#some will recognize this filming set from my journey to you <3

[xiaolanhua]

In Blossom 花间令 (2024) Dir. Zhong Qing – Ep. 22

[lindsaywesker]

Good morning! I hope you slept well and feel rested? Currently sitting at my desk, in my study, attired only in my blue towelling robe, enjoying my first cuppa of the day. Welcome to Too Much Information Tuesday!

Venetian blinds were invented in Japan.

A one dollar bill has been in an average of 3 bras.

Houses in Britain numbered 13 cost £9,000 less than average.

In the 1940s, butt plugs were marketed as a headache remedy.

There has only been 240 years of peace in the last 3000 years.

It would take 23 bales of straw to break a camel's back.

Open plan offices increase worker stress, blood pressure and turnover.

In the United States, giving birth is 20 times more lethal than skydiving.

In 2004, a boat in Texas capsized because everyone ran to one side to look at a nudist beach.

In 2012, a smuggler was arrested at the Smuggler’s Inn, Washington, after arriving in a car with the licence plate SMUGLER.

One outbreak of Legionnaires' disease was traced to the hot tub at the Playboy mansion.

In Alabama, it is illegal to wear a fake moustache that causes laughter in church.

Brad Pitt was banned from China for 20 years after his role in the film ‘Seven Years In Tibet’.

A survey in Colorado found people are much happier if they believe they are having more sex than their neighbours.

Japanese researchers have concluded that cats do recognize the sound of their owner’s voice when called … they just don't care.

The novel 'All Quiet On The Western Front' was banned in Poland for being pro-German and in Germany for being anti-German.

On busy Chinese trains, passengers take turns on the seats so everyone gets to sit for some of the journey.

In the Middle Ages, a lovesick man could be prescribed ‘therapeutic intercourse’, whereas a lovesick woman was prescribed marriage.

Christie’s auctioneers are taught to stop their hands shaking with nerves by clenching their buttocks.

80% of the UK’s bread is made by a process so nutritionally barren that vitamins must be added back in by law.

Dog lovers tend to have more Facebook friends than cat lovers, but cat lovers get invited to more parties.

On D-Day, J. D. Salinger fought with six chapters of ‘The Catcher In The Rye’ in his backpack.

The belief that ideas from the past are by default worse than ideas of the modern age is called ‘chronological snobbery’.

In the public toilets at Rothesay, there is a plaque indicating which urinal was used by the then Prince Charles when he visited.

Great Ormond Street Hospital have recreated their site in Minecraft to help kids who want to explore the building so that it’s less scary when they arrive.

John Shepherd-Barron the inventor of the ATM originally intended them to have PINs that were six digits long, but his wife could only remember four digits at a time, so that became the standard.

In 2016, Microsoft set up a Twitter chatbot that could learn to converse based on what people told it. It was using swear words by the next morning.

The annual ‘Bad Sex In Fiction’ award was cancelled for 2020, as the organisers believed that the public had been "subjected to too many bad things” that year to justify exposing it to bad sex as well.

Google Image search was invented after Jennifer Lopez’s green dress at the 2000 Grammys became their most popular ever search, but they had no way of providing users with a quick result.

A study has shown that birds that live in colder places have smaller beaks. McGill University’s blog published an article about the study with the headline ‘Peckers Get Smaller Where It Gets Colder’.

Every year, Lake Superior University publishes a list of words and phrases they would like to banish the next year. This year's entries include "moving forward", "does that make sense?" and "it is what it is".

In 2006, 84-year-old Edith Macefield from Seattle refused a $1 million offer from a shopping mall developer to move, so it was built around her house. In fact, Pixar's film ‘Up’ was later modelled after her home.

The first recorded attempted human flight with artificial wings in history was in the 6th century in China. Emperor Kao Yang would strap prisoners to kites and throw them off buildings to see if they could fly.

When HMS Dolphin stopped in Tahiti in 1767, the sailors found that local women were prepared to exchange sex for iron nails. The captain ordered a stop to the trade as the significant loss of nails from the ship had massively compromised its structural integrity.

Compound swears like ‘shitgibbon’ work best when the second word is a two-syllable word, where the first syllable is stressed and contains the same vowel of the swear. This is why ‘cockwomble’ works but ‘dickwomble’ does not.

Centre Point was constructed between 1963 and 1966. It was one of the first skyscrapers in London. It stood empty from the time of its completion (1966) until 1975. In 1995 it became a Grade II listed building.

The shortest commercial flight in the world is from the Westray Airport to the Papa Westray Airport between two small Orkney Islands north of Scotland. It's only a distance of 1.7 miles and, if the wind is ideal, it can take as little as 47 seconds from start to finish.

A Dutch supermarket chain introduced ‘slow checkouts’ for people who enjoy chatting, helping many people, especially the elderly, deal with loneliness. The move has proven so successful that they installed the ‘slow checkouts’ in 200 stores.

Okay, that’s enough information for one day. Have a tremendous and tumultuous Tuesday! I love you all.

[outer-space-face]

✨ :)

thank you for the ask mariah! <3 I shall now give you some recs :D

My first recommendation, surprising absolutely no one, is a ghibli film. It's called The Wind Rises, and it follows the story of Jiro on his journey to get recognized for his work on designing planes, while also caring for his lover, Naoko who suffers from tuberculosis. This one takes a little bit to pick up speed but it is well worth it! This is partially what made my standards for love SKY HIGH ajshsjshjs. Ghibli is so good at telling love stories and this is no exception. It has an amazing score and the animation and visuals are just so beautiful!

For a music recommendation, I think you might like the artist, dodie. Dodie is amazing a writing lyrics and she always sets a clear vision for each of the meanings behind their songs. Some of my favorites are "cool girl" and (if you need a good cry) "she".

Those are se of my recs, thanks again for the ask! <3

[blackhorrorwhiteterror]

Blog Post #3

Bernard Rose’s 1992 Candyman is a film that has always existed within my knowledge of pop culture but it is not something that I had ever watched until this class. I think it’s because I spent some of my younger years in Madison, Wisconsin which is not at all far from Cabrini Green. I remember my friends and I daring each other to do the unthinkable and utter the boogeyman’s name in the mirror without chickening out. Of course, we never made it the fifth “Candyman”, therefore I can't verify for sure if the legend is true or not. I wish I had watched the film as a child as I’d like to know if I would’ve felt the same way about it as I do as an adult. Watching “Candyman” was a bit of a weird experience. This film is something that I have always recognized as significant in African American culture (cue the gaps in cultural knowledge that come from the African immigrant diasporic experience ) but the movie did not really feel Black. And I mean this in a sense that it felt like it was tailored to a white audience although it is something that I have always thought was made by a Black production team. What set me off was the way the inside of Cabrini Green looked and the depiction of the Black characters. Firstly, Cabrini Green did not look real at all. I couldn’t tell if it was because of the 90’s production/camera quality or a cheesy art direction decision but the hallways of the building were almost cartoonish. The idea that someone spray-painted a lady’s front door (mind you it’s not like it’s outside, they’re fully indoors) was so bonkers to me. It’s such a 90’s after-school-special-on-the-hood-coded choice. It was weird and I was surprised that a Black director would go that way in depicting a Black housing project. Other than the comical building all of the Black characters were non-people. My boyfriend and I made a game of spotting the magical negro. It felt like every interaction Helen had with a Black character was either violent or they gave her a nugget of info to aid her journey, the way non-playable characters help the heroes of video games along their way. We were also confused about why Candyman was in Cabrini Green. If he was maimed by white people why would he be terrorizing a Black community? Wouldn’t he be terrorizing the descendants of those who harmed him? His motives really confused us. It’s not that I find the film to be an enjoyable watch, I just thought that a lot of the choices made were interesting and now that we’ve talked about them in class I can see why they’re made and enjoy the film as a relic of the past.

[aaronmaurer]

Movies I Liked in 2022

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

While my taste in film always tends to be a mix of crowd-pleasers and prestige fare, this year the contrast felt even starker. I call these lists things I “liked” rather than claiming they are the “best” because, though I can recognize when a film is a great work of art even if I never want to revisit it, I tend to want to share/highlight things I actually enjoy.

For example, TÁR is certainly a masterpiece that I found utterly riveting while watching, however, it’s also an uncomfortable and off-putting experience (which is of course, part of – if not entirely – the point). So the 10 films (and honorable mentions) that follow display a level of artistic acumen that resonated with me on multiple levels while also being movies I, you know, liked.

10. After Yang (Blu-ray, VOD, Showtime)

A lyrical science fiction film centered around a family’s relationship their robotic son, director Kogonada’s second effort is beautifully realized and deeply affecting. There are futuristic echoes of the likes of A.I. and Minority Report in the service of deep meditations on life, love and grief.

9. White Noise (Netflix)

Noah Baumbach’s movies are typically a few shades too caustic for my taste, I found but this adaptation of Don DeLillo’s postmodern novel an ideal artistic match. If the book is couched in fatalist black comic critique of Reaganism, then its relevance to our current Trumpist era (where the outsized cult of personality hovers over current politics even after his time in the White House) is perfectly apt. Willful ignorance, denial of death and unabashed consumerism abound, but so do critiques of ivory tower liberalism. The use of 80s filmic tropes to underline the deadpan nature of its setting and content is expertly realized, as is the perfectly (at times) indecipherable & unsettling sound design filled with lots of, what else, white noise.

8. Black Panther: Wakanda Forever (Theatres)

The best superhero film of the year is more emotionally affecting and more personal than most others in its genre, with writer-director Ryan Coogler and his cast grappling with the real-world death and absence of Chadwick Boseman. The result is kind of shaggy (especially compared to the efficiency of its predecessor), but also includes moments of dynamic action and gorgeous production and costume design, especially for newcomer Namor and his kingdom of Talokan. I also really appreciate an action movie that grapples with themes of revenge vs forgiveness/healing (and not in a way that feels wholly unearned, a la this year’s The Batman, but more like the unjustly maligned Spider-man 3); Shuri’s grief and anger are palpable as she wars with Namor – and herself – and her journey rings true.

7. Everything Everywhere All At Once (Blu-ray, VOD, Showtime)

The Daniels’ maximalist indie epic is wholly unsubtle but genuinely affecting. With themes as broad as the salvation of the multiverse being kindness and love, I suppose you need other broadness as well, including broad comedy (some of which I enjoyed, some of which I did not exactly enjoy while still admiring its audaciousness). Ultimately it is the fully realized performances, primarily those of Michelle Yeoh, Stephanie Hsu and Ke Huy Quan, that breathe life and humanity into the proceedings, making for a emotionally moving experience.

6. Confess, Fletch (VOD, Showtime)

Having never read any of the Fletch novels or seen the earlier Chevy Chase films, I really had no context for this movie, aside from being a fan of both director Greg Mottola’s Adventureland and the comedic chops of Jon Hamm. I found it to be quite a pleasant surprise, then: a fun whodunnit where the mystery is less important than hanging out with the characters, especially Hamm’s titular investigative journalist. This is the type of eminently rewatchable movie rarely made these days and I’d be quite content if the future finds us with plenty more Fletch adventures to go along with the exploits of Benoit Blanc.

4. (tie) Wendell & Wild (Netflix) / Guillermo del Toro’s Pinocchio (Netflix)

My two favorite animated films of the year both happen to be stop-motion features bankrolled by Netflix. They’re also both unique visions that don’t pander to a broad audience.

Director Henry Selick (The Nightmare Before Christmas, Coraline) created Wendell & Wild in collaboration with Jordan Peele and it’s a favorite of mine from each of their output (yeah, I liked it better than Nope). The design is a visual delight from start to finish and I found the story to be surprisingly resonant (an examination of grief and trauma as well as a critique of corporate interests and the prison industrial complex that also has a lot of great humor and a killer soundtrack).

Del Toro’s version of Pinocchio also features critiques of power, as he sets the tale in fascist Italy. Subverting the quite on-the-nose {ahem} morality of the original story, in del Toro’s vision, it is being yourself and not conforming to puppet-like assimilation that makes one worthy of the gift of life. The design here is stunning as well, especially in the creatures featured throughout.

3. She Said (Blu-ray, VOD, Peacock)

Add She Said alongside the likes of All The President’s Men and Spotlight as a worthy entry into the cannon of great films about investigative journalism. The true story of the New York Times’ investigation by Jodi Kantor and Megan Twohey into Harvey Weinstein’s crimes, it is a truly moving testament to the heroism and perseverance of these journalists and the incredible bravery of the women who chose to confront an ingrained patriarchal system of abuse. The lead performances by Carey Mulligan and Zoe Kazan are expertly pitched and fully lived in, while simultaneously allowing the stories of the women they interview to truly shine.

2. Glass Onion (Netflix)

Knives Out was my favorite film of 2019, so it was probably inevitable that its follow-up would make an appearance on my list. Thankfully, Glass Onion does not disappoint – it’s a “lighter” and perhaps broader mystery romp, but it is just as smartly constructed and excellently performed (by an entirely new cast of characters, aside from Daniel Craig’s returning Benoit Blanc). While lacking some of the depth of the social commentary of its predecessor, the caper still has a lot on its mind, and its reveals and takedown of the ultimate culprit is immensely satisfying.

1. Cyrano (Blu-ray, VOD, Amazon Prime)

Though technically a 2021 release for awards purposes, Joe Wright’s adaptation of Erica Schmidt’s stage musical Cyrano didn’t really release until February 2022 and it has stuck with me ever since (so much so that I saw it multiple times during its brief theatrical run). As a fan of the National, I was intrigued by the prospect of the music from that band’s Dessner brothers with lyrics by frontman Matt Berninger and his wife Carin, but was surprised at how much the songs moved me, especially as sumptuously staged by Wright. Hayley Bennett and Kelvin Harrison Jr shine as the pair of young lovers Cyrano reluctantly brings together through his words, but it is Peter Dinklage in the title role who is the heart of the film, exposing the soul of the lovelorn poet whose wit and bravado masks his self-doubt and pride.

