#the camera implications vs the script.......

[annieisyourfavourite]

anyone saying the barbie movie is a 10/10 must be tripping balls, holy shit. like i get liking the movie. but for real read some judith butler and elevate your feminism past 2010-Buzzfeed-Disney-Princess-girlboss "men and women are different species" "there must be the oppressor and the oppressed in gender dynamics, so women might as well be on the top this time" feminism like oh my god

[bella-goths-wife]

I feel like we should have an actor au for the pet series where like the vees actors comfort the actor (who is the reader) after really distressing scenes I just like imagine vals actor being so sweet after the scene where val locked pet in a room with him to make her panic idk just a thought I would love to see because even though I luv the story line it always kills me when there is no comfort after things that happen even though sometimes they do comfort her it just makes me feel so icky and I feel like having an actor au will help people like me so that we can still enjoy it, with the reminder in the back of our heads that it is not real because even though its not real it still kinda feels real if you know what i mean because I get really immersed in x reader stories. I know this is a lot but just a suggestion no pressure I will still read and love it either way

I actually think this is a fun way to comfort the readers without straying from canon, I think I’ll probably do one for each of the characters each

Also they all have the same names as their characters :)

Vs pet actor au (Valentino version)

Warnings: val is worried, pet acts panicked, crying, non canon events,

“Come here princesa” val coos in his characters voice to your character as you act out a fake shiver of fear

You act out the scene of abuse with fake tears streaming down your face. The scene was one that you had been nervous about for weeks, having known that it was a disturbing scene to watch and film.

In the scene, vals character had locked your character in a room with him to imply that he would possibly assault her like he had done to angels character to cause her to panic and breakdown.

You and val had gone over lines together in your trailer and lamented about how it would be a rough filming day for the two of you, considering you had the punishment scene to film just after.

But you put on a brave face as you acted out your scene with minimal distraction. You followed the script and your weeping character sat beside Val on the soft couch as the camera did a close up on your face to ensure they captured the panic in your eyes and the quiver in your bitten lips.

as it came time for val’s character Valentino to touch your thigh in a menacing implication, he did so and you felt a shiver uncomfortably run through you.

You suddenly became hyper aware of the people behind the cameras who had their eyes peeled on you, and how the pink lighting shined so brightly on you.

As your cue came to jump into val’s arms, you froze completely with your face lowered to your thigh and tears running down your cheeks.

“Cut” the director called out and it broke you out your frozen daydream

“Everything okay kid?” Val whispers with a concerned look as he removes his hand from your thigh

“I don’t think I can do it” you whisper back through tears as you face your back to the cameras

“Everything okay up there guys?” The director called out with a concerned expression

Val uses his wings to hide your face and tucked you against his chest before he answered, making sure to spare you any embarrassment.

“We’re gonna need a 15 minute break” val called back politely “private please”

The director nodded with an understanding look before calling most of the set to go on a break away from the filming Scene.

Val turned to you and put a hand on your shoulder.

“Are you okay kid?” Val asks with a worried look as he pulls you away from his chest to observe your expression

“Yeah” you say with a shaky inhale as you wipe your tearful eyes with your palm “it all got a bit much for me”

“I get it kid, it’s a hard scene to film for everyone” val says with a nod and a soothing tone “that’s why I tried to put it off for as long as possible”

“I’m just not used to doing scenes like this guess” you say with a sigh “I had the same problem with Vox during our panic scene, I think it just gets too much for me”

“Your playing a very difficult role honey, it’s understandable that you’ll get a bit freaked out during your scenes” val says gently

“I can’t believe I made them stop shooting, I bet they’re all so mad at me now” you say with an embarrassed groan “I should have just continued”

“Hey, hey, no one is mad at you” val says with a reassuring tone “your having to put yourself in very disturbing scenarios, you have every right to stop filming when you feel uncomfortable and anyone who tells you otherwise hasn’t got a clue about how much work these scenes take”

You nod with a frown, still embarrassed about your freak out, Val notices and wraps his arm around your shoulder

“How about we go get some water and then go talk to the intimacy coordinator about how we can make it feel less overwhelming” val suggests with a smile “or we can try and ask if we could use your body double for the scenes where my hand is physically touching you”

“Yeah” you say with a small nod and a smile “let’s go talk to the intimacy coordinator please”

“Of course sweetheart” val says with a gentle smile as he wraps his hand and wing around your shoulders and begins to guide you to the door.

You managed to work out a way to make the scene to work after a few different attempts and you captured your best shots before retreating to your trailer with Val in tow as you both celebrated a successful scene by eating food while you had your wigs, makeup and costumes removed.

After that day, Val made it a point to always be present during your harder scenes and was always checking in on you during the breaks between takes. He also made sure to update the intimacy coordination on your preferences so they could be added to your filming contract.

You were the youngest of the actors he was working with, and he wanted to make sure you were completely protected while on set.

Should I do more?

Sorry it’s so short 😭

Tag list:

@the-faceless-bride @idontreallyexistyet @ivebeenthearchersstuff @hazbinhotelxreader @fandomaddict505 @corvid007 @buttercupfangirl @lilyalone @rerarlo @perkypeony @sparkleyfishies @repostingmyfavs

[theseerasures]

RWBY V08C14 reaction post

haven’t done something like this for this fandom yet, but the finale was so much all at once that i could not muster any level of critical thinking the first go-around. my thoughts have...settled somewhat with a second rewatch. still nothing conclusive (obviously), but at least coherent enough to be written down.

in rough chronological order:

i am very into it, of course, but i’m still not quite sure what to make of the fact that this finale very explicitly pivots around Winter Schnee, to the extent that the episode (sans prologue and coda) are bookended by her. she begins the episode charging into a fight, and ends it the same way. even putting aside that her in-universe presence has increased by magnitudes, that we end a season where she has mostly been a sparse supporting player with THIS has implications i can’t suss out for her narrative role going forward.

going into the finale i thought that Ironwood vs. Winter would turn out to be another RWBY Flagship Fight (ie long and flashy and indulgent in the best ways), but i pretty much knew that wouldn’t be the case once the fight began in earnest and they immediately started talking to each other.

for what we did get i’m happy to say that the Core Dynamic of the fight was exactly what i predicted: Winter rushing in to melee and not giving Ironwood enough time to fire, Ironwood trying to make room by shoving her away and using his cannon as a makeshift club--even down to breaking the cannon formation BACK to dual wielding to give himself an edge.

i will say that for Winter to have blocked him head-on--this is James Ironwood, who once stopped an Alpha Beowolf cold with one bionic hand, and now he’s got TWO--with her broken noodle arms is...incredibly cool. stupid! but cool.

Ironwood doing the double pistol whip while screaming about how no one is grateful has i wouldn’t have to be doing this if you just behaved all over it.

in retrospect i’m not sure why i expected a RWBY Flagship Fight when just about every fight this season has been extremely different. the camera work is always fucking frantic, we’re often cross-cutting between different simultaneous fights, and there are far fewer shots where both combatants are clearly shown and evenly matched. about the only fight we’ve had resembling that is AceOps vs Penny waaaaaaay back in Strings--even the low-stakes triumphant JNPER + Winter vs. Ironwood fight in Creation was extremely short and crosscut with BRA vs. AceOps.

case in point: the showdown in Grand Central takes up pretty much the entire episode, but combatants are continuously entering and exiting, the setting’s physical dimensions feel wonky and surreal, and the fact that half of the people fighting have flight capabilities means we’re relying on wide shots and oners to figure out what the fuck is going on. it’s a war now, and even though we follow only a handful of characters in it the fights carry that grander and more desperate tone.

Cinder relies twice this episode on just fucking nova-ing herself to overwhelm her Maiden opponents. it’s different from how she usually fights, which is still fireballs and conjured swords/projectiles--she’s learning to use her Maiden powers to wreak havoc on a larger scale, which a) reinforces what we already know of Cinder, but b) complements her recent relearning of subtlety and manipulation. still a tenuous balance of extremes that can and will shatter, though.

Weiss got to save everyone during the fight, and none of it mattered in the end.

the thing about priority one is that they all planned for this. they all went in planning for the contingency where they don’t make it out, where they have to watch others not make it out.

Weiss plucking Penny out of the air and Penny pleading to make the sacrifice play is an EXACT recreation of what happened in Enemy of Trust, down to the saved looking up at the savior while the savior is looking onward. she’s just swapped places with the Schnee in question, and...they are the priority targets this time, unfortunately.

Cinder smugly flipping her hair out of...her eyepatch...she really is living her best life and she knows it

Blake made the right choice, and it didn’t matter at all.

Qrow ending the last episode with a berserker charge at Harriet and then immediately pulling back here and trying to talk her down really got to me, as did him trying to block the bomb with his body. the man is so desperately trying to be better than he was, and it doesn’t take a lot anymore for him to realize the right path.

Elm and Vine--

the thing about Elm and Vine is that both their powers boil down to getting attached. so watching Elm hold Vine in place while Vine holds the two airships together, everyone in this little world, it’s...everything i could ever want, out of how the story of the AceOps would end.

Anairis Quinones for dark horse MVP. why can’t you just let me do my job, delivered in the way that it was, is the perfect encapsulation of Harriet Bree desperately trying to outrun her personal feelings and the grief it has given her.

Elm tells Harriet that she’s their friend, to stop her from killing a part of herself as she tries to kill others. it’s the first time this happens in the episode, but not the only time.

Penny saved Blake so they could save Ruby together, and it didn’t matter at all.

our heroes have GOT to stop falling for the “watch the thing flying in the air! OH WAIT I STILL HAVE A WEAPON IN MY HAND WALLOP WALLOP” trick. it happens multiple times in this one episode.

Harriet, who has the fastest Speed Semblance known, says there’s no time to make it out of the blast range. she doesn’t try to outrun it. she just...stays put, and admits that she brought them all here, to this. i’m sorry.

here’s the thing: they’re soldiers. they were prepared for this eventuality, where they don’t make it out. that’s why Elm let Vine go grab Harriet; because she thought they were all going to die, and if that happened she wanted Harriet close enough to reach.

but--just like with Team Hero--some of them do make it out. they just have to watch.

