#this movie was spectacular visually and in its theming but i think it really should have focused on suzume and tamaki

[thescreaminghat]

so i watched suzume. . .

And it was good—the animators, vas, musicians, and other talented people who worked on this film deserve so much praise for their work.

On the other hand (and this is a purely personal exercise that isn't meant to detract from Makoto Shinkai's vision for the piece), I think the overall theme of the film might have been better served if the story centered on the ups and downs of Suzume's relationship with her aunt Tamaki, rather than Souta.

Suzume is very much a story about grief—set against the tragedy of the 2011 tohoku earthquake, Suzume's personal struggle with the loss of her mother is arguably our entryway into understanding how this tragedy continues to shape the relationship between Japan’s very geography, its history, and its people.  

I believe that central to this narrative focus is Suzume’s complicated relationship with Tamaki, her mother’s sister, who raised Suzume for much of her life after the loss of Suzume's mother. For me, one of the most important moments of Suzume and Tamaki’s relationship is shown at the climax of their disagreements with each other. After being Suzume's sudden departure from their small town (partially out of that rebellious teenage desire to not be "suffocated" by Tamaki's presence; we'll get to Souta’s role in this later) and Tamaki's understandable worry about Suzume's wellbeing (which leads her to embark on a wild goose chase after Suzume, though we’re not shown much of Tamaki’s personal journey), Tamaki yells at Suzume while the two are at a rest stop with Souta’s friend Serizawa. Tamaki bitterly states that raising Suzume after her sister's death had been a suffocating burden on her as well, as she couldn't find love and live the life that she had wanted because of her responsibility. This leads Suzume to shrink back in disbelief, as she recalls a pivotal memory where, after wandering in a snowstorm in search of her mother (and encountering the Ever After), she is found by Tamaki, who cries and affirms that Suzume will always be her daughter. It's a heartbreaking scene. We can empathize with both characters—Suzume is closer in age to most viewers, and we know that she doesn’t really hate her aunt’s presence, as the stress of her chase after Daijin and Souta’s temporary “demise” has whittled away at her emotions. Similarly, we can imagine that Tamaki herself likely hasn't overcome her grief at losing her sister, and that her outburst wasn’t truly genuine—she does love Suzume, but she wants her adoptive daughter to understand the sacrifices she had made, because she had no one else to confide in or rely on. We anticipate that this is the emotional crux of the movie, showing the relationship of a surrogate mother to a child who has gone through deep, unresolved trauma, now burdened with the consequences arising from the "imbalances" of the spirit world, itself a metaphor for the turbulence of living and of losing.

. . .and then the movie doesn't do anything with this scene. It's suddenly cut short with the random appearance of the keystone Sadaijin, and any lingering tension from that scene is resolved offscreen, with Tamaki and Suzume regaining each other's trust in the next scene. It feels unearned and deeply unsatisfying, especially when the emotional core of the film then gets transplanted onto Suzume's emotional relationship with Souta, a college-aged man whom she has known for less than a week (Suzume, by the way, is in high school, and even if they don’t “get together” in the movie, it makes me a bit uncomfortable seeing someone who is implied to be in their twenties being the implied romantic interest for a seventeen-year-old).

So, I thought, what if the movie kept its cast of characters, and the general sequence of events, but instead of Souta being the one cursed by Daijin to be the keystone (an act that initiates the film's events), it was Tamaki? This is going to be broken up into a few reblogs since it's too long for one post, but here's how I would structure it. (Part 1 of 2, and with a lot of my own hc interactions)

The beginning of the film can stay the same, including Souta's appearance. however, the driving force for Suzume to go to the isolated spot where the first door is located is an argument with Tamaki, rather than her implied curiosity regarding Souta. Perhaps, in this fight, we see bits of Tamaki's personality that may come across as "suffocating" to a teenager, even if she meant well.

Suzume, bothered by Tamaki's presence and the dream that she had of wandering through the Ever After, goes to this isolated spot to get away from everything, which is where she encounters the door and Daijin. Perhaps she's sulking a bit, and makes some sarcastic remark about someone like Souta being able to travel (something that would show her interest in leaving the small town she currently lives in). She then opens the door, Daijin escapes, and she goes about her day as in the film, until the worm appears above the skyline.