Bonus! Honorable Mentions:

Doctor Strange in the Multiverse of Madness and Thor: Love and Thunder (Blu-ray, VOD, Disney+)

The original Doctor Strange and Thor: Ragnorak both rank in my top 5 Marvel films, so I was understandably excited for their follow-ups. And I left mostly satisfied, even if neither reaches the heights of its predecessor. Multiverse of Madness is allowed to be the MCU version of a horror film with plenty of ghoulish Sam Raimi flourishes, and I really loved the audacity of introducing a group of alternate reality heroes known as the Illuminati – including the first official MCU appearances of members of the X-Men and Fantastic Four – just to (spoiler alert!) quickly dispatch them. Love and Thunder tries to do a lot – maybe too much – but still contains great heart and humor typical of Taiki Watiti, plus a great go-for-broke villainous performance from Christian Bale as big bad Gorr the God Butcher. There is a stunning visual innovation on tap as well, displaying some of the most artistic uses of digital effects in recent memory (see the black & white battle sequence).

The Banshees of Inisherin (Blu-ray, VOD, HBOMax)

I quite enjoy Martin McDonagh’s latest (well, as much as one can enjoy such a film), but it doesn’t quite reach the heights of In Bruges for me. I would recommend it, however. As quietly beautiful as it is quietly devastating – yet with an abundance of humor, often served pitch-black.

Thirteen Lives (Amazon Prime)

Ron Howard’s presentation of the 2018 Thai cave rescue is immediate and compelling, relating just how many diverse parties came together for the massive and dangerous operation of saving the trapped soccer team and coach. While it doesn’t eclipse the excellent documentary The Rescue, there are benefits to dramatizing the story, such as glimpses into the Thai boys’ homelives and the sacrifices made by area farmers that enabled the mission to succeed.

Avatar: The Way of Water (Theatres)

More of a thrill ride or immersive experience than a normal movie, the second Avatar outdoes its predecessor in just about every way. The plot is (somewhat) more novel, the characters are more engaging and the effects more visceral and spellbinding. That said, for me, it’s an in-the-moment experience that I haven’t thought much about since leaving the theatre and I doubt would be anywhere near as exhilarating at home. I’m happy it exists but definitely don’t want all movies to be like this. (Plus I really hate high frame rate, especially the choice to arbitrarily cut back and forth between 24 and 48 fps in its director-approved presentation.)

[hullhamann83]

Top 10 Best Korean Dramas To Binge Watch In Your Lifetime

What are the most effective Korean dramas to look at in your lifetime? A listing of 10 with temporary descriptions, as well as streaming links!

What are the top 10 finest Korean dramas to binge watch in your lifetime?

1. Coffee Prince 2. My Love From the Stars 3. Boys Over Flowers 4. The Heirs 5. Doctor Stranger 6. Reply 1994 7. Heartstrings 8. Goblin 9. Miss Fisher's Murder Mysteries 10. Train to Busan

The relationships between the characters

Korean dramas are identified for his or her highly effective and intricate relationships between the characters. This makes them some of the addicting genres out there. One of the best Korean dramas to binge watch in your lifetime is The Crown. It tells the story of a younger lady, performed by Kim Ki-jun, who becomes queen of Korea. The character is deeply studied and her relationships together with her ministers are a few of the most attention-grabbing and compelling storylines in the drama. Another great Korean drama to look at is Goblin. It tells the story of a young man, played by Yoo Seung-ho, who falls from grace and turns into a goblin leader. The plot is stuffed with journey and suspense, and it'll keep you hooked for hours on end.

The number of episodes

There are many nice Korean dramas that you can watch in your lifetime. However, a few of one of the best Korean dramas to binge watch are the ones with a number of episodes. For instance, “The Return of The King” is a drama with seventy three episodes. This implies that you could watch it in one or two sittings. “Descendants of The Sun” has sixty nine episodes, which implies that you can watch it over the course of about two weeks. “Kingdom” has 60 episodes, which suggests you can watch it in about one month. These are simply three examples of dramas with numerous episodes. There are many extra Korean dramas that you would be able to binge watch in your lifetime in order for you to find the perfect one for you.

The setting

Korean dramas are recognized for their amazing and coronary heart-wrenching storylines. A few of probably the most famous Korean dramas include My Love from the Star, To The gorgeous You, and Doctor Foster. If you're fascinated with making an attempt out a Korean drama, it's important to choose the best one. Here are some tips that will help you decide the ซีรีย์เกาหลีซับไทย to your lifetime: First, be certain you might have enough time. A Korean drama can usually be watched in one or two hours. Secondly, choose a narrative that pursuits you. Not all Korean dramas are centered around love and romance. Some concentrate on political intrigue or crime investigations. And finally, choose a show that suits your personality. Some individuals want motion-packed dramas whereas others prefer tales with a more emotional tone. There is sure to be a show excellent for you!

Why should you spend your time watching these prime 10 best Korean dramas to binge watch in your lifetime?

Korean dramas have captivated audiences all around the world for decades now. It doesn't matter what your nationality may be, there is probably going a Korean drama which you could connect to on some degree. There are lots of the explanation why it's best to spend your time watching these prime 10 finest Korean dramas to binge watch in your lifetime. At first, they're emotionally engaging. Whether you’re a fan of tear-jerking storylines or complex characters, Korean dramas are sure to hit all the right buttons. Korean dramas also characteristic excessive-high quality appearing. This is especially true of older Korean dramas, which regularly function stars akin to Gong Yoo and Kim Hee Sun which have since gone on to successful careers in Hollywood. Watching these high 10 greatest Korean dramas to binge watch in your lifetime is an excellent way to study Korea’s rich historical past and culture. Finally, Korean dramas are notorious for cliffhangers that go away viewers anxious for the subsequent episode. If you’re a fan of suspenseful films or Tv reveals, then Korean dramas are positively worth your time!

[kylorenisadorkable]

How TROS Failed Rey

These are just my opinions and from my personal perspective, if these things worked for you in the movie then cool, but this is why it was never going to work for me.

A Feminine Power Fantasy

Growing up in the 90s there wasn't a ton of media that had female lead characters. I grew up with strong female characters but they were often relegated to being the token girl of the group (see the Smurfette principle), the story was never centered around them and we never got to experience things from their point of view or really get to know their story. It felt like I was being asked to relate to male characters but boys were never asked or expected to relate to female characters.

Just as young boys see themselves as Luke, leading the adventure I also wanted to see myself as the main character. I wanted to have my own adventures.

When I first saw TFA, I went in knowing nothing about the movie. I had seen the OT and the Prequels as a kid and I had thought they were ok but I wasn't a huge Star Wars fan and in hindsight I really think this was due to the lack of female representation, Leia and Padme are great but I never really felt like I really got to know them as people. Not to mention that these characters are 2 women out of a cast that's predominantly male, it just seemed like the message LF was sending was that Star Wars is for boys, yeah girls can watch it if they want to but this isn't a series that is meant for you. So as you could guess I wasn't really expecting much from these new Star Wars movies, but I was pleasantly surprised.

I fell in love with Rey's character during those first 3 minutes of her introduction. During this brilliant example of “show don't tell,” story telling they were really able to convey so much about Rey's character and personality, I really began to care for her and felt like I understood her, as I could relate to her loneliness and isolation in my own way. And I was excited to see a story from a major fantasy/adventure franchise told from a feminine perspective. It felt like I was finally getting the representation I wanted to see.

So what happened? How did we go from Luke's line “And I will not be the Last Jedi” which is essentially him “passing the torch” to Rey, the next generation, to “One day I will earn your brother's saber?” 

As if the saber didn't already choose her in the Force Awakens? Why did they decide that all of a sudden Rey was unworthy? Didn't Yoda say “that library held nothing that the girl Rey didn't already posses?” which yes was a clever way of saying that Rey already took the jedi texts with her but was also implying that she already had everything she needed within herself to be a jedi (courage, humility, compassion etc...). Why did they take a step backwards in the last movie in the franchise? Insisting that Rey needed to train, that she suddenly wasn't good enough?

I can't say for sure what happened to lead up to this point. Was it just that the creative team gave in to the pressuring of a loud minority of alt-right youtubers and bots. Were they relying on Reddit and Twitter for public opinion rather than doing actual marketing research?  While I think that this was definitely a big factor I think there was just a general misunderstanding of the characters on Terrio's and JJ's part to begin with.

What Does Rey Want/Need?

To know where they went wrong, we have to ask ourselves who is Rey? All characters have a story goal, or the thing they want. By the end of the story the character will either get what they want after some struggles of course or learn that the thing that they want isn't what they need. So what does Rey want?  To understand what she wants we have to first understand her wound or past experience that caused emotional pain and interferes with the character's life. Rey's wound stems from her  abandonment. Along with the wound, comes the concept of the false lie. What is a lie that the character believes about themselves that we as the audience knows is untrue? Rey's lie is first, that her family is going to come back for her. 

The other lie she tells herself is the belief that she is worthless because she was abandoned, as she tells everyone she meets “I'm no one“ or “I'm just a scavenger.”

When Daisy Ridley was asked in an interview why Rey says she's “No One.” Ridley says it's because our relationships to people define so much of who we are and without relationships then who are we?  This makes sense considering that our parents are major influences in our development and in how we think about ourselves through much of our lives.

Rey seeks out parental figures, thinking that through them she'll figure out where she belongs. “Whoever you're waiting for on Jakku, they're never coming back. But there's someone who still could. The Belonging you seek is not behind you. It is ahead.” 

Rey initially believes that Maz is referring to Luke and when she later sets off to find him. She believe that he is going to be able to give her answers, and provide her with the belonging that she longs for, but Luke ultimately ends up disappointing her but finds comfort in her relationship with Ben.

This goes back to the idea that what Rey thinks she wants, Isn't necessarily what she needs. As JJ stated in the directors commentary of The Force Awakens, “So there was a very powerful idea that what she desperately wanted was belonging, which she’ll get, but just not how she expects.”

JJ and Terrio try to fullfill Rey's need through “found family” the family she finds with her friends and the resistance, but I think there is more to Rey's desire of wanting family that can't be satisfied by this alone. Finn, Poe, Leia are definitely a part of her journey in finding belonging but they're not the final piece to the puzzle. Otherwise she would have felt completely fulfilled by the end of The Last Jedi when she is on the Falcon surrounded by her friends.

I think part of Rey's desire for family, is also the desire to be understood, to be “seen.”  Rey even tells Finn in TROS that “People keep telling me they know me. No one does.” We hear Ben's response in the trailer “But I do...” (which was cut from the movie)

Ben has always been shown to be the person who truly “sees” Rey. He sees even the aspects of herself that she doesn't like to acknowledge. Recognizing that her holding on to her parents is affecting her negatively and that if she really wants to “find herself” she needs to let go.

Which is why when Ben says “You have no place in this story. You're nothing. But not to me.” What is really being expressed is “I don't care about where you come from and I see you for who you are.”  

This is why I believe that Ben was always suppose to be the final piece to the belonging Rey is searching for. As their narratives are intertwined. They both satisfy each others needs as characters, Rey's need to be seen for who she is and Ben's need for reconciliation and healing within his family.

Rey Palpatine

Rian Johnson said that when he began working on The Last Jedi, he wrote out all the character's names and next to them wrote what would be the hardest thing for that character to face. For Rey, this was that she needs to stand on her own two feet and define who she is for herself but JJ and Terrio seemed to have misunderstood this as Terrio states that,

“We also thought that Rey’s arc cannot be finished after Episode VIII. You can leave Episode VIII and say, “Well, now, Rey is content. She’s discovered her parents aren’t Skywalkers, or whatever, and that’s fine.” But so much of her personal story was about where she came from, what kept her on Jakku all those years and the trauma that shaped her. We see quite strongly in Episode VII that something mysterious and troubling happened to her. Although she did get some answers in Episode VIII, we didn’t feel that that story was over. We felt that there were still more questions in Rey’s head about where she came from and where she was going. So, that was the other big idea that we had to address in this film. Rian’s answer to, “What’s the worst news that Rey could receive?” was that she comes from junk traders, and that’s true. She does come from junk traders; we didn’t contradict that.”

Rey's conflict wasn't that she came from junk traders. Rey didn't care about “legacy.” Her conflict stemmed from her abandonment. Rey thinks she's “a nobody” not because of her parent's occupation or lineage but because she feels that she must be worthless because why else would her parents give her up? Rey learning that her parents sold her off for drinking money, that they didn't want her, was already a difficult and traumatic truth to overcome. Star Wars is a coming of age story, in the OT Luke grows from being a boy longing for adventure to discovering what it truly means to be a Jedi (following your principles and having a compassionate heart). Rey's journey is about letting go of childhood trauma and discovering her own independence.

It's also strange seeing as JJ had previously stated during The Force Awakens press tour that “I really feel that the assumption that any character needs to have inherited a certain number of midi-chlorians or needs to be part of a bloodline. It's not that I don't believe that as part of the canon, I'm just saying that at 11 years old that wasn't where my heart was. And so I respect and adhere to the canon but I also say that the Force has always seemed to me to be more inclusive and stronger than that.”

And there was still conflict for her to overcome. The one person who she felt truly understood her is now the supreme leader of the first order, will the resistance discover their connection? Will they see her as a traitor? All of this had the potential for great external and internal character conflict, but for some reason they didn't see this as conflict enough to sustain a whole movie?