Vine and Hazel sacrificed themselves in the same way in the end: pulling their loved ones close wasn’t working, so they threw themselves around the thing trying to kill them instead.

Ruby was clever, and pragmatic, and brave. it didn’t matter in the end.

Cinder letting Neo fall as soon as she gets a chance proves that she still lacks patience, and that’s going to bite her in the ass.

the Penny-Blake fastball special and the fall; Penny crying tears for the first time, but not moving immediately to rage, as she had last episode, when Yang fell.

Weiss’ shaking hands around Gambol Shroud, crying berserker tears as she tries, desperately, to pull off another miracle. it’s another role reversal in a way: her sister’s the Riza Hawkeye, but she’s the one emptying useless clip after useless clip into an enemy she can’t kill, because her heart has been ripped in two.

the last time Nora Valkyrie saw Jaune Arc, they clasped hands, and their eyes met with determination, and hope.

it figures that a Schnee would be the last one standing, letting all her friends die first. she was right, but again: wrong Schnee.

Weiss diving past Cinder’s blind spot to slice the Grimm Arm, to save Penny--the same script, but the wrong player. and too late.

at Haven, Jaune went from trying to do harm to unlocking his Semblance, and realizing that he was meant to heal. here, he goes from trying to do what he is meant to do, what he has made peace with, to...

it will take a long time, i think, for him to learn to live with himself, even with Penny reassuring him that this is what she wants. to go from wanting to harm to being the one who does no harm, to being forced to acknowledge a person’s right to die, and carry out the deed himself. it’s a new variation on what he’s always had to wrestle with since Pyrrha’s sacrifice.

Weiss managed to outlast Cinder Fall without an Aura WITHOUT getting her entire body broken, Winter

the boundary between material worlds is made of darkness. the boundary between souls is made of light, and there is no danger of falling.

where...what is this? of course Winter doesn’t know. she never would have, even if she had gotten the powers, because she would have used the Transfer machine.

i thought of you, and here we are. that was all it took. the last time Penny saw Winter, Winter was still loyal to Ironwood. she’s only known abstractly, secondhand from Weiss, that Winter was on their side again and trying to help save Mantle, for about an hour. and yet: i thought of you.

and in the face of this thought that is love, Winter averts her eyes. tries in vain to hide her face, because she knows she is unworthy. she doesn’t deserve this.

but here’s the thing: no one deserves this. Penny. are you...the one? even Penny herself wasn’t sure.

you were my friend. the second time it happens this episode. friends save friends from themselves. friends transform what would have been murder into sacrifice.

remember what Penny said to Cinder, shortly before Cinder killed her? you wouldn’t know anything about friends. she’s right. it wasn’t Cinder’s choice, but she’s right. and now Cinder has learned how to use that.

i’ll be part of you. it is, of course, something that’s been brought up repeatedly this whole season. but it’s also what Winter said to Penny after Fria died: she’s a part of you now.

and i do love this yoking together of arc words. Winter is of course the firstborn Schnee, but Winter is, more broadly, The Firstborn in this new generation. so here we have something similar to the chain that begins with Winter letting her sisters go, through Penny letting Emerald go, through Emerald helping Oscar escape, to Atlas’ however ephemeral victory over Salem. what Winter begins--haltingly and with resentment--becomes transformed into radiant grace in the hands of her younger siblings. and she gets to be the direct benefactor this time. the prodigal daughter returns to her family.

during Enemy of Trust we watched from the outside as Oscar fell and Penny rose, as one set of eyes closed as another opened. during The Final Word, we watch from the inside: one set of eyes close. another opens.

Winter’s leitmotif plays on the piano for the first time since the previous season as she comes back to the world. it makes sense. the piano version is for her sisters, and she just left one of them.

here is the apotheosis of Winter Schnee: she gets back up. she falters and sways but she gets back up, and then she, the person who once managed to convince herself that so long as she could make peace with someone else’s choice it meant she too was choosing, tells the man who has been choosing for her for years: you chose nothing. and she rises.

in the end James Ironwood was finished by his petard thrice over. Atlas had defected against him. his greatest creation had become the Maiden and unshackled herself from him. and there is of course, the cannon: a literal petard, in the other words, which he fires at Winter, and Winter reflects back upon him.

Jaune Arc used the heirloom that his family has held for generations to kill a defenseless girl. he took the blade and sunk it in deep, because Penny trusted him and he had to be sure.

and then it shattered in his hands.

there’s something here in the second fight between Maidens, about Cinder having a named weapon and forsaking it for what she can make on the fly, and Winter insistent on using a weapon with no name at all, but i still can’t put my finger on it.

Winter never got to see Weiss try to Summon her Nevermore.

the thing that gets me about how it turns out is: Winter was winning. she’d managed to get her hands on the Staff, and even with Cinder’s immediate counterattack she managed to get the Staff away from Cinder. but then Cinder saw Jaune and Weiss, and she remembered a few days ago, when Penny saved Winter instead of going after Cinder, when Winter attacked Cinder to save Penny.

so Cinder attacks Weiss and Jaune instead of racing for the Staff. and Winter--

this is Winter Schnee. she saves people despite herself. she runs toward them, despite herself. and it has always, always been what saves her.

not anymore.

last time it had been Winter who was in mortal danger, and Weiss who, with Ruby’s help, drove Cinder off. same script, wrong player. and too late.

Weiss falls and for a moment, the camera makes it seem like Winter is falling too.

she wants to. no one deserves this.

the thing you have to ask when characters leap for the exit and fall just short is: is it about faith, or friendship? in Jaune’s case it’s both. his faith broke with Crocea Mors. and the portal is one-way, so he had no friends to grab him from the other side.

but Nora was still trying. they clasped hands. she promised.

the first time Winter sees her family--really sees them, after years of separation--she averts her eyes. she hides her face from them, because how can she tell them that Weiss is gone? how can she tell Penny’s friends that Penny is a part of her now, when Penny is just a part, now?

there are people all around her looking to her. there are voices within her. she has never been more alone.

(Winter Schnee has never met Pyrrha Nikos, and Pyrrha Nikos never became Maiden. because Pyrrha Nikos never became Maiden. Cinder Fall did that, too.)

this is what Winter Schnee thinks, as she screams and charges, as she kills Grimm faster than they are drawn in by her despair: in the fairy tales, eldest siblings never win.

i failed you again, master. master, but not queen.

Cinder won this. the heroes tried and tried and tried and none of it mattered, and she won this. but here’s the thing: Cinder won because she was LUCKY, and because she made her own luck. that she was able to pin things on Neo and Team Hero depended on things going exactly as planned, and some things going better than planned. and the reason she’d even made it that far was because she cheated, with the last use of a divine relic. it doesn’t take away her from her victory, but what i do know is this: this is her finest moment. she will never win as completely ever again, and she will fall farther than she has ever feared. (and that will save her, in the end.)

and that’s checkmate. i said that i wanted Atlas to fall the same way that Amity rose, but of course they did it like this. of course it would horrific yet unspectacular, with its General slumped in defeat, unable to fire a single shot from his gun. with the city in the sky falling onto Mantle, in Mantle’s palette. from the Dust from which it arose into Dust again.

as below, so above.

[the-littlefangirl]

TFATWS episode 1 rewatch commentary

The first scene was so beautiful. I loved that we didn't start directly with the fight sequence. It feels way closer to the quiet beginning of CATWS and I love it so much.

The title is also SO NEAT, music's on point too but hey it’s Henry Jackman the one thing I’m sure it’s going to be great overall is the score.

The choreography is AMAZING, really well shot. Sam shielding himself with only one wing was MA-JES-TIC.

“WHAT'S UP” EXACTLY SAM EXACTLY

I did feel so uncomfortable in regards to the military aspect of it. Not that I was expecting anything else, but both here and in Captain Marvel the military we're good guys < 3 propaganda is so blatant and ugh:/ At least there wasn’t a literal recruitment spot like with CM. 

The yellow filter in the Tunisia scene BYE please stop with the yellow filters 2k21

"I've been working with the Air Force for six months now" So, did Sam even catch a break at all after Endgame? Or did he just throw himself to work like SOMEONE did after being iced for 70 years. Hmmm? Sam????

"Essentially, these people, they want a world that's unified without borders" OH NO! HOW AWFUL, how evil of these bad guys smh

Joaquin: SO about Steve

Sam: :)))))) nope

"Moon stuff" SAAAM

#1 cry with Sam's speech, full on chills.. Fuck. Me. His voice about to break before saying thank you bYE.

Shady politician: "It was the right decision" (FUCKKKKK YOUUU)

Rhodey: *press any key to doubt *

I need someone to analyze the different curation of the two exhibits pretty please

NOT THE PHOTO POST-AZZANO JFC. That photo is my weakness, Bucky sweetie (also I find hilarious that usually when there are articles about Stucky and/or #givecaptainamericaaboyfriend they aaaalways use that photo LMAO)

In case someone wants to read the transcription of the texts about Bucky: "In 1944, while on a mission to thwart a Hydra weapon transport in the Alps, Barnes was thrown from a train and believed to have been killed in action. It wasn't until 2014, over seventy years later, that it was revealed that Barnes was alive, having been found by Hydra operatives. Captain America himself (i can't read) the effort to bring Barnes in only to later aid in a escape from custody having been convinced of his innocence. Steve's loyalty to his old friend, coupled with his refusal to sign the Sokovia Accords, led to the dissolution of the Avengers and drove the Captain into hiding with other like-minded Avengers including Natasha Romanoff, Wanda Maximoff, and Sam Wilson. The current whereabouts of Barnes remains unknown, habing been labeled a fugitive following his escape from custody."

"current wherabout unknown" but not the government, interesting. Also, pretty good summary of CACW from the public's perspective, although one of the things I always wanted to see explored was the public's reaction of the fallout of them going into hiding after Civil War (which I'm hoping we'll get to see a little bit of in Black Widow).

Interesting point about the 70 years without having Captain America. Clearly the sacrifice play wasn't enough this time to fuel the nationalism so they went with a squeaky clean John Walker instead.

Sam saying the shield belongs to Steve I'm going to cry now excuse me. Sam. Sam sweetie.