She then runs back to the door, where she encounters Souta again. They close the door, and Souta explains what he does and what the door represents. She brings Souta back to their house for medical treatment (except without any of the weird romantic tension between them), and they begin talking about Suzume’s life (perhaps about her room, the chair, and her dreams, as Suzume imagines the kinds of dangers—and thrills—that come with Souta’s position as a Closer).

This is where Tamaki comes back into the story. Tamaki, returning early to check on Suzume and encountering Suzume and Souta together, thinks the worst and begins to berate Suzume. They get into another argument, with Souta trying to calm the two down. Suzume, already stressed from the day's events, wishes that she can be "free" of Tamaki.

This is when Daijin appears on the windowsill, shit-eating grin and all, and says something along the lines of "Ok, Suzume. I can do that—because you're just like me." And then Tamaki is suddenly turned into a chair.

The same chaos ensues, with Tamaki, Souta, and Suzume chasing after Daijin until they get on the ferry. This is where Souta can give some more exposition, saying that he's never encountered this before, while encouraging Tamaki and Suzume to try and come together as he figures the whole thing out. Perhaps this is also the time where we get more information about Souta's personal life (in this version, it is information about his desire to become a teacher, as well as info about his relationship with his own mother, who was killed during a dangerous mission she took on as a Closer.)

The trio continue chasing after Daijin, with the group splitting up by necessity (thus allowing Tamaki and Suzume to have more screentime together). Specifically, Souta finds out that another door is opening off the path of travel they are taking after Daijin, and he instructs Tamaki and Suzume to continue their journey while he takes care of the other door. Before he leaves, he gives Suzume another key he keeps in his possession, which he reveals belonged to his mother.

Suzume and Tamaki continue onwards and meet Chika, the girl on the motorcycle. Suzume and Tamaki then cooperate in closing the door opened by Daijin. In this version, I think it would be interesting if Daijin is actually actively opening doors, not simply leading the pair to doors that are about to open. This serves as a huge bonding moment for Suzume and Tamaki, as they previously couldn’t go a day without arguing over the best way to do things.

Suzume and Tamaki stay at Chika's place (and have the downtime with Chika that is shown in the movie), except Suzume's dialogue with Tamaki consists of her confessing that she is jealous of Chika's independence and the bustling atmosphere at Chika's home. Tamaki is initially angered by this, but gradually calms down in her “chair corner” as she sees Suzume and Chika having fun, perhaps even reminding Tamaki of her own childhood with her sister.

When Tamaki falls asleep, she sees visions of her sister, which both frightens and immobilizes her (i.e. literally her survivor’s guilt “anchoring” her in place). This is meant to replace how Souta gradually descends into his “death” when he sleeps.

Suzume and Tamaki head off and are picked up by Rumi, the mother who works at the hostess bar. Initially, Tamaki whispers to Suzume that she doesn’t want Suzume hitchhiking with a stranger, but Suzume tells her that sometimes they need to rely on others to get by. The same comedy shenanigans with Rumi’s children can be kept in—I think it’s more fitting that Tamaki plays the role of the “toy chair that can speak” in order to keep the children entertained, because she probably, after all, raised Suzume on similar silly stories.

Suzume and Tamaki run to the abandoned fairgrounds to close the other door when the worm appears. I think this scene becomes more impactful when Tamaki is the chair and not Souta, as her decision to save Suzume from falling from the Ferris wheel and letting Daijin go would highlight her parental worry for Suzume, though perhaps this isn’t fully realized by Suzume in the midst of her adrenaline rush. Suzume, however, does look upon the fairground as a place that she wants to go to with Tamaki, when all of this is over, though she keeps this to herself.

Suzume, watching Rumi work her shift as a hostess, comes to appreciate the struggles of being a mother more. Similarly, Tamaki wants to connect with Rumi as a peer, but is limited by her chair form. Seeing Suzume bond with Rumi makes Tamaki want to be there for Suzume, as she sees Suzume slowly maturing into her own person. However, neither Suzume nor Tamaki feel ready to fully open up about these nuanced feelings, as they fall instead into a comical back-and-forth when they’re alone.