Instead they gave Luke's character arc in the OT of having a dark side relative to Rey. “Discovering that you actually descended from your adoptive family’s greatest enemy, the same enemy who corrupted Anakin Skywalker and is responsible for the destruction of the Skywalker family in the first place, felt most devastating to us.” This doesn't make any sense to me as it feel like they just gave Rey Luke's internal conflict of being afraid of his dark side, I don't think this was ever a problem for Rey. In fact, in The Last Jedi  she leapt into the dark side cave to face her darkness (her abandonment). Luke even says “You went straight to the dark and you didn't even try to stop yourself.” 

The dark side cave in The Last Jedi was symbolic of Rey coming to terms with her darkness (the parts of herself she wants to hide).  It relates back to Jungian psychology (which much of Star Wars is based on) that people can only become whole through understanding both the light and shadow aspects of their personality. So it doesn't make sense for Rey to be afraid of who she is in the final movie when she just finished a journey where she learned to accept who she was?

Rey Skywalker

Terrio says that the decision to have Rey take on the name “Skywalker” was a way to show that “you can choose your ancestry.” Which is not true and also a strange thing to say considering the trilogy started with this:

But even if this was just awkward phrasing and what Terrio meant to say was that she considers the Skywalkers her family. Does this make sense considering that she didn't have a great relationship with Luke to begin with?

 I've seen it argued that she took the name as a way of honoring Leia but Leia never took the name or considered herself a Skywalker. Also this is another step backwards for Rey's character as The Last Jedi was trying to assert that Rey does not need to keep looking for parental figures to define herself.

So why  must she be a Palpatine, a Skywalker and “all the jedi” anyways? I think this was done for two reasons, the first was because by killing Ben they were going to kill the last of the Skywalker family and they wanted to keep the name tied to the franchise, in case they need the characters for future projects down the line, so they just pushed it onto Rey. The second reason is that I think they were trying to appease the misogynists' who spent the last 4 years calling Rey a “Mary Sue” so they explained her power away through powerful male lineage. It just feels so weird to me, like the creators are saying that we should like Rey not because of who she is as a character but because of who she is in relation to all these other characters we know you like (Luke, Leia, all the jedi that use her as a vessel etc...)

Daisy Ridley has even expressed her frustration with the Rey's lineage debate multiple times, “I love that Rey is such a great character, they’re like: ‘No, no, she has to be… she has to be-’She’s her own person! Let her be her guys, let her live.

Yet even at the end of the final film poor Rey can't seem to catch a break as she's once again asked for her last name. She once again has to justify herself for just existing. Why are surnames suddenly so important in Star Wars now anyways? Shouldn't the correct answer be “just Rey,” now that she's come to accept who she is and where she's come from and shouldn't that be good enough? What happened to the message of anyone can be a hero? That you don't have to come from or align yourself with a powerful family legacy. That we all have the power to make a difference?

TROS seems to be constantly asking Rey to prove herself. And weirdly enough it reminds me in a strange meta way of my own experience being a woman in the fandom and being constantly asked to prove that I'm a “True fan” (whatever the f@#% that means...) to prove that I'm worthy of consuming and participating in this content that male fans feel belongs solely to them.

In Conclusion

So what did our heroine gain in the end? Did she find family and belonging? No. So what does she have in the end? A yellow lightsaber (for merchandising purposes) and a surname of a dead family?  I guess she finally has an answer to give all the nosey nellies, obsessed with ones pedigree that have suddenly popped up all over the galaxy.

It's not a satisfying ending for her, as she's basically right back where she started. Alone, in a desolate desert, once again staring face to face at an old woman (an old woman which at the start of the Force Awakens symbolized her fear of growing old and wasting away her life on Jakku).

Terrio states that  this is not meant to indicate that Rey plans to stay here, “The very last thing Rey would do after all that is to go and live alone in a desert.”  but when that is the last shot you chose to end the movie on then what is the audience suppose to think? The bigger issue however, is that Rey's ending holds no significance to her or her journey. Terrio says that “In our thinking, Rey goes back to Tatooine as a pilgrimage in honor of her two Skywalker masters. Leia’s childhood home, Alderaan, no longer exists, but Luke’s childhood home, Tatooine, does. Rey brings the sabers there to honor the Skywalker twins by laying them to rest — together, finally — where it all began.” Tatooine, the Lars homestead and the twin suns, don't mean anything to Rey.  You know who did mean something to Rey? Who was the one person who understood her, who she had an intimate relationship with, who she explicitly states she wanted to be with? Ben. But he's gone too. But clearly a light saber and surname are more important. Again this all comes from a lack of caring for what Rey wants.

I just wish that the Sequel Trilogy had stayed Rey's trilogy, that she got to be a heroine in her own right not because she was a skywalker, or a palpatine or from some other powerful family. I will always love Rey but I will always hate what they did to her and I'm tired of people invalidating my feelings and telling me that it was a good ending or that it was empowering. I just want heroines to be taken as seriously and to have all the same privileges as male heroes. Let them stand on their own without connecting them back to every male hero in the franchise, let them be their own character, and finally just let them be human, let them fall in love and have relationships if they want to. Male heroes are never considered to be less of a hero for having a love interest, so why are female heroes? Basically what I got out of the Rise of Skywalker, was that it was created by a couple of guys that loved Luke and the OT and could care less about Rey and that's truly heart breaking.

[l-a-l-o-u]

I'm so glad you liked Luca! I've been watching some reviews and they all called Luca "something not on Pixar's style" and "not deep" and whatever and I'm like??? Did we watch the same movie? Luca is something fresh and different, and you really feel in an Italian town (or at least I did >>) and aaaaa. Sorry for rambling, Luca is just *chef kiss*

i have SO many things to say about this film!!! to me, it felt like one of pixar's best recent films. i say this because of three things: the stylization/designs, the setting, and the main characters' relationships. and it can all be described in one word: SIMPLE.

i love the style of Luca SO MUCH, because to me they finally found that balance between cartoon proportions and hyper-realistic lighting and textures. Soul looked very good, but the characters didnt seem to belong in their environment at all - the architecture around them was perfectly realistic, but the characters were cartoonish. They were tied together by having super realistic textures, but it still felt a little off. In Luca however, they added a softness and some fun shapes to the environment, and although the lighting is very realistic, all the textures are fairly simplified. Like, one of my biggest pet peeves with 3D animation is how they make these big cartoony eyes and then give them a 30k resolution iris where you can see all the little strand things - but for once, FINALLY, they didnt do that in Luca!! and it makes for a world where you can fully suspend your disbelief and get immersed in the story. even me, who watches movies while constantly looking for things to criticize and dissect (i just think its fun), had barely anything to say about the visuals of this movie. it was just STRONG!! also!! they used that technique where you use a different head rig for the head seen from the side so you can really alter the geometry and make a really appealing mouth shape!! kinda like how it was in the cgi Peanuts movie. when Alberto torns his head sideways and his mouth just goes full pacman to chomp on some pasta i lost it!! i loved it so much!!!

then, the setting. like you said, perfectly recreated a small town in italy, ive never been in one but i immediately recognized and loved it. this entire movie takes place in such a limited number of sets! and i think its GREAT!!! a lot of recent animation movies will take their characters on a journey across so many environments, and while that can be interesting, you never stay in one place long enough to truly appreciate it imo. in Luca, there's less than 10 places that you constantly see: Luca's home, the field with the fish, Alberto's tower, the village square, Giulia's backyard, her kitchen, the little area of ocean by the town, and the hill they bike on. That's it! So you have a chance to be extremely familiar with those places, and how they relate to each other. It's a story that is very well contained and because of this, the environment becomes its own character! I think its a genius move and more animation movies should do it - if only for the fact that making less sets means you can spend more time polishing them. Every environment in this movie just has so much personality!!!

and lastly: the relationships. the main 3 characters are instantly friends, and although it happens quickly, it feels very genuine - and i think thats 100% due to their age. children characters are just the best, man. especially when they feel like real kids, with very defined quirks and personality traits. Alberto is confident, Luca is a dreamer (dont get me started on those daydream sequences ive never seen anything prettier in my whole life), and Giulia is competitive. thats their core and they just elaborate on that without making them too complex, so theres plenty of time to explore what we do know about them and how they relate to each other based on that. and theyre just full of love!!! we love to see it!!!!

i could keep going on for hours but anyway - youre right, Luca is amazing!!! ok maybe the movie isnt #deep like some others Pixar made but it is extremely fun and well made. everyone go watch it!! it has immaculate vibes its so wholesome!!

[1ddiscourseoftheday]

Wed 3 Feb ‘21

LTHQ has, quite rightly, announced the postponement of Louis’ North and South America tour dates “due to the ongoing uncertainty” around the pandemic. New dates will be announced “as soon as there is clarity on when it is safe for touring to happen again” and tickets will be valid for those new dates when they’re set. Siiiigh, yeah. With all the shuffling that had happened, these had become the earliest of the LT Tour dates scheduled, so now the first ones remaining un-postponed start in June with the Ukraine and Russia dates. It would be wild if those ended up going ahead and Kyiv got to be the tour opener show, I’m guessing they don’t get that kind of big show a lot! “Louis can’t wait to get back to doing what he loves most, which is performing for you,” the announcement says. “Stay positive,” Louis tweeted, “hope everyone is doing all right,” taking the words I want to say to HIM right out of my mouth. Maybe THIS will be the last of these sad announcements? We can only hope so.

Helene Pabrum is thinking about live shows too; in case you weren’t saddened enough by the LT Tour news, she posted a small collection of joyous colorful HSLOT crowd shots that make you feel like you’re there, captioned “keep shining ladies”. Meanwhile more pap pics of Harry from the DWD set are out today, including some of him out of costume in all white (including a vintage Motown t-shirt and slippers) and some of him in just a little bit of costume, just slacks and a whole lot of makeup covering his shirtless torso-- all his tattoos are fully disappeared! SO weird looking who even is this man? And Bobby Berk posted some throwback pics from when they did karaoke 2 years ago in Japan- the little weirdo looking mildly awkward in the curls and old man cardigan feels much more recognizable as our dear Harold.

Liam’s weekly FIFA podcast is out, continuing its journey around the world in matched up guests with two guests (as always, a footballer and a musician) representing Venezuela this week. Liam says South America is “the best place because everyone over there is so passionate,” talks about starting out in the industry so young, saying, “you see a lot of child starts who go off the rails and for me I thoroughly believe that it’s the people you have around you who are your role models, who are your mentors at the time. Cause there’s definitely been places that I’ve needed to be brought back from,” and tells about getting recognized at a random petrol station in the wilderness in Africa when they were driving out to film the Ant Middleton special. He also relates his quest to become even more of an icon to the grinder crowd than he already is- “before lockdown started I used to be an underwear model, now I look like a lumberjack.” Yes that’s right and both looks are heartily appreciated by the masses sir!

Louis followed a boxer on instagram who is I believe actually a boxer and not a MMA fighter but hell who knows anymore, and he cruised the replies to his tweet (you can tell cause he accidentally liked a random fan question then unliked), a new Zayn Martyr ad pic dropped, an extreme close up of Zayn’s, like, necklace area? What do you call that, decolletage? Anyway and of a martyr branded electric guitar he’s holding, weird, though the necklaces are the main focus. And with the Watermelon Sugar vinyl, sold in July and Aug, finally arriving in buyers’ hands, you would think that saga would at long last be happily concluded but NO! It seems the records maybe WERE already made and spent the long months sitting in a hot warehouse somewhere, cause many of them are arriving horribly warped (as heat exposure does to vinyl). The resulting discordant warbly underwater effect makes for an interesting remix version I guess, but it is definitely not what buyers were led to expect. Hey Jeff, is this one of the examples you’ll be using to showcase your organizational skills on that application to handle vaccine distro? We’re just wondering where to submit the testimonials about what a great job you’re doing!

[introvertguide]

The works of Bernard Hermann

In this blog, I have tried to celebrate the great directors, composers, and cinematographers of film along with the movies that they produce. I am sad to say, however, that I have spent over 3 years on this film journey and have barely mentioned the works of my favorite film score composer. I love the work of John Williams for his uplifting scores that make an audience want to cheer and I love the popular culture masterpieces created by Rogers and Hammerstein plays, but nothing competes with the psychological encapsulation of a character like the works of Bernard Hermann. I want to go through some of the movies he has scored and I feel you will be surprised how many stand out pieces he created that are part of the American zeitgeist:

Citizen Kane (1941)

Starting of strong! The first movie that Hermann scored is considered by many to be the best American film of all time. He unfortunately did not win the Oscar for this work...because he lost to himself. He won his only Best Musical Score Academy Award for the film The Devil and Daniel Webster.

The Day the Earth Stood Still (1951)

Taking advantage of both the theremin and the glockenspiel, Hermann created the first electronic sound score in Hollywood. It has a sound that defined the outer space monster movies of the 50s. Here's a little sample of the famous opening. Think of all of the movies and TV shows and video games that are set in space that have a similar sound:

https://www.youtube.com/watch?v=rYbHpXca7U0

The Man Who Knew Too Much (1956)

I like this soundtrack because it exemplifies a love for good music without needing to put your own stamp on something that is already great. This was a remake of the 1934 film and Hermann decided to leave the original cantata that marked the film's climax as well as use the "Que Sera, Sera" song that the film was known for. Hermann was given the option to conduct his own climax score, but he recognized that it was better as it was and simply extended the length of the song to fit the Hitchcock remake.