The No. 1 Captain America comic in the display ugH fuck yes

See this is how you do a cameo that has actual meaning. Thank god for Malcolm Spellman being a competent writer. That scene was so well written.

HAVE YOU PRAISED ANTHONY MACKIE'S PERFORMANCE TODAY?? Holy shit that last shot fucked me up.

I'm loving the use of the wide shots, especially in the flashback. The camera movements are in synch with The Soldier's state of mind and mission focus, so good.

EVERYONE STAND UP FOR THE NATIONAL ANTHEM aka The Winter Soldier theme composed by Henry Jackman.

Without a doubt the most brutal TWS fight scene there has been, People involved in Punisher and John Wick are involved in this and it SHOWS. 

For the record, still stands that the only time we've seen him chocking someone with his right hand instead of the metal arm remains the Maria Stark assasination. I know it's probably because of blocking and the way the shot was composed but the implications are still bone chilling. God.

Uhhmmmm I'm very ambivalent about the "Hail Hydra". On one hand, it was 100% fanservice and the internet is probably going to go insane over it, and the dead way Sebastian Stan delivered the line. Good shit. Buuut what I love about CATWS is the way Bucky never, ever ever, mouths Hydra rethoric, and even when Pierce tries to gaslight him with it, it's just an empty effort. The Winter Soldier isn't doing anything because of ideological loyalty to Hydra, even if it's product of brainwashing, it's just sheer dehumanization. They don’t need him to say the words because he’s just An Asset. There are people who have put it more eloquently but yeah, I rather go with the fanon interpretation of that aspect.

The music growing louder with the shot of the keys. GOD.

I'm fine this is fine.

#2 cry with the therapy scene of fucking course.

The government monitoring Bucky is noooot going to end well lmao.

"We need to know that you're not gonna * slowmo stabbing motions *

Bucky: * nodding along slowly * 

I laughed out loud.

"It's passive agressive" I love him.

The way this scene just sucker punched me in the face, made me weep and then had me cracking up. Amazing.

Therapist: You can't do anything illegal

Bucky: yup yup check checkity check. What IS considered illegal tho?

*aggresive tablet finger pressing *

"Then why isn't it rule number one?" Bucky your Steve is showing.

I love the close up shot. I'll keep saying it. It's so good.

"I'm James Bucky Barnes" yeah you are🥺

That smile is nightmare fuel LMFAO I love it.

Uhm the way I'm kinning Bucky it's not funny anymore damn

That whole “are you lashing out at me” rambling is really reminiscent of the bar scene in CATFA and how he lashed out at Steve after Peggy left. Uhm yeah fuck.

"WHAT DO YOU WANT?" "Peace"

"That is UTTER BULLSHIT" "You're a terrible shrink"

yeah ugly crying to ugly laughing speedrun for me

"You're free" "To do what?" jesus. That entire scene. #3 and #4 and #5 cries for moi.

Ugh that Brooklyn shot. Someone needs to do a gifset compairing it to the one in CATFA asap.

"It's like Monique but it's got a "U" in there for uniqueness" "That's absurd" LMAO

"You can't keep fighting with your neighbors" uHM * redacted redacted i'm shifting into 1940s mode abort abort *

"Nobody passed 90" "So young. Such a shame" FGADHGA

🥺🥺 yes flex those flirting skills good for you

"It's a dance to this things. You can't… you gotta warm up and I haven't danced since 1943. Feels like." #6 cry I completely broke down into tears with that.

This Yori storyline is going to punch me in the face with a metal fist. Great!

The TWS theme when he looks at Yori fuuuuuck.

GREAT LET'S GO TO LOUISIANA THAT WAS GETTING HEAVY.

Those shots of Sam in the car. Immaculate. Showstoping. Yes.

Marvel, what if instead of promoting the military industrial complex you put a lot of publicity about cars?

"Uncle Sam!" LMAO subtle.

Everyone trying to have the wings lmao same.

I've only had Sarah for a day but etc. Brooklyn 99 meme

Good mirroring about Steve and Sam family's legacy. Good shit. Goooood shit.

Sam is trying so hard ouch my heart. I can't imagine how painful the scene with them reuniting must have been. He 100% still feels a lot of guilt about being gone for those 5 years (and even longer before that).

"Maybe it is time for us to move on" uuuuuuuuuuh

"To the rescue" "Always" 🥺🥺 i love them so much already

That shot outside the restaurant is so beautiful. Can't wait to see the night scenes in Madripoor tbh.

"I tried the whole online dating thing. It's pretty crazy". Uhm well that is something that Bucky Barnes has now said. In canon. Damn.

"It's a lot" "You sound like my dad" LMAO

Every Bucky fanfic trope speedrun with this scene

"Wow you really can drink" OH you have no idea

Just realized we don't even know her name, well.

"You have any siblings?" "I have a sister" THE WAY I SCREECHED. We're definitely getting Becca

Well that escalated quickly. The important thing is to try?

I can't deal with this BUCKY SWEETIE #8 cry right there fuck

The wardrobe department is KILLING IT, there's such a difference between the outfits of the shows vs how ugly and generic it usually is.

"ThEre is NO such thiNg as on time. You're either EARLY or LATE . picK One" lmao the way he delivered that line

At first I thought the flag smashers had thrown two cars out of a window LMAO

"I don't know how jurisdiction works here, but I'mma have to place you under arrest" uhm yikes. The way they changed Joaquín Torres backstory to just random army nice guy #1 is not sitting well with me, what can I say.

Sam's wings motions I LOVE HIM YOUR HONOR

Fuuuuck this guy.

"Funny how thing's always thighten around us" "Look, I'm on your side. After all, he's a hero". This script is C R I S P as hell, great fucking job.

"I don't care, I'm not gonna quit" "What are you trying to prove? And who you trying to prove it to" SHIT HSIT SHIT!!! UGH amazing. Look it's not necessary to say the show's questions out loud but how they flow between the conversations is still very satisfactory without feeling in your face about it. Inner conflicts have been set up fucking perfectly everyone * claps *

Ugh here we fucking go.  I knew this was how the episode was going to end but my stomach still dropped like a rollercoster. God.

The score is on point. Damn. Damn.

God, Sam.🥺🥺🥺🥺🥺🥺

The captain america franchise's visuals in the credits are always so amazing.

Also, does anybody know why Mackie isn't first in the billing?  Uhm what's that about?

ANYWAY CONCLUSION THAT EPISODE WAS SO FUCKING GOOD LIKE HOLY SHIT. I love them so much. The balance between the personal conflicts and the political aspect (although the military aspect is still very much yikes) was on point and it was overall a joy to watch.

[tarhalindur]

Higurashi Gou final thoughts pt. 1

(Spoilers go under a cut:)

Taking this by arc:

Onidamashi-hen: The best executed first cour arc by a significant margin.  Probably not coincidentally, it stays the closest to the structure of the OG arc and thus keeps more of OG’s tension ratchet than the other Gou arcs.  I have two main issues, and I’m pretty sure both of them can be firmly pinned on the anime staff rather than Ryukishi07 himself.  First, it pulls its punch on the stealth sequel aspect.  I’m not entirely sure that going for a stealth sequel was the correct decision (it’s a cost/benefit tradeoff), but if you do you’re going for the wham of the sequel reveal, and the anime undercut this by putting the Rika/Hanyuu scene at the start of episode 2 rather than the end of the arc.  Second, it overdoes the final Rena fight, making it so over-the-top that it’s difficult to take seriously.  Neither of these issues exist in the manga (which has a believable amount of stabbing and has the Hanyuu scene at the end of the arc where it should be), and in the former case we also have a Ryukishi07 interview indicating that this was a change requested by the anime staff, so this goes on them.  (Interestingly, by way of contrast I think this approach might actually work well for the Mieruko-chan adaptation that Passione has coming out later this year.)

Watadamashi-hen: The core issue here (above and beyond fridge logic after Satokowaski-hen) is the finale, which landed like a wet fart.  It both escalates from zero to 100 *way* too fast and has the worst case of “tell don’t show” in the neo-question arcs - we learn about every single dead body in the arc from Ooishi’s end-of-arc narration.  That’s relatively defensible for three of those bodies, which we only learn about secondhand even in OG Watanagashi-hen (though IIRC in OG two of those bodies have foreshadowing from rumors earlier in the arc, and unless I’m forgetting something that’s absent here), but all five?  Yes, keeping Keiichi locked away from the final showdown removes fridge logic issues, but you have prominent security cameras - you can at least have him see the aftermath of the showdown on the screens (and freak out because of it).  Adding insult to injury, the Keiichi vs. door scenes are also so over-the-top as to damage willing suspension of disbelief.  The 0-to-100 issue is harder to fix, because the one thing Watadamashi did right was put the Rika-loses-it scene as an end-of-episode cliffhanger, and “Keiichi et. al. are about to enter the Saiguden” probably wanted an end-of-episode cliffhanger as well for discussion purposes (it might have been able to get away with using the commercial break).  The simplest fix is the same one @tsuisou-no-despair​ floated: cannibalize an episode off of another first cour arc.

Tataridamashi-hen: Amusingly, I think Gou has retained OG’s tradition of having the Tatari- question arc being the weakest question arc.  As I see it there are two interlocking core issues here which boil down to the same issue.  Tataridamashi-hen goes for a very unconventional method of building tension: it doesn’t, instead relying on the viewer’s realization that something bad has to be coming to do so for it (the old “that can’t be right, we’ve still got twenty minutes left in the episode” reaction I more commonly associate with things like police procedurals).  The problem is that this runs into the Endless Eight lesson: even flawless metatext should not be used at the expense of enjoyability of the actual text.  And while the arc got some leverage out of “when exactly is this going to diverge?”, there’s a point much like Endless Eight itself when you realize where it’s going to diverge (i.e, not until the end) and that until then you’re sitting through the same events you remember from OG.  It works about as well as it did for Haruhi.  (Unless you’re a new viewer, but in that case staying too close to Minagoroshi-hen has other issues.)  Worse, unlike Minagoroshi-hen itself (which did something similar to build tension but a) non-source readers hadn’t seen it before so it wasn’t foregone the same way and b) you had several more episodes after the subarc for the main event) the arc ends almost immediately after this.  (The simplest fix here might have been cutting down on the arc time by speedrunning Minagoroshi events, reducing the amount of time you’d have to wait.  You could even have a couple of obstacles collapse faster than expected; this late in the first cour it would serve as foreshadowing for Satokowashi-hen, and would also deal with unfortunate implications concerning the village’s prejudice considering that the staff knew Satoko was going to be the culprit.  Trimming an episode would also neatly solve the issue of where to get an additional episode for Watadamashi-hen from!)  The good news is that the final confrontation is the best of the first cour arcs (it’s somewhat more realistic than the other two, actually not that far behind some of the more memetastic OG moments except for Teppei’s eyes, and not showing Ooishi’s rampage is forgivable given that they knew they would be actually showing it in Nekodamashi-hen), but that’s damning with faint praise.

