#they almost certainly were referring to the obvious issues of the film and not to O’Connor (it’s not his fault Keaton is unfairly written)

[agallimaufryofoddments]

It’s midnight and I just spent a fair bit of time / energy on writing a maximum length Reddit comment vouching for Donald O’Connor portraying Buster Keaton in the egregiously inaccurate 1957 film “The Buster Keaton Story,” because he was the only relevant person actually heeding (and soliciting) Keaton’s input—

—and listen, listen, he was the absolute right person to portray Keaton (if one has to portray him), it’s just that Keaton was written by the wrong hands. I pulled out a 1960 WaPo article and linked to that bit in the 1987 Keaton documentary where O’Connor is interviewed None of the writers paid Keaton’s opinions any mind, and Keaton never held the movie against O’Connor, whose efforts he praised, I believe—

—damn good effort, thank you. Listen, O’Connor had the athletic and personable sensibilities to do Keaton justice, and he was undergoing the same personal troubles that Keaton had: didn’t get child custody post-fraught divorce, was imbibing alcohol a fair bit… (they both were born into Vaudeville, by the way), he was just so talented and he remains one of my absolute favorite performers of that crowd.

They had one of the few people who really honestly could have done Keaton justice…and they did an injustice to Buster, Donald, and frankly Buster’s wife Eleanor with that film.

Well, at least it paid for the Keatons’ ‘ranch’ (final home).

[heymusings]

Wish was fine, but overall disappointing for a film that is supposed to mark the celebration of 100 years of Disney animation. As much as I love Disney, I can't deny that it did not live up to what it was intended to be. 1) Originally it was to be hand drawn animation & go back to the roots, only to backtrack & do computer animation instead with the argument that they used 2d backdrops so it's the same thing. It’s not. It’s really disappointing to me because Disney has gotten stuck on the animation front. They now seem to look down on hand drawn animation which is ridiculous because people are screaming for a return to that style. I feel like they use their last hand drawn film as an excuse to not create such films anymore because they aren't successful. In reality, they didn't promote those films so people just weren't that aware of them when they were in theaters. This has become a bad habit of Disney. The mixing of animation styles at several points seemed disjointed. Plus, there is the fact that so many other animation studios have been doing mixed animation better & are outpacing Disney in animation development because Disney isn’t really doing anything as new or daring as other studios. I am not saying the animation of the film is bad, in fact, it is still pretty, but Disney/Pixar’s style has remained pretty much the same since the early 2000s. 2nd, Others have discussed this issue & I agree. There was nothing all that interesting about Asha & she certainly isn’t unique because it's pretty much the same personality we’ve seen in the last several years of Disney films. 3rd, Why the hell is the King’s wife even in this movie?! If they weren’t going to go with the original intent of them being almost a crime family duo (which, by the way, it is a travesty they didn't do this idea), just cut her character because she really hindered my seeing Magnifico as an interesting villain. In fact, cut the semi sympathetic backstory. He should’ve been more evil and honestly until Asha’s interference he wasn’t that bad. I would just like a fully evil Disney villain who is a full villain from the get go. He has a Dr. Facilier vibe, which is great, but Disney has & could’ve dug deeper & committed. There was so much potential here. 4th, The songs were mediocre at best and it’s exceedingly obvious that the writers aren’t musical writers. The songs don’t tell a cohesive story or develop character much, and they certainly don’t have much depth, they’re just there. They’re not songs that people are going to be singing. I honestly think that Howard Ashman is rolling over in his grave due to the soundtrack of this movie. 5th,There are way too many characters. Asha’s friends are the most forgettable wastes of time. I get the want to reference Seven Dwarfs but them, plus valentino, plus the star…too many to care. I think it was one reference that could’ve been left behind (it’s not like there weren’t many references to Disney animation throughout to make up for it– because there were TONS). 6th, that is the lamest dress change that Disney has ever done. With so many epic and magical dress changes how is this what they come up with? They literally went, just make what she’s already wearing sparkle and call it a day. Everything being said, I do like the idea of this being the starting point for Disney stories and Asha being the first fairy godmother. That is a great idea and is perfect for this 100 years of Disney animation. It’s just that there were so many things that just did not live up to or respect the history of Disney animation as this film was supposed to do.

[radiation]

Video games talk dont even mind me

Bro video games as a whole are so far behind movies in terms of storytelling and pacing that it’s kind of baffling. Which of course is obvious and makes sense for plenty of reasons but like, just think about it — watching movies a lot can’t help but train a certain muscle that gives you a strong instinct for structure. I find that people who watch movies very casually, without too much artistic consideration, and don’t really know the language associated with it are still very often irked by specific issues with a movie’s pacing, dialogue, etc and are relatively capable of putting it into words. Likewise, for many movies out there, regardless of your opinions on any specific directorial choices, you do feel as if the movie is essentially cohesive and creatives involved reasonably knew what they were doing and were acting very intentionally, and there weren’t any major oversights. This includes independent films as well. Meanwhile I think both players and developers much more commonly lack the instinct for narrative cohesion when it comes to video games. Definitely a fair amount of exceptions to this, but in general I find it’s difficult to find video games that are very narrative heavy & aspire to great artistic heights that don’t suffer from inherent structural problems, pedantic dialogue, tons of dead air, etc in a way that wouldn’t slide as easily in a movie. A lot these flaws certainly have to be due to the presence of gameplay elements and having to balance that with story when the two are almost always, at least in some small respect, inherently at odds. As for the inability for devs and players to pick up on / fix these flaws…is it because gameplay can distract from it and make up for it? With longer games that have runtimes closer to the experience of a television series, is there a similar reaction where if it’s long enough you will sit thru smaller, momentary issues because you enjoy the bigger picture? Yet games are a lot more engaging than a show as a audio, visual, and tactile experience, you can’t multitask and tune the information out as easily as with a boring episode of a show, so you’d think people would be more picky? But maybe because it’s so attention-demanding people are more immersed, and believe in the experience enough to more easily accept the story? Books demand the same kind of active attention to experience though, and the bar for story in books is a lot higher, so what gives? Well a lot of these have kind of obvious answers but still Interesting questions to ask that lead to Damn , That Is Still Crazy How Much This Shit Is In Its Infancy like sometimes I feel like I’m going crazy with how many writing issues are present in games, particularly in indie games that are Trying To Be Good At Writing that feel excessively obvious and yet I often struggle to find my sentiment mirrored by others. IDK. And back to movies the thing is I feel like if the same people trying to write these kind of games had pursued movies instead then they would’ve ended up making well structured movies that avoided all of these pitfalls. WHAT IS IT WITH GAMES? Well we know what it is with games and we could spend all day discussing a million more reasons this is the way it is but no matter what I think we should just be super conscientious of these pitfalls when making narrative focused games and aspire to a greater level of intentionality that is absolutely possible . Build that muscle by really understanding the quality of storytelling long-present in other mediums.Well the other issue with indie devs is that everyone believes they are totally breaking new ground story wise that they don’t take a step back, humble themselves a bit, and cross-reference what they’re doing with the tons of other stories that have already achieved similar things But thats a conversation for another day .

[thimbil]

Having some thoughts about the references and inspirations used for the Bad Batch’s designs.

So Boba Fett is my absolute favorite character and Temeura Morrison was perfect casting. I went to see the 2008 TCW movie in theaters because I was so excited to see him again, even if he was animated. You can imagine my disappointment. Whoever was on screen was not Temeura Morrison. You could sort of see a resemblance if you squinted and didn’t think too hard about it. They replaced Temeura with Racially Ambiguous G.I. Joe. If I didn’t know better and someone told me the animated clones are space Italians from the moon of New Jersey I would buy it. One Million Brothers Pizzeria and Italian Bistro. Not that there’s something wrong with being space Italian, I just don’t think it’s the right choice for the Fetts. The design got slightly improved by season 7 but it still bugs the hell out of me.

I did eventually get into the show later and (of course) got invested in the clones. Unfortunately, they were largely sidelined by the Jedi storylines. Out of the two new main characters created for TCW, Ahsoka definitely got more development and focus than Rex. When they announced The Bad Batch, I was excited to see a show specifically devoted to the clones… at least that’s what it said on the tin. We have all seen what lurks beneath those stylish helmets.

Jango Fett, you are NOT the father.

So who is?

Based on interviews with Filoni, it sounds like the Bad Batch was a George Lucas idea. And like all his ideas, it’s super derivative. The original trilogy directly lifted elements from sci fi serials, westerns, and samurai movies, more specifically Kurosawa films like The Hidden Fortress. For The Bad Batch character designs, the influence is obviously American action and adventure movies.

Now let’s get specific. Bad Batch, who’s your daddy?

Hunter

Sylvester Stallone as Rambo in First Blood 1982. That bandana has become an integral part of the iconic action hero look. You see a character wearing one and it’s a visual shorthand for either “this character is a tough guy” like Billy played by Sonny Landham in Predator 1987, or “this character thinks he is/wants to be a tough guy” like Brand played by Josh Brolin in The Goonies 1985 or Edward Frog played by Corey Feldman in The Lost Boys 1987.

Hunter’s model is closest to the original clone base. If you look closely you will see the eyebrows are straighter with a much lower angle to the arch. His nose is also not the same shape as a standard clone like Rex, including a narrower bridge. It’s certainly not Temeura Morrison’s nose. Remember what I said about space Italians? It didn’t take much to push the existing clone design to resemble an specific Italian man instead of a specific Māori man. The 23&Me came back, and Hunter inherited more than the bandana from Sylvester.

Crosshair

The long narrow nose, the sharp cheekbones, the scowl. That’s no clone, that’s just animated Clint Eastwood. Not even Young and Hot Clint Eastwood from Rawhide 1959-1965. With that hair, I’m talking Gran Torino 2008. The man of few words schtick and family friendly toothpick in lieu of cigar are pure Eastwood as The Man With No Name from Sergio Leone’s spaghetti westerns A Fist Full of Dollars 1964, For a Few Dollars More 1965, and The Good the Bad and the Ugly 1966.

In a way, this is full circle because the actor Jeremy Bulloch took inspiration from Clint Eastwood for his performance as Boba Fett in ESB.

Wrecker

In an interview Filoni lists the Hulk as an (obvious) inspiration for Wrecker. Ever seen the old Hulk tv show from 1978? Well take a look at the actor who played him, Lou Ferrigno. Would you look at that. Even has his papa’s nose.

You could make the argument that Wrecker was influenced by The Rock, an appropriately buff ‘n bald Polynesian (Samoan, not Maori) man. But look at him next his Fast and Furious costar Vin Diesel and tell me which one resembles Wrecker’s character model more.

Tech

Tech is a little trickier for me to place. If he has a more direct inspiration it must be something I haven’t seen. That said, his hairline is very Bruce Willis as John McClane in Die Hard 1988. His quippiness and large glasses remind me of Shane Black as Hawkins from Predator 1987. In terms of his face, he looks a but like the result of McClane and Hawkins deciding to settle down and start a family. Although, Tech’s biggest contributors are probably just everyone on TV Trope’s list for Smart People Wear Glasses.

And finally,

Echo

Oh Echo. Considering he wasn’t created for the Bad Batch, he probably wasn’t based on a particular character or movie. But if I had to guess, his situation and appearance remind me a lot of Alex Murphy played by Peter Weller in Robocop 1987. However, Robocop explored the Man or Machine Identity Crisis with more nuance, depth, and dignity. Yikes.

The exact tropes and references used in The Bad Batch have been done successfully with characters who aren’t even human. Gizmo from Gremlins 2: The New Batch 1990 had a brief stint with the Rambo bandana. I could have picked any number of characters for Defining Feature Is Glasses but here is the most cursed version of Simon of Alvin and the Chipmunks. Suffer as I have. Marc Antony with his beloved Pussyfoot from Looney Tunes has the same tough guy with a soft center vibe as Wrecker and his Lula (also a kind of cat). Hell, in the same show we have Cad Bane sharing Cowboy Clint Eastwood with Crosshair. I actually think Bane makes a better Eastwood which is wild considering Crosshair has Eastwood’s entire face and Bane is blue.

So we’ve established you don’t need your characters to look exactly like their inspirations to match their vibe. So why go through the trouble and cost of creating completely new character designs instead of recycling and altering assets they already had on hand? Just slap on a bandana, toothpick, goggles, and make Wrecker bigger than the others while he does a Hulk pose and you’re done. Based on the general reaction to Howzer it would have been a low effort slam dunk crowd pleaser.

But they didn’t do that.

So here’s the thing. I like the tropes used in The Bad Batch. I am a fan of action adventure movies from the 80s-90s, the sillier the better. I am part of the Bad Batch’s target audience. Considering what I know about Disney and Lucasfilm, I went in with low expectations. I genuinely don’t hate the idea of seeing references to these actors and media in The Bad Batch. I don’t think basing these characters on tropes was a bad idea. If anything it’s a solid starting point for building the characters.

The trouble is nothing got built on the foundation. The plot is directionless, the pacing is wacky, and the characters have nearly no emotional depth or defining character arcs. They just sort of exist without reacting much while the story happens around them. But I can excuse all of that. You don’t stay a fan of Star Wars as long as I have not being able to cherrypick and fill in the gaps. This show has a deeper issue that shouldn’t be ignored.

Why do the animated clones bear at best only a passing resemblance to their live action actor? In interviews, Filoni wouldn’t shut up but the technological advancements in the animation for season 7. So if they are updating things, why not try to make the clones a closer match to their source material? Why did they have to look like completely different people in The Bad Batch to be “unique”? Looking like Temeura Morrison would have no bearing on their special abilities and TCW proved you can have identical looking characters and still have them be distinct. In fact, that’s a powerful theme and the source of tragedy for the clones’ narrative overall.

Here’s Filoni’s early concept art of Crosshair, Wrecker, Tech, and Hunter. (Interesting but irrelevant: Wrecker seems to have a cog tattoo similar to Jesse’s instead of a scar. Wouldn’t it have been funny if they kept that so when they met in season 7 one if them could say something like “Hey we’re twins!” That’s a little clone humor. Just for you guys 😘)

None of these drawings look like the clones in TCW, much less Temeura Morrison. Let’s be generous. Maybe Filoni struggles with drawing a real person’s likeness, as many people do. But he had to hand this off to other artists down the line whose job specifically involves making a stylized character resemble their actor. Yet the final designs missed the mark almost as much as this initial concept. Starting to seem as if the clones looking more like Temeura Morrison was never even on the table. It wasn’t a lack of creativity, skill or technical limitations on the part of the creative team. I don’t think there is an innocent explanation. They went out of their way to make the final product exactly how we got it.