Vertigo (1958)

Those who don't think that Citizen Kane is the best American movie generally think that this film is the best. One of the reasons that this film is so good is the score. Bernard Hermann liked to use harsh string sounds that were circular in nature to give a feeling of obsessive thoughts of a character. This is emphasized by deep brass intrusions that emphasize reality crashing in. It is truly capturing the sound of anxiety, and Hermann was able to do it effectively, over and over again. In fact, Martin Scorsese noted this as the first time he had heard a film score that truly captured the feeling of obsession. As a youth, Scorsese said he wanted to some day create a character that would fit this kind of score. Here is a sample of the theme that really exemplifies the film:

https://www.youtube.com/watch?v=kC5AzFc3coo

The 7th Voyage of Sinbad (1958)

I really like this film score because of how it fits with the Ray Harryhausen created monsters. It is so different from the internal struggles that Hermann captured for Hitchcock and instead accompanied the very outward struggle between man and mythical beast. It really captures the toil and desperation that a human would have facing off with a mythical creature. The vast range of instruments used to capture the essence of every monster is phenomenal. My favorite is the use of the xylophone during the duel with an animated skeleton:

https://www.youtube.com/watch?v=G5cLIrGuoVY

Psycho (1960)

One of the best known film scores of all time, this film owes a large part of the success to the score. The famous shower scene was supposed to be silent, but Bernard Hermann convinced Alfred Hitchcock otherwise and added that famous violin sting that mimicked the stabbing motion. There are few people in the world that can even compare with Hermann's ability to capture mental turmoil. A perfect match with Hitchcock's style, it is no wonder that Hermann scored a total of eight of Hitchcock's films.

Twisted Nerve (1968)

You might not know this movie or the soundtrack, but if you have ever seen Kill Bill Vol. 1, then you probably remember that horrific whistling of the one-eyed nurse sent to kill the bride. It is not the whistling per say, but the music that it is played over it that is so unnerving. It is dissonance on purpose and this might be the most effective use of it in a film that I know of. It is the embodiment of a dream turning into a nightmare and it is amazing:

https://www.youtube.com/watch?v=c1NN9rnNpEQ

Taxi Driver (1976)

This was the last work of Bernard Hermann and a dream come true for Martin Scorsese. The director and composer worked together to make that obsessive sound that worked so well for Alfred Hitchcock. With the combination, they successfully brought Travis Bickle to life and made him fully psychotic. That is one hell of a final work.

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There are other works by Hermann not mentioned here that are fantastic, but trying to include everything would be an incredibly long post (the guy was a really prolific writer). I highly suggest checking out YouTube and searching Bernard Hermann scores. There is a lot of content and I am pretty sure you will find something great to add to your music list.

[standard-muse]

What happened to Rey?

Rey was honestly one of my favorite characters coming out of TFA, but I couldn’t figure out why I was walking out of TROS feeling like there was something off about her. I decided to dive into a character study to see what the issues were. That’s when I realized the unbelievable character regression we witnessed in TROS. I know I’m not the first one to notice this or comment on it, but here are some of the key elements I noticed.

Rey’s Wardrobe:  Rey’s wardrobe in the first two movies does an interesting thing. She starts off in an off-white outfit, very similar to the looks we see on Anakin in TPM and Luke in ANH. This signals the beginning of all three of their stories. Each character begins as a child and is inexperienced and naïve in their training and maturity. Then, we move to the second movie. Rey progresses to cool grays, Anakin movies to a series of deep blues, browns and black; and Luke also moves to a gray color scheme. This signals the growth, the changes, the rise in maturity and knowledge, and signals the step that they are no longer in that place of innocence and adolescence. This matches what we see on screen in ESB as Luke dives deep into his training, Anakin goes on his first solo mission in AOTC, and Rey trains with Luke in TLJ – it fits perfectly.

Then, we get to the third movie. And here’s where the problems begin with the choices they made with her character. In ROTS Anakin is wearing all black, he has a gloved hand -- his wardrobe not only signals his completion into maturity but also foreshadows his eventual turn to Vader. Luke is also wearing all black, at one point he has a cloak, and his wardrobe shows the struggle and trials he’s been through. Luke is no longer the same man he was in ANH. Famously, Luke’s all black wardrobe raises the question of “will he turn to the dark side like his father?” And after he refuses, we see the white lining to understand that he was always good on the inside. If we were to follow this trend (since Star Wars is supposed to rhyme), Rey should have been wearing dark colors. A darker color would have also been a nice callback to the teasing question we had with Luke, but instead the question would have been “Will we see Rey join Kylo on the Sith throne?” Instead, what we got was a blindingly white outfit that was identical to her TFA outfit. Not only does this symbolically point to a regression in her character and the work and training she’s gone through, the stark white paints her as an innocent – a pure creature that is untouched and has a naivety about her and her experiences. More than that, it’s almost identical to the outfit she wears in the flashback when her parents leave, telling us that after the acceptance we witness in TLJ that her parents are gone and her place is ahead of her instead of behind, she’s suddenly regressed back to waiting for her parents to return to her. This outfit did not suite the Rey that we left in TLJ who showed development and experience. 

Rey’s Hair: It’s been a common theory that the reason Rey has her 3-bun hair style is because it’s the same hair she had when her parents left; and the reason she kept it was so they could recognize her if they returned. This ties into the same point made that she is wearing the same outfit she had as a little girl so they could recognize her too. The irrational hope that even as she knows (as Kylo unlocks this memory within her) that her parents are gone, she still won’t let it go. The problem with this hair choice for TROS is that Rey had already moved passed this way of thinking. In TLJ we see his beautiful moment of her accepting Kylo’s words to “Kill the past so you can be who you were meant to be”, seconds later after this scene she dives into water (i.e. a rebirth or baptism) and comes out with her hair down. This was beautifully done and was a great way to show the big step Rey had just taken in her character journey. Not only that, but immediately after she lets her hair down, she reaches out to Kylo again and they admit to each other that they’ll never let the other person be alone (i.e. a new family). Unfortunately, the writers of TROS decided not to follow up on this, and instead her character goes back to the same little girl hairstyle she’s had since she was a young child. This felt like Rey tacking a Padawan braid in her hair after she had already ceremoniously cut it off. There was no excuse or reason to justify it either other than that she reverted to a child like state.

She was living with Leia, the Princess from Alderaan, the place with a culture famous for their braids. Would it not have made infinitely more sense for Rey to be sporting an Alderaan-like braided hairstyle? Not only would that have helped TROS’s “New-Found Family” theme they were poorly trying to convey, but it also would have emphasized the relationship and connection between Rey and Leia. It would have been an easy way to show the audience that Rey and Leia had bonded, without them having to film it (which they couldn’t have anyways).

Rey’s Staff and Saber: Now, Rey’s staff has been with her since the first moments of TFA. She relentlessly carries it around with her all across Jakku and it’s her main form of protection. This makes total sense in the TFA timeline. However, about halfway through TLJ we see her shift her attitude towards the staff. There is a moment on Ahch-To where she’s practicing with it, she stops, and instead shifts to using the legacy saber for her training. Not only that, but during her fight with Luke she uses the staff for a moment, only to quickly drop it in favor of the same saber. After which point, she never uses it again in TLJ. By the beginning of TROS, after we’ve clearly seen the legacy saber working and her using it, it makes no sense for her to continue carrying around the staff. The staff was a symbol of her time on Jakku, it was her main weapon of choice before she became a Jedi and before she joined the Resistance. After she goes on her journey for a little bit, in TLJ she moves past that, she sets it aside in favor of the saber since that is where her future is. However – in TROS she inexplicably goes back to carrying it around like a safety blanket. It's another tether to her childhood that the writers insisted on keeping around even though it had no purpose. She uses it one time with Zorii Bliss, but even then in a second she swaps it out for the saber. There was no purpose for her to have this staff with her and more often then not, it hinders her ability to use her saber, the true Jedi weapon. In one scene—ridiculously—she carrying around the staff, the saber, the sith dagger, Han’s blaster, and Chewie’s crossbow and bandolier. She looked like the character from Jumanji with the giant backpack that is just known as the weapons valet.

As for the saber and how it relates to her character regression… In TFA we hear Maz Kanata say “This lightsaber belonged to Luke, and his father before him, and now it calls to you.” She then proceeds to use the lightsaber to defeat Kylo Ren and the Praetorian Guards all on her own. She’s trained with it, it flies into her hand when she calls to it, and she retrieved it after Luke threw it away on Ahch-To. This was Rey’s saber. However, in TROS we get this perplexing line of her returning the saber to Leia (who never owned it?) and saying she’ll earn it again one day. This was wrong on so many levels. Not only did Rey already earn this lightsaber, and it called out to her in Maz’s castle and on Starkiller; but the fact that she doesn’t even assume she’s worthy of holding a lightsaber means her Jedi’s journey is in it’s infant stage in the final film of the trilogy. Compare this to our other main protagonists Anakin and Luke, they’re both masters (sorry, Anakin) at their craft and proficient and confident with a saber. Anakin defeats Dooku when Obi-Wan can’t and Luke has built his own saber and takes on an entire barge of criminals. They’re both exactly where they should be in their Jedi/Hero’s journey at this point in the story. But, in TROS, Rey takes an epic step backwards from all the groundwork done in TFA and in TLJ and is put in the place of a Padawan. Where she should have been prepared to fill in the shoes of master, she’s not even fit to carry a lightsaber without permission from a parental figure. What’s worse, it is brought to our attention that Rey is trying to earn this saber, and in the end, she ends up just burying it in the sand and making a new one anyways. In a weird way this feels like she gave up on that idea entirely, or failed at it, and instead decided to make a new one because in the end she didn’t feel worthy to use it.

Rey’s Maturity/Emotional Mindset: For lack of better word, Rey’s maturity in this movie takes a huge step back as well. Again, if we look at our other protagonists Anakin and Luke, they both start off as young, naïve, and somewhat whiny. Rey, blessedly, never whined but we do see a great amount of youthfulness and child-like behaviors from her in TFA. She slides around on sand dunes, she runs away in Maz’s castle when she gets scared, she plays around with a x-wing helmet. This is the perfect place for her character to begin and balances great with the parallel of Luke and Anakin who both are in similar states. Then, in TLJ, like Luke and Anakin, Rey matures. She’s no longer playing around, she faces Luke head on and fights for what she knows is right, she doesn’t shy away when she’s scared, she enters into a relationship much like Anakin did – signaling her maturity and stepping into adulthood. Rey in TLJ grows up so much in the best possible way. After her hair comes down, and after she shares the hut moment with Kylo, she steps up fully and makes the choice to go and save him, moving away from her master to go on the journey on her own. She faces Snoke with her chin held high and doesn’t cower or get persuaded by him. She never lashes out irrationally and is poised and dignified the entire time. We see this again at the end with Kylo and her during the last force-bond scene of TLJ. This is after they’ve already parted ways and after she realizes he’s taken on the mantle of Supreme Leader. What we see is Rey standing there, poised and dignified, mature and calm as she looks him dead in the eye and closes the door on him. I’ve seen 50-year-old adults less mature than Rey is in that moment – and it is a wonderful moment of her character growth.

This was mentioned by @Forcebond-Shenanigans and I wanted to touch on it a little bit more. Rey in TROS acts completely irrational to Kylo up until…well Exegol basically. In one particular scene, Kylo is calmly standing there (in the weirdest framed shot ever, but that’s besides the point) talking to her normally on his ship, warning her that Palpatine is trying to kill her, and Rey immediately pulls out her lightsaber, bares her teeth, and threatens him. In fact, any time he is present around her, she attacks even though he never tries to attack back. Kylo, in every scene, is just trying to have a normal adult conversation and Rey—for some reason—keeps trying to fight him. It’s undoubtedly immature and goes against everything we’d seen between the two of them in TLJ.

This. Does. Not. Make. Sense.

In TLJ she’s already established a close, intimate connection with Kylo. She’s told him her deepest thoughts and feelings and he’s listened calmly. She already knows she can sit down and have a normal, easy, rational conversation with him even after what happens in Snoke’s throne room. It might have made sense for her to lash out at him if he too had his lightsaber out, or was threatening her, or doing something else sinister. But even when he’s trying to help her by letting her know Palpatine is after her, she still lashes out at him. This, in no way, fits the Rey we saw at the end of TLJ who was able to calmly close a door on Kylo without so much as creasing her forehead at him. Her attitude towards him for 95% of this movie feels like we’re stuck in the middle of the Starkiller Battle.

Rey’s Hero Journey/The Tatooine Ending: For Anakin and Luke, we see their hero’s journey come full circle within their trilogies. Anakin starts off as a child, learns the Jedi ways, becomes proficient at it, and by the end of ROTS is ready to lead the next generation (He just…takes a detour to the dark side instead). Luke as well, begins as child-like figure, learns the Jedi ways, moves beyond the point of needing a master, and by the end is ready to pass the baton to the next generation of Jedi. Rey begins as a child, learns the ways of the Jedi, becomes very skilled at it…then goes back to needed a teacher, is unworthy of her lightsaber, needs the help of other Jedi to fight off Palpatine, and ends the movie going back to the home of her masters who were also a sort of parental pair to her (which is weird, but for other reasons).

Now, Rey was put in this place of taking on the mantel of the Last Jedi. She inherits that from Luke after Luke passes. Presumably, that set her up to lead the next generation of Jedi as that was what Snoke was trying to prevent Luke from doing. She is supposed to pass on that knowledge so that the Jedi can survive. However, by the end of her story she’s simply…not ready. Comparatively, if we look at either Anakin or Luke, they were ready to pass the baton to the next generation. Luke had proven himself to the point where even Yoda says, “No more training do you require.” And Obi-Wan says to Anakin, “I’ve taught you everything I know, and you’ve become a far greater Jedi than I ever hope to be.” Both our protagonists in the OT and PT are clearly shown to be at the end of their training and ready to lead the next generation. Rey, on the other hand, begins TROS still acting like a padawan who’s trying to earn her lightsaber. This was such a bad writing choice as we now finish this story with Rey not in the place of being able to adequately pass that knowledge along to others, and even worse, not even ready to be considered a master at her own craft herself. This would be like Anakin ending the trilogy in a Pre-AOTC state of being. It’s unresolved, it’s unfinished. They backtracked her journey so much she’s not even close.