Suzume and Tamaki manage to get to Tokyo, where they meet up with Souta. He tells them that he’s been doing whatever research he can to try and figure out how to break Tamaki’s curse. This is where he can explain the keystone lore to Suzume and Tamaki.

The giant worm starts appearing over the city. Tamaki insists that Suzume get out of Tokyo. Souta agrees, and tells Suzume and Tamaki to leave, stating that he can handle the worm himself. Suzume refuses, stating that she’s not going to let anyone else die—the “else” implying that she too still feels survivor’s guilt over her mother’s death.

Despite Souta’s attempts at reasoning with her, Suzume is adamant on staying—Daijin appears and mocks her, telling her that she only knows how to let her aunt dictate how she lives. Suzume rushes ahead without Souta and Tamaki. Tamaki and Souta chase after Suzume, with Tamaki yelling at Suzume again, calling her “rash”, "always making her worry and chase after her," and “thinking and behaving like a child”.

Perhaps Suzume covers her ears, as Tamaki’s words begin to blend into Daijin’s laughter as he scrambles towards the worm. Perhaps Suzume screams out loud, screaming that she felt as though Tamaki had never believed in her, that even when an entire city is threatened, Tamaki cares only about herself, and knows only how to chastise and suffocate Suzume. This shocks Tamaki, but before she can respond, the trio are shot up to the worm’s back, and Souta attempts to seal the worm. However, Daijin interferes and Souta is injured. Suzume then tries to grab Daijin, only for Daijin to purr contentedly and state that he understands what Suzume is feeling—that is why Tamaki will now be the keystone, and both of them can be free.

Suzume turns to Tamaki, only to find that she is unresponsive. Ice is forming around her, as Suzume’s words echo over and over in her mind. Perhaps Tamaki then screams in grief as she sinks deeper into her regret and memories of her sister—that is when we get her screams about how much she had sacrificed for Suzume, and how much happiness Suzume took from her (basically what she said during the rest stop confrontation).

(pt 1 end)

[stephsycamore]

Lol so i know no one follows me for my hot takes on the hunger games but as i have said before its my blog and i'l post what i want and this post is in defense of hottest of all hot takes - the hunger games movies were a better vessel for the story than books

So my qualifications are i was a teenager in the height of hunger games insanity and today i am a scholar of the visual culture of revolution, resistance and protest. So all that to say i kinda know what i'm talking about

THAT SAID i know this is a spicy take and keep in mind i did not say the movie is better full stop, i said that film is a better vessel for this particular story. I also know i am biased because i generally don't like first person narration and that's what the book is.

Film and books are wildly different mediums with their own independent goals, limitations and strengths. So its not fair to compare them or pit them against each other directly, but we can talk about which medium tells a particular story in a more powerful and impactful way

Firstly, and other people have said this, the films allow us to see the world outside katniss's very narrow perspective. We see what snow is up to, gamemakers, 13's leaders, other districts. And these make for some of the most compelling scenes and politics in the films. It expands the world beyond what katniss can tell us and especially in the case of mockingjay pt 1 emphasizes to us the power and reach of the movement katniss has become figurehead of

The second thing is that a visual medium such as film complements the themes of story. The story itself is about society of spectacle. It is fitting that the story is told in a spectacular way. The first movie especially gets at voyeurism and the spectacle of other people's pain. These are theories, ideas, and modes of thought that came into existence because of film. I think its fitting that film tells the story too. Film being the medium for this story forces us to be complicit in the violence of looking and i think thats exciting and impactful and revealing! The film forces us into the role of capital citizen! You might not like that role, but i think we should revel in that uncomfortableness. You watch katniss's suffering and you derive pleasure from it bc its a sleek hollywood production. That has so much room for exciting discourse!

Basically, do i think the movies were perfect? No i do not. Without the constraints of the YA genre and you know... not horribly traumatizing young viewers, they had to make certain choices. But overall, the movies introduced a lot of young people to really interesting ideas, not just politics of war and revolution and oppression which the book had too, but film forces us to interrogate ideas of voyeurism, spectacle, the violence of our gaze, and our complicity.