Nekodamashi-hen: The best Gou arc.  The episode 15 jump cut is the stuff of legends and the best scene in the show by a sizable margin (the one thing the director does well is black humor, it seems), while the rest of the arc isn’t as good, it’s far shorter on demerits than the rest of the show.  The one really, really obvious demerit is that they really didn’t need to spend half an episode on the intestines-ripping scene (if Ryukishi07′s comments are to be believed, once again we’re pinning this on Passione), but effects on my stomach aside there are worse issues to have.

Satokowashi-hen: And here we have the other side of the coin; this is the worst Gou arc, and it’s the one spot where I’m pretty sure Ryukishi07 himself gets some of the blame.  There’s a few issues here.  First, the single most obvious dangling plot thread from Matsuribayashi-hen (Satoshi’s fate) is effectively dropped despite being directly relevant to the other dangling thread that was picked up (how Rika treats Satoko and vice versa); this includes missing an opportunity to show Satoko’s character arc through different responses to learning about Satoshi’s condition.  Secondly and compounding, Shion is also dropped along with the Satoshi thread; AIUI this is kind of understandable given final Satoko/Shion interaction in the Matsuribayashi-hen VN (which IIRC never made it into the anime), but dropping her without explanation still leaves something that looks awfully like a plot hole since a single conversation with Shion is potentially enough to stop the events of this arc from ever happening.  (”Character X had information that would have stopped the tragedy but never had an opportunity to tell anyone” is a classic tragedy trope, but you should really have a *reason* for that character never having the opportunity as opposed to just having them vanish without explanation.)  Finally, there’s just the general issue that while the ending points for both Rika and Satoko are reasonable the path they take to get there just doesn’t quite add up.  I can kind of get there via a combination of “blame the director” (the loops montage could and should have easily shown Satoko’s deteriorating mental condition as she watched - using interlaced cuts to her face with changes in facial expression is a classic method) and mind caulk (Rika was exaggerating for effect when she described her desire to go to St. Lucia’s as a long-time thing and it only really kicked in after Matsuribayashi-hen, Satoko originally only planned to suicide in Matsuribayashi-2 and only took Rika out with her as a crime of passion after feeling betrayed, hence the next few loops lacking her murdering Rika) but being mind-caulkable is not the same as actual good execution.

I mean, I’ve banged on this drum before, but... the basic concept works.  Really well.  Satoko’s abandonment issues and Rika’s treatment of Satoko are two of the major dangling plot threads from OG Higurashi (*eyes both Minagoroshi-hen and anime-only Yakusamashi-hen*).  It makes perfectly good sense that the latter comes back to bite Rika, especially in a sequel literally titled “karma”.  I already suspected Satoko was on the autism spectrum based on OG, her being ADHD in addition to or instead of that makes perfectly good sense given those conditions often overlap.  Rika’s desire to escape the well morphing into a desire to escape Hinamizawa entirely?  Sure, just present it as that.  Satoko steadily losing her support network as her friends are torn away from her by changing life circumstances, then going to a boarding school that she hates, that strips the rest of her support structure for her and starts to take even her one remaining friend (her childhood friend, no less - and one that Satoko is at this point attracted to romantically in true osananajimi fashion) away from her, and then starting to snap with some prodding from a certain witch?  That’s a compelling story idea!  But as present it just doesn’t quite work, and that’s on the execution.

(Side note: I wonder if some of what went wrong with Gou was just the kind of production issues endemic to modern anime, amplified by the pandemic.  I remember at least one comment/blog post somewhere in the wake of WEP’s issues noting some of the effects that production issues can have on an anime, and one of the things they noted was excessive slavishness to the source material as a time-saving measure; that sounds awfully similar to some of Ryukishi07′s comments about how he didn’t expect Passione to take his script quite so literally, and to my admittedly untrained eye it sure looked like there were a bunch more other animation studios than usual mentioned in Gou’s credits...)

Final score: depends on your exact rating system, but given the range I’m looking at I can’t see how I can give it any score other than 3.4/5 for obvious reasons.  (Pending Sotsu, anyways.  It’s possible that Sotsu will resolve some of these issues - in particular, Ryukishi07 always has struck me as the kind of author who would get a kick into baiting us into falling for the same twist twice; it’s not impossible that the apparent lack of unreliable narrators so far is a double bluff, and that could affect the “question arc” scores in particular.  More on this in a forthcoming solution space post.)

[thepucegoose]

idk if you remember your "starsky & hutch is adhd/autistic solidarity" post (its like a year old whoops) but if you have more thoughts about hutch being autistic i would love to hear them 👀

okay it’s been a while since i rewatched s&h and generally when i said this i was just like, thems the vibes - with this said i think hutch does have those vibes for a reason so i’ll try and figure it out and if anyone else would like to contribute that’d be very welcome!

i think mainly hutch has a particular kind of relationship with empathy? when i think about episodes like vendetta or black and blue or any countless others, hutch is always very personally invested in the lives of those in the cases he’s involved with and really seems to take on the weight of these experiences i guess? which like, by the time you’re getting to season four he’s so burnt out by just all of it (bc the way to help in the community is not through the police btw lol! but that’s by the by) and i think that you could easily chalk a lot of that up to hyperempathy - i think we do see this also with starsky in episodes like nightmare, starsky’s lady, manchild on the streets, and blindfold, but frequently these examples are when starsky has a very personal investment in the case (and lead to significant emotional impulsivity in indignation bc he’s adhd babey) whereas hutch just sees someone sad and he seems to be feeling it right there with them (is this due to childhood abuse? i think the crying child means you can make a very valid argument that it is. is this due to autism also? yea.)

this said, despite his hyperempathy in relating to these inter-personal scenarios, this doesn’t necessarily translate into awareness regarding specific social boundaries. i think hutch often struggles with recognising what’s too far in his jokes and competition with starsky and he frequently does things that suggest he hasn’t really factored the emotional impact his actions might have on starsky. this is perhaps most evident in partners, although it’s a running theme you can see from the beginning on through (please don’t make your partner think he’s bad in bed jeez? stop stealing his gfs?? also babe starsky isn’t trying to trick you with this bet thing, you’re literally dying). these scenarios often run in line with the fun joking that s&h have in their relationship, and yet the extent to which he takes it, seemingly in good fun and without subsequent apology, suggests he just doesn’t recognise how far can be too far in a joke before you can end up really hurting someone - he just doesn’t seem to be aware of where the line is

in partners, hutch is mad at starsky’s impulsivity and the way in which he felt out of control and the negatives consequences that resulted from this and so he feels the need to demonstrate those possible consequences - i think this reaction kind of suggests a black and white approach to thinking as well as some difficulty expressing emotions: he hurt me by being so impulsive so i’ll make sure he knows that he went too far and that i was really hurt by it by making sure that he faces the worst of the possible consequences since this is what he deserves - without then recognising what pretending to have amnesia would do to starsky and the extent to which it would cause utter terror and profound distress, as well as compounding his guilt in an unfathomably unbearable way (i think hutch’s difficulty expressing emotions, particularly when he’s feeling hurt by starsky, also makes starsky vs hutch more coherent as a culmination of this and the relationship dynamic they’ve developed - to quote my own fic, “I tried to make something real with every girl I came across; you grew a moustache and fucked my girlfriend to prove it really wasn’t. Real that is.”)

just as a side note, i think it’s interesting that starsky didn’t respect hutch’s boundaries re: the driving bc of his impulsive reaction, and hutch didn’t respect starsky’s boundaries re: not like, faking amnesia to punish him bc he didn’t understand the emotional implications of this for starsky - sometimes being neurodivergent can make relationships hard!! but they work it out bc they’re in love and their minds are grooving on that neurodivergent plane together :’‘)) i think they can be conscious of the other’s difficulties and this helps them be understanding of each other, most of the time acknowledging when something was the other not meaning any harm and acting accordingly, but also recognising and responding when the other was clearly disregarding respect and care for the other, as is the case with both starsky and hutch in partners - it’s about being understanding whilst still being clear on what isn’t appropriate behaviour and what you’re not willing to put up with from someone

also starsky is just very neurodivergent and frankly (from my personal experience) it can be hard to like, vibe w someone in the way starsky and hutch do if they’re not also neurodivergent - they can follow each other’s thinking, skipping over the steps that other neurotypical people might need to follow, and they’re both good at finding unique perspectives on cases and noticing details that others might not

also just, hutch’s approach to healthy living as part of a regimented routine?? that’s autism babey. he likes things done in a particular way and he always has the same grim shake for breakfast? that’s autism babey! he’s constantly trying to inveigle starsky into his healthy living thing about which he is evangelical? sounds like a special interest to me and he just wants his bf to know just how cool it is!!! would anyone who isn’t neurodivergent drink cold clam chowder out of a can?

and like,,, murder on stage 17??????? the way he mimics john wayne when he’s anxious and under pressure to speak?????????? need i say more????????

s&h as a show also i think has a greater relationship to neurodivergence as a whole which i have so many thoughts on and will one day manage to write up but essentially i think the show has a running theme about respect, understanding, compassion, and care for neurodivergence and this is really shown through both starsky and hutch’s actions - i’m not saying that starsky and hutch need to be neurodivergent to show the compassion they do, but i do think it helps that they are able to relate to the other neurodivergent characters on the show and their responses are in line with this

essentially: hutch has hyperempathy, but a difficulty recognising where he’s crossing social boundaries. there are suggestions of some black and white thinking at times, a difficulty feeling out of control, and he can have struggle with expressing the ways in which he’s been hurt by something. he vibes with starsky bc they have similar modes of thinking and he notices details and makes connections that others may not be able to, as well as being able to follow starsky’s reasoning when he does the same. he likes a routine and a regimen, and this feeds into a special interest in healthy living, about which he is very enthusiastic and can’t see why starsky wouldn’t agree. he sticks to the same shake for breakfast every day, suggesting not only consistent routine but also a particular sensory affinity and i can’t remember if we see him eat other breaksfast foods but he doesn’t want to eat pastries in the mornings which could be related to sensory difficulties. he struggles under the social pressure of being on camera, at which point there’s some suggestion of using echolalia to help script a response. he also is very able to relate to others who are neurodivergent. he’s autistic!

