and Mobius is devastated. Also the shot of him in the dialogue was just all Loki’s colors green and yellow (hers was in a normal sunlight, his backlit) That is not an accident, to have these colors you have to plan it the day of the shoot and enhance it in color grading during post. This was a choice.

Anyway, I am not a sylki shipper anymore (and I even question why I ever was, after seeing the second season : I’ll probably cut myself some slack if I do a rewatch of season 1 because it was well executed at the time) and I’m diving in the pits of despair of Lokius. These fuckers.

[phantomoftheorpheum]

The Bear Season 3 Thoughts

Okay, I first want to say that obviously these are opinions! They are subjective. This is also quite a casual compilation of my thoughts, I didn't spend a long time trying to perfect my wording, which I think will be pretty evident.

Anyway, I love The Bear, I remember watching that first trailer and I was so excited for season 1 to drop, I just knew it was gonna be my kind of show. This is a show that makes me laugh, cry, stress, etc. However, like every other show in existence, it's not a perfect show, and I think season 3 in particular showcased some decisions/issues that I'm hoping will be handled a bit differently in season 4. I have some popular opinions and some unpopular opinions, but that's everyone, right?

Just a warning, this is long. I have a tendency to ramble.

*Spoilers from 1x01-3x10 of The Bear

The Good Stuff First!

The Tina Episode!!! I loved "Napkins" and even though Tina's antagonism at the beginning of season 1 was already understandable, getting these layers of her home life, the foundation of her relationship and loyalty to Michael and The Beef, her fears for her job stability, her jealousy of the opportunities of youth, etc. was just incredible. And Ayo directed it beautifully! I have cried over Tina's emotions multiple times in every season. Liza is so fantastic and can give you so much emotional complexity with her face. Gorgeous job as always. I hope they continue to spotlight her in future episodes, because she brings such a lovely balance of determination, hopefulness, warmth, and humor to her scenes.

I also loved getting to see this side of Michael in 3x06, since what we last saw of him was so, so dark. I think it's very interesting to get to see Michael through various people's eyes, because they see and remember different sides of him. The way Carmy remembers Michael is different from the way Tina does is different from the way Richie does. And that's how real relationships are. We don't show every side of ourselves to every person. I also really liked getting to see Michael talk to someone who doesn't know Carmy about Carmy, because it made me realize that Mikey very much had as incomplete of an understanding of Carmy as Carmy did of him. I think it was already very evident that Mikey cutting Carmy out was something he did as an attempt to protect him (and likely also due to shame/not wanting Carmy to know about his struggles), we've been able to gather that since season 1. And in a lot of ways, it worked. Carmy got out. He excelled, and dreamed, and learned, and succeeded. But it also damaged Carmy a lot more than I think Michael ever realized. Carmy saw it as a rejection, as not being good enough, as Michael not believing in him, and he's been trying to prove him wrong ever since (and still, clearly, is). We might be able to see what Mikey did ultimately as an act of love, but that is not how Carmy experienced it, and that's valid, too, even though Carmy's desperation for validation (which is literally impossible for him to ever earn from Michael at this point) is not an excuse for how he has treated others around him. Carmy clearly needs to find a way not to only view himself through the lens of other people's validation (or lack thereof). Easier said than done, obviously. Anyway, 3x06 was fantastic in every way and it's my favorite individual episode of the season.

In what feels like an unpopular opinion, I actually really liked 3x01. I know it was a divisive episode, and I can see where the criticisms are coming from, but I really enjoyed it. I liked the nonlinear timeline, the minimal dialogue, finally really piecing together Carmy's journey. I just enjoyed it. I also appreciate the fact that The Bear isn't a show that is afraid to try things. Sometimes those choices will land more with the audience than others, but it feels very refreshing in an age where so much of what is made plays everything incredibly, exhaustingly safe. I don't think it's a show that has ever intended to speak to everybody, and 3x01 is a good example of that. On a personal level, it ticked a lot of boxes for me as an editor, and I found myself so fascinated by the choices and time/craft that I know went into them. This was not something you see everyday, and I liked that, but I can also see why some people didn't. It really requires a lot of patience from the viewer, and it's a shift from what we're used to from this show itself.

Richie, Tiff, Frank, and Eva. Richie is such a great character, and I really liked getting a little more of a glimpse of his family situation in this season. I hope there's even more in season 4 (I hope we get to see the wedding). The amount that he has grown, while not being a completely different or perfect person (struggling with his place in his daughter's life, self doubt still being big for him, how hurt he is by Carmy's words, his stubbornness in his fight with Carmy & disagreeing with him even when he agrees just to spite him, etc.). I love how his relationships with Natalie and Sydney have grown so much. I loved watching his scene with Tiff this season, because I think it shows how far Richie has come and how much he really loves his daughter and Tiff. I also think this storyline is so relatable to a lot of people. Navigating a divorce and a new relationship with children is tough, but it's something a lot of people go through. The fact that they seem to be making it work, despite how hard it is for everyone, is really nice. And I love the showcase of "Just because you love someone a lot, that doesn't mean your romantic relationship will or should work out." Richie is just a great, beautifully flawed character.

The return of Donna. In a season where a lot of storylines were left completely up in the air, getting some kind of emotional resolution with Donna and Nat felt really important. It's not that their relationship issues are fully resolved, obviously, but the tension of "is it even possible for Natalie to have any kind of relationship with her mother?" is finally addressed. It's never going to be a perfect relationship, but there is hope in it. I've also seen this episode criticized for "nothing happening," but I think a lot happened! It's just that it happened internally. And internal progress is just as important (sometimes more important), than external progress. Watching this episode felt very cathartic to me because I felt like we got to see Nat do what Carmy cannot (in this season), which is to look at her relationship with her mother, which is not a good one, and understand that neither she nor Donna will ever be able to change the past, but they can try to move forward. It may or may not work, but they can try. And Natalie can be brave enough to open herself up for potential disappointment (and hopefully establish healthy boundaries), because the risk is worth it to her. Loved that. Both actresses were also phenomenal in this episode, imo. This is another episode that requires some patience from the viewers, but I think it is richly emotionally rewarding if you let yourself just be in it.

Olivia Coleman (Chef Terry)! I feel like that's explanation enough.

Carmy & Marcus. Personally, I haven't seen people talk about this much, but I feel like Carmy's relationship with Marcus, while only getting a small amount of time, was such a key part of the season because of how they are alike and how they are different. They're characters who are both passionate about what they do, both have a tendency to get at least a little lost in it and neglect other things/responsibilities, but Marcus has this beautiful ultimately positive outlook on life that Carmy lacks, while Carmy has the knowledge and experience that Marcus really respects and hopes to one day achieve. I feel Carmy's kindest moments of the season come during his support/mentorship of Marcus. Carmy is able to instill more confidence in Marcus, and give him space to explore, and Marcus is able to look past some of Carmy's worst character flaws and appreciate his artistry and passion. Since Carmy is so low this season, him having these encouraging/supportive moments, where we see that he did pick up some of the really good lessons in mentorship from some of the chefs he worked with (and not just the bad), with Marcus felt very important to me. While we didn't get a full Marcus-centric episode this season, I thought he was very good when we did see him. I wonder if Marcus may eventually (like possibly at the end of the show, depending on how long it runs) get an opportunity to go to an esteemed culinary school. He's always shown a lot of interest in the experimental, techincal, and academic side of the craft, as well as the artistry, so I could see him jumping at an opportunity like that.

The acting in general! Another season of fantastic performances! I really don't know what else to say about that.

The commitment to continuing to really flesh out side characters. Obviously the biggest example of this in this season is Tina, followed by Donna, but I love the small moments we get with characters like Ebra, Pete, Sweeps, Luca near the end, and even Fak (Neil).

Luca. I really like Luca and feel like he is a character with a lot of potential! I would totally be on board with him being a regular cast member. I think he has great energy and chemistry with everyone, and it was interesting to see the nerdy and less confident side of him (when surrounded by esteemed chefs), adding another dimension to his character. I feel like he already has a lot of potential to be involved in several storylines (Carmy's, Sydney's, Marcus'). I don't know if there's any chance of getting him as a regular in season 4, but I would love it. They did mention he's sticking around for a while, so I hope that's what that was foreshadowing.