This goes beyond homage. They could have made the same pop culture references and character tropes without completely stripping Temeura Morrison from the role he originated. It was a very purposeful choice to replace him with more immediately familiar actors from established franchises and films. It wouldn’t shock me if Filoni, Lucas, and anyone else calling the shots didn’t even think hard or care enough about the decision to immediately recognize a problem. And I don’t think they believed anyone else would either. At least no one whose opinion they cared about. Those faces are comfortingly familiar and proven bankable. They are what we’re all used to seeing after all. They’re white.

Lack of imagination, bad intentions, or simple ignorance doesn’t really matter in the end. The result is the same. Call it what it is. They replaced a man of color with a bunch of white guys. That’s by the book garden variety run of the mill whitewashing. There’s no debate worth having about it. For a fanbase that loves to nitpick things like whether or not it’s in character for Han to shoot first or Jeans Guy in the Mandalorian, we sure are quick to find excuses for clones who look nothing like their template. Why is that? If you don’t see the problem, congratulations. Your ass is showing. Pull your jeans up.

[jezabelofthenorth]

Is Anne Boleyn portrayed better than Catherine of Aragon in Tudor dramas or does she just take her clothes off?

Or I've watched almost every Anne Boleyn thing over the past six months and I'm certain at this point you guys are watching different movies than I am

edit: i;m sorry meant to include there is rape mention cw in this

Okay I might get a little mean here, but at this point I'm convinced no one thinks critically about this, like the constant amount of whinging I see about how Catherine is treated just soooo badly in Tudor dramas and always neglected is wild because it is just not true. I would say the only piece of media that treats Anne like a full person is Anne of The Thousand Days, and that's a 50 year old movie. I started thinking about this when I rewatched season 1 of The Tudors back in August because like, it's really abundantly clear who Michael Hirst likes better and it is not Anne. Anne barely feels like a full character in season 1, Henry is madly in love with her,. Her father is scheming to make that worth their while along with George, but where exactly is Anne in all that?

She gets a considerable amount of screentime but very little insight into what she actually feels about all this, is she in love with Henry too? Does she just want to be queen and is manipulating him? We never get an actual moment where it's made clear so you can pretty much apply whatever interpretation you want there, which is bad! Is Anne actually the female lead here, because she doesn't feel like it at all,  I feel like this gets forgotten because Natalie adds so much depth to Anne you feel like there's more going on, but there really isn't,  Hirst neglects Anne's own feelings about her situation considerably, to a point Natalie has stated she had to push him to give Anne more of a character in season 2. I would say Hirst is just bad at writing women, which like.....he is, but he doesn't have this issue with Catherine, Catherine is a very clear character from the start, which she should be! It's clear what her motives are and what she feels, if I'm honest Catherine in season 1 is probably a little too perfect, like she truly does not have a single negative quality, the worst part is when she calls Anne a whore but I don't think we as the audience is meant to take that as bad on her part which......eh?

The real significance difference is here is how they're portrayed sexually, I do think Catherine and Henry should have had more intimate scenes and Hirst clearly shied away from that because Maria is older, which makes him a coward, but Anne getting treated as a sex object doesn't mean she has better character development,  I mean think about that one!  I mainly got inspired to write this as I just rewatched The Other Boleyn Girl which I hadn't seen in years and in my memory  I thought Catherine hadn't had a good portrayal but like it's fine? She's in most of the movie, she's portrayed as a resilient woman, she gets her Blackfriars speech, is there really a problem here or are you guys actually mad that Natalie Portman is young and beautiful in this and Ana Torrent was in her forties? Because I'll have to draw attention that in this film Catherine again doesn't have a single bad quality while Anne gets raped by Henry before they're even married, so if I was going to get angry about something, I know what it is. It seems to me for years it is been standard to suggest because Anne is portrayed as a young, beautiful women and the utmost sexual desire of Henry's eye that it means she is treated well, but extreme sexulization is actually not interchangeable with respect for Anne as a woman and it is more than obvious than many film makers have absolutely none for her.It is not disrespectful to Catherine to portray her as an older woman, she was 42 when The Great Matter began, there is nothing wrong with being an older woman, the most dramatic parts of Catherine's life took place when she was in her forties, the most dramatic parts of Anne's life took place in her twenties and thirties, that is a simple fact of history.

To open a can of worms that seemed to set a certain part of the internet on fire, let's tackle The Spanish Princess now. Emma Frost and Matthew Graham were quite clear in their veneration for Catherine and their certainty that she has been a maligned figure in history. This seems at odds when you would cross reference most historiography on Catherine, as she seems to be one of the few figures of the Tudor period that has a universally positive reputation .

Through out the two season run both showrunners made their disdain for Anne quite obvious, which was rather odd given they had created a show about Catherine and there wasn't really any need to mention Anne at all. Which makes the choice to include from the start of season 2 particularly bizarre, given historically Anne was in France for the 1510's and would not have been present in the English Court and did not become a Lady in Waiting until in the 1520's. The show does not make it clear who she is and it is only known if you search the role Alice Nokes is playing, which makes her role to be one of heavy handed foreshadowing which simply takes up space to present friendships Catherine had with her actual Ladies of the time. It is not made fully clear who Anne is until the final episode, an episode where Anne is not permitted to speak even though she is in most of the episode and her biggest moment is where she meets Henry late at night in a garden, and removes her clothes to reveal her breasts to him.

Through out the season Anne's male relatives, her father Thomas Boleyn, and her grandfather Thomas Howard are featured prominently. While Anne and her sister Mary are pushed to the side lines and barely given a voice, for a show that claims to present history from the view of women of the era, that seems a choice in poor sport. It could be quite easy to remove Anne entirely from the show, or only make passing mentions of her, instead the choice was to have her exist on the sidelines, mostly voiceless and then to have her be on the forefront as a sexual object to Henry.

In a show that claimed to want to want to give us Catherine's full story, from the time as a 15 year old bride, to a matured, tested Queen, it instead seemed to take a route of focusing on Catherine's less appealing qualities and even gave her faults she never had (as in rejecting her daughter Mary for her gender when it is well known Catherine was an adoring mother). The show seems to think presenting Catherine as a truly unappealing heroine is canceled out by portraying her as a young, beautiful woman, and sexually desired by Henry, that feels extremely insulting to Catherine, who was a tough woman and her best quality certainly wasn't the fact that Henry and Catherine had an active sex life during the first decade of their marriage. You have to see where the decades of presenting Anne as sexually desired by Henry has infected Tudor media in how another Catherine is portrayed here as if a woman should be portrayed positively only through how much their husband desires them.   It simply doesn't matter who you prefer over Catherine and Anne, the misogyny of that choice seems quite clear. I simply can't think of a single piece of Tudor media that gives Catherine of Aragon such an offensive role to play.        

[multimetaverse]

HSMTMTS 2x08 Review

Most Likely To was the best ep of S2 so far and ended one ship while launching another. Let’s dig in!

Gaston was super fun, a very nice showcase for both Larry and Matt. This is the kind of energy that early S2 was lacking. Also feels like the first ep where East High might actually have a shot at beating North High. Covid restrictions played a role but we really needed to see more rehearsal scenes and scenes of the wildcats just being theatre kids. This also may be one of the last times we see EJ perform as a student in the musical so I’m glad we got this.  

EJ has been criminally underused for most of S2, he’s marketed as part of the big 4 along with Nini, Ricky, and Gina and Matt Cornett’s name is listed 3rd in the credits but in the early eps of S2 you’d think he was guest star. Lately he’s started to become more important and tonight was an excellent showcase of why he’s such an interesting character. I’m not gonna check but this feels like it’s the most EJ screen time in a single ep that we’ve gotten all season long. 

Of course, the main reason for EJ’s increased screen time is because of Portwell. I’ve been neutral on them but tonight they really won me over’ their scenes were so sweet that they warmed even my cold black heart. Matt and Sofia are good friends irl and that shines through in their easy rapport and great chemistry. Gina snorting at EJ’s joke was cute and I loved the shot of Gina accidentally walking into the shot for EJ’s confessional. As an aside, they’ve been doing some fun stuff with the confessionals lately which helps add a bit of the metaness that helped make S1 so great.

The real big Portwell scene tonight was EJ and Gina talking on the couch at Ashlyn’s. Lot’s to love there. Gina’s speech to EJ about what she sees when she thinks of him was sweet and her saying that EJ tried to do the right thing and often failed but kept trying echoes what she said of herself during her confession to Ricky. Also when EJ asked Gina if she understood the feeling of having her life mapped out she replied, ‘’not really’’ which is almost certainly the inspiration for Gina asking a question to EJ and him responding ‘’not really’’ in their pre S2 face time call on the hsmtmts instagram. 

EJ is still wracked with guilt for the guy he used to be but Gina reminds him that he’s grown and is a good guy which leads to her slip up about her seeing him that way vs the rest of the gang hinting that she’s beginning to catch feelings for EJ. Which leads to EJ complimenting her and them having a moment that could well have led to a kiss if Ashlyn hadn’t come home. And they cap it off with Gina falling asleep and EJ covering her with his Duke sweater. 

It’s been nice not seeing Gina upset over Ricky these past two eps and it’s a damning indictment of the poor writing and pacing of S2 that her story in the first 6 eps can be summed up as Gina being upset over something Ricky said or did. Not only has Portwell allowed EJ to rise in prominence but also it’s allowed Gina to escape the rut her character was stuck in pining for Ricky. 

I hope after S2 is over that we get an interview where Tim explains how the Portwell plot came to be. The S1 finale set up some possible interest between them as did the pre S2 face time call but nothing came of it during the first 4 eps, they stood next to each other a lot but barely interacted otherwise. Notably in 2x01, which Tim himself wrote, EJ tries to grow a beard and tells Ashlyn that he says her as so young which is extremely jarring now that we know that EJ is crushing on Gina who is Ashlyn’s age. 

Was Tim not set on doing Portwell until he realized he needed to give Gina something else to do other than hopelessly pine for Ricky? Narratively, it made sense after Rini got together in S1 to put the other two Big 4 characters together in S2 but did Tim not want it to seem so obvious to the audience so he deliberately kept Portwell apart until 2x05 where EJ’s feelings make for a nice plot twist? Was he just reluctant to plug EJ back into the love square due to how much more complicated it would make things but later felt he had no other options? Or was it just plain old bad pacing and writing?

Of course, I wish that there wasn’t such a large age gap between Sofia and Matt but there are no Gina ships that avoid that problem, there’s also an age gap between Sofia and Joshua, just as there was between Olivia and Joshua and Matt in S1. Depending on when they film S3 there’s a good chance that most of it will be finished before Sofia even turns 18 which is deeply unfortunate. There’s a broader issue of teen girls being cast in mostly age appropriate roles while their male love interests are older adults and in particular it often affects female characters of colour. Netflix has a really bad track record with those kind of age gaps but Disney has problems too as we’ve seen on HSMTMTS and on GMW where by the end of S3 they had 18 year old Peyton Meyer as the boyfriend of 14 year old Rowan Blanchard’s character (not to mention canon Joshaya which didn’t have such a bad age gap between the actors but was problematic regarding the ages of the characters themselves).

A knock I’ve seen on Portwell is that EJ is just gonna leave for university next year but that was never gonna happen, Matt’s under the same 4 season contract as all the other mains and he’ll be sticking around in some capacity much like Sharpay ended up doing in the movies. It is true that EJ will probably have to move on at the end of S4 while Gina still has her senior year left but that will also happen with her and Ricky since he’ll be graduating at the end of S4. It was a big mistake to make EJ a senior but it also may end up being a big mistake to make Gina a sophomore. It would have been too messy to retcon EJ to be a junior but Tim probably should have taken the chance to retcon Gina into being a junior in S2.

That Rini breakup was so sad (missed opportunity for gotta go my own way). They managed to get in a Troyella reference with the treehouse. This was inevitable they just have not been communicating well though now that we know that Ricky thought Nini left YAC for him some of his desperation to spend as much time together as possible makes more sense. I think Rini is endgame if the series has 4 seasons but it wouldn't shock me if we never seem them dating again and they only get back together in the series finale. It also wouldn’t surprise me if Nini never dates anyone else for the remainder of the series or at least not seriously. 

We’re not even halfway through the series so it’s way too early to permanently slam the door on Rini though this time apart will probably help Joshua and Olivia move on from their own bitter break up before it bleeds too much into their performances. I do wonder if Tim really has a clue what he's gonna do with them for the remaining 24-28 eps of the series, assuming S3 and S4 have 10-12 eps each. 

Roman Banks killed If I Can’t Love Her and the montage of all the couples or ex couples was great.

It was nice to finally meets some parents other than the Bowen’s and Salazar-Roberts’. Kourtney’s mom was played by Dara’s actual mother and their dynamic was great as expected. It seems from their conversation that Kourtney's father is dead which I don’t believe has been mentioned before. Cash Caswell.... well it gets what the character is about across. He really looks and sounds like a rich Utah republican, I bet he knows Mitt Romney personally. I liked EJ going to tell his father that he’s not going to Duke and recognizing that he wants to build his own life on his own merits. 

We saw a bit of that S1 Miss Jenn energy tonight which was fun though I didn't like how curt she was with Seb nor did I like how rude Carlos was to Seb although we know that blows up in 2x10. 

Jazzara rising! I really liked how Jazzara and Portwell are sort of mirroring each other and since Mazzara knows about EJ’s feelings for Gina it wouldn’t shock me if helping EJ out is part of him showing a softer side in 2x12.

Of course Ashlyn is VP of the Nostradamus society. It's clear her family has some kooky new age beliefs (her parents are probably members of some naturopathic medicine group on Facebook that doubles as a gateway into Qanon)

It was nice to see Big Red being such a good friend to Ricky and the return of Ricky’s infamous pillow hugs. Lmao at Ashlyn just chilling while Big Red is comforting Ricky

Also Miss Jenn saying sexy and Big Red referring to pillow talk, the writers are adding a bit of spice when cooking up these scripts.

Looking Ahead: 

Looks like Gina may be wearing EJ's duke sweater next ep according to some posts I saw. Jack presumably is there to somehow help Gina decide what she wants with Ricky and EJ though him having wanderlust might also feed into Gina’s thoughts on settling down in SLC or moving with her mom around the country.