To further this blunder, we get this extremely bizarre scene on Tatooine. It’s weird from the second we see the ship land and it gets weirder every second we’re there. Rey, who should be a mature leader, stepping into the shoes of Luke and Leia, ready to lead the next generation of Jedi as a master is…sliding around in the sand like she did on Jakku. One might call this a cute callback to TFA, but in a lot of ways all this did was further drive home the blatant character regression we see in Rey. She is now ending her story in the exact same way she started it in Jakku. Comparatively, If we look at Luke in ANH we see him in white, dreamily standing and looking at the twin suns. At the end of ROTJ, we see him dignified and powerful as he watches the force-ghosts. Luke by the end also has a new outfit on that’s drastically different than the one he started with, he’s surrounded by his friends and family, and you can see the change in him. Anakin in TPM compared to ROTS is even more extreme, the little boy is now a full-grown man, a man who got married, who had kids, and is now second in command to the Galactic Empire as he’s clothed in metal. Rey, in TFA starts off alone on a dessert planet, clothed in white, dreamily looking up at the sky. And ends her journey in TROS alone on a dessert planet, clothed in white, dreamily looking up at the sky.

And as if that wasn’t strange enough, the scene gets even more bizarre. At the end of her story, Rey should be confident in who she is, she should be taking on the mantel of master she should be leading others, and she should be at the point in her life where she’s not looking for her parents so she can be a kid again, but instead is thinking about starting her own family (not saying right away, but that’s where her direction should be). This is the natural place for somebody who’s now fully an adult and has gone through all the growth she did. By the end of her story she should have fully replaced her master’s roles and would be taking in her own padawan. Instead of looking for a parental figure, she should be in the place of being a parental figure.

And yet, instead of that, what we’re left with is a moment where somebody asks Rey who she is and she inexplicably turns to her metaphorical parents, as if asking for permission, and then tells this lady she’s a Skywalker. And as much as I’d like to think she took this name because it was Ben’s name and she was claiming herself to be his wife, unfortunately I think the reason she took it was because she was still, still stuck on trying to replace this parent figure in her life.The issue here isn’t with her choosing a new family, which presumably was the point of her story in TROS even though it was botched and spliced together, the issue was that the writers decided to end her story with Luke and Leia, in the weirdest way, almost taking her in as their kid. It might have worked if there was the whole family of Skywalkers there and she was embracing everybody equally, but the fact we only see Luke and Leia (who she calls her masters and who act as the parental figures to her in this movie), and the fact she doesn’t choose Solo or some other new name, one could argue the point that this wasn’t a new name by marriage or a new name by embracing a new identity, but decidedly was Rey stepping into the roll of Luke and Leia’s adopted daughter. The complete opposite of where you’d expect her character growth to end up (e.g. moving forward and starting her own family and being the leader of that family), Rey finishes her story by stepping into the role that is almost always reserved to the role of a child. And it makes no sense for our main protagonist to end up here.

.

Not only did Rey’s character stay stagnant throughout this movie, in a lot of ways it made a complete 180 to the point where if felt like we were watching TFA Rey.

Overall, this left me feeling unbelievably frustrated at TROS and the disservice it did to all of it’s characters – but Rey in particular. She is such a great character and we could have seen so much more from her than this. She deserved so much more than this. She earned it. Rey was a strong character and a wonderful inspiration to many people and this movie completely sacrificed her story for the sake of fan service. I have never cried more during a movie than I did during this one and all of that can be traced to how bad I felt for all these characters and what the writers did to them. I hope one day we can see them again but in the hands of somebody who takes care of them.

[entertainment]

I posted 272 times in 2021

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My Top Posts in 2021

#5

Entertainment Spotlight: Kylie Jefferson, Tiny Pretty Things

If you recently binge-watched Tiny Pretty Things, you may recognize Kylie Jefferson, who stars as Neveah. Born and raised in Los Angeles, California, Kylie began dancing at just four-years-old. By age six, she was the youngest student accepted to academy level at the prestigious Debbie Allen Dance Academy (DADA). As her passion for ballet grew, Kylie came to split her preteen summers between DADA and Washington D.C.’s Kirov Academy of Ballet. She graduated from Boston Conservatory in 2016 with a Bachelor of Fine Arts in contemporary dance. Kylie’s first gig as a choreographer was for ScHoolboy Q’s “CHopstix” (featuring Grammy-Award nominee Travis Scott) which earned her a Universal Dance Awards nomination for Favorite Music Video Performance. On stage, Kylie has performed at various award shows, including the 2020 Grammy Awards and the NAACP Image Awards. 

Can you take us through a typical day on the set of Tiny Pretty Things?

Usually starting with an early morning, arriving to set around 6:30am. After eating breakfast, arrive at hair and makeup (which was a hotspot on our set, always a good time and space to soak up some love). Then I’d get into wardrobe and arrive on set to block the upcoming scene; this would be a time for me to also work with our acting coach Maria or scene partner. On dance days, we would have time set aside to warm up—with a cast ballet class for those whose schedules permitted, or on our own. I always loved to sneak away and use the Pilates reformer that was actually built as a prop for the show. We were allowed and encouraged to utilize the gym equipment props. After shooting a few scenes, I would most likely have a rehearsal, an acting session, wardrobe fitting, and lunch/dinner. Being Kylie, lol, I always slid a nap in during that time. I’d come back to set to film another scene and wrap up the day around 2am.

You’ve been dancing since you were four years old. What are the most important lessons that dance has taught you?

Work ethic.

Tapping into emotions.

“What you do in rehearsal is what you do in performance.”

How did your experience as a lifelong dancer impact how you approached the role of Neveah in Tiny Pretty Things?

For me, it was remembering some of my own experiences. Neveah also struggles with emotions Kylie never knew how to properly articulate, so there were scenes where Neveah gave me a chance to show up for moments in my life I had not healed from or handled properly.

What do you geek out about?

It’s the little things for me, chocolate chip cookies have my whole heart. Pilates is my fav! And who doesn’t love a brand new pair of pointe shoes?!!

What’s a fun fact about the making of Tiny Pretty Things that fans would be surprised to find out?

Some of the photos on Neveah’s bedroom wall at The Archer school are actually of amazing dancers I’ve known for years: Chloe Arnold (Syncopated Ladies & choreographer of Late Late Show w/ James Corden) and Ashley Nicole Mayeux (Alonzo King’s Lines Ballet, Complexions Contemporary Ballet, and Alvin Ailey). I was so thrilled to be able to include women who’ve inspired me along my journey. It was also extremely cool to be a part of the process in that way.             

Describe each of the following in one word: Who you are, what you value the most, and what you’d be if you were a food item.

Who I am: everything.

What I value most: self-love.

What I’d be if I were a food item: chocolate chip cookie!

Thanks for taking the time, Kylie! Tiny Pretty Things is now streaming on Netflix.

3091 notes • Posted 2021-02-08 19:14:04 GMT

#4

Entertainment Spotlight: Tenika Davis, Jupiter's Legacy

Actress, model, and Taekwondo champion Tenika Davis stars as Petra Small in Netflix’s first original comic book series, Jupiter’s Legacy. Tenika began her career as one of the finalists on the first season of Canada’s Next Top Model before signing with Ford Models. She played a lead role in the indie hit, Jumping the Broom, with other credits including Wrong Turn 4: Bloody Beginnings, Degrassi: The Next Generation, Lost Girl, and Skins. Tenika lives in Ontario with her two cats, Maximillian and Symeon, and loves to travel, watch movies, read, study astrology, and paddle surf in her spare time.

How did you get into the mindset to play Petra Small? How do you stay in character?

Petra fights fiercely to protect the people she loves. That is something I was able to identify with. When I was growing up, all I wanted was to make my parents proud. I knew Fitz and Petra's family story all too well; as a child, my parents got divorced because of an extramarital affair. I remember thinking that their divorce was somehow my fault, and if I could do something to make them proud, it would bring my family back together. Petra is a classic overachiever. What drives her is the need for her father's love and approval. She wants a family and is able to find that dynamic through The Sampsons, who she considers family to her and Fitz.

Can you share a memory from the set of Jupiter’s Legacy that stands out to you?

During filming the big fight Supervillian fight scene, it was 3:30 am, and we had 30mins left after a 14 hour day, and only enough time for a few takes to get the shot. Everyone was feeling the pressure. I was the last person to go, and when they called action, I felt a fire erupt in me; I screamed and ran straight for the target throwing those punches as fast as I could. I broke through mental and physical limits that day and surprised myself with what I was capable of doing.

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3154 notes • Posted 2021-05-11 17:50:21 GMT

#3

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3222 notes • Posted 2021-03-30 19:01:27 GMT

#2

I want to stop fighting the patriarchy and just start helping the matriarchy.

Kirt, Betty

I wanted you to be the first to know.

I'm gonna live.

Ritchie, It's A Sin

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3460 notes • Posted 2021-06-11 16:01:16 GMT

#1

Attention: On July 14th 2021, the God of Mischief will be transforming Tumblr into TOMBLR and Tom Hiddleston will be answering some of your questions!

Ask wisely.

22145 notes • Posted 2021-07-01 16:33:41 GMT

[im-the-punk-who]

Hi! I’m new to the fandom and I’m simply curious (not trying to start a feud or anything), why don’t you like Steinberg?

Hello dear anon! And welcome to the fandom! 

Oof. That’s a question. xD 

I’m going to try and stay as uh. neutral as possible. Because I’ve already written the post I know I failed but, the intent in answering this is also not to start a feud or hurt anyone’s feelings. 

Okay, so I got fairly negative in this chilis tonight, so I want to start by saying that even in light of the opinions I’m about to express, Black Sails is one of, if not my number one, favorite TV shows of all time. Certainly in recent memory - I’ve been hyperfixating on this show for 18 months with no sign of stopping, and I have a tremendous amount of respect for everyone who worked on the show - even Steinberg. (The one exclusion is Michael Bay, he can go twist.)

AND I think Stienberg is an incredibly talented writer. Black Sails is one of my favorite shows because it does such a wonderful job of weaving stories, creating characters, and melding things in a way that is both unexpected and makes sense narratively. I have changed as a person because of the show, and they will have to pry James McGraw and Thomas Hamilton from my cold dead knives-attached-to-them hands. None of what I’m going to say is meant to detract from that.

I will also say that a lot of these issues are not particular to Steinberg and are in fact a systemic problem with American TV + Film. And I’m not leaving Robert Levine out of my criticism, it’s just that Steinberg had the biggest hand in the pot(he wrote a full half the episodes) and a lot of what I’ve heard as far as talking about the show comes from Steinberg. So, he gets the brunt. But it isn’t that I think Steinberg was the only problematic element of the show. 

Also, these are all my opinions and are colored by how I interact with my fandoms. I am not only a fandom veteran, but I work and pretty much live in the entertainment industry. I work in indie film and theatre and am surrounded by artists and creators of all walks of life, like, constantly. I know what is possible, and when I see something that can be improved, I want to note it because it is important to me to always be striving forward. Like Miranda says about Thomas, this isn’t out of malice, or out of hate. It’s because I genuinely love this show, and I love entertainment as a whole, and I think in order to get to a better, more inclusive industry we have to have hard conversations and look critically at the media we consume, and it is frustrating to me to time and again see the same faces in the room. 

But if that isn’t your cuppa, that’s fine! Fandom isn’t meant to be stressful and if all you want to do is watch a show about gay pirates that is your tomato and I applaud you. Have at it you funky motherfucker.

OH! One more. At some point I’m going to talk about Silverflint. When I do, it is NOT meant as a ‘you shouldn’t/cant ship this’ or ‘this pairing is bad’ or any negative attack on the people who ship that pairing. My criticisms in this post are exclusively about what it means for Steinberg as a writer and Black Sails’ representation of gay and mlm men. While it’s not my cuppa, this is a sail your own ship blog. 

OKAY! SO! 

My main criticisms of Steinberg & Co boil down to:

The homozygosity of the writers and directors shows a complete lack of desire to include marginalized people in the writing of a show that is about them. Which leads to:

The centering of white men while choosing a historical setting and time period that was in fact dominated by people of color and specifically a black woman, 

The gratuitous inclusion of violence against women, particularly sexual violence, and again, that the female characters are often sidelined for the central male characters. 

SO.

Black Sails is a show centered around queer, female, and black leads, and yet there were only two non white-male directors (one bi-racial man and one white woman) and only 7 female writers - one of whom was Latina. The entire rest of the major creative staff was white men. I’m not going to comment on sexualities but none of the writers or directors are out as queer according to a quick google search. 

Let me reiterate the important bit there. 

In Black Sails, where the last two seasons specifically feature around a real, actually-happened-in-history event that shaped black history in the Caribbean, there was not a single black writer on the entire show. 

This is the main difference between inclusion for inclusion’s sake, and actually centering marginalized voices. Black Sails has a ton of gay, POC, and female rep in front of the camera but practically zero representation behind it, which leads to storylines and implications that Steinberg and his writers, as white men, simply would never realize.

It’s like why Silver and Miranda never realized the true reasons James was waging war on England. They just did not have the life experiences to realize they were missing a piece of the puzzle, and so they filled in their own without even realizing they’d done so. 

Because no one in the room of Black Sails was a part of these marginalized identities, nuances get lost or mistranslated, motivations get muddled through a white man’s gaze(or a straight person’s) and implications that someone within those communities might think is obvious won’t even come up.