A dive into Carmy's trauma/dysfunction. Okay, so I'm going to be talking a lot about Carmy in my critical section, so before we get there, I want to acknowledge what I liked about his arc (or half of one) this season. I feel like I get Carmy. I relate to a lot of his negative qualities. I, too, am a perfectionist with obsessive tendencies who has impossibly high standards for themselves. I, too, often get stuck in a negative feedback loop, where I avoid conflict and hyper-fixate on something else to justify it. I, too, struggle to open up to people in a meaningful way, to be genuinely emotionally vulnerable, and kind of shut down when I'm hurt. And I, too, know all of that about myself, can recognize it from a distant, theoretical standpoint, but still struggle to not fall into that kind of behavior when put under stress. I also have a complicated relationship with my older sibling, so there's that. I get Carmy. I have a lot of empathy for Carmy. I think he sometimes doesn't get enough credit from the fans for his positive qualities, because his negative qualities are massive, driving forces in each season. So, aside from the deep dive into the unhealthy ways we process trauma, here's what I think is positive about Carmy's arc this season- I think the writer's know what they're doing with Carmy, even if I don't totally agree with how they've paced it. For a little while, I was concerned that maybe they had lost sight of how to handle Carmy and pushed him too far, just as a character in general, but the last 2 episodes of the season reaffirmed to me that they are, at the very least, aware of how far they have pushed him, and they know exactly where they're going with him. Does that mean I agree with the pacing of this now? No, I still think this could be improved significantly, but at least it feels intentional. Maybe I'll change my mind when I see how things play out in season 4.

This is a show that cares. It isn't always perfect, but it always cares. One thing that I've seen as a criticism, I actually thought was perfect (maybe I'm the one reading the scene wrong, you can let me know your thoughts), but I saw people say that the details were sloppy this season, and specifically citing the fact that Sydney makes a fennel salad in season 1, but is served something else by Carmy due to a "fennel allergy" in this season. When I saw this in the episode, I thought it was brilliant attention to detail, because my reading of the scene was that there is no allergy, Carmy just says that so he can rebel against Chef David's orders and serve the dish the way he wants to. I assumed the fennel allergy was chosen by the writers specifically because, if we notice, it is a confirmation that Carmy is lying. I still think that's the point, but maybe I'm wrong.

Another thing I really respect about this show is that I don't think they make really many (or any) of their creative decisions based off of fan response. Now, don't get me wrong, I think there is a lot of value in flexibility and willingness to adjust when something isn't working or when it receives solid constructive criticism. I respect being able to raise your hand and say, "hey, you're right, that wasn't the best," and make a change. But I also really respect not allowing loud opinions to fundamentally change the story you're telling, just for popularity points. I think The Bear, due to a lot of attention on social media and the awards circuit, has grown past the audience that it is really made for. There are a lot of people watching (or trying to watch) who absolutely never would have if they didn't see so much chatter about it online. And that's fine! I have certainly tried shows out of my comfort zone for the same reason. Some worked for me and broadened my horizons, and some didn't. But The Bear does not seem to care about adhering to "popular" tropes, storylines, filming style, editing style, etc. just for the sake of mainstream validation. When it does do those things, it very much feels like it does so because the creatives behind the show want to, not because of external pressure. And that's going to alienate some people. That's not always going to land well. It's probably going to come off (or even just be) pretentious sometimes. But I would always rather watch something that was clearly a passion project, even if I don't really get it or it ultimately doesn't really work for me, than something designed specifically for mass appeal and without a soul. So, to me, this is a huge net positive.

The Less Good Stuff

Let's talk about the elephant in the room- "To Be Continued..." The double renewal for season 3 & 4 clearly changed their approach to the pacing/storytelling this season, and I'm not personally convinced it was for the best. I love that there's going to be a season 4, and I love that they got an opportunity to leave some big things unresolved because they knew it wasn't going to be the end, but... this really is just 3A and 3B and the fact that it ends with "To Be Continued..." means they absolutely know this, too. I guess it's better that it's an intentional choice, but it does make season 3 feel incomplete, and it doesn't really stand up on its own. It may be 10 episodes, but it is half of a story. That's not necessarily a bad thing (I think this isn't usually such a problem once it ages, because people who are watching in the future will be able to jump from season 3 straight into season 4, and it won't feel as grueling), but it is a different thing from the first two seasons. And I don't love it. Personally, I think they could have paced some of the storylines a bit differently, so we were closing a few more smaller arcs out to give the end of the season a sense of resolution, even with big things hanging over our heads. The fact that the season has left nearly every storyline completely up in the air is a bit much, imo. I think season 3 is the weakest individual season so far, and it's really all tied back to the pacing.

Okay. Time to tackle Carmy. I love Carmy. I actually, really do. He's very flawed, very layered, and feels like a fully realized human. However... I am, quite frankly, tired of Carmy being so low. I know he's the main character, and therefore a lot of the driving drama centers on him, but he's been in a downward spiral for (imo) a bit too long now, and I just need... some little ray of hope for him. The season 2 finale felt like a low, but then all of season 3 just got worse. And I am tired. I think this pacing is on purpose, but I am too tired, and I think a lot of people feel the same way. I will say, the last two episodes gave me some hope that he has seen the light (a little). I hope it will not take the entirety of season 4 to mend some of these fences and face some of his actions (I don't expect him to suddenly be a different person, but I don't want to spend 10 episodes of season 4 with him only dealing with stuff head on at the end), because he genuinely becomes difficult for me to like, despite all the empathy I have for him, by the midpoint this season. Again, I think they meant to do this, but I also, personally, think it's a little too grueling. And if this is the pacing they wanted to go with, I think it would have been nice to see at least a few more glimmers of Carmy's positive qualities, to remind us why we like him in the first place.

Carmy & Richie, Carmy & Syd, Carmy & Claire, Carmy & Nat. I think one of the reasons I'm struggling so much with Carmy throughout is that absolutely none of his closest relationships make any positive forward progress this season (this is part of the reason I feel like the Carmy & Marcus scenes were so important, because he doesn't get a lot of other vulnerable moments with anyone else this season), and, again, I think it's just a little too much. I understand that Carmy basically shutting himself off from his life is part of the arc, but I think that could have come across and still moved at least one of these relationships a little bit forward. I get why they didn't want to resolve Carmy & Claire yet (they knew they had season 4 and based on the falling out they had, there really did need to be time away from each other). I get why Carmy & Sydney are in a rough place, it's important for her storyline, and so I get that, but... Carmy & Nat are also not communicating this season. I feel like even at serious low points in previous seasons, Nat would still tell him what's what. And here's the thing, I get that she's distracted and has her own stuff to deal with, but it still stretches the believability a bit for me because the restaurant is her job, too. It's not as if she is working elsewhere and having a baby and just doesn't have time to deal with Carmy. His behavior is literally central to her job and having negative impacts on literally everyone around her. That she would just bite her tongue when this puts her and nearly everyone she cares about in a precarious position just feels off. In this season, everyone who would normally confront Carmy about his choices basically just completely give up on that after 3x02, and this feels to me like a choice made for the plot, not necessarily reflecting the established character relationships. But the big one for me that doesn't land is Carmy & Richie. Because they are handled by being separated entirely. I wish they had more scenes together. Would those scenes probably be arguments? Yeah, okay, mostly. But the fact that they basically don't speak after 3x02 takes one of the best dynamics of the show out of play for an entire season. Personally, I think Carmy & Richie reaching at least some stable ground this season could have really improved things, and given us some sense of resolution, when so many other storylines are up in the air. Even if they didn't clear the air entirely, but they came to a kind of grudging truce, that would have helped, imo. Even if all of Carmy's other relationships were still on the rocks, if we got a really cathartic, vulnerable moment between Carmy & Richie, I think it would have helped inject just a little more hope into this season.

Too many Faks (AKA, too much of a good thing). I love Fak (Neil) and I even like Ted, but I think Sammy was a bridge too far. Not only was the choice of guest star a bit too jarring, imo (it just feels like he's in a different show from everyone else? and unlike the other cameos, I was never able to let go of the fact that I was watching a celebrity), I think they spent way too much time on it. I did like the duck bit, but overall, it felt tonally off. The extended scenes about "haunting" didn't really hit with me, and I feel like Fak (and/or the Faks) is at his best in small, strange, chaotic doses. I didn't mind their uncle, though, because his scene didn't take that much time. When we finally got around to the "haunting" conversation with Carmy (about Claire), I felt like I finally understood why this whole thing was even a thing, but I also felt it was just a clunky/poorly paced way to do it. A ton of set up for minimal payoff.