(like i said it’s been a while since i engaged with s&h so if i’ve got any episode titles wrong or made erroneous assumptions please chip in bc i have not double checked!)

[cezulian]

Its funny though with this petition for an “It” Netflix series that’s goin around now because 1. When the movie was first announced I thought it was gonna be a Netflix series and I cried all day out of joy and I know that in the hyperbolic nature of modern day exchange the term “cried all day” is sometimes taken lightly but I’m quite serious when I say that that’s exactly what I did and 2. I’ve been thinking for a while about a Netflix/streaming series idea for “It” that I actually like started working on a rough script for lmao

If yall don’t know me you should know now that I’m a sucker for prequels and they make up like 70% of my creative ideas because I’m a fuckin loser nerd. Basically I was thinking about some stuff from the book, like how little we know about Veronica Grogan or how I didn’t think it was possible for a book to give me a jumpscare before “a hand wrapped around Eddie’s leg.”, and that got me thinking about how fuckin GOOD those missing kid chapters were. Its something I’ve always known but didn’t fully appreciate until I was an adult. Like they always built up in the previous chapters by each of the kids being mentioned in passing beforehand and then finally we get the reveal of what it is that happened (well, for a few of em) when It got them and each of their stories made a point about the cruelty of Derry and the detached nature of the town beautifully and were some of the best written segments in the book, imho.

Then I started thinking (as I often do) about how under-utilized Owen Teague was in the movie even though I feel like if he’d been given a billion lines and a trillion scenes he would’ve been fuckin ready to go and absolutely killed it because the kid was just brimming with potential every time he was on screen. The work put into Patrick between Owen and the screenwriters was definitely split 80-20 and all I’ve seen about his preformance is that everyone seems to want to see more of it. I was also thinking about how when Owen Teague was about 12 (Patrick’s age in the book) he looked pretty much exactly like how I imagined him looking in the book, even though I don’t think Owen’s ever been “podgy” a day in his fuckin life.

So anyway all of that made me think about an anthology series taking place withing the “It” movie universe that covers the individual stories of the missing kids, one per episode. They would all snap to different points in time, and each would either outright be or give the implication of being a story told after they’ve gone missing, but the viewpoints would differ in that the way in which their story wastold would also be unique to them, if that makes sense. So like ideally the series would start with Betty Ripsom’s episode and end with Georgie’s, so Betty’s would have, say, her mother talking to the police station and the police searching the Barrens intercut with flashbacks and storytelling and would give us a decent idea of what her home life was like according to her parents vs. what we really see in the flashbacks, as well as the subsequent investigation following her disappearence and how the evidence combined with the flashbacks provides a particular pacibg that helps us link together what really happened to her by the end of it. That’s pretty basic, but hey its the first episode and we’re laying groundwork.

We could also get really abstract with some of these stories too. Since I saw the movie I’ve been sitting on this theory that a lot of the stuff that happened in the book with Patrick (the refrigerator, the junkyard, etc.) all happened in the movie universe when Patrick was actually the age he was invthe book, just in the movie, which would place us in about 1984 with him and about 1977 when he killed his brother, and the movie universe is basically a canon where instead of dying at 12 like in the book he was able to grow into a 17 year old kid. So we could get abstract with him because in one of the original drafts for the movie its actually Henry that reports him missing, and Butch has to point that out to another officer when he’s asked if the Hockstetters contacted him personally. And yall all know my thing with how shitty and void of actual affection Patrick’s home life was, so the tone of his episode might be relatively vacant and cold, movement and action-oriented like a child who lives inside their own head. I can see the camera work in this episode growing more and more visceral, giving it that handheld look that a lot of the movie had going on, as he became more involved with Henry and his gang but go cold and distant feeling again when he was alone. I think that his story would be a great way to speak a lot about the adults in Derry as well as the grey morality that encompasses so many of Stephen King’s villains, in that so many of them are born with the potential for evil, but nurturing it either actively or passively is what makes them so. I don’t know I have a lot of ideas for a Patrick episode.

I would like for their to be some event or on a smaller level some scene that has every character who eventually goes missing in the same place at the same time just doing different things. Something to show how very small Derry is and how much of it is these children being caught up in their own little communities and finding their own ways to feel safe in an unsafe place. It was one thing in the book that didn’t really stand out to me so much in the movie that I’d like to see represented: how little and close together everything in Derry is, despite how distant everyone is from each other. I loved the prevalence of the missing posters in the film but I still feel as though the urgency of these cases was sort of lost because we didn’t understand that this was a town where everyone knew everyone from the time they were very young, going generations back. There’s one high school and two elementary schools in the entire town (middle schools might be merged with one or the other, I don’t know, as Steve) and everyone knows everyone’s family and everyone’s business but these kids are STILL GOING MISSING and its TERRIFYING. I’d love for the otherworldly nature of those two contradictory circumstances to come through, were this to be a thing.

I feel like this would also be a great opportunity to run a through line in the narrative in exploring the fears of these past generations and how it effects each kid differently. Sort of like how “a Series of Unfortunate Events”, probably the most formative piece of writing I ever consumed as a child and one that makes me incredibly emotional if I get into talking about its importance, told the story of these three children trying to escape someone who wanted them dead but the plot went so much deeper than they could have ever imagined and the whole conspiracy and secret organization aspects of the plot were left out for readers in broad daylight because the auther respected the intelligence of children while also making the series entertaining on a level that even children who didn’t pick up on some subtleties could still enjoy it for the story and, as the children of the story got older and came to understand more, so did the readers until eventually we were able to put the puzzle together that we’d been working on for years. That sort of ingenious underlying narrative that captures the inherent supernatural of Derry, that’s what I want.

I dunno, I just loved those chapters and would like to see them come to life like they deserve. I remember Stephen King had a great quote about short stories where he said that a short story is “like a kiss in the dark from a stranger” and that’s how the missing kids chapters felt to me, and why I think they would be excellent if they were to be translated to the screen in the fashion of several little short films, because I think of a well-done short film in the same way King talks about a short story, and I think that with the right people behind it it could feel just as intimate.

[nadia-guerreiro]

Annotated Bibliography

Spark, A. 2016. Andi Spark – Pursuing the Animatrix: Musings on Defining a Term to Describe Woman-Centered Animation – Animation Studies. [Online]. [Accessed 25 October 2019]. Available from: https://journal.animationstudies.org/andi-spark-pursuing-the-animatrix-musings-on-defining-a-term-to-describe-woman-centered-animation/.

The writer grabs the topic of “female workers in animation” to describe the changes that have happened over the years. Up till the day this was written, woman were able to gather some significant roles (mainly going for storyboard artists, and some for animators), but most of the self found conceptions still apply, studios would still choose a man over a woman for a creative roll. For me, as a woman in the field, this kind of exclusion is not understandable. Woman can be as creative as man, and the only explanation provided is that woman tend to bring their own feelings for animation, while man do the most creative out of the box ideas.

Herhuth, E. (2019). Eric Herhuth – The Animated Will: Intelligent Movement and Embodied Intentionality in Character Animation. – Animation Studies. [Online]. [Accessed 22 Oct. 2019]. Available from: https://journal.animationstudies.org/eric-herhuth-the-animated-will-intelligent-movement-and-embodied-intentionality-in-character-animation/

During his journal entry, the author explains the importance and evolution of the technic for the character’s will. The was used to show that a character could do any actions without thinking, that it was free to choose whatever it was meant to do, nonetheless, it was only an illusory freedom (or as he would call it “insincere promise of freedom”), as the choices that they go though have been meed previously made. Personally reading this text was really important for me since I tend to concentrate on character performance, posing, movement and acting takes a great part in this relationship with the creation of freedom.

Martin, B., Yecies, B. (2004). First Monday: Peer-reviewed Journal on the Internet, [online] 9(6). Available at: https://documents.uow.edu.au/~bmartin/pubs/04firstmonday.html [Accessed 28 Oct. 2019].

This journal entry shows a variety of titles a corporation may have to battle while climbing the ladder to success, and analyses the variety of changes the company itself had to grow from, especially with the rise of the internet and NET communication technology. The author goes through an analysis to understand each site’s reason to take an anti-Disney approach and question each of them creating a table of sites, reasons, goals, methods and their strategies. I feel lithe this article is a good approach for everyone to understand what a rising company such as Disney can go through the years, while they gain more fame, their actions will be more criticized and noticed, so more and more of this sites will appear. It’s good to understand that any animator might be on their shoes one of these days.

Berney, S. (2016). Does animation enhance learning? A meta-analysis. Computers & Education, [online] 101, pp.150-167. Available at: https://www.sciencedirect.com/science/article/pii/S0360131516301336?via%3Dihub [Accessed 25 Nov. 2019].

The author took this journal to analyse whenever would be easier to learn from graphics or animated videos. They tested both methods in various forms consecutively with different studies, such as pure animation, animation with sound and animation with no explanatory text, they grew in results substantially, understanding that the most efficient method would be the animation with sound a no explanatory text. This induct to a transition of the media, that implies great research in the animation field, with more development, this kind of animation could bust the way people study. This topic was particularly interesting from my point of view since I can give more time of my attention to video lessons other than reading, this method could prove really useful in various fields of study.

Telotte, J. (2019). Letting Go: Representation, Presentation, and Disney’s Art of Animation. Animation, [online] 14(2), pp.132-148. Available at: https://doi-org.ezproxy.herts.ac.uk/10.1177/1746847719858159 [Accessed 18 Nov. 2019].