Let's see what mom of the year, Lynne Bowen, has up her sleeves. Ricky’s bedroom at her place in Chicago looks much nicer than the apartment Mike Bowen has so perhaps she makes a lot more money than he does. 

Not looking forward to the Zoom portions of the ep but I guess it was inevitable. 

There’s only two paths for Gina’s story to go in the remainder of this season; either she decides to move on from Ricky and give EJ a chance or she decides that Ricky is worth trying again and squelches her budding feelings for EJ. The former looks much more likely after tonight’s ep but either way it needs to be handled with care. Inevitably Gina and Ricky need to talk about what happened between them but if Tim really wants Ricky to continue being a viable love interest or even a good friend to Gina then he needs to really have Ricky apologize and show a thoughtful, kinder side of him that’s largely been missing this season. 

What I think Tim is doing is setting up Portwell getting together in 2x12 but Ricky pining over Gina until Portwell break up late S3 and Rina get together in the S3 finale before they break up later in S4 and Ricky gets back with Nini near the end of the series. If I had Tim’s ear I would tell him that he should pick which ship he wants to do, Rina or Portwell, but don’t do both. He wants canon Rina? Great then end Portwell before it starts and have Rina happen in S3 and introduce other obstacles to them getting together rather than having to damage EJ’s character and make him lose another girl he likes to Ricky. He wants canon Portwell? Great then have Gina and Ricky’s conversation be closure for the both of them and have Gina and EJ get together and break them up without Ricky being a cause of it or waiting in the wings to get with Gina soon afterwards. Doing both will be a disaster and I truly hope that Tim Federle carefully thinks over his mistakes in S2 and really plans out the remaining 2 seasons of the series while there’s still time to prevent things from going really off the rails like GMW and AM did thanks to the bad decisions of Michael Jacobs and Terri Minsky. 

Until next week wildcats. 

[qqueenofhades]

The photo set you reblogged of Yusuf and Niccolo helping throughout time just filled me with so many happy feels and it made me realize that it seems so common in media with immortal couples that they take breaks from each other and reconnect after a few decades. Which is a great trope but seeing these two that seems to have been attached at the hip since the day they met just fills me with all the heart eyes.

(I haven't read your fanfics for them yet. I know I'm a bad fan but if it helps I havent been able to read anything since all this started but while writing this ask I got the feeling that all this rambling I spewed out is a big theme)

Hush. Bad fan nothing. We all are coping with this stupid, awful year in different ways, some of us by escaping into fandom and some of us being unable to engage with it and some of us doing both or anything else. You certainly don’t owe me or anyone any obligation to interact with our content, fic or otherwise. So just to have that there on the top. You’re good, hun. :)

ANYWAY, thank you for giving me a chance to meta a bit on the boys and their relationship and to have a window into what my brain looks like pretty much 24/7 these days. (I blame them.) I keep thinking about all the ways this couple is depicted in the TOG film and how lovely it was and how unusual it is for me to have an OTP where I actually love them in canon and don’t need to violently disavow it in order to create AU fan content with just the characters. (See: Timeless, Game of Thrones, pretty much any show I’ve hyperfixated on at some point.) I love AUs anyway, because that’s the way my brain works, but the fact that I can also enjoy canon just as much is rare for me and for a lot of us. I saw a post somewhere remarking on how the fanfic for Joe/Nicky isn’t fixing anything, which is usually the point of transformative fanworks: we take something that canon atrociously fucked up and fix it. But in this case, all our interpretations are based on actually appreciating the way they’re presented in canon and wanting to enjoy that and uphold it, and that -- especially with a couple like this one -- is shocking??

Like. Despite my historian gripes about the occasionally incongruous details for their graphic-novel backstories (which are the only things I HAVE fixed in my fics), I’m just... deeply appreciative of the care which everyone, writers and actors and all else, put into depicting Joe and Nicky and their relationship. And god YES, one of the things I love the absolute MOST is that they’re a loving, faithful, committed, happy married queer couple over centuries, and that seems to be the case for as long as they’ve known each other/ever since they got together. (See Booker’s “you and Nicky always had each other.”) These fools can’t sleep apart from each other even when they’re stuck on a freight train in the middle of nowhere, they flirt like teenagers at dinnertime and even when they’re strapped to gurneys in a mad-scientist laboratory, they make out to enrage bad guys and also because they’re just still that goddamn into each other after all this time.

I think it was Marwan Kenzari who pointed out that there’s simply no way to truly state the depth of their knowledge and devotion and commitment to each other. They’re 950 years old. They have known each other since they were in their thirties; they’ve been husbands for literal centuries. There is no way anyone else in the world could possibly come close to replicating the kind of bond they have with each other, and neither of them have ever had any inclination to look, because why would they? Especially with the fact that queer couples in media, even otherwise sympathetically portrayed ones, often have Drama and Third Parties and Promiscuity and whatever else (because of the tiresome old canard that Gays Equal Hypersexualized!), and Joe and Nicky don’t need or want ANY of that. There’s no urge to make their relationship a cheap source of soap-opera conflict. It’s the rock and the center and the core of both of their lives, and everything they do stems from that.

There have been some great metas/comments on how neither Joe and Nicky are sexualized, they dress like stay-at-home dads during quarantine (Marwan Kenzari and Luca Marinelli are both objectively gorgeous men, and they’re out there looking like that, god bless), and the viewer is never invited to goggle at or fetishize their relationship. There are no leering or exploitative camera angles on anyone, and their expressions of love aren’t posed or intended to titillate the audience, they’re just solidly embodied and natural and lived in. It’s never bothered to be stated clunkily in dialogue that they’re a couple; we just see them exchanging looks and smiles in the early part of the film, and then we see them spooning on the train after the mission in Sudan, which confirms it.

At every turn, the narrative celebrates the kindness and love shared by the Immortal Family, the individual characters, and Joe and Nicky, especially and explicitly in queer form. The villains of the film are also defined by how they react negatively to that love. @viridianpanther​ had a great meta on how Keane as a villain is especially set up to menace Joe and Nicky as the narrative representation of toxic masculinity, aggressive heterosexuality, and the usual “Kill Your Gays” trope that we’ve all come to wearily expect. But instead, after that scene where Joe and Nicky fight Keane, Nicky is shot and comes back to life in Joe’s arms rather than dying permanently like we probably all momentarily expected, and then Joe gets to FUCKIN’ BREAK THE NECK of the guy who enacted that violence.... good GOD. The first time I watched it, I almost couldn’t believe it was happening. (This goes for the whole film, but especially that scene.) Like... when do we get that?? When do we EVER get that???

Obviously, there are so many stereotypes, whether visually or in behavior or character traits, that could have been assigned to a gay Italian character (excessively dramatic, effeminate, fashionable, etc) or a gay Arabic/Muslim character (explicitly announcing He’s Not Like Those Muslims, having to actively reject his heritage to make him more palatable to westerners, being tormented over being gay, etc) and Joe and Nicky subscribe to none of those. I get very emotional about Joe referring to Nicky as the moon when he is lost during the truck scene partly because it’s SUCH a common motif in Arabic love poetry. To call someone your “moon” is a beautiful way to say they’re the light of your life, and since the Islamic calendar is obviously lunar and the holidays, months, and observances, are set by the phases of the moon, this also has a deeper religious significance.

I don’t know for sure if they did that on purpose, but it it’s a lovely and subtle way of showing us how Joe clearly doesn’t have an issue with being both queer AND Muslim, and is able to draw on both facets of that identity in a way that a lesser narrative would have denied him. And that is just really wonderful. Yes, we’re seeing these characters when they’ve had centuries to settle into themselves, but there are plenty of writers who would have forced those conflicts artificially to the surface, rather than letting them be long in the past. It’s the same way when you watch a film set in the medieval era, it wants you to know that it Is Set In The Medieval Era. Cue the filth, misogyny, racism, violence, etc! Rather than it being a lived-in reality, it has to be jarringly drawn attention to, and I’m just so glad they didn’t do that with Joe and Nicky. And for them to have met in the crusades and fallen in love??! Come on. That’s just rude. Rude to me, personally.

Anyway, this was a rather long-winded and feelsy way of saying that these characters are constructed, acted, and written organically in such a way that you hate to even THINK of them being separated, and it’s not because they can’t function without each other, but because they are two halves of a whole. We also see that the characters themselves can’t stand being forced apart: Joe’s freakout in the truck scene when Nicky briefly won’t wake up, Nicky making sure to tell Joe that he’s glad he’s awake in the lab, the whole post-Keane fight scene that I talked about above, the way Nicky fights ferociously to get to Joe when Merrick’s stabbing him, etc. For that to be given to the queer couple, where the strength of their love and devotion is reinforced as one of the emotional goals of the story, and for that queer couple to be written in the way that Joe and Nicky are, both individually and as a unit, is just so very rare.

Because yes, there’s plenty of drama and angst and pain in their lives, but there’s none at all in their relationship, and that’s what fans keep telling TV writers the whole time: they WANT to see the couple confront things as a unit, rather than being kept on tenterhooks the whole time and forced to go through manufactured or artificial drama. It would feel especially wrong for Joe and Nicky, who have known and loved each other for 900 years. The fact that their respective actors also put so much care and love into them is very obvious, and makes me feel even luckier that they’re played by people who clearly get them and honor them and know what they’re doing.

Basically: of course Joe and Nicky have been with each other the whole time, and of course we’re all drowning in feelings over it, and I feel very blessed that this ship exists, and I very much need the sequel ASAP. Thanks.

[tonitheloftwing]

Jumanji: A Film About Mental Health, Trauma, and Jungle Hijinxs

So, Jumanji. I guess this isn’t a full analysis because I’m not like planning this out in advance or anything, but I just want to drop my thoughts on this movie yknow? This movie certainly isn’t perfect, but I live very close to where certain scenes in the movie were shot, so therefore I have a pretty close connection to it. Fun fact, I see Parrish Shoes wall art almost every time I go into town! They put it up for the movie but never took it down/cleaned the wall, kind of as a landmark. When I was little and before I’d seen this movie, I thought that Parrish Shoes was an actual shoe company due to this. But yeah Jumanji is sort of a cultural phenomenon around here, even the newer movies.

For reference: Everything I say here is just my personal interpretation of the film. Also halfway through I decided this isn’t going to be a general overview of the film but moreso a theme essay. TW for mental health related stuff, mainly PTSD and childhood trauma. And murder.

As a kid I did NOT pick up on the themes of mental health. Pretty much each character is suffering from some kind of mental health issue, and it’s not played for laughs, which is kind of uncommon in movies from this time period. I know it’s kind of common knowledge at this point that the hunter dude is played by the same man as Alan’s father and is supposed to represent him to Alan (this is played quite on the nose at the end of the movie), but Alan really doesn’t have a good relationship with his dad. Alan is a victim of bullying and has a lot of pressure put onto him due to the family name, which is stressful for him, but his dad doesn’t understand and therefore undermines all of Alan’s struggles and even does things that might make them worse, like forcing him to attend Cliffside School For Boys. Even if Alan is as grandiose as his father thinks, going to this school would still not be good for his health. Of course, Alan doesn’t have to go to this school because he gets sucked into Jumanji, and has to spend 26 years trying to survive in the jungle. To me, at least, this represents the stress and fear and anxiety Alan would have had to deal with if his life continued the way it had as a young boy; a childhood wasted surviving in the jungle. (Speaking of which, how did Alan survive that long anyways as a 11-13 year old? What a trooper!) This doesn’t really connect to the former points, but we also see that having to endure the suffering in the jungle (or, in this metaphor, being made to grow up too fast and have his anxiety worsen) hasn’t made Alan any more mature. In fact, multiple times, it’s mentioned that he’s still very childish. Sometimes it’s played off for laughs, like when he is revealed to not being able to drive a car or when he holds onto the grudge of Billy Jessop when Sarah has completely forgotten who he is, but other times it’s actually quite serious. Like when Judy asks what Alan is going to do with his life now that he’s back, he has no idea. He says something along the lines of “I’ll just start back off where I left. I wonder if Ms. [Teacher] still teaches the sixth grade.” He hasn’t matured... at all. Mentally, he’s still a sixth grade boy, just with a crap ton of trauma and 26 years of wasted life. 

The other characters, Judy, Peter, and Sarah all mainly seem to suffer from PTSD. Sarah’s is the most obvious, as she goes to therapy for her PTSD, and her therapist is trying to convince her that Alan was in fact murdered, and the bats and watching him be sucked into the board game were figments of her imagination to protect her from the trauma. It seems as if Sarah herself doesn’t fully believe this notion, but since it’s more easily explainable and more easy to heal from, she goes with that. When she calls up her therapist, telling her about another “episode” she’s having, it implies that Sarah has PTSD induced flashbacks from this trauma, which I found quite surprising for the movie to nod to, seeing as this is based off a children’s book about a magic board game. In the fight Alan and Sarah have before the stampede arrives, it’s even mentioned how Sarah is shunned by society for her mental health condition, as no one comes to her birthday party and she had to change her name to fit in with society. While the former might seem small, for a teenager who has just watched a friend of hers die, it has a horrible effect on her. Like Alan, her trauma has wasted her life for 26 years.

Judy and Peter have lesser cases, or at least aren’t explored into as much as the two adults, which make sense. They both also seem to suffer from PTSD from the death of their parents, which manifests in different ways for the both of them. In Judy, it presents itself in compulsive lying (although her lying seems to be quite exaggerated and mainly played for laughs), and Peter’s in selective mutism, both of which can be results of childhood trauma/PTSD. 

At the end of the movie, all of this is undone. Alan and Sarah go back to the past, and get to do everything all over, as many survivors of childhood trauma wish they could. Judy and Peter have no recollection of any of this, and their parents never die. Even Alan’s father improves within a matter of minutes, and decides to be a good father to Alan and not pressure him into living up to the family name. (How did that happen, anyways? Did the board game somehow have an effect on him too? Was the writing team not thinking?) All their trauma has been reversed, but, at least Alan and Sarah, still have to live with the memories of how things could have gone. 

Also, fun fact! I’m kind of into true crime and if the Alan Parrish case happened IRL I’m pretty sure that it would have either been ruled a homicide or gone unsolved. If you want me to become Stephanie Harlowe and make a post about how the Alan Parrish investigation would have gone down I’ll do so. 