And again, because there were no writers or directors of color in the last two seasons (the biracial man directed episodes 2x02 and 2x04 - WHICH MAKES SENSE IMO) the entirety of the historical lore that the show bases itself on in its latter half is filtered through a white man’s lens. And so there is no discussion of how changing something changes the meaning, how leaving someone out or changing their role to be more minor might affect people for whom that is their heritage. How the entire story they’re telling might change with one simple exclusion or addition.

So, how does this relate directly to Steinberg, you ask? Well, simply, because it was his show. 

Steinberg(and Levine) were involved in every major decision about the show, from its conception, to the script, to choosing the writers and directors. They chose how they wanted the show to look, to think, what stories to tell and how they wanted to tell them. Their decisions(and the biases that formed those decisions) are woven into the show.

And look. I don’t for a second believe any of this was willful or malicious. I don’t think that John Steinberg and Robert Levine sat down one day and said ‘you know what would make the gays really angry? If we locked the only two canonically gay men up in a prison camp.’

But the decisions that were made in the show were based in ignorance in a way that shows more than just simple negligence or laziness(especially given the attention to detail in everything else). The things they leave out or change in the Maroon War plotline for instance are not small details easily missed. They are big, giant waving flags. They are things that are irreplaceable to still have the same events and stories and tell them respectfully. 

It shows an insane amount of privilege to, for instance, write a show airing during a time when the Black Lives Matter movement was at the forefront of the American conscience, include black characters and black storylines, and yet not include a single black voice on their creative team. 

In a show that centers a gay man’s love and his journey in attempting to process the horrible things done to him and his lover because of it, we are given just forty minutes of the entire show dedicated to their relationship - and just fifteen of those minutes actually feature the lover! 

(Relatedly, the entirety of the gay romantic rep is two kisses, and a forehead touch. That’s the entirety of your gay intimacy representation. And yet there are in the first two seasons alone - because that’s all I’ve clocked so far - something like twenty seven minutes of scenes involving a naked or half naked woman. Five minutes of that is explicitly wlw sex.

Again, I just want to reiterate this because it’s important in recognizing bias. 

There is fully twice as much female nudity in the first two seasons, as the entirety of the time the two gay characters have together on screen. )

Steinberg is a perfect example of how a lack of understanding why the diversity you are representing is important, matters. I dislike Steinberg because he, just like every other straight white cis man I have known, profited off of marginalized voices without including them or creating with them in mind.

Art does not exist in a vacuum. You cannot create something - especially something as back breakingly, intensely a labor of love as Black Sails - without putting several pieces of yourself into it. But those pieces color your narrative. They will expose things about you that you don’t even realize. And it’s in these places we are weakest, and why a diverse group of writers with a diverse group of experiences can help a piece be stronger. But for whatever reason, John Steinberg thought that he could make art with only people who looked and thought and experienced like him. 

The lack of representation behind the camera in Black Sails was evident in front of it and yet Steinberg is out here getting to pretend like he created the most inclusive groundbreaking show that ever existed. It is important to me, personally, to acknowledge that. And that it kind of makes my skin crawl in the way all media made by straight white (cis)men makes my skin crawl. I wish I didn’t have to feel that way about my favorite tv show just because it was created by a man of privilege, but here we are.

SO. I hope that helped? Feel free to take what you want and leave what you don’t! 

Below the cut is a more in depth look at things that I think show what I’m talking about, but that up there ^^ is the gist. <3 |D

SURPRISE!

The Maroons and the Maroon War

So the first thing I want to point out is that the Maroon War was a real thing that happened. It lasted ten years, and resulted in the most substantial victory the Maroons ever achieved against the British. Not only that, there was in fact a KICKIN’ badass female leader of the maroons named Queen Nanny, who is to this day honored as a national hero in Jamaica. While they weren’t able to drive the British out, the outcome of this war led to a mostly self-governing Maroon population in Jamaica from the mid 1700s on. This was a long term fight that had a very tangible and real outcome, even if it didn’t end in the destruction of colonialism. 

And what is this war turned into in Black Sails? A white ‘madman’s revenge’  that is doomed to failure after six months.

That, my dear pirates, is a problem for me. (And those familiar with my brand of spiceyness know that I do not ascribe to the ‘Flint is a Madman’ trope, but that IS what Steinberg ascribes to, what he seems to have written the show thinking.) 

There was no narrative reason to include the Maroon War in the narrative of Black Sails. The Maroon War didn’t happen until a decade after the Golden Age of Piracy, and aside from Silver’s wife being a black woman there is no mention of Silver ever having contact with them. To me, this feels like the choice of a showrunner who found a cool historical event and saw a chance to up the stakes of their white male heroes while getting in some sweet sweet POC rep. 

Except that they then took the major events of the Maroon War and gave them to their white characters, Flint and Silver. 

Here’s the thing. If you’re going to take a piece of culturally important history and use it for your show, you NEED to have sensitivity writers. You need to have people who are at least familiar with those events and who care about them to do them justice. Have an expert come in and read your script or go over your ideas. Or just like. Hire a black writer. Hire ONE black writer. As a treat.

The important Maroon figures, Nanny, Cudjoe, and Quao, all get sidelined or ‘sexified’ and then used as plot points for the white characters. Nanny gets split into two women - the older mother queen and Madi, the young naive warbent visionary. Quao(Mr. Scott is the closest, or Kofi possibly) gets killed off because the writers realized they didn’t exactly have a place for him in their writing. Cudjoe(Julius) gets a few scenes and one good speech but his entire role in the war gets given to Silver. And THEN. That sexy Queen Madi figure gets used as emotional bait for Silver and then has to learn he has betrayed her and destroyed the hope and freedom she had wanted to bring to her people. 

Gross, pirates. Gross.

Anne Bonny/Max/Mary Read - a heads up, this section includes a semi in-depth discussion of both Max and Anne’s sexual assaults. If that bothers you, the paragraphs talking about that begin with a ***

COOL NOW LET’S TALK ABOUT LESBIANS. Words my 20 year old self would never have imagined coming out of my mouth. 

Specifically, I want to talk about Max, and Anne, and their backstories both involving extreme sexual trauma at the hands of men. And then Mary Read and the once again sexification of female characters.

(Actually while I’m here another criticism I have of Steinberg is that his writing does not seem to recognize how queer people existed in the past - again, likely because he didn’t have any gay historians to be like ‘actually buddy that doesn’t make sense also why is Anne not dressing as a man? If you want to fuck with anything and insert modern day terminology and ideas into this show, make her non binary and REALLY piss off the hetties.’)

(This same ficitonal gay dramaturg who is definitely not me has also questioned John Steinberg repeatedly about where Mary Read is, unsatisfied with the answer ‘well we wanted her to be hot so we made her a sex worker and then had Anne have to rescue her but then we realized it would be weird not to include her actual character so we gave her a five second cameo at the very end of the series and also made her like 13.’)

Anyway! So my main point in bringing up Anne and Max is the sexual trauma they are exposed to in the show, particularly being that they are the two primary wlw in the show, who Steinberg has said he views as being completely gay, and what THAT whole unexamined idea looks like. 

***Max. My dear Max. There was literally no reason to have her be repeatedly r*ped(and for the love of god there was even less reason to make it that gratuitous and graphic). Max being assaulted like that did not add anything to the gravity of Eleanor’s betrayal. The traumatic event was being tossed aside by Eleanor, and that could have been just as emotionally damaging without the sexual assault. And the only reason for her to be continually assaulted was to bring her and Anne together. 

***The reason imo that Max’s r*pe plot was added was because it was the only thing these white straight men could come up with that felt emotionally damaging enough to them. The act of betrayal itself wasn’t enough, the act of being thrown away, of having a lover put your life in danger because of her own ambitions wasn’t enough, they needed her to be r*ped to really drive home the point. 

***Anne, on the other hand, is never shown being sexually abused, but we are given an explicit account of her own traumatic history and how Jack saved her from this vile beast who was passing her around to his friends.

But here’s the thing pirates - that never happened. According to every account we have of Anne Bonny, she chose her husband, and married him against her father’s wishes. They were probably relatively happy until her husband started being a pirate spy and Anne started cheating on him with Jack. 

And yes, when they were found out. Her husband had her beat. That’s not fucking cool, and if they really wanted to go the damsel in distress route they still could have had Jack ‘save’ her from that. But at no point was she sexually abused by her husband(at least not in any accounts I’ve read.) 

You know who did likely sexually abuse her or at least manipulate her and Mary for his own benefit? If you guessed our Rat man Jack Rackham, you would be correct, because when he found out about Mary and Anne’s (supposed, but probably real) relationship, it’s implied he extorted both of them into fucking him to keep their secret from the crew. 

The addition of sexual abuse to Anne’s past isn’t done to be true to her character and was in fact explicitly untrue. Now of course I don’t know the reasons why they chose to do this, but I can guess. Just as with Max, the most traumatic thing a male writer can think of for a female character is for them to be sexually abused.

And the most disturbing part of this to me? The parallels it has to the real world of why straight men think lesbians exist. These characters who would be called man haters in present day are given these incredibly traumatic man-centered histories. It brings up something very uncomfortable in me about particularly wlw sexuality being viewed as a reaction to trauma at the hands of men. It’s just gross, I dont like it, and honestly there is no fucking excuse for it besides a room full of white straight men writing this bullshit. A room that Steinberg chose, because they fit his ideas.

In Fact heck, the women of Black Sails in general

***I honestly struggle to think of a single female character who I think was treated fairly in Black Sails. Miranda and Eleanor are killed for taking sides and not understanding their partners, Madi is betrayed in the worst way possible, Max is given a pseudo empowering ending but has that fucking terrible start. Idelle ends off fairly well, but tied to a man she may or may not have any actual feelings for, in what is essentially a political marriage. And Anne has her entire identity tied to a man who will be dead in two years as she is robbed of any agency whatsoever without him. (Oh, and the whole r*pe thing. And also her support for Max’s r*pe or death until she started having fee-fees. Who wrote this stuff. >_>)

Even though the characterization of each and every one of these women is PHENOMENAL - and again I will repeat that I absolutely LOVE these characters as they exist in a vacuum. I think they are well rounded, real, feeling people given motivations and drives and FEELINGS and they SHOW THEIR ANGER and i LOVE THEM. 

But the show punishes them for it. Miranda is essentially fridged to move Flint’s storyline along, and to make room for Silver. Eleanor is killed for the emotional damage it will cause Rogers. Madi is placed at the center of a conflict she explicitly says she is willing to die for and then not only is her entire cause taken from her, but when she tells Silver to fuck off he - in possibly the most predictable white man move ever - says ‘no i will stay until you change your mind. I will never leave you. I don’t care about your choice in this matter, I will wait forever for you. I’m your biggest fan. I’ll follow you until you love me. papa, - paparazzi.’ 

And I touched on this before, but I want to talk in more detail about what is possibly my hottest take to date, the sexification of Mary Read and Queen Nanny, as they are presented in the show. 

Max is to Anne what Mary Read is, historically. She is the lover that Jack Rackham discovers with Anne, and then he joins them in their bed. They form a triumvirate that upholds Jack at the expense of the women. But for some reason, Steinberg didn’t want to just include Mary Read as an actual character. For some reason he needed to make Anne’s love interest a sex worker who was in need of saving (and who, coincidentally, we never see working the brothel after she becomes lovers with Anne, because she is now a madam. :) Gross.)

And Madi. My dear sweet fucking Madi who didn’t fucking deserve any of this bullshit send tweet. 

So, historically, Queen Nanny was the Queen, spiritual advisor, and the military tactician of the Windward Maroons. She would have filled both Madi and the Queen’s character roles(and Flint’s, but who’s counting. A BLACK GAY LEAD? Inconceivable. I digress.) But, I guess, because they were wishy-washing with Silver’s sexuality or felt they needed to give him a female love interest because of Treasure Island, or because they were leaning a bit too hard into the gay shit and needed to backpedal, they took Queen Nanny and split her into a character who is for all intents and purposes powerless in the war and Madi, who is young and naive and does not have any real world experience outside of the Maroon camp.

Because that’s sexy, or something. They could have had the Maroon Queen be a fucking badass lady who works and fights alongside Flint and Silver and one ups them and teaches them shit and has her own ideas about where the British can stick it, but instead they made her into the perfect caricature of a female monarch, letting the big strong men handle the dirty work or something. Because white male power fantasies. 

Just let women be powerful and not nubile and let them have character arcs over fucking thirty and let them be CENTERED in their own. fucking. narratives. 

God damnit Steinberg.

James Flint, mlm extraordinaire

Oh, my love. My most amazing child. The light of my life. My purest cinnamon roll. 

~~And now we’ve come to the dreaded Silverflint criticism part of our programming. Please please know and remember this isn’t a criticism of people who ship Silverflint. As I said up top, Your Tomato Is Not My Tomato and that’s cool. Please don’t take this next part as an attack on Silverflint as a fandom ship.~~

My criticism of Steinberg as it relates to Flint is related to:

What a romantic/sexual relationship with Silver being the basis of the tension and plot means for Flint in particular as a gay or mostly mlm man. 

Refusing to confirm Thomas and James being alive at the end and honestly the whole finale in general but like I’ll try and focus.

The major problem I have with Silver and Flint being coded as in love with each other is the implications there in terms of gay men’s relationships to other men. 

From every corner, men are inundated with the idea that any close relationship between them must be gay. That intimacy cannot exist unless there are sexual feelings involved. That a relationship cannot be close, deep and soul shattering and life altering, unless one guy secretly(or not so secretly) wants to bone the other dude. That two men cannot value each other as partners or friends or truly know each other unless they are gay.