Sydney. Okay, before you get upset with me, this is not me saying Sydney is bad this season, this is me saying I don't think they've totally done her character justice with the writing and pacing of this season (the, "this is really just 3A," thing strikes again). I have rewritten this section over and over because I'm really struggling to put into words what I mean here. I think the closest I can come is- I want more of Sydney's screen time to be about Sydney. I feel like a lot of her time this season went to scenes that were in service of other character's arcs. And it's not that I don't want any of those, like of course her relationships with other characters are important, and of course she can be in a scene that is mostly about someone else and that scene also be furthering her arc, I just felt like her individual arc was a little stalled out, and (basically same complaint as Carmy's, except for Sydney is much more enjoyable than him this season) due to how they paced this, it felt a bit too slow to me. However I have a lot of hopes that season 4 will be more Sydney-centric and faster paced in a lot ways, both in what we see from her, and how her choices (I am assuming that she will take the job, though I hope she doesn't leave The Bear forever) have a huge ripple effect on the other characters. I hope that means in season 4, we'll have more scenes where other character's are in service of Sydney's storyline and not the other way around. I think I completely get Sydney's storyline in 3, I just don't love the pacing of it (how many times can I say that I don't agree with season 3s pacing?). But I am so hopeful for Sydney in season 4. I think there is a ton of potential for a big showcase of Sydney growing, exploring, struggling, failing, persevering, and just generally discovering what she really wants, and I'm excited for it. I really love Ayo, and that last scene of Sydney this season gave me chills, so I am ready to see what she delivers in season 4.

The editing/pacing of the finale. Obviously I find a lot of the storylines too dragged out and slower than they should be, I've mentioned that a lot, but this is a more specific complaint about the last episode. As much as I praised The Bear earlier for having an artistic and creative vision and not compromising that for mainstream appeal, I definitely felt like the dinner at Ever could have been a lot shorter. It almost felt like, "hey, we invited all these real chefs and we don't want anyone to feel slighted, so we have to make sure to really feature all of them," and while it did relate to things Carmy & Sydney are feeling/thinking, it just dragged quite a bit. I also think some of the better lines got buried by so many different people making so many different points. It was slow. And hey, maybe this is one of those moments where the show isn't for me, and that's okay, but it doesn't make me like this scene any better.

Lack of warmth. I think one big thing missing from a lot of this season is the warmth that the first two seasons exude. Some of this is literal, the color palette at The Bear has shifted to mostly cool tones, so there is a visual coolness, but also the chaos feels cold. The chaos in the first 2 seasons had an endearing (though still stressful) quality to it, but the chaos in season 3 is largely just stressful. Again, I think this is an entirely intentional choice. It wants the atmosphere to feel clinical and impersonal and detached, it is reflective of Carmy's mental state, but the loss of that vibe just makes the show less fun, imo. And yes, the show is not about fun, but the higher highs of seasons 1 and 2 gave some much needed levity and contrast to the lows.

The Stuff I'm (Theoretically) Neutral About

Claire. It seems like everybody on the planet has a strong opinion about Claire. They hate her, think she's the worst/most boring character ever. Or they love her. Or they feel the need to fundamentally pit her and Sydney against each other and use one to tear down the other. Or they complain about her even existing. I don't mind Claire. I don't love Claire. I don't hate Claire. I still haven't passed judgement on Claire as an individual character. That feels like an unpopular opinion to have. Is anybody else neutral on Claire? I think she plays an important role to what they decided to do in season 2. She is Carmy's dream girl, she's been Carmy's dream girl for years. I think Claire is the living, breathing example that we get to see in real time of how Carmy romanticizes people that he feels intensely emotional about, and fails to see fully realized versions of them. He did it to Mikey, and then he does it to Claire. Imo, she seems "perfect" and 2 dimensional in season 2 because we only see her through Carmy's eyes, and he's romanticizing her and their relationship. I don't mind that in season 2. And she's barely in season 3 (even when we do see her, a lot of it is flashback and so is still solely through Carmy's eyes), so I don't feel like I can make any new judgments of her character. I think she genuinely is a nice, lovely person, and whether or not she interests me as a character is still up in the air. If she begins to play a larger, more present role in the narrative individually, then I'll expect them to reveal more layers to her. For now, I'm neutral. I'm not super for or against her. This kind of leads into my next point, which is-

Shipping. I'm not against shipping for this show, and romantic love is a dynamic that is great to explore. I'm just not personally all that invested in romance in this show in general. So, like, I love it from the standpoint of how it reveals things about the characters (like the scene with Richie and Tiff where we see Richie's familial love overcome the pain of his romantic love not working, or the lovely background stuff with Tina and her husband) and how it fits into character's overall arcs, and I'm open to exploring different romantic dynamics with different characters, I just don't feel super strongly about who those characters should be. It's very much on the back burner of my mind. I think they're definitely setting up Richie & Jess for something in that regard, that feels like a question that needs to be answered (even if the answer is no). I can see little hints towards several potential relationships, and I'm willing to walk down any path they want to go in this regard, as long as the show stays what it is and doesn't become a clichéd romantic drama (I don't think it will), but I just don't have strong feelings around this. That's open to change, but that's where I'm at right now.

My Season 4 Hopes

The Bear. I have some specific hopes for the restaurant. I think it's quite evident that things can't stay the same. What Carmy is trying to do is completely unsustainable. I do hope the restaurant is able to stay open (like it would be quite sad to lose the place, after so much work to keep it open and improve, etc.), but I also hope it goes through some major changes, obviously in the way it's run, but also in the way it looks. There's a gorgeous shot of Richie and Carmy in the penultimate episode, with Carmy in the kitchen and Richie in the dining room, and it is absolutely stunning. And it is also absolutely blue. Ever's light is very cold as well, and I don't mind that for that restaurant, but when we meet The Beef, it's this warm, chaotic, dirty, ugly mess. But it's also got a soul. The Bear in season 3 feels soulless, a lot of the time. And the shift from the warm yellow dominant tones of the first two seasons, to the cool blue dominant tones of season 3 creates this kind... unwelcoming feeling to viewers. Sure, it's intentional, absolutely, but I hope it isn't just going to be like this moving forward. I think the restaurant needs to stop trying to be Ever, stop trying to be all these other places Carmy has worked at, and get to some middle ground. Not quite The Beef, but also not quite The Bear (as we know it right now). Which, honestly, is what Carmy needs as well. I think there's a lovely opportunity to physically shift aspects of the restaurant to match Carmy's internal journey, which will hopefully have some positive movement in season 4.

Sydney-centric plot! As previously mentioned, I have a lot of hopes for how Sydney's storyline is going to go, and I hope we get to see more elements to her story, because even though she had a lot of screen time, so much of that is devoted to just building her frustration, but very little outside of that.

Cicero episode. Oliver Platt is awesome, and with the little bits we got about Cicero's money troubles, and how much he loves the Berzatto kids, I think I would really enjoy a Cicero episode.

A second character focused episode. There are a lot of options for this, but I want at least two episodes that spotlight character who we haven't gotten to see too much of yet.

Carmy sees the light, and not in the season 4 finale. I just think we need to start building him back up ASAP (doesn't have to be linear progress, but I gotta see something), because his season 3 was completely grueling and exhausting to watch.

Richie & the wedding. I love Richie's dynamics with his family, and I think this would be really fun. Particularly since it might be a chance to see a lot of the main characters gathered at a non-work related event (I don't know how close Tiff is various characters, but based on the Christmas episode, she has some kind of relationship with a lot of them, plus Tina mentions going to a Berzatto Christmas in season 1). The wedding feels like it could be an incredibly fun bottle episode.

If you're still here, hi and thanks for reading my very informal, very off the top of my head thoughts. I definitely feel like this season has been quite divisive and while I certainly have my criticisms, I feel like how they stick the landing in season 4 (or don't) will, in the more long term view, ultimately play a big part in how I feel about season 3.

As always, shoot me an ask if you've got thoughts to share!

[centrally-unplanned]

Never blogged much about the actual Eva manga, but I wrote down some thoughts while reading, so uh lets do that!

In episode 2 of Evangelion, Shinji kicks off the episode by getting his ass absolutely handed to him by the Angel Sachiel. Just a full on beat down, he is getting figuratively crucified (the literal crucifixion comes later) in this battle. He is about to die, Misato calls out to him...