[brightbeautifulthings]

Infinite Jest by David Foster Wallace

"'What if sometimes there is no choice about what to love? What if the temple comes to Mohammed? What if you just love? without deciding? You just do: you see her and in that instant are lost to sober account-keeping and cannot choose but to love?'"

Year Read: 2014, 2020

Rating: 5/5

Context: It's hard to know where to begin writing a review for this book. I read it for the first time in graduate school in about five weeks (alongside everything else I had to do in grad school, so I don't recommend that), and it basically blew my mind. At the same time, it's hard to imagine tackling it any other way for the first time. Despite its difficulty, there are things obsessive and immersive and, appropriately, even addictive about it. Full immersion might be the only way to read it for the first time, and I obsessed about it for months afterward. Since I'm not on any deadlines, I took it more slowly this time (21 weeks) so I could enjoy the writing and the nuances without the pressure to finish. For my less coherent weekly updates in real time, see my blog posts. Trigger warnings: Everything, everything. Death (on-page), child death, animal death, suicide, suicidal ideation, rape, pedophilia, possible incest, child abuse/abusive households, graphic violence/gore, eye horror, severe injury, drug use, addiction, alcoholism, mental illness, depression, OCD, grief, racism, ableism, transphobia, sexism, inexplicable hostility toward Canadians.

About: If it's difficult to know how to write a review, it's equally hard to describe what Infinite Jest is about. It's about so many things, tennis, addiction, communication (failures), and entertainment among them, but I'll do my best. Beneath all the numerous characters, timelines, and subplots, the main plot is about a film so entertaining that it kills anyone who watches it, robs them of all desire to do anything but watch it until they die, and what a faction of Canadian assassins will do to possess it. The auteur is James Incandenza, a suicide whose son, Hal, is a prodigy at Enfield Tennis Academy. Next door to E.T.A. is Ennet House, a drug rehabilitation center where Don Gately, former thief and Demerol addict, is taking it day by day to stay sober. Though they don't know it, Hal and Gately are connected, and the deadly Entertainment and those who seek it draw their paths closer and closer together.

Thoughts: It's rare to find a book that is actually as smart as it claims to be, but IJ is--certainly much smarter than I am, despite all my attempts to make sense of it. It starts off strong and doesn't let up for several hundred pages, which is a huge achievement all by itself. Wallace excels at writing extremely polished sections that could almost function alone as short stories, and the first chapter is one of my favorites in all fiction. It's reassuring, I think, to start the book off on a strong note, in case we worried we were in for a thousand pages of tedious slog. It can be both, but it's often heartfelt, insightful, and funny as well, and the payoff is well worth the effort. I don’t know how Wallace manages to pack every page with so much meaning. Anybody can put tedious lists in their books or make reading purposely difficult (and I have attitude about writers who do this for no reason), but there’s nothing haphazard about this book, despite its size and varied focus. Everything seems utterly intentional. The conversations are really top-tier; Wallace has a great ear for how people talk, and it's a fascinating look at how communication works and doesn't work.

Thematically, I think the book succeeds on more than any other level, including plot or structure. If we could say this book is "about" anything, we would almost certainly start with the themes and not the plot, which is often secondary to whatever point Wallace is trying to make at the moment. It takes an in-depth looks at things like addiction, depression, loneliness, failed communication, sincerity v. irony, critiques of postmodernism and metafiction (while being very meta itself, at times), and the very specific selfishness of an American culture that insists on freedom even to the point of self-destruction. At times, it feels a little heavy-handed or like it was yanked right out of an intro to philosophy course, but I suppose something in a thousand pages has to be obvious if we're ever going to pick up on it. A lot of these themes resurface in his other work, from "This is Water" and "E Unibus Pluram" to Orin Incandenza's Brief Interview style Q and A (and he would be a perfectly fitting character in that book).

The characters are some of my favorites in literary fiction as well, particularly the Incandenza family and Don Gately, and to a lesser extent Joelle Van Dyne (although Wallace typically doesn’t write female characters very well, and she comes with some issues). Hal and Gately couldn't be more different; Hal excels at everything he's ever done, and Gately has a record that includes accidental homicide on it. Hal is the hero of non-action, since little that happens in the book is engineered by him, while Gately is closer to the more typical hero of action, who defends the undeserving at great cost to himself. Yet their struggles with addiction are similar, and they both manage to be incredibly sympathetic characters. In my opinion, the book is always at its best when we’re with Hal or Gately, but I’m strongly driven by good characters. Despite being dead, James Incandenza's presence is also felt all over the book, from the Entertainment he created to his haunting ETA and sticking beds to the ceiling (probably the weirdest ghost I've ever seen in fiction). He's a tragic character in a book full of tragic characters. The others are too numerous to name, from the other tennis players at ETA and recovering addicts at Enfield, to the various bystanders populating Boston. We get brief glimpses into almost all of them, and while they may not all feel relevant at the time, most are memorable or heart-wrenching or slapstick funny, or all three. It's a book that contains multitudes.

That's not to say it's always on point though, and it isn't. There are a number of very serious problems with representation in this novel, and they're as bad as its detractors claim. A lot of the 90s humor aged very poorly, but that's not an excuse for some of the unabashedly racist depictions of African Americans, the uncharitable descriptions of Steeply's and Poor Tony's cross-dressing, or--however much I love him as a character--the fact that Mario Incandenza’s descriptions are ableist in just about every possible way. Wallace thinks he's capturing "voice" when he's really encouraging harmful stereotypes. The humor of the novel often doesn’t depend at all on these stereotypes and would in fact, be a lot more funny if I wasn’t spending so much energy cringing at it. So many of the little racist and ableist asides could have easily been edited out of the entire novel to make it less offensive. There are also sections where he seems at pains to be as gross as possible for its own sake. There are plenty of things grim or uncomfortable or flat out distasteful about this book, but sometimes the graphic violence kind of jumps out and stabs you in the eye, say, with a railroad spike.

If there are times when I was totally absorbed in the little tragedies of the Incandenza family or Gately's struggles, there are plenty more where it's like pushing something heavy up a hill. No lie, some of it is slogging through tedious minutiae and various experimental writing styles (some more successful and less offensive than others). Wallace has a gift for purposeful tedium; it’s at its peak in The Pale King, but he gives it a nice warm-up round here. The novel is difficult and meant to be, since Wallace maintained that some of the best pleasures are the ones we have to work for, and he's not totally off base. There's something very satisfying about living, for a time, in a book that spans a thousand pages, that demands focus and perseverance, and manages to give back (almost) as much as it takes. The book is always structurally interesting, but it starts to get more complicated toward the end as various characters and plots begin to almost slide into one another. I forgot how frustrating it was to near the end and realize--again--that it wasn't going to wrap up with any kind of satisfaction; the various plots slide, but they don’t meet. I thought if I paid closer attention on a second read that I would pick up more of the plot things I’d missed on my first, but I think the problem is that those answers simply aren’t to be found in the actual text. Of course, they can point us toward various conclusions, and the novel certainly encourages us to speculate and make connections, but I don’t think the actual answers are there.

That brings me to some of my final thoughts, for now. There's no doubt that this is a hugely successful book, and I believe it accomplished exactly what Wallace meant it to do. He jokingly referred to it as a failed entertainment, much the way Jim considered his lethal Entertainment a failure, but I have the sense that Wallace, unlike Jim, failed on purpose. The book purposely pays more attention to structure and theme than it does to plot or character, yet the plot and characters are hugely compelling for what we see of them. Imagine the book it could have been if he had paid equal attention to all of them. Wallace attempted to create a book that people wouldn't want to stop reading. Reaching the end certainly encourages us to begin again, as the first chapter is actually the last in chronology, but that trick only works the first time. By my second read, I realized that starting over wouldn't help me fill in any of those blanks or answer any of my questions, and I was content to let it go. On the one hand, IJ depends upon its structure to tell the story it's telling. On the other, think of the book it could have been if it spent more time telling a story and developing its characters and less time belaboring a point. It's one of the best books I've ever read, and the tragedy is that I think it could have been even better.

[la5t-res0rt]

this was written several weeks ago in response to asks i was receiving i am posting it now it is very long the longest i have ever made and it is not very well edited but here it is in this final essay i talk about how shitty rae is about black people in her writing as well as just me talking about how her writing sucks in general lets begin

hello everyone 

as you may know i have received a lot of anons in the last week or so about issues of racism in the beetlejuice community both just generally speaking and also within specific spaces 

i was very frustrated to not be getting the answers i wanted because i typically do not talk about what i do not see but in an effort to be better about discourse i went looking through discourse from before my time in the fandom and i also received some receipts and information from my followers and from some friends

keep in mind that the voices and thoughts of bipoc are not only incredibly important at all times but in this circumstance it is important that if a bipoc has something to add you listen and learn and be better

i admit that when this happened i wasnt aware of the extent of what occurred and im angry at myself for not doing more at that time and i want to work harder to make sure something like this doesnt go unnoticed again

im a hesitant to talk about months old discourse because i have been criticized for bringing up quote old new unquote but this is very important and i am willing to face whatever comes from to me

lets talk about this

content from our local racist idiot that may be months old but its important

putting my thoughts under a cut to spare the dash but before i begin obviously this is awful

lets fucking unpack this folks

right out the gate op states that she supports artistic freedom but then within a couple words she goes against that statement

being entirely canon compliant isnt artistic freedom and even so if this person has so much respect for canon they wouldnt be out here erasing lydias obvious disgust for beetlejuice in the movie or ignoring lydias age for the sake of shipping that shit isnt canon either 

also we love the quick jab at the musical there hilarious we love it dont we because god forbid a licensed and successful branch on a media have any standing in this conversation but whatever

now lets scroll down and talk about the term racebending

the term racebending was coined around 2009 in response to the avatar the last airbender movie a film in which the east asian races of the characters were erased by casting white actors in the three leading roles of aang sokka and katara 

whenever the term racebending is used in a negative light it is almost always a case of whitewashing like casting scarlett johansen in ghost in the shell or the casting of white actors of the prince of persia sands of time instead of iranian ones

this kind of racebending erases minorities from beeing seen in media and is wrong

all that being said however racebending has also been noted to have very positive after effects like the 1997 adaptation of cinderella or casting samuel jackson as nick fury in the marvel movies nick fury was originally a white guy can you even imagine

i read this piece from an academic that said quote writers can change the race and cultural specificity of central characters or pull a secondary character of color from the margins transforming them into the central protagonist unquote

racebending like the kind that rae is so heated about is the kind of creative freedom that leads to more representation of bipoc in media which will never be a bad thing ever no matter how pissy you get about it

designing a version of a character as a poc isnt serving to make them necessarily better it serves to give new perspective and perhaps the opportunity to connect even more deeply with a character it doesnt marginalize or erase white people it can uplift poc and if you think uplifting poc is wrong because it tears down white people or whatever youre a fucking moron and you need to get out of your podunk white folk town and see the real world

the numbers of times a bipoc particularly a bipoc that is also lgbt+ has been represented in media are dwarfed by what i as a white dude have seen myself represented in media is and that isnt okay that isnt equality and its something that should change not only in mainstream media but in fandom spaces as well

lets move down a bit further to the part about bullying straight people which is hilarious and lets also talk about the term fetishistic as well lets start with that

this person literally writes explicit pornography of a minor and an adult are we really going to let someone like that dictate what is and what isnt fetishistic

similarly to doing a positive racebend situation people may project lgbt+ headcanons on a character because its part of who they are and it helps them feel closer to the character and there is absolutely nothing wrong with that

depicting lgbt+ subject matter on existing characters isnt an inherently fetishistic action generally things only really become fetishistic when the media is being crafted and hyped by people who are outside of lgbt+ community for example how young teens used to flip a tit about yaoi or how chasers fetishize trans people

but drawing a character with top surgery scars or headcanoning them as trans is harmless and its just another way to interpret a character literally anone could be trans unless if their character bio says theyre cis and most of them dont go that deep so it really is open to interpretation and on the whole most creators encourage this sort of exploration because it is a good thing to get healthy representation out in the world

as for it being used to bully straights thats just funny i dont have anything else on that like if youre straight and you feel threatened and bullied because of someone headcanoning someone as anything that isnt cishet youre a fucking idiot and a weak baby idiot at that like the real world must fucking suck for you because lgbt+ people are everywhere and statistically a big chunk of your favorite characters arent cishet sorry be mad about it

lets roll down a bit further about the big meat of the issue which was when several artists were drawing interpretations of lydia as a black girl which i loved but clearly this person didnt love it because they have a very narrow and very racist and problematic view of what it means to be a black person

and before i move forward i must reiderate that i am a white person and you should listen to the thoughts of poc people like @fright-of-their-lives​ or @gender-chaotic it is not my place to explain what the black experience is like and it certainly isnt this persons either

implying that the story of a black person isnt worth telling unless if the character faces struggles like racism and prejudice is downright moronic 

why use the word kissable to describe a black persons lips now thats what i call fetishistic and its to another extreme if youre talking about a black version of lydia on top of that

the author of this post says herself that shes white so clearly shes the person whos an authority on the black experience and what it means to be a black person right am i reading that right or am i having a fucking conniption

how about allowing black characters to exist without having to struggle why cant a black version of lydia just be a goth teenager with a ghost problem who likes photography and is also black like she doesnt have to move to a hick town and get abused by racist folks she doesnt have to go through any more shit than she already goes through and if you honestly think thats the only way to tell a black persons story you need to get your brain cleaned

you know nothing about the complexities about being a black person and i dont either but you know wh odo black people who are doing black versions of canon characters they fucking know 

lets squiggle down just a bit further 

so the writer has issues with giving characters traits like a broad nose or larger lips if theyre a woman but if theyre a man suddenly its totally okay to go all ryan murphy ahs coven papa legba appropriation when approaching character design like are you fucking stupid do you hear yourself is that really how you see black men like what the fuck is wrong with you

none of the shit youre spewing takes bravery it takes ignorance and supreme levels of stupidity

do you really think you with your fic where a black lgbt+ woman is tortured and abused where you use the n word with a hard r to refer to her like that shits not okay its fucking depraved and yeah we know you love being shitty but like christ on a bike thats so much 

can we also talk about this

what the fuck is this fetishistic bull roar garbage calling this black character beyonce dressing her up in quote fuck me heels unquote are you are you seriously gonna write this and say its a shining example of how to write a black character youre basically saying ope here she is shes a sex icon haha im so progressive and i clealry understand the black experience hahahaha fuck you oh my god