This article shows how Walt Disney was able to present both sides of animation while developing his drawing to tv, he made a series of behind the scenes so he would be able to let people understand when and how their favourite films were being made. This was a way to show various differences in the animation studied by the studio, as for example, from the realistic style Pinocchio (1940) to a more fantasy/cartoony one as in Lady and the Tramp (1955). This source was relevant from the point of evolution, as a person and a company leader, how to develop a whole variety of shows that appeal to your work and are able to demonstrate your development.

Neuman, R. (2019). Disney’s Final Package Film: The Making and Marketing of The Adventures of Ichabod and Mr. Toad (1949). Animation, [online] 14(2), pp.149-163. Available at: https://doi-org.ezproxy.herts.ac.uk/10.1177/1746847719858678 [Accessed 21 Nov. 2019].

During this journal, it is analysed the conception of the film The Adventures of Ichabod and Mr Toad (1949), how it was developed even in times of war, how it took eight years to assemble and how the conjunction of two different origin stories gave birth to this final script. A great point made by the author is that film shows the division they had in subtle ways, like for example having one character more cartoony and other more realistic. Unfortunately, this movie wasn't a big hit for Disney but was good for many experimentations and answers. I particularly like this journal entry as a form of making movies as a research method, a way of understanding the public needs and likes, and as a proof that no matter how much a movie can fail, it does not mean the next one will follow the same path.

Death and Coping Mechanisms in Animated Disney Movies: A Content Analysis of Disney Films (1937–2003) and Disney/Pixar Films (2003–2016). (2019). The Psychosocial Implications of Disney Movies, [online] pp.17-30. Available at: https://doi.org/10.3390/books978-3-03897-849-7 [Accessed 29 Nov. 2019].

During this chapter, the author decided to examine how Disney has portraited death over the years, what were the differences from the old traditional movies to the newer versions, and how children are dealing with the concept of death transmitted by it. It’s referred that some stories are supposed to help the children deal and learn the state of grief. During the studies, it was noticeable that protagonists were the ones who die the most, and that normally it had negative emotion embed with the feeling (and was unjustified), while when an antagonist died it was a positive emotion (and was justified). In a personal analysis, the recent movies made the grief make more sense, and developing the stages of character and having it pass the same stages of grief is something that, in my opinion, will help children understand such a complicated topic.

Pluralsight (2014). Animation for Games vs Animation for Movies. [online] Pluralsight.com.  Available at: https://www.pluralsight.com/blog/film-games/how-animation-for-games-is-different-from-animation-for-movies [Accessed 1 Dec. 2019].

In this article, it was pointed out the main differences between working as an animator for movies or for the games industries. The author argues that while movies only have to worry about the shot they're working at, and have a wider amount of time to develop it, relying mostly in acting, in games, the industry demands good and fast animation, it needs to be ready for every camera angle (since it’s interactively based) and relies mostly in character performance and body mechanics. This was a great article for me as since the beginning of this course I was trying to explain what I pretended to do, this helped me decide that developing character performance and acting is my main focus.

Neistadt, W. (2018). From School to Studio: Sir Wade Neistadt’s Journey to DreamWorks Animation. [online] Animation Mentor Blog. Available at: https://blog.animationmentor.com/from-school-to-studio-sir-wade-neistadts-journey-to-dreamworks-animation/ [Accessed 3 Dec. 2019].

During this blog post, the author explains his own experience developing himself to enter the world of an animator’s career. From starting in a subject he didn't enjoy, to learning what animation could bring to his life until he learned of an online animator’s school, this opened his eyes for software and prepared him for future opportunities. He started in a studio, but not directly as an animator, he does believe that being inside the studio and getting to know people is already a major first step. This blog was a major help for me, as I was lost in whatever way a student could even be able to approach or even enter a studio by himself.

Barnes, B. and Sperling, N. (2019). Why the ‘Joker’ Movie Was a Risk Warner Bros. Wanted to Take. New York Times, [online] p.1. Available at: https://www.nytimes.com/2019/10/03/movies/joker-movie.html [Accessed 10 Dec. 2019].

This newspaper article main focus point was how everyone, including some Warner Bros. employees were worried how the film would be received by the audience. Since it tackled such violent issues and gave the main character a “reason” to justify his action, they worried it could have a negative impact on the already occurring disasters. The author says that “This was a risk Warner Bros. wanted to take” and I totally agree, as films should not be considered documentaries of real life, but imaginary worlds we create to live their stories, making that separation was what made this topic so important, it was a risk worth taking.

[mewreviews]

Train to Busan Review

“I'll take you to mum no matter what.”

When Seok-woo promises to take his daughter to Busan to visit her mother for her birthday, the two find themselves trapped on a train at the outbreak of a zombie virus.

The thing that instantly differs Train to Busan from your standard Western zombie film is the development given to practically every character; every named character is nuanced enough to feel like an actual person, with their own motivations and drawbacks. In most ensemble zombie films, it’s easy to divide the zombie fodder from the main characters, making the film entertaining but hard to invest in. With Train to Busan, the intensity in every action scene is dramatically increased based on the simple fact that the characters are easier to identify with and thereby root for. Apart from one character – a thoroughly despicable antagonist, whose demise you’ll be hoping for only a few moments after he’s on screen – every death feels like a significant loss, and more than any other Train to Busan is a zombie film that’s able to elicit real emotion in its audience.

The zombies themselves, while bringing nothing new to the genre, were still an entertaining and terrifying threat. More similar to the Infected from 28 Days Later than your standard shuffling zombie, the quick, erratic movements of the undead, combined with the urgent and string-heavy soundtrack, create a feeling of nauseating dread. Jerkily advancing on the characters, with bulging veins and eyes void of colour, the zombies inspire real fear with very minimal makeup. This is due in large part to the feral and unrestrained acting of the cast, who commit terrifyingly convincingly to their roles. Surprisingly – considering the amount of deaths in the film – gore is kept to a minimum. While the camera doesn’t shy away from showing the zombie attacks, the precise details are left to audience imagination.

The camerawork used throughout the film was perfect for what is majorly set in a very narrow and confined space. Effectively conveying the sense of claustrophobia when necessary, but then effortlessly adapting to the wider shots outside of the train, Train to Busan is at all times a visually engaging film. Some of the camerawork used with the zombies – especially during the initial outbreak – was reminiscent of Sam Raimi’s work in The Evil Dead. Shakily preceding the zombies as they surge along the train, almost as though the camera is showing them where to go, the effect is exciting and used liberally enough not to become overdone.

While there are some issues with the film, they are mainly just minor gripes, and not enough to impact on the overall quality of the movie. The time it takes for infection to take hold in a character, for example, is very inconsistent, and depends entirely on how long the script needs the character to remain human for. If the movie demands that a character turn quickly so as to add to a zombie horde, the effect will take place in a matter of seconds, whereas if a character needs to stay alive long enough to have an emotional impact on the scene, they could remain human for several minutes. Although this is a minor fault, it is something that becomes more apparent the further into the film you get.

The highlight of this film is the daughter Soo-an, who gives one of the most convincing child performances to date. The emotional core of the film, Soo-an plays moral compass both for the audience and for her father. Train to Busan focuses heavily on the moral issues concerned with survival of the many vs. the importance of the individual, and the weight of these decisions are expressed perfectly through the pain on Soo-an’s face throughout. Always opting for the moral option, Soo-an is in direct opposition to her pragmatic and rather cold father, and it is the exploration and development of their relationship which makes Train to Busan a truly unforgettable zombie film.

More than most, Train to Busan chooses to focus on the moral and emotional implications of a zombie outbreak, and is able to elicit genuine sorrow from its audience. While remaining a tense and terrifying experience, the reason Train to Busan will stick with you is its commitment to character development and emotional storyline.

4/5

[timeflies1007-blog]

Doctor Who Reviews from a Female Doctor, Season 3, p. 3

Please note: these reviews contain spoilers for multiple seasons of the reboot, and occasional references to events from the classic series.

Blink: This is an extraordinarily good story, possibly the best individual plotline of any Who episode. I wouldn’t consider it the best episode of all time, as some do, because the focus on single-episode characters prevents it from having the kind of emotional impact that we get in episodes centered on the Doctor and companion. Still, it’s a thrilling story about the sheer possibilities—both exhilarating and terrifying—that are attached to the presence of time travel. Like many of Moffat’s scripts, there is an extraordinarily large number of pieces to the story, but watching them fit together is never burdensome and is consistently delightful, thanks in part to the introduction of a captivating new monster. Most of the attention given to this episode has been devoted to the Angels themselves, who are indeed extraordinarily creepy villains. The quantum-locked statues are great in themselves, and even better in the effect that they have on other characters. Having to avoid blinking in order to ward off attack is a perfect horror-story rule, and the prospect of being suddenly sent back to a different time is convincingly terrifying. The gradual advancement of the Angels, who get closer and scarier every time someone looks away, is wonderfully directed—there’s something marvelously frightening about seeing their before and after pose but not seeing them actually move.

To me, though, the spookiest pieces of the episode don’t involve the Angels themselves but rather the fragments of writing and speech that help Sally to piece the plot together. The literal writing on the wall that opens the episode is fabulously creepy, and the DVD Easter eggs are even better. The Doctor’s efforts to bring about his own rescue through these Easter eggs, sparking lots of analysis in internet forums, is an appropriately nerdy premise for the show, and I love the bits of those forum discussions that we hear about from Larry. He’s a pretty underwritten character, but I can’t dislike anyone who puts “The Angels have the phone box” on a T-shirt. Sally’s initial “conversation” with the Doctor is already fascinating in terms of how the dialogue lines up, but when she watches it again, says different things, and the Doctor’s lines still work in response, it’s pretty mind-blowing, so lots of credit to Moffat for figuring out how to make that work. The whole concept of the Doctor reading from a transcript of a conversation that he’s still having is both a brilliant piece of plotting and an interesting opportunity to think about how free will fits into the idea of time travel. Sally is clearly making choices throughout the episode, and yet everything is unfolding according to the script that the Doctor put together based on Sally’s own notes—the time travel dimension pretty much makes sense of everything, but it’s still a tremendous shakeup of how we usually envision cause and effect.