...and then match cut transition to Shinji in a hospital bed, complete tranquility:

Throughout the rest of the episode, Misato acclimates Shinji to NERV and generally congratulates him for being a hero, who saved them all with his victory. She does this whole little bit taking him to an observation deck to show him the city, the city he 'protected':

And this whole time you as the audience are meant to be shaking the (CRTV) screen going "girl he protected jack shit, he was about to die!". These scenes are disconcerting, not simply congratulatory, because of the directorial choice to hold back what actually happened in the fight till the end of the episode; that Shinij was possessed by the Eva, transformed into a monster just as terrible as the Angel, and devoured it. He looked like this piloting Unit-01:

In the manga, at least - which is how the first arc of the manga ends. The manga does none of this inverted storytelling, instead telling it all straight, while otherwise not really changing many of the details. The Rebuild films did this too by the way - just got rid of the time swap ordering, told it chronologically.

This really bothers me! Because the edit choice is load-bearing; Misato, in episode 2 of the TV show, is lying to Shinji - she is trying to bolster his ego for a cause she herself is just starting to have some real questions about, doubts she is unwilling to tell Shinji because she needs him to pilot. Its even subtly hinted at in her actual (internal) dialogue:

But she never has any explicit moment where she says this; instead, Kuleshov-style, the edit itself tells you. All of her dialogue is infused with mystery, and then with the reveal the entirety of the episode is recontextualized in your mind. You now question Misato's withholding of the truth, because the truth is at the end of the episode; the edit told you it matters. But since this doesn't happen in the manga, when Misato says stuff like this:

Which is the actual last sequence of Volume I, its telling you this matters; this is the culminating moment and so it is imbued with truth. Which makes Misato less complicated, and the sequence less interesting.

This is a general trend in the manga overall - scene-for-scene it has many good moments, but its wider concept of how to structure and communicate the story is extremely workhorse (like most manga are). Which is sad because a huge chunk of Eva's strength is not just the conceptual themes or philosophical dialogue or w/e, but the more aggressive, auteur approach to the presentation of that material. And that isn't just trippy visuals; it goes right down to the directing. The same dialogue put on two characters sitting in a room just doesn't work. (Hell, someone tried that once and I happened to write about it!) So its always a little sad to me that adaptations don't carry that forward; I was frustrated by the Rebuild's refusal to play with that aspect much, and at this point resigned to the manga's unwillingness. I get it, the manga is intentionally more chipper, aimed at a younger audience; its tonally coherent. Just sad for me.

The manga has a lot of good parts, don't read this the wrong way; its more about how pieces of Evangelion that maybe don't stand out as much as the loud stuff often get lost in the shuffle.

[just7frogsinapeoplesuit]

I just watched the second Dune movie since it's been out of theaters for a bit and wow it was. Bad. The first one was unnecessarily long and showy but it at least stuck to the plot of the book. This one felt like someone read summaries of the main plot points and just made up a bunch of stuff to go in between, and the editing was really really bad. It's actually entirely possible it might have been a decent movie in script form, but whoever pieced it together did it like a total amateur. There was no sense of time or pacing, scenes happened almost at random with no explanation, and on many occasions someone says or does something that clearly is supposed to go somewhere important or add to the scene and then it just. Doesn't.

I need to vent so, things I can remember off the top of my head:

- There is almost no suspense in the (very large number of) fight scenes simply because it is not entirely clear what is happening, why it's happening, and what we are supposed to be rooting for.

- The acting is mostly bad. Nobody sounds genuine, except when they are suddenly so genuine it's jarring.

- The choice to have half the Fremen not really believe in their culture's religion immediately undermines the entire core of the tensions in the plot and adds a really weird inconsistency to the tone to the film.

- At one point the camera briefly shows a wholeass eclipse occurring in the middle of an otherwise normal scene of people talking. It does not affect the lighting or dialogue in any way.

- The scene where Jessica becomes a reverend mother is just sad. It was probably the most profound, gripping scene in the book and instead she's behind a random rock surrounded by people who think the ceremony is bullshit and then just foams at the mouth a little and goes "ok I know things now and also my baby is a little fucked up"

- There is not, at any point, a drug-induced orgy or even a reference to one, which is just cowardice on the part of the writers

- Actually, aside from the foaming at the mouth nobody really does drugs at all. In Dune.

- Despite the enormous CGI and costuming budgets, they decided to make people's eyes blue by just adding a (highly inconsistent and sometimes barely noticeable) tint to them in post. I'm sure this was done for Acting reasons (fully blue eyes can't convey emotion as well) but it looks really cheap.

- It is never mentioned that all of the protagonists (and some of the most necessary people in the empire) are physically dependent on spice to stay alive. This feels like a ridiculous oversight given how important it is.

- At one point we pan across the hold of a harkonnen ship before a battle (not during!) and one of the soldiers is projectile vomiting across the whole screen for absolutely no reason. I did audibly laugh at this one.

- They barely explain any of the politics behind what's happening, despite that being necessary to understand half the scenes they included. I am assuming this is because CGI explosions get better ratings than making sense.

- Stilgar's only function in the entire film is to act religious and yell "lisan al gaib" every time Paul does anything. He's also the only major character with an accent, which is supposedly due to him being from the overly-religious south. That's not even subtle racism, guys, because you purposely drew attention to it.

- We are never shown anything that explains why the Fremen believe in Paul so much, other than that he can fight ok. The concept of strategy is mentioned only for the final battle, and even then barely

- Merit points for removing the homophobia from baron harkonnen's character, but docked again because they kept him as the only fat person. Not surprised here, just disappointed.

- Paul mentioning that people close to him died is treated like a "gotcha!" that makes some Fremen feel bad for him. At this point I'm pretty sure the writers did not read Dune at all.

- Most of the exposition about the water of life is done as Desert Voices Paul is hearing, except they just plainly state what he has to do in English. If you're going to have him hear magic voices at least make them slightly mysterious, this just felt lazy especially considering how vague and non-literal all of his visions are.

- The camera regularly lingers on completely unimportant things for way longer than needed. Whoever did the editing probably thought it made the film more ~artistic~. It did not. It just made things even more bumpy.

- Alia stays a fetus for the whole film and communicates with Jessica telepathically from the womb? I'm assuming they didn't want to CGI a talking baby and they're going to use her in a future film so they couldn't leave her out. It's probably less weird for people who haven't read the book, but it also speeds up the entire timeline by multiple years which is its own host of issues.

- They have a perfect opportunity to explain what the water storage is for and the Fremen's end goal (sustainable ecology), but just leave it at "the water is needed for our salvation"?? So people who haven't read the books have no idea what the goal is?? I swear they did this because they didn't want Stilgar to say anything that sounded smart

- As far as I could tell there is not a single chrysknife in the whole film.

- During the final feyd rautha fight, we clearly see Paul get stabbed in the abdomen. When he removes the knife after we wins, it's in his shoulder. Unless he got stabbed with two knives and I didn't notice because the editing was so bad.

There is way more but I am tired. Not even going to touch on all the other unnecessary changes to basic plot points. A few of them made sense, but not most.

[britt-kageryuu]

A video uploaded to the VTurtles! Channel, titled 'Edited Until Dawn Play Through'

---------------------

The video starts with Donnie, Mikey, and Leos models seated, in that order, on a couch, all dressed in color coded swim trunks, Hawaiian Shirts, and crocs. Shelldon in a bipedal body and River are seated on the arms rests. The game screen is above and to the left of them.

"Hey Balemates! Welcome to something a bit different! And if you didn't read the title, we're playing Until Dawn today!" Leo greets loudly, "We were originally going to stream this game, but them we hit a few snags. Stupid TOS, and Monetization based snags."

Donnie picks up from there, "Blue and I have played this before, and forgot that a number of elements are not really 'Family Friendly'. Like the very graphic death scenes, the 'bad language', the brief sexual implications and near nudity. So we have to prerecord this, and edit over a lot of the stuff that might trigger some TOS, or whatever." Donnie does air quotes, and sounds very exasperated and annoyed.

Mikey doesn't seem like he wants to be there, but is putting on a brave face, "And while I don't really like scary games, the Disaster Twins said there was a number of psychological elements to this game I might like. Though I think they just want me to be scared." He gives Donnie and Leo glares. The two are attempting to give innocent looks.