on top of that theres a point where this character is only referred to as curly hair or the fact that the n word is used in the fic with the hard r like thats hands down not okay for you to use especially not in a manner like this jesus christ

oop heres a little more a sampling for you of the hell i am enduring in reading this drivel

oh boy lets put a leash on the angry black woman character lets put her in a leash and have the man imply hes a master like are you kidding me are you for real and what the fuck is with calling her shit like j lo and beyonce do you actually think thats clever at all are you just thinking of any poc that comes into your head for this 

also lydia fucking tells this girl that she shouldnt have lost her temper like she got fucking leashed im so tired why is this writing so problematic and also so bad

hold up before i lose my head lets look at some of her own comments on the matter of this character and what happens to her

hi hello youre just casually tossing the word lynch out there in the wide open world as if thats not a problem that is still real like are you fucking unhinged there have been multiple cases of this exact thing happening in our firepit of a country in the last five months alone like how can you still have shit like this up for people to read how can you be proud of work like this in this climate

and also what the fuck is that last bit 

what the actual fuck

i dont speak for black people as a white person but you do!? im sorry i had to get my punctuation out for that because wow thats fucking asinine just because one black person read your fic and didnt find the torture and abuse of your one black character abhorrant doesnt mean that the vast majority of people not only in the fandom but in the human population with decency are going to think its okay because its not 

i started this post hoping to be level headed and professional but jesus fucking christ this woman is something else white nationalism is alive and well folks and its name is rae

if you defend this woman you defend some truly abhorrant raecism

editors notes 

in order to get some perspective on these issues more fully some of the writing by the author was examined and on the whole it was pretty unreadable but i want to just call back to the very beginning of this essay where the person in question talked about holding canon in high regard but then in their writing they just go around giving people magic and shit and ignoring the end of the movie entirely like are you canon compliant or nah 

the writing doesnt even read like beetlejuice fanfic it reads as self indulgent fiction you could easily change the names and its just a bad fanfic from 2007

also can we talk about writing the lesbian character as an angry man hater like its 2020 dude and als olets touch on that girl on girl pandering while beetlejuice is just there like here we go fetishizing again wee

i cant find a way to work this into this already massive post but

im going to throw up

okay so thats a lot we have covered a lot today and im sure my ask box will regret it but this definitely should have been more picked apart when it happened

please feel free to add more to this i would love more perspectives than just my own.

[marueonmain]

WINDFLOWER

part six ~ to be more normal ~

(part one) (part two) (part three) (part four) (part five) (part six)

A/N: I want to thank each of you who have continued reading and supporting me through all these parts (that’s almost 12k words total!) and I hope you keep wanting to stick around until the end. Stay safe. Stay healthy. 

Summary: Alex visits with James & Fraser in a bid to distract himself from thinking about his feelings toward Y/N. George is concerned.

Pairing: imallexx x reader

Warning: Implications of Disordered Eating Habits. References to a Real/Imagined Domestic. An Absurd Amount of Pining.  

Word Count: 2.4k

Subdued shades of orange with the occasional single brushstrokes of pink projected through his bedroom window and painted him in light. A bird chirped, and another chirped back in a cycle of communication lost on other animals. Alex did not realize the change outside his window until the light gradient settled on a loud yellow and created glare on his monitor.

It was sunrise, and he had just finished editing for his most recent video. Where the hours of work went was unclear as it played back with the same level of effects as other videos on his channel. But the hours showed in his fringe, darkened with grease, and in his hands that shook from low blood sugar.

Sleep was for the strong – for those who executed enough psychological control to shush their thoughts. To untie their mental boat and let it drift into the oblivion sea. Alex was not one of those people. Quieting his internal monologue required medication that put him in a state not unlike how he imaged it felt to be roofied.

Or else he did not sleep.

And Alex did not sleep that night. Not because he needed to edit or because he was so busy he did not realize he was tired. No, none of that. He knew he was tired: exhausted even: his limbs felt heavier as, throughout the evening, his blood was spliced and diluted with concrete mix.

Why did he not take his medication? Why not sleep? He did not want to be trapped in ~the dream~ again.

Despite his fundamental understanding of the uncontrollable manner in which the unconscious forms dreams, Alex was consumed with guilt for dreaming about kissing his friend's girlfriend. So, he punished himself: not allowing his mind rest nor his stomach food as he threw himself into his editing.

He would not allow himself think about it long enough to come to the obvious conclusion – that the real issue was not the dream itself. Despite what imallexx edits might guide someone to believe (with their cutesy music over compilations of smiling pictures or clips of him laughing), Alex was a young man in his twenties. And young men (who enjoy kissing) think and fantasize and dream about kissing.

And far more than kissing but regardless... He had dreamed about kissing his friends' girlfriends before: or at least Mia that one time. Ok, two times. He had dreamed about kissing cute men he saw on the train. He had even once dreamed about kissing Princess Leia.

It was natural. But Alex's thoughts about Y/N felt damning, felt wrong. Perhaps because it was the first instance in which he thought he had a chance to get the girl. Not that he would do; he refused.

It hit him. If he were always doing something else, then he would simply not have time to think about it – about her. Alex grabbed a pencil off his desk and his JoJo Siwa notebook and wrote a schedule for the coming week.

His hand cramped from furiously trying to keep up with dictating the information as it spilled from his head. He finished writing, but there were still stretches of time to fill-up including that entire morning. Was he desperate enough to disconnect from himself that he would risk the Budweiser Bug to visit his other friends outside his apartment building? Yes.

While rummaging around his bedroom for fresh(er) clothing to wear, Alex swiped a hat off his desk and concealed his unwashed hair with it. Not his tiktok bucket hat nor his iconic pink one, it was a lilac snapback with an image of lavender embroidered on the side. He rang Fraser.

“Hello?” Fraser answered with a voice bogged down with exhaustion. 

“How’re you doing?” Alex greeted.

“Um.” (a pause – a processing delay) “Fine. Good. Yeah, what about you?” 

“Trying to keep busy.” He tucked his wallet and keys into the pocket of a pair of joggers he found hanging, oddly enough, over the towel rail in his bathroom. Changing into them required a series of short jumping motions as he used just one hand. “You have any videos to film that I could jump in on?”

“Well I’ve been brainstorming ideas for a new series called…”

At the bathroom sink: Alex did not wait for the water to warm before splashing it over his face. He did a quick once-over and washed his cheeks and forehead with hand soap. Picking up his toothbrush from its holder stirred an uneasiness in him, he could not explain; he brushed his teeth and spit without rinsing.

Returning into the conversation he caught the middle of what would sound like a rant or passionate tangent if he did not know that was just how Fraser talked, “…and I’ve been working on a script for something on social repose—”

“Another needs to be stopped?" asked Alex.

Fraser laughed, letting it linger before continuing, "You got me. It's not done, but I could definitely use you for some reaction bits."

"Great! I'll be setting off within the hour." Ambling around – as is the norm during phone calls – Alex found himself in the kitchen. Half-full liters of lemonade, grocers bags, and dirty dishes cluttered the counters. He worked around the rubbish to make himself scrambled eggs with ham.

Fraser asked, "And you're sure about leaving the apartment? With the Bug? We could do a discord-call."

"Might as well get in some time on the train before things shut down."

"Alright, mate," there was a smile behind Fraser's voice, "just don't get arrested."

With their call ended, Alex finished cooking. He ate his entire breakfast in the same amount of time it took him to pull on his shoes.

During the train ride, he turned his phone's volume to eighty percent and blasted his music through his earbuds. His playlist was a mixture of two to three alt-rock or indie pop bands with a sprinkling of mainstream hits: a calm and comfortable backbeat throughout. No outlier tracks that burst into hard-hitting or exceptionally fast beats – nothing that might pump-up his adrenaline or be useful to scream along with in a fit of anger. That was not the connection he made with music in his formative years. Music to him was something to drown out that pesky internal monologue when lying in bed for too long – doing nothing – but perhaps pondering on some heartbreaking or otherwise emotional line in a song.

He arrived at Fraser and James' apartment when it was still technically morning. Knocking on the door, he was greeted with frantic barking and his tired ~obviously hungover~ friend.

After fussing over Kenji, Alex spotted the camera set-up in the kitchen and took his seat. Fraser and him watched several of social repose's music videos: covers of emo electronic, synth-pop songs, and a lot more original EMD songs than either man guessed – and all were dreadful. Neither could sit through a single video for more than forty-five seconds, and most of the footage they shot was just of their mouths hanging open in a disturbed shock.

Nonetheless, it was a great distraction. Alex liked feeling like he was helping out smaller channels – even if it was just those who were his friends.

Only as Fraser was cleaning up his equipment and Alex was sitting on the couch playing with Kenji, did James clamber out of bed and stroll out of his bedroom.

"Ow. What was that?" Alex asked in an exaggerated voice when the shiba nipped at yet another one of his fingers. Turning his attention to James, he asked, "Has he been biting a lot recently?"

James answered in his softer and calmer 'tired' voice, "He only bites sometimes. His brain is probably just locked on the idea of food right now; this is around the time Fraser usually feeds him."

"I just wanted a picture for instagram." Alex tried to find a good angle to hold his phone. He pushed Kenji to sit on his lap for a nice picture (which was sure to get hundreds of comments and love heart emojis), but the shiba was far too hyper to sit still. The few useable photos he got were of Kenji biting at and tugging the strings of his hoodie. "Come on, Kenj."

"Reckon he knows what you're doing with your phone, just mugging you off on purpose."

Alex hung around the apartment for the rest of the afternoon: enjoying an ubereats lunch and having James crush him at mario kart...multiple times in a row. The three talked youtube and the continuing aftershocks and effects of the ad crisis, and Fraser asked for feedback on a few video ideas.

An hour or two from sunset, Alex said his goodbyes and caught the train home to his apartment. Upon unlocking the front door, he was met with an interrogation.

"And where have you been all day?" asked George standing with his feet planted shoulder-width apart, and his arms crossed over his chest – the spitting image of a disapproving parent to a reckless teenager.

Smiling his fang-displaying side smile, Alex challenged, "Why do you need to know?"

"Sammy came over to film the opening pokemon cards video, and you weren't here. Neither of us could get a hold of you. Do you even care about my upload schedule?" It was a half-humorous rant with an eerie sense of latent seriousness.

"Phone died." He shrugged, not looking his flatmate in the eye and certainly not wanting to admit the truth – he put his phone on do not disturb earlier that morning, muting most everyone, including George and Sammy.

There was not an ounce of belief in George's expression, "Fine. Where were you, though, for real? You never leave the flat, let alone disappear; almost called Will and got a search team going."

"I was just filming with Fraser." Alex bent over to take off his trainers. There was a click from his shoulder when he did – alarming for such young bones. "We should host something soon."

And he meant soon. As talk of a complete social shutdown, rather than just more public health advisements, dominated news outlets; the thought of non-essential businesses being made to close their doors was frightening. And what was worse than the eking paranoia seeping into every day, was the horrifying realization that the pubs were considered non-essential.

Uncrossing his arms, George's posture shifted to be more normal. His brow furrowed as he seemed to examine his flatmate heavily; even so, he nodded in agreement. "Sure, we could do that."

"Great," Alex chirped and started toward his bedroom.

George grabbed his arm as he tried to walk past him. His hand clasped tight enough that his fingers touched his thumb, and nails would have dug into the pale skin – if he had nails that is. Both men were silent amongst the awkwardness of the interaction.

Sidestepping out of the armlock, Alex waited for George to speak.

"You're doing ok. Right, Al?"

"Yeah. I'm ok."

"But, you'd tell me if you weren't."

"Of course." Alex left to his bedroom. It was in a bad state, but he did not bother himself with picking clothes off the floor or taking food wrappers from his side table to the kitchen bin. He pulled his phone from his pocket and checked for messages: sure enough, there were eleven messages from George: ranging from asking where he was to blaming his laziness for ruining their chance to film.

Alex flopped himself onto his bed and started to scroll through his photos with Kenji. There was not much choice, so he took the least blurry one and posted it to instagram – with a bright filter and a sarcastic caption that took him longer to come up with than he would have liked.

Fifty minutes he spent scrolling through instagram, occasionally checking back to watch the likes on his photo go up and to reply to some of the first commenters. It was mind-numbing in the good and proper sense.

Until he saw it – and it was not his fault, he just happened upon it – and it sent his thoughts into hyperdrive.

A post. A photo. Y/N sitting on her sofa in the dark with the one light source (presumably her television) from behind the camera casting a blue light across her face. One hand clutching the blanket in her lap as the other hand was held up. Jewel-like eyes peering through her fingers and connecting with the camera. A smile playing purposefully on her lips.

If Alex's thoughts at that moment were put into a blender, they might still have come out making more sense than they did in his head. Eyes. Lips. Blue. Watching? Angelic. Eyes. Fingers. Dancing. Blue. Lips. Taste. Lips. Soft. Photographer. Photographer.

Before he might ask for the app to load more photos, Alex's burst of energy and hectic but classic over-thinking was interrupted. From above him came the sound of muffled shouting. He held his breath, stilled as if a prey animal not wanting to be spotted, and focused an ear to the noise.

There were no words he could pick out, but from what he could tell – or from the details he filled in – it was not a light argument of few words but something that might supersede a genuine scrap. And it was coming from Sammy and Y/N's apartment.

As he listened, his imagination wandered. Alex visualized himself, rushing to Y/N's aid and wrapping his thin arms around her in more emotional comfort than physical protection. He saw her turn to him with wet eyes and a red nose before burying her face into his shirt. It would be uncomfortable – as it is to be around distressed people. Yet it would be comfortable – as she would fit against him so well.

Again, his imagination wandered. Alex visualized himself as the one shouting at Y/N and growing angrier as she refused his hard-hitting gaze. He saw her turn to him with wet eyes and a red nose before hiccupping out a sob and dashing from the room. No. That was not right. It was wrong. He would not— could not do that.

[mrsspidermanmaryjanewatsonparker]

Why Mary Jane sucks!

The awful character has been praised and protected and given special treatment by the fans, and especially Marvel, for far, far too long. It’s time we all woke up and saw this dreadful character for who she is! As such here are just a few (of a potential 500 I assure you) reasons Mary Jane sucks!

 1.       She’s a readhead

Famously Mary Jane has red hair.