The characters themselves generally work pretty well. Sally’s relationship with Larry is never convincingly developed—and, really, neither is Larry himself—but she’s a vibrant and engaging presence, aided by the abilities of a not-yet-famous Carey Mulligan. She has more than enough charisma to carry an episode that features very little David Tennant, and while she’s smart and capable, the script avoids making her into an implausibly good character. She’s fun and adventurous, but also a bit pretentious—particularly in her observation that sadness is “happiness for deep people”—and she has a sort of self-serving tendency to push other people into her dangerous adventures. It’s difficult to tell how much of the character’s charm stems from the writing, and how much is just Mulligan’s impeccable screen presence, but whatever the reason, Sally is one of the show’s most memorable single-episode characters. The Doctor makes the most of his small amount of screen time: “Wibbly-wobbly, timey-wimey” is rightfully one of the most famous lines of the reboot, and I also enjoy his flurried reference to the need to deal with “four things and a lizard.” I don’t like that even in an episode that has very little Doctor and even less Martha, we still have time for how uncomfortable their relationship is. He practically shoves her out of the shot when she tries to be in the video, and I don’t really understand why she is supporting him. (It’s the 1960s, she’s a black woman, he’s a white man. Even if he got the exact same job that she did, he would probably get paid twice as much. And yet, the implication is that she is working and he is not. Why?) Their relationship is pretty typical of what it is in much of the rest of the season, but it’s still annoying. Otherwise, though, the Doctor manages to be likeable and impressively memorable, in spite of the lack of screentime.

It’s hard to tell whether we should see this as a magnificent little island of an episode, or as an important harbinger of things to come. While it introduces monsters who will return in later seasons, it’s also a perfectly contained little narrative. However, it also feels like a statement of arrival, more so than either of Moffat’s previous episodes (even if I did like his Season One two-parter a bit better.) His contributions to Season One and (sort of) to Season Two showed him to be a strong writer, but this episode gives us a clearer sense of the kind of writer that he is. I don’t say this because it’s a fairly plot-driven episode, as I think the notion that Moffat made the show more plot-focused is almost completely unfounded, but the intricacy of this story is a good indication of just how much attention Moffat demands from his audience. We’ve still got plenty of the Davies era left to go, but this episode is an early indication that eventually, we’re going to get six full seasons in which a necessary component of understanding the further adventures of the Doctor and company is going to involve keeping your eyes wide open like your life depended on it. A

Utopia: The string of good episodes continues as the Doctor, Martha, and Jack find themselves at the end of the universe. It’s a terrifying place, and probably the most interesting non-Earth planet that Davies develops. The Futurekind are scary in themselves, but the dark world with barely anything left in it is even scarier. Even in this cold, bleak place, though, there is still hope for a better world, and we can see brief moments of warmth between the humans as they wait for Utopia. The emotional investment that this creates for these humans makes their eventual fate even sadder, and their doomed hopes for a new world are really beautifully portrayed here.

For the most part, Davies does an astonishing job of blending a thrilling plot with some lovely character work. The one downside to this episode is that it doesn’t always serve its female characters very well, especially since Jack’s curiosity about Rose means that this episode gives us an extra helping of Morose Martha. I’m not sure what’s more annoying: Jack’s assertion that the Doctor doesn’t abandon his blonde companions (Martha, annoyed: “Oh, she’s blonde!”) or the camera repeatedly cutting back to Martha looking bitter while The Doctor and Jack talk about what happened to Rose. It’s not that I blame Martha, who is responding reasonably to the Doctor’s behavior, but having more than one reference to the stupid Martha-vs.-Rose dynamic in a single episode is too much. Chantho is mostly used as an end-of-the-universe equivalent to Martha, as the script goes out of its way to point out that “Look! Professor Yana has a woman quietly pining away for him, just like the Doctor!” She and Martha then strike up a cute friendship, though, so the episode mostly emerges from the boring treatment of women that we get at the start.

Other than inadvertently heightening Martha’s resentment toward Rose, Jack makes a triumphant return here. (So does the Doctor’s severed hand, which Davies does a wonderful job of weaving into the plot of Tennant’s entire time on the show.) He’s just as charming and fun as he was in the first season, and we get a wonderful discussion between him and the Doctor regarding the Doctor’s abandonment of him after the defeat of the Daleks. It’s such a brief moment in “The Parting of Ways” that it would be easy to gloss over it, so I appreciate that the episode takes the time to describe Jack’s experience and to let him confront the Doctor about what he did. The Doctor’s excuse—that Jack is a fixed point in time, and therefore goes against the Doctor’s Time Lord gut instincts—is understandable, but not really sufficient to excuse the Doctor’s decision to just leave him behind. Jack isn’t particularly bitter here, though; he’s honest about what he’s gone through, but he’s still kindly disposed toward the Doctor and (of course) somewhat flirtatious toward him. Tennant and Barrowman have excellent chemistry, and the scene gracefully and effortlessly conveys their extremely complicated relationship.

The highlight of the episode, though, is Derek Jacobi’s portrayal of Professor Yana/The Master. I wish there was time for him to be in more than one episode, but he’s brilliant here, both as the kind, self-sacrificing professor and as the newly-aware Time Lord. His interactions with the Doctor and with Martha are marvelously done, and the growing awareness of his real identity is just superbly plotted. The drumming in his head is not always well-handled in future episodes, but Jacobi plays this element of his character with a great deal of sensitivity. The big reveal is an especially fabulous moment: the watch, the drumbeats, and the various other bits of the story slot together perfectly, and culminate in a terrific showdown between the Doctor and the new regeneration of the Master. Chantho’s scared but determined resistance gives us a great final moment for Jacobi’s Master, and Simm’s performance is an immediately enjoyable piece of ham. The final scene, in which the Master takes over the TARDIS, leaving the Doctor and company trapped at the end of the universe, is a stunning cliffhanger.

The episode’s conclusion is so excitingly plotted that it’s easy to miss some of the quieter, more philosophical work that Davies does with the Master here. We never quite get a clear sense of what the relationship is between a Time Lord’s actual personality and the human created by the watch; the Doctor tells Joan that he is capable of all that John Smith was, but there are also pretty clear differences between the two. The watch certainly does quite a lot of rewriting, but it doesn’t seem to create a completely new personality, which means that there are at least some similarities between Yana and the Master. It’s a fascinating thought, as until his memories return, Yana is kind and self-sacrificing. It’s a bit odd to me that Tennant doesn’t refer to this in the next episode, but for purposes of this episode, I like the subtlety with which Davies sets up the possibility that the Master might have quite a lot of goodness inside him. (This wouldn’t have been the intention at the time, but it also provides a nice bit of setup for the Twelfth Doctor’s later confidence that Missy can be redeemed.)

This episode sometimes gets overlooked a bit because of the flashier ones that preceded and follow it, but I really do think this is a sensational story. It’s fast-paced and scary, we get to explore an eerie new place, Jack Harkness is back, and the Master gets a great new incarnation. There are a couple of scenes that annoy me, but of the three parts of the season finale, I would say this one is my favorite. A/A-

The Sound of Drums: This episode is already starting to show how much Davies is straining to pull the plot arc together, but it’s such an exuberant episode that it’s easy to overlook the problems for now. A lot happens in this episode, which necessitates a certain amount of rushing; this is apparent from the opening scene, in which the previous episode’s cliffhanger (The Doctor, Martha, and Jack are trapped at the end of the universe without the TARDIS!!) is easily resolved by Jack having a time travel device that will transport all three of them. The Jones family would also have benefited from a bit more screentime here—what happens to them is shocking, but we aren’t given enough of the intriguing situation of Tish working for the Master, or of their reaction to their eventual capture. We really needed to get a clearer sense of how the Archangel Network functions, or possibly just a different sense, as I’m pretty sure it just changes completely between this episode and the next. When the story does invest sufficient time and detail into its narrative elements, though, it’s tremendously fun.

           Simm is charmingly evil here, and Davies’s script allows the Master to have a wonderful time taking over the world and messing with the Doctor’s mind. There are moments of extremely dark humor, such as his nonchalant murder of the entire cabinet with poisonous gas and his casual efforts to close the door on Vivien’s death screams. He has excellent chemistry with Tennant, particularly in the beautifully acted phone call, and it’s surprisingly delightful to see him watch The Teletubbies. He gets even more fun as he begins his strategy of cheerfully irritating the American president—a strategy that includes sitting down and pulling out some jelly babies. I love that in the midst of plotting world domination, he made the time to think “I’m going to bring the Doctor’s favorite snack to my glorious victory.” By the end of the episode, he is joyfully welcoming the Toclafane to the strains of “Voodoo Child,” and it’s just such an astonishing moment of silliness that it’s a perfect return for the Master. John Simm got stuck with some odd writing on this show, some of which shows up in the next episode and quite a lot of which appears in “The End of Time,” but this episode proves that when he is given good material, he’s an absolutely stellar Master. It helps that he has to spend much of the episode reining himself in just a little bit in order to plausibly function as prime minister, so that when he breaks into a much broader persona toward the end it really feels like a rise in energy and doesn’t seem like overkill. The constant drumbeat that he hears, which was approached with considerable nuance in the last episode, has turned into a cartoonish version of insanity; still, the episode makes no effort to pass this off as a realistic portrayal of mental illness, so it doesn’t really bother me. The scenery-chewing madness goes too far when he returns in “The End of Time,” but for this season, Simm does a good job of depicting an intentionally silly persona.

           Our main characters’ fugitive status lets them stay near the main action but also separate from it, which gives us lots of time to just watch them talk to each other and react to the situation. Their conversation about the Master is one of my favorite scenes of the whole season—the Doctor’s description of the treatment of Time Lord children is beautifully written and performed, and there is a wonderful sense of sympathy between the three characters here. The Doctor ends the scene by distributing perception filters, which I always love—there’s something about the ability to make yourself unseen without actually being invisible that I find absolutely thrilling every time it’s introduced on the show. Granted, the Doctor then goes a long way toward undoing the scene’s positive energy by explaining that perception filters are like fancying someone who doesn’t notice you, making me immensely aggravated that his thoughtlessness toward Martha is now being treated as a joke. Still, there’s a nice moment between Martha and Jack as they realize that they’re both in the same position in terms of their feelings toward the Doctor. Martha gets quite a lot of good material in this episode; I especially love that she gets to be in the driver’s seat for the car chase, and while I think her family is itself underwritten, her concern for them is portrayed very well.