Seeing both of the meaningful relationships Flint forms with other men be sexually coded feels a bit the same way as Anne and Max’s sexual assault plotlines does vis-a-vis being wlw. (Even with Gates, Flint never spoke about Thomas or his plans - Silver is absolutely the closest person to Flint besides Thomas and Miranda.) And this is just as true for Silver. Having both Flint and Madi - the two people he trusts - both be people he’s in love with also just feels. I don’t know. 

It feels like a confusion between male intimacy and male love that is so so familiar to me as a gay man I could choke on it. Where they wanted these men to have a deep and really lasting connection, but could only figure out how to do it if they were in love. Friendship wouldn’t have been enough - only romantic and sexual love is enough for the gay man(or men, at all).

Just because it isn’t queerbaiting doesn’t mean it’s good rep, and I would have liked to see truly deep male friendships that did not center on sexual attraction - particularly for Flint as a confirmed mlm(and Silver too, if you’re counting him. The same arguments for why I dislike Flint being paired with Silver are also true in the reverse.) 

Even if both Flint and Silver were confirmed mlm I still would have LOVED to see a platonic relationship between them. In fact I would have loved that EVEN MORE. Men! Who fuck men! Not needing to fuck each other to be important to one another! Who made this. Very delicious. 

But because there weren’t any queer writers on the show, writers who understand this kind of struggle that gay and mlm men face, they thought ‘oh, let’s also have them be in love with each other. More gay rep is better gay rep, right?’ False. THOUGHTFUL gay rep is better gay rep.

Okay and here’s my last thing. The fact that Steinberg refuses to say whether or not the explicitly mlm men are alive at the end of the show - that the words he specifically uses are ‘up for interpretation’ is. Fuck, it’s gross, okay? It’s fucking gross. 

I have been around enough men, enough people in power, enough people with leverage who also know how to play the field, to know that when someone wants a group’s support but does not agree with them, their go to phrasing is that it is ‘up for debate’ or ‘up for interpretation.’

Say the gays are alive. Steinberg refusing to acknowledge the reality of the ending of his show to maintain his own sense of artistic integrity is what, honestly, really sets me off about him and I don’t care if this is a nuanced take.

Like yes, death of the author. I honestly don’t care if he thinks they’re dead or alive. What I care about is that he thinks he can get away with being clever and leaning hard into a story is true/untrue’ - doesn’t realize what the implications of that are, and didn’t when he was writing, and didn’t have anyone else in the room who would think about it either. 

ANYWAY. So this is....my long drawn out explanation for why I do not like Steinberg. Uhhhhh tune in next week for more of my totally unpopular opinions!

[aion-rsa]

Star Trek Doctors, Ranked By Crankiness

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This Star Trek: Lower Decks article contains spoilers for Season 2, Episode 3.

In the very first filmed episode of Star Trek: The Original Series — “The Cage” — Captain Pike drinks itty-bitty martinis with the Enterprise’s chief physician, Dr. Boyce (John Hoyt.) And although it remains to be seen if we’ll be seeing Boyce in Stranger New Worlds, the tradition of the cranky — but wise — Starfleet doctor was started right there. After Boyce and Piper, Star Trek set the standard for cranky, wise-cracking doctors in space with the introduction of Dr. Leonard “Bones” McCoy; as played by the wonderful DeForest Kelley. 

While Kelley passed away in 1999, the spirit of Bones lives on. Not just in the Karl Urban version of Bones in the reboot films, but also in the foul-mouthed, utterly hilarious Catian medical officer, Dr. T’ana (Gillian Vigman) on Star Trek: Lower Decks. In the most recent episode of Lower Decks, “Mugato, Gumato,” T’ana demonstrated some next-level crankiness, as she avoided her own physical examination, something Bones had to prod Kirk to do all the time, including his first-ever filmed episode, “The Corbomite Maneuver.” But is Bones actually still the crankiest Star Trek doctor? Has T’ana dethroned him? 

The only way to find out is to rank all the Trek doctors from least cranky to most cranky, and find out who is the hardest to please, and as a result, possibly the doctor we paradoxically love the most.

(Note: With some exceptions, we’ve excluded characters who were Starfleet doctors who weren’t regular recurring characters. This is why Dr. Selar from TNG isn’t on this list, even though as a Vulcan, she’s inherently cranky.)

10. Dr. Tracy Pollard (Discovery)

The least cranky doctor on this list is easily Dr. Pollard on Star Trek: Discovery. This woman even puts up with Georgiou, a dictator from an alternate universe who wants to die. As played by the fantastic Raven Daudu, it’s very possible Dr. Pollard is the best doctor on this list. She also may never be recognized as such, because she’s really even-tempered, kind and way too busy saving people’s lives to complain.  

9. Dr. Phlox (Enterprise)

Phlox isn’t just one of the nicest Star Trek doctors ever, he’s actively one of the most likable characters in the entire franchise. Played charmingly by John Billingsley in all four seasons of Enterprise, Phlox projected a childlike curiosity of the universe combined with a ton of knowledge and wisdom of having seen more of the quadrant than most of the other characters. Phlox is also, perhaps, the most tolerant Star Trek doctor, insofar as he never pushes his cultural views onto others, even though, in some episodes, like “Dear, Doctor,” he’s torn apart by his own set of ethics. Oh, and he saved the life of Porthos, Captain Archer’s dog in “A Night in Skybay,” AND while doing so, managed to make a joke that Porthos would develop lizard-chameleon powers in the process. That’s bedside manner!

8. Dr. Hugh Culber (Discovery) 

Who doesn’t love this guy? Since Season 1 of Discovery, Culber has put up with shit from everyone, and very rarely has he snapped. Yes, in Season 2, after coming back from the dead, he was pretty pissed off at everyone. But, as he said in Season 3, “My murderer and I are good now!” In episodes like “Su’kal” and “Die Trying,” Culber is one of the kindest and simultaneously most practical Star Trek doctors of all time. He doesn’t lie to anyone, but he does know how to make you feel better. Out of all the Discovery regulars, Culber feels cut from the same cloth as someone like Deanna Troi or Guinan. He’s smart, insightful and empathic. 

7. Dr. Beverly Crusher (The Next Generation)

Crusher certainly has the ability to sass her patients, but she’s basically a nice person. Whenever Crusher freaks out on anyone it’s always because she’s either in love with a ghost that lives in a candle (“Sub Rosa”), her feelings are being manipulated by a nearby Vulcan (“Sarek”) or Jean-Luc is messing around with her emotions. (All of The Next Generation.) Crusher suffers the fools she works with, but she does it with grace and dignity. That said, you kind of know she hates certain people in certain moments, which can probably just be attributed to Gates McFadden’s flawless talent.

6. Emil, Rios’ EMH (Star Trek: Picard)

Rios has a lot of cranky holograms in Season 1 of Picard, but his medical hologram is not even close to being the most difficult of all of them. In fact, he’s pretty cordigal, and reasonable, which is odd considering the situation he’s in. Clearly, among the holograms on the La Sirena, Emil is one of the most well-adjusted. You wouldn’t want him as your primary physician in real life, and because he’s basically connected to the personality of Rios the possibility that he might become super cranky is certainly there. But, so far, he’s right on the line.

5. Dr. Julian Bashir (Deep Space Nine)

Okay, we’re crossing over into slightly cranky territory here. Bashir began his journey on DS9 as a cocky jerk, which isn’t the same as the kind of crankiness we’re talking about here. The Bones-style of crankiness is the kind of crank we can get down with. Bashir’s off-putting personality was  — at first — not something anyone admired or liked. That said, as Alexander Siddig evolved the character, Bashir didn’t become more cranky, but he did develop righteous indignation. When Bashir got his indignant buzz on in episodes like “Past Tense,” or “Inter Arma Enim Silent Leges,” he was really at his best. To be clear, Bashir isn’t a nice doctor, and this is where we cross the threshold. 

4. Dr. Leonard “Bones” McCoy (Star Trek: The Original Series)

Although he set the standard for crankiness, in the entire canon of Trek, Bones is somehow not the most cranky Star Trek doctor. The reasons for this are threefold: First, there are three characters on this list who are much crankiner than him. Second, Bones is actually a sweetheart deep down, and demonstrates his love for Spock over and over again, despite his terrible, terrible comments. Finally, Bones can’t be the crankiest doctor on this list because Dax heavily implied in “Trials and Tribble-ations,” that one of her previous hosts — Emony Dax — totally hooked-up with him. For some reason, this detail makes it seem like he’s a lot nicer than he comes across. And again, The Search for Spock exists.

3. Dr. Katherine Pulaski (The Next Generation)

In 1988, Pulaski would have easily been number one on this list. She mispronounces Data’s name, doesn’t feel bad about it, and proceeds to kind of make everyone else on the ship feel awful. Pulaski is a pretty good doctor, and not remotely a bad person, but she’s pretty damn cranky. The brilliant Diane Muldar plays Pulaski like someone who has been transferred to a job she doesn’t really want, which is sort of amazing considering at this point, Roddenberry didn’t want Starfleet characters to have interpersonal conflict.

In “The Icarus Factor ” (which the latest Lower Decks also referenced) Pulaski also thinks Riker’s deadbeat dad is hot and tells Riker this point blank when he’s reminding her that his dad is the worst. This alone gives her deeply strange tastes, and makes her super cranky and weird AF. Don’t mess with Pulaksi! If you talk about how your friend is mean, she might throw it in your face and say she likes them better than you anyway! 

2. Dr. T’ana (Lower Decks)

Okay. So Dr. T’ana is almost the most cranky Star Trek doctor ever. Combining the best qualities of Bones, with that weird go-shove-it-vibe from Pulaksi, Gillian Vigman turns it all up to 11. It helps that T’ana is a cat-person (I.E. the Catian species) but her crankiness is more than that. She’s kind of sadistic, and isn’t afraid to use boulders to knock “strange energies” out of people when the time comes. T’ana is sort of burnt-out, but also, is kind of unflappable too. Like, you get the sense that she’s sick of all this space sickness stuff, but she’s got too much proffensionality to say she can’t do something. The secret crankiness of Dr. T’ana is that seemingly she can fix anything that is wrong with anyone. But, she’s going to make fun of them for it, and get pissed off if you look at her the wrong way.

That said, like Bones, you get the sense that none of it is personal. Which is what makes her Starfleet all the way. 

1. The EMH (Voyager)

Robert Picardo’s Emergency Medical Hologram is the best cranky Star Trek doctor. There are many reasons for this. His arrogance. His constant complaining. The fact that he has good reason to complain, considering he’s a hologram that has to do other people’s bidding. But the reason that tops all other reasons is the way that Picardo can make his crankiness clear with the simple inflection of his voice. It’s not what he says. It’s how he says it. And if you need proof, all you have to do is go back to the very first Voyager episode ever, “Caretaker.” When the Doctor has to start triage on the wounded crew, he asks somebody to hand him a tricorder. He looks at it, and realizes it’s not the right kind of tricorder, and hands it back and says “medical tricorder.” The amount of venom in this comment cannot be communicated in print. The way Picardo says medical tricorder is so dismissive and frustrated, that he basically created a new level of crankiness with one single utterance. 

T’ana may be creeping up the EMH from behind, but this cranky crown will be hard to swipe. Especially from a hologram.

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Lower Decks airs new episodes on Thursdays on Paramount+.

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[vaguely-concerned]

The Mandalorian Chapter 13 rewatch thoughts; the reduced salt edition

or at least I’m trying to be more constructive with the salt in this one let’s goooo

- god I miss the armourer so much. look at how fucking cool she looks, this is the mando design I hunger for so deeply, WHY would you give me boob plates back instead haha 

- I will say with the way it’s presented this place feels way too small to be called a city lol (and I think that limited scale hurts how much I’m willing to accept the magistrate as a credible opponent to go toe to toe with ahsoka freaking tano. maybe if we’d seen directly the extent of the magistrate’s power and influence and not just the burned out wasteland that power leaves behind I’d be more on board with it. canonically she’s clearly been extremely rich and influential on a galactic scale, while the aesthetic filoni takes from samurai movies in this has a lot more to do with local warlords and smaller stakes. this is not the only time the adherence to that aesthetic without adapting it for the emotional story at hand or giving it a spin for novelty hurts the episode #hot take. it’s empty homage without quite understanding why the moments you’re emulating work so well in the context of the story they serve.) 

this might be because how it’s filmed makes it seem like there’s just one big main street towards the magistrate’s palace, it’s implied to be quite a bit bigger from the establishing shot as the crest comes flying in? 

- LOVE the implication that din lets baby play with the silver ball pretty freely while they’re on the ship but sets the (completely sensible tbh) boundary that he can’t bring it with him somewhere outside where he might lose it for good. that seems like reasonable dad-ing, din, well done. 

anyway my heart is hurting because that silver ball is like a comfort item for the kid and it’s pretty clear from the very start that he has some kind of understanding of what might happen on this planet and so does NOT want to go out there, but also... that thing is narratively introduced as the baby’s way of saying ‘dad, don’t forget me, don’t go’. it’s what made din go back for him the first time, and that’s a connotation it still has both in the audience’s mind and for the characters. and I need to go cry in a corner for a while be right back

- not for nothing but in this scene of the baby being faced with din and a jedi standing side by side as if to present a choice, din literally has the sun right behind his head like some kind of fucking halo

 gee I wonder what the baby’s choice is going to be fsadfjkhasdkjfhs. (he! loves! his dad! so much!!!!!!!)