You know what else is red?

Fire.

Fire HURTS people!

What’s Marvel trying to say huh?

That kids should play with fire!

 2.       Her entire character is about drugs

Mary Jane is slang for marijuana. In presenting a sexy character called Mary Jane in the 1960s the deviants that were Stan Lee and John Romita Senior OBVIOUSLY were trying to encourage people to use weed, the most dangerous drug of all time!

 3.       She was clearly the main villain of Into the Spider-Verse

Some months ago a sharp eyed viewer put forward a daring theory.

It stated that Mary Jane betrayed Peter Parker to the Kingpin in Spider-Man: Into the Spider-Verse.

Whilst I hold the utmost respect for that poster’s clinical film analysis skills, I have to disagree.

Mary Jane didn’t betray Peter to the Kingpin.

Because the Kingpin was clearly working for her the whole time!

Once you spot the clues it’s incredibly obvious. A subtle but really big example is the Kingpin’s body language throughout the movie. Kids and dumber viewers might not have noticed it but that’s the body language of someone in fear of his superiors, someone who is subservient in absolutely every way.

But WHO could he be working under? Who else but Mary Jane...from Peter B. Parker’s universe.

That’s what makes his ending so tragic. He rings that doorbell at the end of the movie and doesn’t realize he’s delivered himself into the hands of the true evil of the multiverse!

 4.       She made Peter quit being Spider-Man

Whenever I bring this point up people seem to presume I’m talking about the groan inducing years she was married to Spider-Man. Not true. Mary Jane’s toxic influence upon our hero predates that. She didn’t just make him quit during the Spider-Marriage but in fact EVERY time he ever quit.

Spider-Man No More? That was her?

Amazing Spider-Man #17? That was her too! I know Peter hadn’t actually met her back then but facts are facts those 5 minutes he retired were all down to her!

 5.       Marrying Spider-Man made Spider-Man comics bad for 20 years!

It’s been well documented by astute and respected creators like Joe Quesada, Dan Slott and Tom Brevoort many times before, but when Mary Jane married Spider-Man the Spider-Man books tanked big time.

In fact EVERY comic sunk to a new low. Rob Liefeld drew X-Force. Iron Man became a teenager. Superman got a mullet.

This can all be very directly traced back to Mary Jane marrying Spider-Man, a fact I blame the character for first and foremost not the writers. I mean when you have a character like that in your comic books it’s essentially inevitable that good writing isn’t an option.

Thank God for Joe Quesada’s Magmum Opus. Without it we’d have been denied all time classics like Amazing Spider-Man #553, an issue so memorable I don’t even need to reference anything from it. Y’all KNOW what I’m talking about!

 6.       She was RACIST!

Now okay TECHNICALLY Mary Jane was never really been racist.

But subtext is a thing and MJ famously hated Spidey’s black costume and his ex girlfriend Black Cat, both of which were always intended to subtextually represent the African American community.

Thus MJ’s dislike of them was unsubtle as it was bigoted.

Mary Jane hates black people.

 7.       She encourages sadomasochism

Not only is MJ’s name slang for a drug but think about what her name rhymes with?

Pain.

Through her Marvel sought to encourage impressionable readers to harm themselves through subtle subconscious rhyming. Kids aren’t dumb they’d obviously make the connection!

 8.       She ruined lingerie and other underwear

Throughout the Spider Marriage Marvel put Mary Jane in all manner of lingerie and sexy underwear to presumably titillate the readers.

But having such a repugnant character wear such clothing had the adverse effect of making readers repulsed by such items of clothing whenever they saw them.

Think of all the poor souls who read such comics and must have had what amounted to PTSD flashbacks upon walking into clothing stores. Think of the money that must’ve been lost for those businesses as a result.

Think of all the relationships that must’ve wrecked!

For. Shame!!!!!

 9.       She’s totally bland and one note

Let’s review the all time great love interests of Spider-Man’s life shall we?

Cissy Ironwood. Marcy Kane. Deb Whitman. Aprile Maye. Carlie Cooper. Liaeean Taeeang. Gwen Stacy (well once Stan got rolling on her around issue #100 or so).

All brilliant characters who need no introduction. Characters who’s names alone conjur up vivid memories of vital moments they contributed to Spider-Man history for fans far and wide.

Why is that you may ask?

Simple.

Unlike Mary Jane they had personalities!

They had character development!

I mean Marcy Kane’s progression from grad student and teaching assistant into being revealed as an alien is if we’re being honest the greatest character arc of anyone in Spider-Man history. It was so great they had to make the big reveal in the all time classic 1984 Jack of Hearts mini-series! Now you can’t say THAT about Mary Plain!

 10.   Marvel have always preferred her over Gwen Stacy

It’s no secret that the higher ups at Marvel, and this was especially true from the late 1990s onwards, have over idealized, over romanticized and engaged in outright revisionist history when it comes to Mary Jane, building her up as an unattainable level of greatness.

This is especially true of Joe Quesada but credit where credit is due, he was professional enough to divorce his personal feelings towards the character when crafting his opus One More Day and his almost as good sequel One Moment in Time.

But raising up Mary Jane was always at the expense of poor Gwen, surely the most underrated of all Spider-Man love interest, nay, Marvel characters of all time.

When was the last time you EVER saw Gwen get ANY appreciation huh?

Certainly not when they killed her off. Much like ITSV this story is a case of people missing the subtle clues as if you pay close attention, you can see Mary Jane literally pushing Gwen off the bridge and snapping her neck too.

Gwen deserved better of course but alas from then on we could only turn to the oh so occasional flashback to see her again. Because of this red headed devil we were denied such great scenes like that one time Gwen Stacy said she was in love with Peter or that time she cried to her Dad.

Instead we are subjected to garbage like this!

[littlemissonewhoisall]

Guide to writing Cassandra Cain

I’ve seen a lot of people in the Bat Family fandom say that they often minimize or exclude Cassandra from their works because they don’t know enough about her. While I HIGHLY recommend reading her Batgirl comic from 2000, I’ve compiled a guide to her personality, abilities, and relationships with other DC characters here for easy reference. (I’ve tried to be as comprehensive as possible, but I’ve probably forgotten something so please feel free to add onto this if you know the character well)

PERSONALITY

Cassandra has a difficult time with language, spoken or written. This generally manifests through her relying on body language and single-word sentences to get her point across. When she needs to speak, it is halting and awkward, but not broken. She will pause frequently, mumble, or use Malapropisms, but she is a perfectionist and is frustrated when she doesnt use perfect grammar or pronunciation. At times she will be unable to find the words for a particular thought. She usually is portrayed as being unable to read or write. 

Cass sometimes uses mimicry when she has trouble putting words together herself, quoting films, tv shows, and plays.  

Cassandra is compassionate above all else. She values life, and protecting it is her highest priority. She will not hesitate to put herself in danger to save others, and does not tolerate killing. 

Cassandra has a strong guilt complex. Anyone who dies on her watch weighs heavily on her conscience, even if there was nothing she could’ve done to stop it. She does not let go of these “failures” easily. 

Cassandra has little regard for societal norms and expectations. While generally caring and compassionate, she often comes across as rude due to spending most of her life either locked in a bunker or surviving in the wilderness. This includes poor table manners, a tendency to lurk in the shadows, and mirroring her adoptive father’s habit of coming and going without warning. 

Cassandra has great pride in her physical prowess, but little in her moral character. Though she has a strong moral code and is quick to intervene when others break it, she does not see herself as above them and may even have more faith in them than in herself, as she still feels that she may not be able to rise above her upbringing. She can be rather arrogant about her superior agility and combat prowess, however. 

Cassandra is fond of friendly jibes and snark, usually but not always expressed nonverbally. Her sense of humor is slightly unconventional, but usually good-natured. 

Cassandra wears her heart on her sleeve. She is very emotional, and her past trauma can make her emotionally vulnerable, especially because of her lack of communicative skills. Her emotions show through her entire body, even when she doesn’t vocalize them. 

Cassandra is quick to leap before looking, but excellent at adapting to unexpected situations. She is a poor planner and rather impulsive, with a rebellious streak that sometimes makes it hard for her to listen to instructions. However, she is great at thinking on her feet and analyzing her situation in the moment.

Cassandra does not do things in half measures. When she wants to learn something, such as reading or detective work, she is eager to dive into the deep end even if it’s not always the best way to approach it. As mentioned before she is also a perfectionist when it comes to herself, so this approach often leads to frustration. 

Cassandra is very physically affectionate, with little mind for personal space. This often comes in the form of gently touching the face of someone she believes to be in pain. 

Cassandra is extremely empathetic, to the point that it can be overwhelming for her at times. She is very good at spotting falsehoods, hidden pain, etc. 

Despite this, she often misinterprets social cues. For instance, when Barbara and Dick were going through a rough patch in their relationship, she though Dick had intentionally done something to hurt Barbara, and threw him out a window. 

ABILITIES

Cass is fast. Really, really fast. She can move incredibly quickly and quietly, making her very hard to track.

Cass has a shocking amount of strength for her small size. She has punched through 3-inch thick quartz glass, kicked down concrete walls, and thrown a metahuman more than twice her size without issue. 

Her primary advantage comes from her ability to read body language and predict her opponents’ actions, allowing her to dodge bullets and outmaneuver pretty much any non powered opponent. This ability does not work on robots, animals, or sufficiently nonhuman aliens. 

Cassandra is a contender for the world’s best martial artist, along with Lady Shiva and Richard Dragon. She can pick up new fighting styles nearly instantly, allowing her to learn and adapt techniques she’s never encountered before. 

Cass is an incredible acrobat, though not as good as Nightwing. 

Cass is able to control the amount of force she uses to the point that she doesn’t usually have to worry about killing even when using normally lethal techniques. 

She is able to use pressure points to paralyze someone nearly instantly, though she has only shown the ability to use it on those who do not expect her to attack.

She can stop a person’s heart using a special technique, and in later appearances was able to do so without endangering the person for a good length of time, though they’d still die if not revived within that time period. 

She is very good at analyzing her surroundings, which has helped her solve cases. 

Cassandra is exceptional at dividing her attention and energy, able to coordinate herself to the point that government agents assumed she was a metahuman. 

She is very good at the intimidation side of the job, able to terrify even trained killers. 

RELATIONSHIPS

Cassandra is very close to Stephanie Brown, who was her first real friend. She can be a bit overprotective of her, even using violence to keep her out of fights that Cass thinks will be too much for her, though she has largely grown out of that and these days has a lot more faith in her. Cassandra is able to unwind with Stephanie in ways that she has trouble doing with around other people, even those she trusts like Barbara and Tim. When Stephanie seemingly died, Cassandra was deeply affected, becoming shorter-tempered and more violent. 

Cassandra sees Barbara as the mother she never had, and values her insight. Though she often chafes at Barbara’s well-intentioned attempts to get her to see beyond her life as Batgirl, she still cares deeply for her. 

Cass sees Bruce as somewhat of a father figure as well as a bit of an idol, and seeks his approval. When she believes that she has disappointed him, it can be devastating for her. However, she also recognizes his pain and trauma, and sympathizes strongly with it. Her admiration also doesn’t always mean she’ll do what he says.

While Cassandra and Dick don’t always get along (as mentioned earlier), she usually sees him as a mentor and big brother, and she is often more relaxed around him than most people. 

Cass and Jason’s interactions have been largely confrontational, and it’s likely that further encounters would be similar, as she is strongly opposed to lethal force and would endeavor to stop him if she could. That said, she would almost certainly understand the pain he went through, and would try to get through to him with words as much as she is capable, rather than immediately resorting to violence. 

Cass and Tim have a long and complicated history. While the two of them started off rather tense, with Tim being somewhat intimidated by her, they soon grew very close, and treat each other as siblings. Their strengths complement each other, and they are able to work in synch with each other very well. She has also been known to break into his house to steal food and take a shower. 

Like Jason, Cass’s interactions with Damian are few and far between. Their first meeting didn’t end well, as Cassandra pulled him from a building when he was disarming a bomb despite his protests that he could handle it. While she found some of what he said hurtful, she didn’t seem to hold much of a grudge, and I think they could find common ground due to their similar backgrounds. 

Cassandra and Duke seem to be friends, though beyond that little is known of their relationship.

Cassandra is close with Harper Row, and the two of them definitely care for one another despite the troubled history between them.

Cass and Jean-Paul Valley bonded quickly over their shared inexperience with society, and they are both very fond of one-another. 

Cassandra is friends with Dinah Lance, who she has been shown to train with on occasion. 

Cass does not get along with Helena Bertinelli for obvious reasons, and when they worked together during the Battle for the Cowl there was quite a bit of tension between them. 

Cassandra had a close relationship with Basil Karlo/Clayface during the time that he had reformed, as she had faith in his ability to change. His apparent death devastated her.

Her relationship with her biological father is complicated. Though she has always despised what he does for a living, it took a long time for her to come to terms with how badly he treated her. 

Cass’s relationship with her biological mother is even more complex. In most depictions, Cassandra respects Shiva in some ways, but is also troubled by all of the lives that she’s taken.

[culturechroniclesblog-blog]

Neon Genesis Evangelion & Making Arthouse Work

There is a lot of arthouse media out there. Anime certainly has its fair share, and who hasn't watched a Lynch or Jodowrosky film solely to lord your cultural sophistication over your inferiors? Most of them share a common thread of being “art for art’s sake”: impressive on an aesthetic or thematic level while a little lacking in character and narrative, which leaves its wider appeal, ah, limited at best.

Neon Genesis Evangelion is a show that cannot escape its ending. The show’s final stretch is totalizing in the popular discourse - everyone knows it "goes off the rails" in its latter half. Evangelion becomes an arthouse show, throwing reality to the curb in exchange for an assault of abstract and introspective setpieces. At age fourteen when you inevitably first see it, your mind is blown by it all, which is fair if it’s your first taste of the genre. However, coming back to it over a decade later like I did, having seen way more avant-style media than is probably healthy, I expected to enjoy the show but also see it just-another-entry into the genre.

Instead it held up masterfully. Evangelion is replete with flaws if you look at its whole picture, but in the execution of its arthouse appeal I saw it soaring past its competition in so many ways. In hindsight it had to - why else would an entire generation of fans trumpet it as one of the most successful shows of all time despite all those rails it went off? Evangelion, through undoubtedly sheer luck and insanity, stumbled on a way to make arthouse work for audiences beyond its niche, and I think that is the key to what makes the show as a whole function so well.