Anyway nerdy discussion of the day done lol

[starscelestialspells]

Autumn Emoji Asks ✨

🍂: Make a simple autumn moodboard to show us your vibes this season! (or simply name the things you would put on such a moodboard)

👻: What is something in an animated movie or cartoon that scared you as a kid? 

Woody the Woodpecker lol

🎃: What are some good memories you have of celebrating Halloween? And do you have any plans for this year?  

Last year I spent Halloween at a rave, that was pretty spectacular. Halloween as a kid was always awesome also :) I don't have any plans this year yet but I think I just want to make spooky baskets with my partner and have a spooky movie night

🥧: Regardless of skill, if you could bake anything right now (pie, cake, muffin, brownie etc.) what would you like to make? 

Pumpkin Bread

🌧️: Time for a movie marathon on a rainy day. Pick your top 5 movies to watch!

Practical Magic

Any of the Twilight movies

Pan's Labyrinth

Queen of the Damned

Beetlejuice

🍊: What is your favorite scent? 

Rainy Cedar or Pumpkin Vanilla Campfire

📺: Do you watch horror movies? If yes, which are your favorite? 

Not really, but Midsommer was very visually stunning

🍄: Write a short essay about your thoughts and opinions on mushrooms.

Mushrooms are wonderful wonderful things, I love them. They're cute in art, they're great in food, they're the beauties of nature, they expand the mind, they HEAL! And when I say they heal I mean in more than just the psychotropic ways. They can communicate under the earth. There's so many of them and they can thrive through so much that other plants cannot. I love mushrooms, I wish I could be a mushroom. Mushrooms have taught me about myself and others. Mushrooms changed my life.

🤖: If you were a video game NPC, what would be your catchphrase? 

"Sweet strawberries, oh my!"

🍪: Favorite kind of cookie? 

Turtle Pecan

📢: Shout any random thing that your followers really need to know.

@zepheriasimmer is my sims 4 cc account :)

💁‍♀️: What are items you definitely don’t need but tend to keep and collect anyway?

buttons

cool tags from clothes/other products

tiny boxes

🧡: Which 3 songs remind you instantly of autumn and why? 

the obvious sweater weather, im not explaining lol

Home by Edward Sharpe and the Magnetic Zeros - it just gives me big singing to your love drunk by a bonfire vibes, coziness

Boy with a Coin by Iron and Wine - this one gives me witchy tambourine around a bonfire vibes

📆: Is there any event or upcoming activity you look forward to? 

THE RENAISSANCE FESTIVAL!!!

🎲: Which kind of board games do you like to play? 

I haven't played a board game in a very long time, maybe I should change that. I like dnd though :)

🛏️: Describe 3 specific items that are in your room.

I have a fabric rainbow woven basket full of incense and I just adore it so much

My partner built me a desk shelf and its just absolutely perfect, if I was at home I'd share a photo of it but its just a lil mini table thing with two shelves on it. I put all kinds of cute little figures and plushes on it, figures from naruto, avatar (aang and toph), a lil cubone dude and other desky things haha

My dnd dice are purple with a pink to gold shift sparkle and they have witchy looking numbers that are gold

👹: Favorite fictional monster or villain?

Beetlejuice obviously

😿: Describe any scene in a movie/series/book that never fails to make you cry.

Really any Studio Ghibli movies, rewatching them as an adult you just see all these themes you never understood before and it just really touches me.

📚: What are your favorite book? 

Circe by Madeline Miller

💀: Do you have any fears/phobias? 

Grasshoppers

🎪: If you could go see any broadway show or theater play right now, what would you like to see?

Oh I have no idea I'll be honest, I don't know much about theatre.

🤡: What is the dumbest way you have been hurt or injured? 

Pulling something slipping and giving myself a black eye haha

🍵: Top 3 favorite tea flavors?

Chai

Peppermint

Sweet (I'm from Texas lol)

💻: To feel nostalgic; what are some old games/websites you spent lots of time on when you were young?