- I wish they’d done more with the bored punch clock villain, hey-I’m-just-here-for-the-paycheck-man vibe of the guard captain guy and maybe given his nonchalance a bit of a darkly comedic tint, I think it would’ve made a better moment when he’s facing off with din towards the end if he had more... character. make him a bit more of a dark mirror of the soulless gun for hire people have seen din as in the past (and as the magistrate seems to now), do something interesting here. maybe even make it more of a mexican standoff with him holding a gun on an innocent or something so there’s something here for din to lose, it still does the western thing and lets you have that ramping tension you need for when you cut between the sword duel and this. hell, have him actually give up and walk away to show that he doesn’t fucking care about any of this, he did evil for money without any driving passion or conviction behind it, and let din decide if he’ll let him walk away scot free or not after what he’s been part of, that’s a neat subversion of the trope as well! as it stands it’s just so... empty   

- baby says ‘mada! mada!’ again when they try to approach the vendor who appears to be serving foodstuffs! so maybe a word he has for food or maybe something like ‘lady person!’? (he says it when frog lady is gone on the ice planet and also as she’s walking into the razor crest for the first time. he did seem more interested in the eggs at that point, sooo lol)

din reacts to him speaking too, he glances down at him <3<3<3

- the baby seems to sense ‘ooof this is scary, time to hide’ on his own before they go into the magistrate’s place, din doesn’t appear to signal anything to him  

- there’s a lot of deliberate silence in this episode, but the sound design that gets space away from the music somehow isn’t as immersive to me as it usually is on this show? I have no idea why, though 

- ‘a jedi plagues me’ is somehow so fucking funny to me. the tl;dr for a lot of star wars villains through the ages

it also still cracks me up that din is immediately like ‘ma’am you can’t afford me’ fsdhfaskf

- I’m so happy din talks to and reassures the baby when he puts him down in these situations now, I remember being SO SAD when he didn’t back in chapter 7. he’s learning all the time!

- I think we should all be very happy this fight is cut off almost as soon as it begins, because I’m pretty sure ahsoka could kick din’s ass real bad and that would be terrible because I love him (listen din definitely has his moments, but up against a force user for the first time and said force user being one of the most powerful and battle-experienced jedi alive? probably not huh, if he survives that it’s on pure fatherly love and desperation and nothing else)

- this seems to be the baby asking ahsoka to carry him back to be with din (mando certainly seems to be what they’re ‘talking’ about right before) and it’s the cutest thing I’ve ever seen 

din’s fingers are also doing the nervous curl-uncurl thing as she puts the baby down, and it remains the sweetest goddamn character tic, he’s adorable

in the long pause after he tells her “he needs your help” he’s sitting SO TENSELY, it’s only when she at least promises to test the kid that he relaxes a bit

baby (well, grogu, but he’s also baby) recognizes yoda’s name and seems to almost ask ahsoka ‘yoda is here???’, and her blink in response is like ‘no, I’m sorry’ 

- I still deeply dislike how it’s actually done in the episode, it’s so clunky and it annoys me on a craft level, but I do like the overarching thematic narrative of both mando and the baby being on this journey towards specificity and remembering themselves, of reclaiming the particular nuances of an identity that make up a self after a series of traumas have stripped it away from them. at the start of the show neither of them has a name (and din doesn’t even have a face) and they’re basically presented as broad archetypes, The Mandalorian and The Child. and now we’re slowly unearthing things that make them this specific child, grogu, this specific mandalorian, din djarin. it’s rediscovering parts of yourself you might have thought lost as you heal from trauma and I do like that very much, it’s touching and the emotional throughline this show should never lose sight of   

- oooooh no baby glances over at din when she asks him to push the stone back ;______________; it’s so awful because you can just tell... he understands that if he does this thing din might leave, but also people have clearly tricked him into using the Force before and given him this traumatized kneejerk association that if he uses it where people can see him Bad things might happen

oh okay so I think din just subtly misunderstands the baby’s appeal to him here, he thinks that look towards him means ‘dad help I don’t understand what’s being asked of me’. I guess he doesn’t have any way of knowing how complicated the baby’s past is with this yet, it’s a good try

- I’ve seen people take ‘he understands’ as baby understanding everything that’s said to him all the time, which is patently not true haha. he understands quite a lot, in the way toddlers actually understand quite a lot of what’s going on around them, even a bit of words spoken to them before they’re especially verbal themselves, but he clearly mixes up his colours still sooo

I also suspect he’s played this game before -- surely that must be one of the most obvious activities the jedi would do with the smallest children, playing Force catch basically? but he still doesn’t trust it, or her. (on the other hand he does trust that din would never hurt or trick him. help me I’m drowning in my own tears)   

- personally and from anything else in this show I don’t think din would be this impatient with the baby after hearing, less than half a minute before, that he’s terrified

but hey I’m not the man in the cowboy hat what do I know (yes I’m bitter characterization matters okay lol)

- it’s both funny and so sweet that the same music plays during this father and son playing catch scene as when baby lifted that mudhorn fkdfha

- for my money din reacts exactly perfectly to grogu finally Force pulling the ball -- he’s excited and happy, signalling that this thing doesn’t have to be scary and dangerous and that when shared with the right people it can be a good joyous thing, he moves over to the baby so they can share in this victory and attune, and crucially he doesn’t demand more afterwards, which the baby must have gotten before from some of the assholes who’ve been experimenting on him. it’s just the celebration and satisfaction of having done the thing without demands or threats or any ulterior motives. HIM!!! DAD!!!! 

tattoo this straight onto my heart... the way baby cheerfully offers it back to din... sdkjafhksdfhsakdjf 

- din breaths out roughly and unevenly through his nose almost like it’s been punched out of him and starts fiddling with the silver ball (which is still his primary tell for anxiety/stress!) when ahsoka says “he’s formed a strong attachment to you” :) listen if I have to know that all of you fuckers are going down with me 

- see the thing is... if you don’t know who ahsoka is in pretty deep detail, you might take her at face value here instead of understanding that she’s actually projecting her own feelings and traumas onto this. if you absolutely have to use this character for this part of the show you have to set her up better specifically so someone who’s never seen a single episode of clone wars can grasp the basics of where she is emotionally and what her motives are, so that her role in this story makes sense. as it is it’s sort of a compromise between pleasing old fans (who can do quite a bit of inferring to figure it out) and approaching audiences who don’t know anything, and it falls flat    

(for the purposes of this show I aggressively do not care where thrawn is, and so I’m just annoyed when we find out what this was actually all for haha)

- still feel reluctant to discuss too much about ahsoka because of the whole... situation with dawson, but I do like that she lets one of the guards leave after disarming him because he’s cowering and giving up, and that she still has her padawan braid wound into her belt. also I think the effects on her and her outfit are completely fine, my problems with her this episode are all writing craft and real life stuff 

- when you get first the jet pack sound, then din coming down kicking that dude in the face, then the mando flute kicking in as he lands properly... the only time the action in this episode made me go ‘fuck YEEEAAAAH’ it’s awesome

- again, just like with the idea of having a samurai/ronin movie standoff and a western standoff at the same time: having the scene be mostly silent except for the almost musical sounds of the light sabers hitting the beskar spear is such a cool concept, and it does not work in action. I don’t know enough about filmmaking to tell you why it doesn’t, but it doesn’t.

there’s also something about... the ahsoka vs. morgan scene apes the deliberately staged, ritualized, exaggerated almost like how you’d perform it in live theatre aspect of the duels in the genre, but in an empty way? why are they acting like this, what’s their relationship to each other, what’s their individual code of honour that makes them let the other person slowly theatrically disrobe before going for them? just plucking the aesthetics out of a tradition and plopping them down in your own thing without thinking about the whys or original context of it leaves it without meaning 

(also let morgan express something of her own character other than I Am Evil rather than having ahsoka drop the entire exposition on her. maybe you could have her snarl some illuminating lines while they’re fighting so you get the feeling of the bitterness and brokenness that has fuelled her and burned the woods of this whole planet. in some ways she’s not that unlike din and ahsoka, she lost everything in the clone wars too and was motivated very differently by it than they were, play that up so the situation’s relevant to our protagonists! I’m sorry for all this nitpicking but I HAVE to figure out how this could have been done better for my own sake haha)     

- ooooooh the way din says “I can’t accept” when offered the spear is in fact almost an exact echo of when the armourer offers him the signet in chapter 3! I thought it sounded familiar, it’s delivered in such a similar way. huh. din has some Feelings about earning things and when he hasn’t earned something, doesn’t he

- din also cares A LOT about not breaking his word, to the point of being willing to stoop to some quite dishonest methods to avoid giving his word in the first place, and I find it utterly delightful 

- baby closing his eyes again after din wakes him like he’s thinking ‘maybe if I don’t wake up dad won’t go’ or even ‘at least this way I won’t know it happened until later, when it’s over’... pure emotional torture :) thank god din’s entire soul is clearly howling in protest and he took the slightest chance ahsoka gave him to not actually go through with it 

- so this is the second time we get someone telling din he’s like grogu’s father. well, the armourer gives it more like a command/almost a religious obligation, ‘until it is of age or reunited with its kind you are as its father’, ahsoka is stating what’s obvious at this point but says ‘you are like a father to him’... maybe they’re doing a rule of threes thing and the last time it’s ‘you are his father’ and it sticks?

- anyway din cradling the baby so close to his chest with both arms all the time instead of the more practical way he carries him around in the crook of his arm sometimes... my suffering is deep and endless   

[becomewings]

Timelines: 30 August Year 22 (Diary)

“The red diary lay between us like a traffic light.

… I became more frightened the more I tried to be someone else. Wouldn’t my real self be discovered? Wouldn’t she be disappointed and leave me? I frantically hid myself and turned my head away from myself.

… I know now. That the insufficient me who makes mistakes and fails is indeed a part of myself. That no matter how cruel and merciless things are, only by being true to myself can I take the next step forward. I stood up from my spot and she didn’t try to grab me.

I went out to the street and took off my hat. As I swept my hair back, all the time I had spent trying so hard to be someone else seemed to slip through my fingers. I lifted my head and locked eyes with the me reflected in the window. A frail face, pale lips, thin shoulders. I looked endlessly shabby. I laughed. The me in the window laughed too.”

— SeokJin, 30 August Year 22. The Notes: Answer. Translation cr. @origamifirefly tw.

Gif 4 (SeokJin, 30 August Year 22; The Notes: Tear) and gif 6 (SeokJin, 30 August Year 22; The Notes: Answer) translation cr. @origamifirefly tw. All other captions from The Notes 1: SeokJin, 30 August Year 22 (#2).

Commentary below the cut. CW: contains mention of blood

❀

It’s been a long time since my last posts in the Timelines series (May 22, to be precise)! While August 30 is the latest entry of all the Notes published to date, references have been made to events later in September that trigger more time loops. I doubt this will be the end of the series—and I am also certain that I will be revising and reissuing posts for earlier key dates, including this one, as more information is revealed. My goal with these Timelines posts is to trace SeokJin’s specific efforts to manipulate events and to highlight these changes within the different versions of each date’s texts.

There are currently 4 entries for SeokJin on August 30: one from Tear, one from Answer, and two from The Notes 1. The version from Answer, excerpted above, is apparently the “repaired” timeline: rather than intending to confess his love to the girl that night at the fireworks display, he confesses that everything he has done for her was taken from the diary she lost. On the other hand, the entries from Tear and Notes 1 seem to present (an) earlier version(s). The uncertain parentheses are brought to you by the fact that, while they seem to describe the same unfolding of events—the girl being struck in the road as SeokJin looks on with the smeraldo bouquet—the texts are slightly different.

Both the Tear and the second August 30 entry from Notes 1 include the quote captioned in gif 3. The full quote (sourced from Notes 1): “The bouquet of Smeraldo flowers fell from my hand. She was lying in the middle of the road. Blood began to spread out from underneath her tousled hair. Dark red blood flowed down the road.” But the following lines are different. Gif 4’s caption is from Tear: “I thought. If only I could turn back time.” Gif 5’s caption is from Notes 1: “With a loud pop, the first set of fireworks burst into the air on the night sky in the distance. Somewhere, I heard a mirror crack.”

“I thought. If only I could turn back time.” To me, this is a fascinating turn of phrase. We are most likely assuming, at this point, that SeokJin has already time travelled. In the Save Me webtoon, it certainly appears that he begins returning to April 11 much earlier in order to save his friends. But what if that wasn’t the case? What if his thought wasn’t a reflex but a sign that he had not yet been sent back in time? There is plenty of evidence in other entries that the number of loops SeokJin has tried and failed is affecting both his character and his memory. Still, I’m only tentatively posing this as a possibility because the ambiguity of the Tear version’s placement in the overall timeline of the narrative is further complicated by its first paragraph (also not present in Notes 1):

“Can anyone remember the moment they fell in love? Can anyone predict the moment their love will end? What could be the reason that humans don’t have the ability to recognize those moments? And why was I given the power to return [restore] all of those things?”

— SeokJin, 30 August Year 22. The Notes: Tear. Translation cr. @origamifirefly tw.

Therefore, it seems possible that the Tear entry, as a whole, is written from two different perspectives: a SeokJin who is aware of his time traveling and a SeokJin who has yet to embark on that journey. But like much of the Notes, it is really up to interpretation. What do you think? Please come yell at me in my inbox if you have thoughts to share!

Note: I unfortunately do not know Korean and do not own either the Korean Notes 1 or Notes from the album (with the exception of MotS:7), so I rely on the official English translation of Notes 1 and fan translations of the album Notes (I do my best to compare multiple versions of the latter). Any mistakes in misunderstanding the differences between the text are my own. Particularly in this instance, I recognize the possibility that some of the variations in the August 30 texts occur between the translations of Notes 1, rather than between the Tear and Notes 1 entries. If you have the Korean Notes 1, I would LOVE to hear how similar its August 30 entry is to its English counterpart, especially in regard to the fireworks/mirror cracking line that seems most different from the final line in the Tear entry. (And/or if you also happen to have the original Korean Tear entry, that would be a fantastic point of comparison too!)

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