A World Without Uncertainty

As previously mentioned, most avant animation & film privileges aesthetics first in its visuals. The goal is to evoke a mood or feeling, and whether or not it really connects to the narrative is pretty secondary. I am certainly not bashing that - the way this challenges the viewer creates a unique experience. But even I will admit that sometimes it makes it, well, a bit hard to care about what’s happening on the screen.

Evangelion dodges this problem pretty much completely by making so many of its visual elements extremely direct. Honestly if you look at the majority of the more out-there sections of the show sequence by sequence, they would barely qualify as out of the ordinary! To choose one, take one of my favourite moments from Episode 26:

This sequence is not a mind-boggling piece of animation, at all. The concept of an outer frame that contains fast-moving images that reflect the nature of that frame is not new - ever seen this before?

--- It even has a red background, the hacks! ---

Not exactly the peak of avant-garde cinema here. Evangelion adds to the directness because this sequence is playing to illustrate that, literally, Shinji's identity is composed of the people in his life, and his desires are shaped by how they see him. It’s one of the core themes of the show - other people's conceptions of you are, in a way, just as much "you" as your own conception of you. What better way to illustrate that concept visually than having those people flashing through the frame of your body? While still an abstract animation sequence, it is not at all "art for the sake of art". It’s tied directly to the narrative, with a clear meaning - there is even dialogue partially explaining it.

This clarity exists for most of the more out-there sequences in Evangelion. The show's real "challenge" to the audience comes in how it strings sequences like these together, often at a breakneck pace. While in isolation they are only borderline abstract, when thrown together you are pounded down by the mix of themes and aesthetics. Look at Asuka's breakdown in Episode 22:

The scene has a cool visual design with the color contrast, to heighten the faceless crowd vibe - which it should, because Asuka is constantly fighting to not drown in a sea of anonymity, to stand out from the crowd and be the best pilot, to rely on no one but herself - and yet she constantly fears she is doomed to fail. This pretty-clear sequence, though, jumps quickly into this:

Then goes into this:

--- Eat your seizure-warning heart out, Pokemon ---

And in 20 seconds the show has thrown a half dozen thematic ideas at you via abstract representation. The viewer is absolutely overwhelmed on their first viewing from this, it becomes an aesthetic and you get that unique “arthouse experience”. But almost none of it is art for art's sake - you are watching a plot, a narrative, it almost all has dialogue explaining it. If you slowed it down you could get almost all of these scenes on the first watch, and on a rewatch you will probably pick it up fully. It’s this merging of abstraction and concreteness that elevates Evangelion above most other arthouse animation I've seen; you are constantly challenged, but never so much as to surrender and give up.

(Note: When I say that these scenes are “direct: or “clear”, I don’t mean that they have only one meaning, or that everyone will agree on the meaning. Their meaning is based on many other scenes, each with their own ambiguities and layers, and those differences will multiply out over the course of the show to result in varied interpretations. That process is different, however, from scenes having only aesthetic content, with no or little inherent narrative grounding.)

Realizing the Obvious Over and Over

Okay, the art itself walks the clarity/abstraction line, but even if it is connected to the narrative, why do this? Why would an audience want something that was a "typical" show to move in this direction? A lot of viewers have commented on the severity of the "shift" in the later episodes of Evangelion (generally starting around episode 16), a disconnect the fandom has not failed to capitalize on:

This split has its own meta-narrative, based on the production history of the show. Anno's growing mental illness - always present from the beginning - and huge production woes involving having to scrap already-complete episodes, caused a "breaking point" around this time where he threw caution to the wind and let capital-D Depression take the wheel. While there is some truth to this in the meta-sense, I have never liked the idea that the show itself has such a split. I instead see the more arthouse final stretch as more-or-less a natural outgrowth of the narrative, not a meta-split. In particular, the arthouse second "half" only functions as a reflection of and continuation of the more traditional first half, and without that first half it would fall on its face.

To show why that is the case, I want to explain a type of narrative arc that really hits my personal aesthetic in long form media that I am calling now and forever more the "Multifaceted Character Arc". Essentially, these are when characters have a core arc, and over the course of events they resolve this arc - but the show or book or what-have-you is only halfway done. They could just have a second, different arc, but instead the resolution of their previous arc proceeds to be undermined, picked apart, and exposed as a partial lie, and the character realizes they haven't resolved anything yet; and so the same arc continues, but from a different angle.

Evangelion embodies this trope on turn-it-up-to-eleven steroids. Episode 16 might be the "split" point in the meta-sense, but I always looked at Episode 12 as the narrative split-point, where the first half "ends". Episode 12 wraps up with Shinji, Misato, Asuka, and Rei having a ramen dinner together after beating an Angel, and so many of their previous arcs are "resolved". Shinji has opened up, comfortable with his surrogate family and no longer pushing them away, Asuka is letting her guard down and actually thought about Misato when choosing where to eat, something early-Asuka wouldn’t be caught dead doing, Rei is socializing, and so on. Shinji even admits why he wants to pilot the Eva (praise from his father), which has been one of his "arc" question up until this point, and he seems to have finally figured things out.

--- This might actually be the last happy expression Shinji has till the finale ---

Of course, the directing will have none of that, because this is a false peace. Misato, who is wise to the wider narrative, knows exactly on how shaky a ground this is all built on, and gives Shinji the side-eye to prove it.

--- The “we call those daddy issues, Shinji” face ---

Episode 13 is a Ritsuko side-story, and episode 14 is a recap episode....look, I never said Evangelion was perfect, okay? But once episode 15 rolls around all of this narrative build-up starts being completely undone: Shinji and Asuka's stable-ish friendship gains some very-unstable romantic overtones, Misato has a full-on emotional breakdown, and we are off to the races in episode 16 as Shinji's newfound confidence and masculine need to wave his dick around for Asuka's benefit results in one-way ticket to psycho-analysis mind-screw station:

I could go into how these themes develop from here, but that isn’t the focus of this essay. My point with all this build is instead to focus on two core narrative elements: justification, and engagement. All of the out-there elements and pyscho-analytic themes of the second half of Evangelion are present in the first half, and were presented in a typical way - character interactions, dialogue, plot events, and so on. Remember that scene I mentioned before from Asuka's breakdown, of her being swamped by ghostly forms, and how it referred to Asuka’s desire stand alone from the crowd through her skills as a pilot? I know what it meant thematically, cause here is Asuka, implying to you, in dialogue, what that scene is going to mean 8 episodes earlier (“it” is “pilot the Eva”):

And this isn’t even the first scene this theme has come up in, I could pull up a number of screenshots if I needed to of her either implying or directly stating this desire, its conflicts, and having resolutions around them.

The avant latter half of Evangelion can throw half a dozen themes at you in sequences of abstract animation because you have already spent half a season thinking about these issues in normal terms. It’s the multifaceted character arc - they have been continually struggling with these issues and exploring different solutions to them, solutions that seem to fail. On this backdrop, to repeat these themes again using traditional narrative tools would be, well, boring. Evangelion isn’t an essay, it’s a visual medium; the show has set the stage with the regular visual tricks of the trade for exploring these arcs, but in the latter half of the show  it pushes what that visual medium can do. With that grounding, unlike in so much avant work, you can fully follow along with it. Essentially, Evangelion made you do your homework before the test.

The Ones You Love Mean More Than Anything

This groundwork is true on an intellectual/comprehension level, but it is also true on an emotional level; not only do you understand better these abstract elements, you also care about them, because they are not just referring back to factual elements but human moments. To take an example, Shinji and Asuka have several fight scenes that occur in abstract-head-space, and in one of them Asuka (wanna guess who my favourite character is?) is ripping into Shinji for how he fails to reach out to her, to make her feel wanted, and she mentions this:

The image here is one of many flashing across the screen at the time, but it’s a flashback to the aftermath of their kiss in episode 15. The “hold” here isn’t metaphorical; it’s a direct reference to how he didn’t hold her during the kiss. If you didn’t think it was clear, look back at the actual episode 15 footage - how the kiss scene focuses entirely on Shinji's hand in all its not-holding-Asuka glory. Like, really:

--- This shot is held for over 15 seconds, with only Shinji’s hand moving. Also a penguin walks by, don’t ask. ---

This is a really impactful call-back, part of the multi-faceted arc, as Asuka continually tries to figure out her feelings for Shinji and fails. Except, the scene being referenced here is not shot as a dramatic relationship moment, it’s a comedy scene. Its honestly hilarious, one of the worst first kisses ever on screen, to the point where Shinji almost suffocates to death because he is such a wuss and Asuka is such a tsundere. And at the end of the show they take this moment and transform it into part of Asuka and Shinji's relationship implosion. 

Which means that you care about it! Because you are going to care about two kids’ fumbling attempts at romance far more than an essay on isolation and connection, for all the reasons those narratives traditionally work. Real people never have endless strings of introspection - introspection is something you do on a life that you have otherwise been living, with moments of seriousness and moments of hilarity and dumbness. Evangelion can show that, because it isn’t drama 24/7. Its first 15 episodes have comedy, action, slice-of-life, the works.

I think this is the element that really makes Evangelion stand out - that it can push what is happening onscreen to the limits of abstraction, and you are not only going to understand it, but also remember the human beings it is all happening to. It not only put in the time to make these characters fully-fleshed out, but connects back its new later elements to the moments that made them so fleshed out. It justifies going as far as it does through its arcs, and engages you emotionally as it escalates, while so many attempts at arthouse media either fail or don’t bother with either of those key elements. Evangelion is a show that starts as a highly traditional narrative, ends as an arthouse film, and by binding it all together so tightly makes you think it couldn’t have gone any other way. Which, it turns out, is a pretty good way to make the arthouse elements actually work.

....

Oh yeah, so Neon Genesis Evangelion: 10/10. Like the score? We are supposed to do that, right? That’s my score.

-Tim

---------

Final Notes: I have a bunch of other thoughts on Evangelion, and so while I imagine a lot of the shows we watch are going to get one cohesive essay, I will almost definitely have some follow-up posts - this post is just the main one that connects so many of my biggest takeaways together. I definitely want to write a few on the plot issues and their (non)relevance, the ways Shinji’s arc is perceived by fandom, and some other topics, but I do want to put up a few essays on other anime so we don’t have a massive Evangelion dump starting out the project. Hopefully I will get some inspiration on more topics from all the great ~discourse~ going on around Evangelion right now, and we will see what gets written.

[sartle-blog]

Rosie Lee Tompkins: A Retrospective at BAMPFA

Untitled, 1986

Walking through the Rosie Lee Tompkins exhibit that just opened up at the Berkeley Art Museum and Pacific Film Archive in Berkeley, one phrase kept reverberating through my mind: “an ordinary mystic.” There is a spiritual element to this artist’s quilt work that goes beyond her frequent incorporation of bible verse references stitched onto fabric and weaves its way through every subtle connection made in each joined-together piece of colorful texture. You can sense it in just one of the quilts, but when you view the 65+ quilts hung together on the wall in one sitting, it permeates your awareness in a deeply profound way. The artist combines her own diverse cultural background with the influence of the upcycled/repurposed culture of Bay Area arts scene to create a set of brightly-colored, vivid, and vibrant quilts that emanate their own energy.

  Tompkins applies her Christian background in the irregularly embroidered numbers and letters cascading across the surface of many of her quilts. Rosie Lee Tompkins would sit down to a quilt, with both a theme and a specific human in mind, and she would meditatively and mindfully stitch together the varied pieces of fabric into something more than the sum of their parts; it was a spiritual practice. She would take the fabrics that others in the Bay Area were giving away or throwing out, find a theme within them, and bring new life to them through her creations. Her work was spiritual, meditative, and intentional. Tompkins’ work evokes a sense of everyday spirituality; it is also materially beautiful and certainly doesn’t require a religious interpretation if you yourself aren’t comfortable with or interested in one.

Tompkins' quilts caught the eye of Bay Area psychologist and art collector Eli Leon who had an ardent passion for African American quilts. When he passed away in 2018, he willed his entire collection, consisting of more than 3,000 quilts, to BAMPFA. It was a surprise to the museum but one that opened up a grand opportunity to delve deep into this niche of art. Of those 3,000 quilts, approximately 500 were created by Rosie Lee Tompkins. The museum curators knew that sharing the work with the public might best begin by introducing us all to her body of work. Although there are references to Leon in the collection, the curators intentionally made Rosie and her creations the star of this exhibit. A second exhibit is in the works for 2022, which will display a greater range of artists from the quilt collection along with additional information about Leon. 

  Exhibit co-curator Elaine Yau has been delving deep into a socio-cultural, historical perspective on the artist’s work. Until relatively recently, the art world looked at Tompkins solely from a formal perspective. This was due in large part to the fact that Tompkins wanted to keep her life private. In fact, Rosie Lee Tompkins is actually a chosen pseudonym for the artist born Effie Mae Howard. Notably, although she was called Rosie throughout her artistic life, she has embroidered her original name, Effie, on to the borders and faces of many of the quilts that you’ll see in the exhibit. Nevertheless, she refrained from engaging extensively with the art world. This is not to suggest that her work hasn’t been seen before. Co-curator Larry Rinder remembers first coming across her work in 1996 at a Richmond Art Center exhibit by Eli Leon, an experience which moved him so much that Rinder went on to help launch her first solo exhibit at BAMPFA. However, it is only since Tompkins’ death in 2006 that the art world has been looking, as Yau has, at the way the artist fits into the narrative landscape within which her work was created.

Yau emphasizes that we have to consider Tompkins’ work in light of The Great Migration as well as her experiences in the Bay Area as an adult. Effie Mae Howard was born in Arkansas in 1936, a child of The Great Depression and World War II. She learned quilting as a child, taught by her mother, passed down from a lineage of African-American women living in the South. She left the region  in hopes of better opportunities, ending up in the San Francisco Bay Area by way of Chicago then Milwaukee. Once she arrived here, she was influenced by the late 1970s urban arts scene. In particular, there was a culture of re-use (or what we would now term upcycling). She would head to Thrift Town and Value Village and the many flea markets throughout the Bay Area, collecting fabrics and notions as she went along. She stitched together her own identity as an artist, joining her mother’s visual and tactile quilting lessons with her new Bay Area experiences and inspirations, and the result is a body of work that shows both consistency and growth over time.