The Sims, Animal Crossing, Online Dress Up Games

🧛: Did you ever dress up for a costume party, or maybe cosplay for a convention? If yes, which character? 

I did Velma for Halloween at Six Flags one year

🍯: If you could choose any three-course menu, what would be your ideal starter, main and dessert? 

Crab Ragoons, Some kind of spicy crunchy sushi, Ice Cream Cake

🍬: All-time favorite candy? 

Sour Belt Candy

🏡: You can make it as crazy and silly as possible; what would be some must-have features of your ideal dream house?

Oh an art studio/craft room with all the organization things installed but also a free wall to put tons of inspiration, an indoor heated pool in a glass room, a glass sunroom period, plants growing all over the outside (stone house), fruit garden, pole room with also room to just dance and be about, trip/mediation/spiritual/witchy room with big ass windows, just lots of windows, lots of natural light, canopy bed, butterflies come and visit, in the wood lots of wildlife, a pond, big full trees you can sit under, gaming room :)

🎮: Whether you’re waiting for its release or just until you can buy and/or play it; are there any video games you are looking forward to? 

The Hogwarts game!!

🍁: A new website, fandom, video, song, fun fact or anything, name a recent discovery you would like to share with your followers.

Trees with Human Skin by Head Empty - I promise you it's beautiful and angelic you will not regret giving it a listen!!

Original Post

[sanstropfremir]

episode 9 baby!!! dear lord that was a lot!!

frankly, i'm still in shock that i full on manifested an opera stage, AND it was a rock opera stage at that! plus i got a jazz stage AND a taemin stage??? if they’re pulling out all my favourites now then what on earth are they gonna do in the finale??? this was a very overwhelming crop of stages, i thought i was going to be prepared, but oh no i was not prepared. i'm just going to get right into it because this one is gonna be long and i have many words. i'll discuss in airing order first, and then put my personal rankings for this round at the end.

btob

costume

changsub, you absolute king. spectacular. stunning. incredible. zoot suit riot playing in my brain on repeat. will i finally get the zoot suit revival of my fucking dreams instead of this current drab ill-fitting suit trend? for those who are wondering why in the fuck changsub is dressed like that and what on earth i’m talking about, the specific cut of suit that he’s wearing is called a zoot suit, which were popular in mexican, black and italian american communities in the 30s and 40s, until they were outlawed by the united states war production board as a fabric rationing method as part of the war effort in 1942. there was a huge amount of mob violence surrrounding the wearing of them (there were actual zoot suit riots) as they were direct counter culture fashion to the predominant drab trends of white americans at the time. i'm actually very impressed they got a proper (modernized) cut of zoot suit instead of just putting him in an oversized one; there are actually specific structural differences. the pegged trouser legs, large should pads, and knee length single breasted jacket are key features, and they were often in much more flashy fabrics than a pinstripe, but they get points for effort. i wish they had put all of them in zoot suits but he’s playing the ‘lead’ actor so i will begrudgingly forgive them.

eunkwang those are the stupidest sleeve garters ive ever seen i love them never take them off. they’re like someone decided to repurpose a suspender in the worst way. excellent. i do love that they’ve got three of them in oxford saddle shoes, another great touch.

love the three piece and the fedora* on peniel. it's also in a relatively close period cut; waistcoasts (vests) were generally cut much higher in the neck pre-war, we only start seeing the neckline slide down in the 60s (i think? i don’t remember when exactly). also love to see a proper sleeve and jacket length, it's good practice to have at least a finger’s width of sleeve cuff visible ahead of the jacket sleeve when hanging at rest. also looks like there’s french cuffs on everyone, which is also great.

minhyuk in his slutty lowneck shirt....thank you. in addition to the zoot suit revival i would also like a revival of those ultra low necklines on mens’ shirts from like 2010-2011. i don’t think those are the same boots from the backdoor stage but those are some beautifully cut boots. i also loved the little details of his crewmember look, especially the chunky watch and the string bracelets; those are super realistic, i know so many crew with them and i had several for many years. and who doesn’t love a visible button fly?