"Anyway, we are going for the Save Everyone route with Good Matt/Emily for a bit more difficulty, so this might take a while, and praying we don't mess up a QTE." Leo explains as he gets the game started.

~~~~

Mikey watches the opening scene in confusion, "What are they doing? Why play this kind of prank on their friend?"

"Because they're lead by a stereotypical mean girl who doesn't like the fact a female friend likes her boyfriend." Donnie answers in a deadpan tone.

Leo nods in agreement, "It's so hard to resist purposefully killing Emily, and annoying to get the full relationship end between her and Matt. Which we will also get for this run." He passes a notepad to Mikey, "Here's the route."

Mikey reads it over turning pages, and looking confused, "The butterfly effect stuff is kinda pretentious, and why is there a note that says 'Don't go that way you Dumb Dumb!', and nothing else for this one point?"

"Because Blue kept going the wrong way, and getting stuck in a bad end for one of the characters. Every! Time!" Donnie slightly glares at Leo.

"It's tough not to follow that direction!" Leo glares back at Donnie, "Are we getting the Death Totem again, or leaving it?"

"Leaving it. You collected it last time."

~~~~~

Mikey was clinging to Donnie during the entire part where Leo was playing Beth who's searching for Hannah in the woods. At least partly because Leo is purposefully going the opposite way to what Mikey is shouting.

Then when they get to the cliff scene, Mikey is freaked out by everything happening in the background, especially when they get to the cliff and the shadowy figure was approaching the girls. Then they fall, and it's time to choose.

Mikey is confused and panicked, "Why are those the choices?! Drop your sister, or let go?! Why?!"

Donnie very flatly answered, "It's not an actual choice."

"What?"

"Dropping Her."

"WHAT!?" Mikey watches as the scene plays, and Beth dies anyway. "What was the point of the choice if you kill both girls anyway?!"

"Moral pondery." "To mess with the player."

-------

The scene switches to a fancy looking office. Mikey had Leo pause so they didn't miss the dialogue.

"Is this a therapist office? One of the characters is in therapy?" He askes.

"Yup." "Affirmative."

"Is this why you wanted me to watch you play this game?"

"Yeah. Though these moments do effect minimal parts of the rest of the story." Leo answers.

"Okay. Continue please."

They, but mostly Mikey listen to the dialogue, "Really laying it on thick with the 'your choices will have a big impact' thing, huh? Also A gloved hand to hide who's in therapy, and how does this picture make me feel? This is kinda generic cliche therapy stuff!"

"And we're saying, happy, peaceful, yes, and scared. Right?" Leo asked Donnie.

"Yeah, those are theoretically the better choices for the scene." Donnie answers.

Then they watched the title sequence.

---------

"Isn't he the brother of the girls who died?"

"Yeah."

"He looks tired, and unhinged."

"Like Dee a week ago."

"L-Blue!"

"And now the first of probably many interesting edits!"

In the middle of Josh's final lines there was a set of deep chirps that sounded like Raph growling, and the subtitles were blurred.

--------

"These are some weird QTEs." Mikey says during the second part of the tutorial. Apparently!

"And the introduction to the 'Don't Move' events. And the totem collectables." Leo comments as he moves Sam to the next point, to meet Chris.

"Don't forget to Close the bag this time! Don't snoop. And don't shoot the Squirrel!" Donnie shouts at Leo.

"Yeah, yeah. I remember... you mess up a choice enough, and get yelled at about it forever." Leo muttered loud enough for the mic to pick up.

---------

"Mike's new girlfriend? What a title to have." Leo snarked.

"And quite the change, too." Mikey replied.

--------

"And this is likely why they broke up." 💙

"We need to keep these two is good standing for one of the good endings right?" 🧡

"Yes, disgusting isn't it?" 💜

--------

"How old is this game, and why are they using such dated slang?" Mikey askes.

"It was originally released in 2015, and while I can't remember these phrases being that popular then during that time, it's at least because of whoever wrote those lines." Donnie explains while Leo plays through the snowball fight.

"Wait! Do we need to kiss him, or can I just hit him with a snowball?" Leo asked after quickly pausing the game to grab the notes, and flip through them.

"Wait, why would this count towards the ending? It doesn't seem like that big of a choice." Mikey asked in confusion.

"Because the game devs really wanted to make you feel like every little choice could lead to a bad end, for sometimes the most stupid reasons. They said in frustration." Donnie replied with an annoyed tone to his voice.

Mikey looks even more confused, "What happened to make you this annoyed?" He asked while looking back and forth between his brothers.

Leo looks up from the Notes with an odd look, "Like I said. You make one supposedly wrong choice, and you get yelled at forever." He then goes through with the choice and continues the scene.

Mikey looked at the timer on the recording real quick, "How have we already spent an hour on this game? And how long is it?" He asked with a slight raise in his voice.

"If we keep a good pace. It should take about 7 hours, but it might be longer if we have to keep checking the notes." Donnie replies in exasperation. "Speaking of we're going to cut the recording here for the first episode at least!"

Leo goes to the title screen, and then joins in. "So stay tuned, and thanks for basking in the warmth of our presence."

"See you next time Balemates!" They all say at once waving bye to the camera. Then the screen then switches to the end card.

--------------

Masterpost

I decided to stop before the second therapy scene. It made sense, and really that is roughly 40 minutes into the game!!! Longer if you stop to go over notes, and judge if they are actually the right choices to make.

[thecrenellations]

"How many souls on this earth call you Francis?"

In 60 years of the Lymond Chronicles, I'd bet that many others have compiled this exact thing, but here is a list of who calls Lymond by his first name! Marthe draws our attention to the question near the end of Pawn in Frankincense, but it's clear throughout the series how deliberately Dunnett chooses what to call the characters in narration and dialogue - the choice can reflect who Francis Crawford (for example) is to others as well as to himself, at any moment. I love it, and Meaningful Naming is a feature of most of my favorite stories.

Characters are listed with the book in which they first call him Francis in dialogue. Italics indicate they call him that when he isn't present. If they directly Francis him later, they’ve been added to the list for that book, too.

I've also noted to whom he's just Francis in the narration - it's always someone who thinks of him like that, and it always makes me feel a lot.

If you notice something I left out, or if you know where to find similar analysis, let me know! Let us all be scholars of Francis.

Lists below! Plus some thoughts and quantitative stuff. (many, many spoilers)

The Game of Kings

Sybilla Semple (see, I have to decide what to call all of these characters, too!)

Margaret Lennox

Christian Stewart (to Sybilla, and I'm sure she called him Francis in their childhood)

Richard Crawford 

Francis in narration from the POV of: Richard

Queens’ Play

Tom Erskine

Jenny Fleming

Margaret Erskine

Martine

Oonagh O’Dwyer

Phelim O’LiamRoe

George Douglas

Francis in narration from the POV of: Richard, Margaret Erskine

The Disorderly Knights

Will Scott

Kate Somerville 

Graham Reid Malett

Adam Blacklock

Janet Beaton

Jerott Blyth (I'm also sure Jerott called him Francis in the old days, but he doesn't return to it until the scene with Evangelista Donati at Midculter)

Francis in narration from the POV of: Richard, Tom, Kate, Sybilla

Pawn in Frankincense

Jerott Blyth

Dame de Doubtance 

Marthe

Francis in narration from the POV of: Jerott

The Ringed Castle

Alec Guthrie

the Abbess/Sybilla's sister

Francis in narration from the POV of: Richard

Checkmate

Philippa Somerville

Marguerite de St. Andre

Catherine d’Albon (to Philippa)

Nicholas Applegarth (also to Philippa)

Danny Hislop

Fergie Hoddim

Piero Strozzi

Francis in narration from the POV of: Jerott, Philippa, Richard, Sybilla, Adam

Observations

Aaaaah!

Richard's monopoly on the narration Francises in the first two books kills me, I love it. The first, of course, is "God, Francis had screamed."

As a reader, I started calling him Francis, sometimes, somewhere in the middle of Queen's Play and stopped overthinking it by the beginning of the next book.

I didn't count, but I'd bet that Jerott says and thinks it the most. He's there more than probable runners-up Gabriel (shut up, Gabriel) and Richard (ily Richard) are, and Philippa goes on her own ... journey before thinking of him that way and allowing herself to think of him that way.

Adam is unique for making the list in his first book, specifically not calling Lymond Francis in The Ringed Castle, and then putting himself back on the list through address and narration in Checkmate. But that's The Ringed Castle for you 😬. And their entire relationship - there's a chapter or so in which Adam's narration calls him de Sevigny.

Who even calls him Francis in RC? Just Alec, Richard, and Margaret, I think. ("Do you call her Slata or Baba?" Thank you, Philippa.)

I would teach myself tarocco and play for at least a few hours to learn when Will started calling him Francis. Also the Erskines! They're all so genuinely close in the years after Game of Kings.

Notable Absences

Güzel - well, that feels meaningful. They were together for years. If she did, we didn't see, and I would also believe that she didn't.