           The Doctor’s relationship with the Master is the heart of the episode, and Tennant really sells his conflicted feelings of wanting to protect the world from the Master while also wanting to protect the one Time Lord he didn’t destroy. I don’t really understand the choice to avoid any mention of his own experiences as a human; the Doctor tries so hard, at first, to find a scrap of empathy in the Master that you would think “I went through the same experience of becoming human and forgetting my real identity for a while” would be a good approach. Nonetheless, his relationship with the Master is intriguing throughout the episode, and his determination to save the man who was once his friend seems incredibly heartfelt in spite of the Master’s over-the-top evil. I spend so much of the episode focusing on the Master and his interactions with the Doctor that the actual plot events fade a bit in comparison, but there are some good things here, especially the reveal that the Master has turned the TARDIS into a paradox machine. The Toclafane aren’t very interesting aliens until you find out who they are in the next episode, but they’re certainly a major threat and they give the Master an opportunity to really put on a show. The whole business with aging the Doctor doesn’t work very well and is an awfully random thing to do, but it’s the only real false note marring an otherwise sensational ending. The Toclafane have landed, the Master is dancing, and Martha is off to save the world on her own—not a bad cliffhanger to take us into the finale. A/A-

The Last of the Time Lords: I can get past plot holes. An episode full of them might not be my very favorite, but they don’t necessarily prevent me from enjoying the story. The worst kind of plot holes, though, are the kind that make the characters look idiotic, and we get an avalanche of those here. First, we have the Master, who comes across as so unbelievably stupid that I cease to see him as a meaningful antagonist. I get that he’s insane, and sort of a pantomime villain, but in the previous episode he at least looked like he had a sizeable streak of brilliance as well. In this episode, he’s got spies everywhere and a huge amount of leverage over people whose families he’s kidnapped, and yet he can’t manage to find out a plan at least some of which is known to most of the Earth’s population. Martha has spread the strategy of believing really hard in the Doctor during the countdown to what seems like millions, so the notion that the Master wouldn’t have caught on to this and would still be believing in the multi-colored gun plan just isn’t plausible. (I can sort of imagine him dismissing the plan, because he doesn’t believe in the power of human goodness in the way that the Doctor does, but I can’t imagine him just not figuring it out at all.)

           Martha herself comes across as incredibly courageous here, but the nature of the plan just doesn’t allow her to shine in the way that I want her to. I would actually have preferred it if the plot twist had been close to the reverse of what occurs at the end. If Martha had let the Master believe that she was going around spreading the Gospel of the Doctor like a good little companion as a cover to hide the fact that she was using her scientific knowledge to help turn the Archangel Network against him, that would have been amazing, and not really difficult to believe. As a medical student, she’s had practice in trying to figure out what’s wrong with other people. (Just ask the patient, said the snotty, ill-fated teacher in Martha’s first episode.) She knows how to figure out the use of complex machinery by quickly consulting the manual, as we also learned in that same episode. She has very precise knowledge of the human body, as we can see in her precise account of the bones of the hand in her conversation with Joan. I can imagine an episode in which Martha traveled the Earth, pretending to spread the news of the Doctor’s magnificence but also making observations and asking questions about how the Archangel Network made people feel, consulting the network’s manual, figuring out exactly how the mind control works and how it could be redirected, and using that to surprise the Master at the end of the episode. Then we wouldn’t have needed floaty Jesus Doctor, there would at least be sort of a reason for the Master being flummoxed, and the whole season of Martha being reduced to an unrequited love plot would at least have a great resolution; I would genuinely be less mad at scenes like the “Rose would know” moment in “The Shakespeare Code” if we were moving toward a finale in which Martha completely subverted the expectations created by her feelings for the Doctor. Instead, she just goes around talking about what a magical, wonderful, sparkly unicorn the Doctor is, omitting all of the darker elements of his nature and treating him like an absolutely perfect hero. It’s a nice continuation of the idea of the power of words, as set up in “The Shakespeare Code,” but it would be a lot more meaningful if there wasn’t a lingering sense that she’s using her words to hide elements of the Doctor as often as to reveal the truth about him.

           And then there is the Doctor himself. (I was really uncomfortable with the Doctor’s behavior in this episode, but was uncertain about why until I read the AV Club’s review, which makes a lot of the same points as what follows.) It’s bad enough that he spends much of the episode as Dobby the Elf/Gollum/whatever other fantasy creature you want to compare him to here. David Tennant’s odd, joyful presence is most of what makes this character work, so when he’s absent for much of the episode, it is sad. However, his return is constructed in such a way that it winds up being more aggravating than spending much of an episode without him. The Doctor has gone through an awfully dark period. He was in so angry and grief-stricken a place in the Christmas special after the loss of Rose that he killed off an entire species and would have accidentally drowned himself (as we learn next season) if Donna hadn’t stopped him. He was so infuriated at the end of “The Family of Blood” that he basically condemned four beings to eternal torment. He’s been so morose about Rose that he has mistreated Martha basically for the entirety of the season. He’s just had a couple of experiences that might be eye-opening to him: he’s had to hear about his abandonment of Jack Harkness from Jack’s perspective, and he’s gotten a reminder of the immense darkness in the one remaining Time Lord, one who was once his friend. He’s also seen the bleakness of the end of the universe, which might serve as a humbling reminder of his inability to actually fix everything. (The reveal that the Toclafane are humans is a pretty good moment of darkness, although the erasure of everything that they actually do in this episode does diminish this a bit.) The Doctor, until the Archangel Network nonsense happens, seems like someone who becoming aware of and at least starting to hold himself a little bit accountable for the problematic aspects of his behavior. There are a lot of ways to deal with this: there is something to be said for giving the Doctor a genuine crisis of conscience, and also something to be said for having him come to a partial realization of his own flaws and continuing to develop it more subtly over time. What you shouldn’t do, basically the one thing you definitely SHOULD NOT do in this scenario, is resolve your major seasonal arc by comparing this character to Jesus. Avoiding that should pretty much be your top priority. And yet, not only does the mass of strangers treat him like a Christ figure, he completely leans in to the comparison. His arms aren’t quite high enough to constitute an imitation of Jesus on the cross, but the position is close enough that the suggestion is there. When he starts floating around with his hands outstretched, looking like someone doing an almost-crucifixion pose on an invisible motorized scooter, smiling beatifically and extending his magnanimous forgiveness to the Master, it’s not just that it looks silly. (It does look silly, but the show’s made that work plenty of times.) It’s not even just that the Archangel Network, which appeared to be coded signals that used the four successive beats as a form of mind control in the previous episode, has now somehow become sentient enough to understand the words of people all over the world and to de-age him as a result; the Doctor claiming that he’s been attuning his mind to the network does nowhere near enough to make sense of this, but I could mostly overlook this if everything else was all right here. The main problem is that the Doctor has chosen to embrace his smug, morally superior side, at the expense of every bit of character development that has been in the works this season. He even suggests that humanity’s willingness to have absolute faith in him here, basically just on Martha’s word, is evidence of the greatness of our species, and I’m not sure that he’s ever had a more arrogant moment on this show.

           It’s not that I want everyone to turn on the Doctor and hate him for the few flaws that trouble a generally wonderful personality. Forgiveness and redemption are important elements of this show, but in order for them to be have the kind of impact that they should, there needs to be a sense that they are bestowed or achieved from a position of knowledge of what has gone wrong. The people who Tinkerbell him back to looking like David Tennant know very little of the Doctor’s problems—I certainly don’t get the sense that Martha is giving them the full version of his story. The Doctor has had a lot of time in this episode to reflect on his own failings, but he concludes that reflection here through being redeemed by the faith of people who believe in him because they’ve been given the sugarcoated version of his story, and it’s just such an empty conclusion to the work of the season that it’s an incredibly disappointing moment. Having the whole world express their belief in the Doctor as the embodiment of the ideals that he’s been failing to live up to all season could be an interesting moment if the Doctor was at least aware of the dissonance, but he seems to buy into his own myth so thoroughly that the episode essentially erases everything the season has done to complicate his character. There are plenty of moments in this reboot in which the Doctor behaves in problematic ways, but usually these are individual moments, and he redeems himself fairly quickly afterward. There are, therefore, plenty of times when I don’t like what the Doctor is doing, but I generally still really like him as a character. This is the one moment in which I sort of question where I stand toward the character as a whole; he just seems so utterly oblivious of his own flaws and so self-indulgent that I’m not sure about whether he’s a character I can admire.

           He does win me back quite quickly, as Tennant does a beautiful job of portraying the Doctor’s grief over the death of the Master. Lucy Saxon’s murder of her husband would be a better moment if the episode hadn’t done so much to telegraph that something was going to go wrong with her; her behavior early in the episode shows her to be just barely holding herself back from snapping, so it’s not much of a surprise when it happens. Otherwise, though, the death and funeral pyre of the Master are sublimely done, and I’m so sad for the Doctor as he cradles his dying rival that I can almost forget how annoying he has been in this episode. I do wish that he had saved a little bit of that grief for his separation from Martha, which he accepts with irritating equanimity. It’s a fantastic moment for her, as she decides to walk out for her own emotional health, and actually gets to leave the TARDIS on her own terms instead of the usual story of being forced out by disaster. Given that the Doctor nearly lost his mind after being separated from Rose and even Joan, it’s a little sad that he doesn’t have a bit more of a reaction to the departure of a woman who has just spent a year (an erased year, but a year nonetheless) traveling the Earth to help him. It’s still a good scene for her, and, in general, the episode’s last few minutes work much better than the nonsense that preceded them. Even with some really good moments, though, an episode in which the Master looks like an absolute moron, Martha saves the world but in a dull, clichéd fashion, and the Doctor loses all sense of perspective is not a satisfying end to the season. C+/C