  Untitled, 1968, 1982-3, 1996

  There are a couple of quilts in the exhibit that date to the 1970s but most of them were created in the two decades starting in the early 1980s and leading nearly up to her death. The first two quilts that you’ll see as you enter the exhibit are early pieces that instantly tell you a lot about what you’re going to find as you venture along. Both pieces are large quilts that at first glance look chaotic. They each incorporate a range of different fabrics as well as utilization of a variety of techniques drawn not only from quilting but also including embroidery and other handcrafts. Tompkins’ pushed the boundaries of what a “quilt” could be. Once you realize that there is a theme, you can see that Tompkins set parameters for herself, but then allowed herself to go wild within those parameters, and it is this exact combination of restraint and fluid creation that makes her work so uniquely hers.

Untitled, 1970s, scriptures

The first room offers just a taste of what is to come. We see Tompkins’ creativity flourish as we enter the second room, which is themed around assemblage and applique work. In this room, we see Tompkins’ take on a classic “crazy quilt.” Seeing several pieces hung together, it becomes obvious that the artist has a broad vocabulary for quilting, and she continues to put her own spin on traditional techniques. Some pieces are dense and almost cluttered, but she never loses track of her sense for composition and shows exquisite skill in her variation of it from piece to piece.

"Jewelry Christmas tree" bottle, 1996

  Make sure that you take the time when you are in the applique room to turn your attention away from the quilts for a moment and towards the case in the center of the room where half a dozen “jewelry Christmas trees” are showcased. These were found in a closet of her home, perhaps originally intended for her eyes only, but they are jewels that glitter so bright that it would have been a shame to keep them stuck in a closet. Tompkins had a love for glitter, sparkle, ribbon, sequins, and all things a little bit extra. She combines them densely on these sculptural forms, creating a three-dimensional version of her quilt style.

Thirty-six Nine-patch, Three Sixes Combination, 1999, quilted by Irene Bankhead

  The next room of the exhibit can’t be missed - you couldn’t fail to notice it - because of the three bright yellow/orange/purple pieces that stand out in the corner. The curators have called this room "Personal Symbolism," and it is the best representation in the exhibit of how Tompkins combined her traditional Christian beliefs with her personal lived experience as well as other elements of transcendental, mystical spirituality. These pieces are called The Three Sixes. They loosely represent three people in her family who all had birthdays with the number six in them. The first is her own birthday: 9/6/36 which seems to have taken on a magical quality for her. She stitches it frequently into the surface of her quilts, sometimes written out directly and sometimes written backwards. The second color and number in the Three Sixes represents her grandfather, a family member she grew up with. The third represents a number of different people - a great uncle, a cousin, a brother. In any case, there is a magical quality to the numbers that Tompkins draws from. However, co-curator Yau points out that sometimes the artist took liberties with her math. For example, there’s a piece that’s a “Thirty-six Nine-patch quilt.” The nine-patch is a traditional quilting technique. Tompkins’ often puts her own twist on classic techniques and this is no exception. In this case, she’s worked the numbers of her birth date in to create a set of 36 9-patches, except that as Yau points out, there are strictly only 33, and you have to count certain yarn ties to get to the “correct” or intended 36. Nevertheless, the gist is there, the cohesion between all of the pieces in the series is undeniable, and there is something a bit mystical about the number play at work here.

Untitled, 1996 (circa)

  When we head to the next room, we see a visible shift in the artist’s work. The pieces collected here represent her cultural concerns. Mostly created in the late 1990s, Tompkins has composed quilts with specific themes in mind, although it’s not always easy to guess exactly what she was trying to say. For example, there is a piece with a big image of OJ Simpson right at the top. The piece includes other prominent Pan-African leaders and celebrities. There is clear thematic cohesion and yet it raises questions as to what precisely she was trying to say. Although this is a political piece, it is also highly personal. Her name, Effie, is stitched not only on the border but also on a cross that says “Michael + Effie + Love” (likely referring to the nearby image of Michael Jordan). And this is where all of her life’s work seems to coalesce, as she combines a deep mindful meditation with both personal and socio-political issues.

Untitled, 1996, quilted by Irene Bankhead

  Another quilt in this section prominently features an image of the Kennedy brothers with Martin Luther King Jr.. It is surrounded by several different versions of the American flag, positioned both vertically and horizontally. Within this, though, the thematic stripes of the flag are repeated in other fabrics including an Indian-inspired batik and a Mexican stripe drawn pulled from serape fabric. There are pastoral scenes here that seem almost colonial with a Latin American reference in a piece of fabric showing flamenco dancers. The statements here are bold and striking.

 Untitled, 2002 (circa)

In her latest years, Tompkins’ work became more overtly religious. The final room consists of many pieces incorporating crosses and other religious symbolism. Then there are two striking pieces at the very end that bring a sense of closure to the entire show. The penultimate piece is a non-quilted single-piece embroidered green-on-green that combines her personal details (including her name and address) with Christian scripture verses as well as a quote that “love is like an ice cream cone; it gets better with every lick.” The last is a black-on-black embroidered quilt that is slightly reminiscent of a funeral gown. Compared to the bright colors, textures, and pictorial narratives of the other rooms, this is understated and yet astoundingly powerful. We see the artist come full circle as we circle through the rooms of this exhibit.

Untitled, 2005

  Rosie Lee Tompkins: A Retrospective is on display at the Berkeley Art Museum and Pacific Film Archive (BAMPFA) at 2155 Center Street in Berkeley, CA. The exhibit runs from 2/19/20 - 7/19/20. It is the largest-ever retrospective of the artist’s work.

BAMPFA galleries are open 11-7 Wednesday - Sunday. General admission is $14 with discounts / free admission available to varied populations including students, UC Berkeley staff, seniors and children. Galleries are free to all on the first Thursday of every month.

Special events for this exhibit include:

Colloquium: Re-visioning the Art of Rosie Lee Tompkins, 2/29/20, 2 pm

Fabric Postcard Collage Workshop, 3/7/20, 11 am

Improvisational Quilt-Print Making Workshop, 4/5/20, 2 pm

And more. Details on BAMPFA website.

By: Kathryn Vercillo

[yinzhengs]

xia talks about 绅探 | detective l

— where i’ve been watching detective l: eng sub (YT) || raws (maplestage)

— so i’ve finally made my way thru all 8 eps that have been released thus far. i know some people have been asking for my opinion, so here’s a post that’s meant to hopefully sum up everything i’ve been feeling about this show, personally. any spoilers in my review are very minor!

if you’re not familiar with the show, it’s a sherlock holmes inspired mystery/crime show set in the shanghai french concession during the republican period, starring bai yu, you jingru, and ji chen. at the moment, the show’s at a 7.3/10 on douban, and it was trending at #5 for web-series, so it’s definitely enjoying popularity.

disclaimer: this is just my personal opinion — no matter how i feel about the show, i heavily encourage everyone to check it out for themselves before coming to a conclusion!

+ setting

you know, if there’s one thing i do dig about this show (in theory), it’s the setting. while i’m not a big fan of the set, for reasons i’ll go into below, i think the time period lends itself to some interesting setups and unique cases. as mentioned, it takes place in the republican period in shanghai’s french concession. if i had to guess, it takes place in the 30′s — but my chinese history is shaky, and this is entirely based on some throwaway details mentioned in later cases. suffice it to say that it's a pretty cool setting, and while i was skeptical at first, i did find myself getting into it.

+ characters

another thing i like about the show is the character concepts — in theory, if not always in practice. we have a kind of triumvirate in the main trio. 

first, we have luo fei, the sherlock of the series and arguably its main character, who serves as a consulting detective for the shanghai police department. while he’s occasionally (mostly accidentally) an asshole, he’s generally likable and a far cry from the more eccentric/socially inept portrayals of sherlock holmes in modern adaptations. we start seeing a hint of his backstory in recent episodes, and cases soon start getting tied into his feud with an elusive “captain,” likely the show’s moriarty.

next, we have qin xiaoman, a rookie officer newly assigned to the dept, who has a fiesty temper and a fierce passion for making sure justice is served. in an enjoyable twist, she’s generally the one that does the heavy lifting: chasing perps down, aiming down sights, slamming suspects to the ground — she also soon learns to make deductions of her own, as well. 

finally, we have........................benjamin (本杰明). his name / its transliteration makes me laugh a little bit whenever i see it, so generally i just refer to the poor guy as ben. anyway, he’s a reserved forensic examiner who also serves as the department’s forensic analyst — he pretty much lives in the morgue, and is more comfortable with the dead than with the living. (also, he has a pretty cute bromance with luo fei...) his backstory’s interesting, and i like his character a lot because it plays perfectly off of the other two’s preexisting dynamic — here’s hoping that he gets more screentime and development! 

(ot3? ot3.)

+ cases

there are mixed opinions about the cases, but my personal take is that they’re pretty enjoyable to watch. while they’re not super hard to figure out / generally don’t have a whole lot of killer twists, they’re also not terribly unrealistic. they can get a little convoluted, but such is the eternal curse of mystery shows, i suppose. a lot of the smaller puzzles that luo fei solves are also contingent on some Pretty Chinese elements, which i found very cute (麻雀/麻将, 简谱, to name two). so yeah, they do a pretty okay job of taking classic mystery cases and making them fit in the setting given. more importantly, the process by which they unravel the cases is generally fun to watch, which is really the crucial part of any good mystery/crime show.

that being said, as someone who’s watched quite a few crime shows, i’m entirely not convinced that the writing for the cases is sufficient to keep me watching — even though they’re fun, i haven’t seen much so far that makes me feel like the show’s doing anything different from the usual formula. of course, that’s fine — crime shows don’t need to reinvent the wheel, they just need to make themselves worth watching, one way or another (normally thru character chemistry/acting, etc).

- some familiar sights/sounds...

why did they use the cinemasins stock sound effect multiple times

anyway, that aside, there are obvious nods to sherlock (bbc) — the main theme, luo fei’s initial appearance, the deduction scene in the car...

well, is it plagiarism? i guess not (or well, sina doesn’t think so), but what detective l’s doing here is less reinventing the wheel and more... repainting tires, if you catch my drift.

also, if you’re someone who pays a lot of attention to film ost’s, you’ll be assaulted with a LOT of familiar sounding melodies, be warned. this isn’t necessarily something that detracts from the drama, but it’s definitely something that’s thrown me for a loop / broken my immersion multiple times.

? tone

here’s where i start getting a little hesitant about the show, one of my main gripes: i’m really not sure what kind of tone the show is aiming for. while it’s clearly not a show that takes itself too seriously, and certainly not a dark/hard-boiled noir, occasionally there are moments included where characters rail at, for example, the imperfection/injustice of their supposedly impartial justice system — and while i’m not saying that the show can’t go there, it came off to me as just very thin attempts to increase the show’s depth while also not elaborating on those issues at all. and that’s what’s bothered me the most: the illusion of depth. 

i’ll be the first to admit, though, that this is probably because i’m watching this directly after OS, which definitely tackled those issues from the start and had a radically different tone — i just feel like detective l, at least so far, hasn’t settled into one yet, and so i felt like there were some definite moments of tone incongruity / moments when i thought the show would continue with issues it’d raised ... but it didn’t.

- cinematography / lighting

take this with a disclaimer: i think the lighting and design in this show is gorgeous... for stills.

for a moving film? not so much.

i’ve said earlier that i felt like some of the lines felt scripted — but if anything enhances that artificiality, it’s definitely some of the set design. it’s clearly a studio set, and i can’t really begrudge them that part, but some of the lighting is so clearly artificial that it’s been starting to get to me — characters inside a normal room (lit by an innocuously dim overhead lamp) shouldn’t have three separate colors reflecting off their faces like a hobbyist artist’s color study sketches (though it does do a good job of highlighting bai yu’s jawline unnecessarily, in like, every other scene). 

they’re clearly trying to create a mood through coloring / lighting, but ... often, i find, it’s at the cost of realism and could definitely be toned down a bit. (i find that over-the-top coloring is pretty common in cdramas, though, so this is probably also very subjective.)

(also, as with most cdramas.. they could probably do with less cgi.)

- acting / directing

alright, i’ll be honest: i’m not a fan of the acting in this.

in my personal opinion, something about the leads’ acting comes off as overly dramatized (esp. in xiaoman’s case) or slightly forced/artificial (in bai yu’s case). this could just be me not really being used to these two actors, but there were multiple times when i was surprised at how overdramatic/unrealistic some lines were delivered. same goes for minor characters, as well — something about the entire show just strikes me as extremely scripted, to the point where it breaks my immersion a lot. this might just be me, though, because i’ve def. heard some praises of the line delivery in this that i couldn’t wrap my mind around: take my words with a grain of salt, i suppose. 

(also, of course, i’ve been watching this directly after coming from white deer plain — which has some really down-to-earth acting and a setting/tone that’s worlds apart from detective l. maybe i’m drawing too many direct comparisons: white deer plain definitely has some amazing acting, and it’s a high bar to set, esp for a drama filled with more younger actors.)

directing-wise... i definitely wish i could ask why they made some of the choices they did. while the subs haven’t reached that point yet, there are definitely some cliche tropes that they start throwing in around ep. 6 that heavily detracted from my enjoyment of the show, esp. with the show’s (perhaps over-the-top) use of slow motion at times + (imo) forcing chemistry before it’s had time to develop.

as a result though, i really can’t find myself getting attached to either of the main two (i like ben, probably because he hasn’t had enough screentime for me to be turned off yet, though) — i think that the acting choices for qin xiaoman definitely made her more unlikable for me despite me being a fan of her character in... theory. similarly, luo fei often feels too thin as a character — i’m constantly searching for depth there that i’m not sure i’m finding. so far, while these two are foils, they really feel like nothing more. maybe it’s too early to tell (but hey, i’m a third of the way through, aren’t i?), but i’m definitely finding myself wishing at almost every turn that there was more to the acting there — though they’re definitely being stingy with releasing characters’ backstories / hints to their backstories, which could help contextualize their behavior a little more. 

overall: would i recommend it?

my very eloquent answer is... it depends. if you’re looking for a fun mystery romp that doesn’t always take itself too seriously with a unique setting and some interesting cases, then by all means: detective l might be up your alley!

that being said, i think it has a lot of flaws — notably, veteran crime show fans might not find enough flesh on the show’s bones to justify watching it for the cases alone — but if you can overlook them, it’s a fun show to watch: just don’t go in looking for stunning acting or dark moral quandaries.