Archie - will he ever? Who can say. Either way, he's the best. Also, see here.

Mariotta - I bet she does, after the first book, we just haven't been there.

Fergie, probably?

Piero Strozzi - Francesco? My petit François? I don't remember any Francises, though!

Ivan (and others?) - I'm not counting Frangike, either

Robin Stewart - I mean, I'm sure he would have if he'd known his boyfriend's real name before ... all of that went down.

Diccon Chancellor - probably not? I'd also put this down to the Ringed Castle state of mind. As meaningful as their friendship was, it makes sense for the book to continue to distance the reader, at the very least, in that way.

Does Francis call himself Francis?

No.

He doesn't, really! He's never that from his own point of view, but we do see him sign a few letters with his first name. These are to:

Kate (Pawn in Frankincense)

Catherine d'Albon (Checkmate)

Philippa (Checkmate)

All of this is not to say that “Francis” represents who he truly is; it certainly shows intimacy and usually vulnerability, but I feel that Lymond and Francis Crawford can be just as definitive when deployed, and that Lymond has a certain neutrality. There's also something really interesting that happens when the characters are stripped of names and become just "he" or "she," from their own perspective or others.

And then we get things like "Mistress Philippa's decorative husband," which really deserve their own list.

"How many souls on this earth call you Francis? Three? Or perhaps four?"

18 of the 25 Francis-ers on my list are living at the end of the series, and when Marthe, who is not one of them, asks that question at the end of PiF, it's 12 (out of 18 total).

18 out of 25 is a 72% survival rate! Great!

2 of the 18 are pretty awful (Margaret Lennox and the Abbess)

4 of the 18 live in France, which he's currently exiled from

1 of the 18 lives in Ireland, but I think they should still hang out!

2 of the 18 may be departing for Malta, apparently

7 of the 18 are people he probably sees or keeps in touch with regularly, 9 if I count Janet Beaton and Margaret Erskine, because I like them and they're not very far away.

As much as I wish that many of the others hadn't died, I think he's doing pretty well.

[rdhadastroke]

So this straw-masked dumbass decided to do a thing and share some personal tips about writing fanfiction/writing someone else's character/writing in general!

Please keep in mind that I am a hobbyist writer, not a professional! These are just suggestions/things that help me that may or may not work for you, please feel free to correct me or add your own anecdotes :)

Tips for getting ready to write:

Make sure that you're in an environment where you can concentrate.

Whether that be in a quiet room, a chatty café, or blasting your eardrums out with music, whatever gets you in the groove is good. Not everybody can focus in the same environment, so your choice of surroundings for when you right aren't going to be the same as everyone else's. I (personally) listen to long video essays, my current favorite song on loop, or a playlist about the story/characters.

Clear a space for where you want to write.

Clear the space of excess clutter and keep only what you need. If what you need to write is a lot, that's fine! Having too much going on at once in your writing space can overwhelm and/or distract you. I know from personal experience.

Have all of your materials at hand.

Character sheets, previous stories, note paper to jot down ideas, rough environment & scene sketches... Whatever references and tools you need, keep them with you! Also, keep a glass of water or some other drink nearby. Hydrate or diedrate, my friends.

Make sure that you won't be interrupted while you're writing.

This may not be an option for those of you living with your parents or a roommate, but it's ideal for your creative flow to go undisturbed, uninterrupted, and unwatched. Is your father really watching you write your fanfic? No, probably not, considering that he's snoring. But it still feels weird to write when he's sitting in his armchair right behind you. No, I am not projecting my experience onto the reader under the cover of an absurd joke, why would you say that?

Now that setup is out of the way, let's go over some actual writing stuff:

Always, always, always block out what you want to write before you actually write it.

By "block out", I mean give a basic summary of the events you want to take place in that chapter or segment. I usually do this event-by-event because I struggle to carry on a story without an outline, but you can do it by chapter or by paragraph if you'd like. Make jokes in your mini-summaries, and phrase things in wacky ways (that convey things to you effectively)! You don't have to be too serious about it. After all, if you're in a lil silly goofy mood, you can get an epic sentence like this:

If you get stuck on a part of a story, move on and save it for later.

If you're anything like me, you understand the screaming, crying, pissing, pants-shittingly frustrating experience of not knowing how to describe something or figure out what should be said next. As angering as it is, it's okay. Just write a mini block-in for what you want to happen, want to describe, or the general tone of what you want to be said. Or use a keyword that you can Ctrl+F for to finish those pesky scenes when you're ready. If your writing software can do it (I have no clue if any one program does this, I only use Google Docs), mark the spot for review to return to it later. If you're one of those frighteningly powerful people who write stories by hand, highlight it and paste what you want to go there over it once you're ready. If you aren't familiar with this infuriating part of writing, you're a lucky bastard and I envy you immensely.

If you have writer's block, there are 8 potential strategies (that I can provide) you can use to alleviate it.

These are NOT surefire fixes for writer's block and are EXTREMELY subjective and results will vary from person to person, but they can potentially help you.

Read a book. Sometimes reading how another author writes (dialogue, scenery, figurative language, etc.) can help you get a better grasp of what you want to write, and how you want to write it. You might even get inspired to make a different story, which bleeds into the next point.

Work on/start a different story. (This isn't always the best way to get out of writer's block, so if you can't get a word down, this probably won't help.) Sometimes changing what you're working on can free up the ink clogged in your pen, for lack of a better phrase, and give you an, "aha!" moment.

Eat and drink something. Brains don't work when they don't have fuel, so feed your machine. Frequent maintenance keeps an engine running smooth, so occasionally get a snack and make sure to keep hydrated.

Take a walk and get some fresh air, and touch some grass for the love of god. Jokes aside, getting your body moving can excite your brain into working and clear some brain fog, since exercise gives your brain a dose of serotonin. As silly as it sounds, sitting in the sun and touching some grass can actually make you feel nice and rejuvenated, it helps me a lot. Even if you don't go outside, moving around is a good way to give your brain a break.

Talk to a friend and get their input. Their ideas can get you through a tough spot and inspire you to get writing again.

Look at pretty pictures and distract yourself from what you're doing. I have pictures of art pieces and doodles I like hanging in front of the desk where I write, and losing myself in pretty stuff helps me work through what I'm struggling with.

Jot down notes by hand on what you're trying to do. Planning things out on pen and paper, despite being tedious, imprints information in your mind and can be useful to your writing needs

If you're writing a fanfiction, look at the source material. Chances are, there's something there that could help you along.

If you don't have the motivation to write anything, don't.

This isn't the best advice for someone who's on a time limit, but works wonders for passion projects and fun stories. Very few do their best work when they force themselves to do it. Besides, there's no point in having a hobby if you don't get joy out of it and overly stress over it.

Writing someone else's character? No problemo, here's some fanfic help:

Always look at the source material, and don't be shy to explore new territory with the character.

It's important to stay true to the personality of a character when you're writing someone else's creation, but don't be afraid to throw in some headcanons and artistic flair. Remember, there's a difference between writing a character unrealistically (pertaining to personality, likes, interests, and universe/world/time period) and changing the circumstances of the original story. Characters are people too, and people react differently to the same thing depending on the world around them. A character may not have [x] trait if [y] event never happened, likewise [y] event never would have happened if this character didn't have [x] trait. Take into consideration the people around the character, as well, as they can also affect what the character does and how they develop. Change up small events in the original source material's story to get a different story and a different reaction out of the character. Experiment, and have fun! It's your story, write it your way!

That's all the advice I have for now, and I hope I was helpful! :)))

[shutupineedtothink]

I finally landed on a Siuan theory/analysis re: 2x07! And it works prettyyyy good if I do say so myself. At the least it’s plausible. Probably. No book spoilers because I haven’t read the books, this is a show only theory. Read on at your own risk!

Background: So, at first I was on board the “Moiraine and Siuan planned this whole thing daes dae’mar blah blah blah” train. Mostly in my emotional turmoil after watching the episode initially. But, I was forced to dismiss that pretty quickly in light of some of Siuan’s lines, namely “That boy must not leave this city.” And “You lied to me.” She has to believe both of those things are truths to say them, so her somehow being secretly on Moiraine’s side still and them having conjured up some plan together doesn’t match up with either of those lines. Sadly. So that’s pretty much out. If this ends up actually being the case, I look forward to how they explain themselves out of it.

Second theory is of course that it’s playing exactly as we’re seeing it, which ultimately does work and when I can take the emotional dagger to my heart out of it, is objectively really excellent storytelling and character work. These are two women, trying to do the right thing, trying to save the world, and their love is sacrificed at the altar of duty. Duty over love is a theme that’s absolutely pounded into us with many characters, so it makes sense. (As Lan points out to Rand also in this episode, “you were born to protect this whole world, not just the people you love.” That’s kinda where Siuan and Moiraine are at too.) Plus I love the idea that Siuan comes face to face with the very real if unfathomable possibility that Moiraine has been turned to the dark based on her actions and general cageyness for the last six months, and that’s really what motivates every choice Siuan makes, up to and including invoking the oath rod. Really great stuff, brilliant subtext, two thumbs up.

However. There is a third option. *rubs hands together gleefully*

I heard some people saying Siuan could be under Compulsion, which definitely piqued my interest, because we’ve had those breadcrumbs dropped earlier in the season already and it would be nice foreshadowing for this. But most of the conversation I’ve seen seems to be around Liandrin being the one to do it. Probably because we’ve alluded to that already this season, so we know she is capable and has done it before. A tool in her dark friend toolkit, if you will.

But Liandrin being behind it never sat quite right with me either. Compelling Sheriam to change some logbook is one thing, but controlling the Amyrlin seat, for hours if not days to make this happen, is quite another. Idk what kind of strength Compulsion requires, but I bet it’s not nothing. And as powerful as Liandrin is, I don’t think she’s stronger than Siuan Sanche, or would be able to pull one over on her fast enough to make this happen. Plus, Liandrin is off doing other shit in this episode. If she was really implicated I feel like she’d be at least lurking around the other Aes Sedai. Maybe I’m wrong… but I don’t think I am lol.

So, who does have the power to do this? Who else has the means, motive, and opportunity to make this happen? There’s really only one other person.

The other scene stealer of 2x07, ya girl Lanfear.

There’s several bits of dialogue in this episode that back this theory up, both Compulsion in general and Lanfear being behind it, so let’s run from the top.

First, some general evidence that Compulsion might be happening.

Rand and Siuan meet, Rand gives his cute little introduction, Lan has prepared you I see, what else has he told you about me? Then Rand gives this line:

“That you’re not exactly what you seem.”

Interesting choice of words, writers— I mean Rand. He could have said a lot of things there, even directly repeating some of what Lan told him about Siuan, but no. And if you’re already thinking Compulsion, that’s a pretty strong nudge from the writers to PAY ATTENTION to Siuan Sanche, because maybe what she’s doing is not what it seems, even the person she IS in that moment is not what it seems. (Even if the surface level read totally makes sense and still works thematically!) This also wouldn’t be the first time that the writers seem to use the characters to say something/poke fun that’s more directed at us than the actual plot. So I definitely wouldn’t put it past ‘em.

Second, and this is kind of a throw away, but when Moiraine and Lan come in later, Lan says “this isn’t what we agreed to.” This is pretty easy to explain away, but I think it’s still notable that Lan and Siuan had some kind of conversation earlier, perhaps on their way to Cairhien, about what they were going to do in regards to Moiraine and/or Rand. And at that point Siuan at least implied that she was going to help Moiraine and Rand, not cage him. Again, pretty easy to sidestep with aes sedai truth-lies/evasions, but it’s also possible at that point she actually had no intention to cage Rand. Because she wasn’t under Compulsion yet.

Alright, still going in chronological order here, so now we’re getting into some Lanfear-did-it specifics. And I do love-hate this one.

Moiraine and Siuan are arguing over what to do about Rand, then this:

Siuan: “Can you imagine, Moiraine, if one of the forsaken got their hands on him?”

Can YOU imagine, how absolutely giddy it would make Lanfear to make her say this, to Moiraine’s FACE, knowing full well she’s got her hands all over Rand and then some? Come on, son.

Ok jokes aside, here’s the kicker.

Rand and Moiraine in the cell in the sun palace, Rand meets Lanfear in the dream world, Rand goes up to her and says “I’m in a cell, the Amyrlin’s holding me.”

And Lanfear says, so smug, “I know.”

Um, girl? You know?? HOW do you know exactly? I definitely dismissed this on the first couple watches as oh, Lanfear just knows things, but like, no. The Forsaken aren’t omniscient. Now, could she be teleporting herself here and there and spying on everything that’s going on and that’s why she knows? Sure. But that’s boring and I’m on a roll here so let’s keep going.

She knows, not just that Rand is in a cell but specifically that it’s the Amyrlin that’s holding him there, because she herself Compelled (Compulsed?) Siuan to do so.

Ok so motive. Why would Lanfear do this, why spend the effort?

1. It's definitely fun for her. 2. She sets up this scenario where she gets to “save” Rand from the big bad aes sedai, he has no choice but to ask her for help, she LITERALLY shows up in her white knight in shining armor outfit, and she ultimately hopes this helps convince him she actually cares about him and wins him over to her side. (As she tries to tell him in the finale, I’m the only one who cares about YOU, not just what you can do. Mhm sure girl.) And 3. She gets to actively pit the rest of the aes sedai against Moiraine, who she absolutely hates.

And in doing all of this SHE MIGHT NOT EVEN HAVE KNOWN about Moiraine and Siuan! That's just icing on the fucking cake! It works either way, because if she did know by forcing Siuan to tell her about their mission and she somehow gets Siuan to admit she loves Moiraine (however that interrogation goes, idk the specifics of compulsion but the show writers are playing fast and loose with the rules anyway), well now it’s game on baby because Lanfear will absolutely be using that info to wreck both of them. If she didn’t know, and her whole motivation is the first three reasons above, then she definitely finds out at the end of 2x07, because she was definitely lurking around the corner listening to that whole exchange between them and it made her fucking night.

And finally, there’s Lanfear’s last line of the episode (I think): “Lucky for you, a broken Amyrlin is more useful to me than a dead one.” Double meaning alert! Siuan is literally lying broken on the ground in that moment, but maybe she was already “broken” well before that, being under Lanfear’s control. (And there’s your Egwene/damane parallel too, damn.) And therefore Lanfear knows exactly how she’ll be “useful” to her.

This whole strategy by Lanfear could also be forecasted from a couple episodes back, when she asks Ishamael why he didn’t just kill Moiraine at the Eye. He basically tells her the same thing, that Moiraine (I believe he uses the words “aes sedai” specifically) is more useful to him alive than dead. So mayyyybe that gave her this idea to manipulate an aes sedai for her purposes, except while Ishamael is playing the long game, she goes full tilt and mind controls the fucking amyrlin seat.

On Siuan’s side of things, every bit of dialogue she has/action she takes makes sense under the assumption that Lanfear is influencing her, because she would “believe” everything she’s doing. Now I don’t know exactly how Compulsion works (in case you couldn’t tell), if it’s like someone else actually making you believe/do things you wouldn’t normally do, or if it’s more of a you’re trapped in your own head and not in control of your body sort of situation, but it works either way. And boy let me tell you, if this theory is correct, that makes Sophie Okenedo’s performance even more impressive than it already is, because it really works either way: Siuan is genuinely doing what she believes is right for the fate of the world and has her stone cold face on to do it (until the very end) OR her “real” expressions/feelings are mostly being masked/faked by the Compulsion and what she’s being forced to do by Lanfear. It tracks! Either way! Insane!!

The other big reason I think this theory works is because of what we find out in the finale — we learn from her conversations with Bayle Domon and Ishamael that Lanfear has been pulling the strings to make this whole season happen all along. (Cue It Was Lanfear All Along music lol). She sold the bits of cuendillar (although I don’t really get why… just for the money?), she seduced Rand, she played Ishamael, all of it. So why not this too? Why not control the Amyrlin seat, if she has the capability and means to do so, especially if she means to take Ishamael off the board and sort of become the de facto leader/strongest of the forsaken. Not really their leader, I know, but it’s a good power play for her is what I’m saying.

Finally, I think this could put us in a REALLY fun place for season 3, with stuff happening at the tower. We could have scenes with Lanfear, Siuan, and Liandrin. We could have Siuan acting increasingly more malevolent or just off somehow, and while most sisters are going with it, Alanna or Leane maybe starts to get suspicious (more Leane please!). We could have Moiraine send the wonder girls back to the tower, ostensibly to continue their training but also because she needs informants to know what Siuan is planning now (which kills her obvs), and because I would love to see them Scooby doo their way through some shit, the three of them figure out what’s going on and somehow (with Alanna’s help?) free Siuan from the Compulsion. Idk but it could be so much fun you guys.

Or, I could be totally wrong. Maybe this is totally not how Compulsion works. I don’t mind either way. This was a super fun thought experiment. But man, if this theory is in any way correct, this will be some of the most twisty TV/dialogue writing I’ve seen in a minute. And, you know, I’m trying to make fishwives happen here! Cmon!

Shout out to the Post Show Recaps podcast deep dive of 2x07 for questioning how Lanfear knew that Siuan had Rand captured and finally clicking this all into place for me. If you’ve got any other pulls from the episode or the season in general that back this theory up, please share in the comments!

[mylittleredgirl]

Hi! I'm so excited you're finally watching MASH! I hope you enjoy it and I selfishly hope you grow to like Margaret who starts off as not great and then becomes great and my fav.

i am having a great time!! i started at the beginning of season one and just finished season two. some of the discs in the complete series set i got as a gift last year don't play right or cut out mid-episode, which is driving me a little nuts, but i guess i'm having the classic syndicated tv experience of randomly missing stuff and always having some episode i've never seen floating out there forever.

my long form thoughts so far for those interested:

it's such a great collection of characters for comedy, because they are all pathetic and terrible in their own unique way, but are so charming and funny and easy to watch while they commit their little crimes against common sense.

i really like the mix of episodes -- the We're Having A Caper episodes and then the ones where it's like we're just kind of living here and things happen in some kind of order, but the things aren't necessarily related, which feels very appropriate for the setting.

i'm watching without the laugh track, which highlights one of my favorite things, which is that the main and background characters laugh out loud at what's happening. it gives the show such a lived-in and messy feeling. i just came off of watching the good place 5 times in a row, where the dialogue and plot are especially tightly packed, so this feels especially like it has a lot of just hanging out.

i keep thinking about how i'm watching this show fifty years later, not knowing what is the 70s lampooning itself, what is the 70s lampooning the 50s, and what is actually being played straight but i assume is a joke because of my perspective. some scenes are hard to watch on purpose and some are hard to watch by accident.

i wish i were watching it with my dad so he could keep pausing it to explain things to me, even if they don't need explaining, because i think that would add to the experience.

character feelings after two seasons:

hawkeye: alan alda being so charming and having such great timing really makes this an easy get. of course i'm going to love him equally in both success and failure (mostly failure).

trapper: my bestie!!! there's something about his face that makes me feel like i know him personally. i just love his physical acting choices. it's always funny. my fave i think.

margaret: i definitely enjoy her!!! how can you not?? they introduce her as being both highly capable and The Sexiest American Woman In Korea, who either can have or has had every high ranking officer in the army, and then she's soooo horny for the most pathetic man alive that she can't function.

frank: the narrative requires him to suck sooooo much every minute of every episode, because everyone else also sucks, so he really needs to put his back into it. he's gotta be there and he does it well, idk what more to say.

henry: he fascinated me in season one because i was like... clearly he's supposed to be A Caricature, but i couldn't figure out which one, and then he turned out to be A Character instead. i love his complexity and his serious moments, but i don't tend to find drunk acting that funny, so a lot of his shtick is lost on me. i wonder if he's the only character (and maybe klinger?) where the laugh track would actually serve him.

radar: as a former assistant yeah bro i get it, you keep on keeping on.

father mulcahey: the only one who is not terrible at all so far even once. Protect Him. i am so happy every time he comes on screen.

klinger: i'm still warming up to him as a character since he's mostly a sight gag still.

the parade of nurses: i have decided to take it at face value that 1) they are all here at war because they're super horny, 2) they are playing hard to get for fun, and 3) the pill was somehow invented before 1950, and under those conditions GET IT GIRLSSSSS.

my largest outstanding question: were they all actually functioning people before the war? i assume war did this to them but it's also possible they were like this before and their wives are all like THANK GOD they're overseas cheating on me because imagine how much worse it would be if they were like this but in my house.

on to season three!!!

[ripplestitchskein]

I've been binge reading your Helluva Boss and Stolitz posts for a while now and I love how mature and nuanced your takes are. I've run into a good deal too many Stolitz antis on Twitter who won't give Stolas and Blitzo's relationship a chance to improve later, despite the show clearly trying to do just that. I'm especially tired of people saying that their relationship is one-sided. And even when actual evidence is put out there that Blitzo actually does like Stolas back, they say it doesn't count because those hints are less than 5 second long small details rather than being spoonfed to them. Just argued with one of them on Twitter like an hour ago and that's exactly what they said. And they accused ME of not paying attention because in their mind, Stolitz was built up from sexual assault, and they think Blitzo's line in Western Energy "He can get hurt?" is somehow out of character which confused the hell out of me, and they kept insisting that Blitzo had "zero interest" in Stolas no matter what.

Thank you so much!! I do try my best to be as rational and logical as possible so I’m glad it’s coming through, not to say I don’t have emotionally based reactions or bias but in my meta analysis I try to set my personal feelings about the text presented aside and just talk about what it could potentially mean based on recurring elements, themes, and deliberate choices made throughout not just in individual scenes.

LooLoo Land is a perfect example, there are some moments in that episode I heavily dislike (Blitzø shoving the dolls down his pants, the “as long as she washes it” convo, and Stolas being sexually inappropriate in front of his kid) so I do understand some of the criticism. It was also episode two and being a creative myself I know firsthand that things like that happen. You put in things early, for a joke, a laugh, to highlight personalities and they don’t necessarily come across the way you intended or jive with where the story ends up. Which is why a lot of my analysis takes in the entirety of what we have so far, the recurring stuff, not just individual moments or one off lines.

I’ve always maintained that it’s crucial to remember that creators are not perfect beings who are getting their story from on high fully formed, they make mistakes, they get inspired and take things in a different direction as things develop, they can contradict themselves over time. It happens.

It’s also a cartoon so it’s limited in how much it can even do, how expressive the characters can be, how much time they have to explore and the medium absolutely comes into play when analyzing it. Art has always been and will always be subjective, and unless the creator flat out contradicts something it’s largely left to interpretation, but that interpretation cannot be based on one scene, or one episode, or a one off bit of dialogue or a single expression either.

I always encourage not wasting your time arguing with people who are still serving up early content talking points or who dont have media literacy as a learned skilled. I know it’s super hard, I’m guilty of it myself. I was so close to going off on a “Stella and Stolas are mutually abusive” take last night you have no idea. It was more the dude was just being deliberately obtuse to the point I stopped myself and was like “they have to be trolling, no way someone believes this”. You can’t change their minds, they obviously don’t want to engage with the material from a place of good faith, and it just bums you out at the end of it.

A lot of them are really young too I find, which may be part of the disparity. I’m 38 so I have a lot of different experiences to draw from they haven’t had yet. I’ve been a fandom girl since I was a kid, I’ve always been a shipper and I also create things so my perspective is further down the line and with lived experience some people don’t have yet. I’m reminded of this daily, my oldest son is 18 and we have many conversations where I’m reminded about how much you learn as you grow older and the assumptions you make as a younger person. This is not to say that younger people can’t think critically but it is a skill and it improves over time like any other.

I also encourage people to think of what is being said and why. There is a lot of hate for VivziePop as a person. My understanding is she said some things early on and created a hate base that is going to deliberately misinterpret just to validate their initial assumptions about her motive and character. With popular things there is always a small subset that hate a show because of its popularity too, I don’t think because they are jealous like some speculate but because they didn’t personally enjoy it and don’t like feeling like they are missing something, so they take it in a “it must be the children who are wrong” Principal Skinner approach. They can’t see why people love it so those people must be ignoring what they didn’t like about it and they must tell them.

Sometimes people like another ship or another character more, and their ship might involve one half of yours, or they don’t feel their character is getting the same focus and attention because of yours. So instead of just letting everyone enjoy their own things it’s now a competition, a source of resentment and they must make that everyone else’s problem.

And I’ve talked about the fascistic purity culture that seems to encroach into fiction spaces as well that is also at heavily play. Any time a character does anything that is vaguely “toxic”, “problematic” they are immediately painted with the SA brush, the creator is promoting it and the fans are enabling it and are somehow directly responsible for it existing in the world. You can’t do anything about them except enjoy what you like, look at it critically within your own personal comfort level, and as always, my favorite thing to say “kill the cop in your head.” Not just with fiction but everything.

I’m glad my analysis is being enjoyed, and I super appreciate your feedback on it. Come to my inbox anytime and we’ll enjoy the ride together!