none of any of the other costumes are period in any way shape or form but i’m forgiving it because there’s several layers of meta in this stage, and they explicitly based it on la la land, even though we don’t respect la la land in this house. do i wish they had gone more strictly period with at least the jazz club ‘actors’ a little more? absolutely, but i'm not mad about it.

set

again we’ve got a good delineation of the two different ‘stages,’ there’s the club itself in the smaller stage and the soundstage set in the larger space. you can pretty clearly see all the ‘pieces’ of the set on the soundstage, especially the obvious set painting techniques on false prosc frame and the window facade from that first little scene. also the you can see the castors (wheels) on all the setpieces too, which is another nice little versimilitudinous** (triple word score!) touch, as old hollywood movies were made still using theatre stagecraft techniques.

i love how the visual shorthand for ‘this is a set wink wonk’ is just...leaving a ladder on stage. i see it all the time and it's so funny. it doesn’t always make sense because as soon as there’s actors on set the ladders are the first thing cleared because actors cannot be trusted, but yes there are always ladders, so. also psa ladder safety is no joke, please be careful on ladders.

nice streamline of the mnet deco into the club. i’m consistently surprised at how well the designers have been able to mask it or use it to their advantage, because in the normal kingdom stage lighting it is SO obvious and stylistic that it always sticks out.

i'm going to ignore the fact that they implied changsub and miyeon were drinking wine out of martini glasses.

lighting

no complaints, it does its job. everything is visible and super clear. love that the ‘scene’ changes are made through the lighting, it's a really simple and effective device to change atmosphere. purple/blue/amber are the most flattering colours on human skin and that’s why you see it so commonly in stage lighting. also blue/lavendar is the best way to show nighttime/moonlight.

really nice and subtle projection work, especially with the billboard bit and the blue moon sign in the club. despite being obviously meta/’world breaking’ it’s actually very seamless and fits well into the flow of the stage.

sound

i love love love the big band feel in the intro, combined with the piano lead. very duke ellington, as all things should be.

no complaints. i love big band. i love eunkwang’s voice. i have nothing else to say.

staging

i LOVE this movie within a movie within a performance meta nonsense! it's such a fun concept and it is exactly what i wanted ikon’s first round stage to be! i also love to see btob consistently coming up with concepts that are inventive and fun and allow them to showcase their technical performance skills without the aerobics the younger groups are putting themselves through. it provides a really lovely variety and it just goes to show that you can make impressive, dramatic stages without having to be serious or ‘dark.’

i do wish they had leaned into the band director/lead singer with eunkwang a bit more; this could have been a really excellent place for a tap number a la the nicholas brothers or an homage to cab calloway. i know i know this was meant to be la la land themed but la la land is a cheap and whitewashed version of jazz and look me right in the eyes and tell me this isn’t the greatest tap routine of all time. i know i’ve typed this out somewhere before but la la land is just a conglomeration of old hollywood tropes and so stylistically cheap that this would have such a better visual core if they had actually looked back at the real old hollywood musicals like stormy weather. even singing in the rain and an american in paris have such phenomenal visuals and are really beautiful examples of the scope you can pull off with a limited technical capacity and sticking to these old techniques.

now that i'm thinking about it, oh my GOD i would DIE for a lindy hop routine in kpop PLEASE. i know it would never happen because kpop doesn’t like partner dancing and not a single kpop boy has the chops but oh you think fourth gen has too many acrobatics?

this got off track but i think you see my point.

---

ateez

costume

these are really sharply cut suits. and the detail work on the beading??? so beautiful. i'm disappointed that they gave me a rock opera stage without the true ridiculousness of rock opera costuming, because they could have pushed this a lot farther if they really wanted. a tragic lack of gay little outfits, seonghwa’s lace choker is just not enough! two favourite suits: hongjoong’s and yunho’s.

that being said i do actually really like these. this stage is actually very modern opera with a kpop twist and i'm a little surprised by that? i continue to be impressed by the ateez team who are clearly doing their research.

i'm absolutely not going back through their stages to check all the choreography but i wonder if you can track all the ‘wound’ placements to places they’ve been ‘hit.’ i wouldn’t put it past them to have put that thought in but also i’m not expecting that much either.

who is this white grim reaper bdsm executioner chain arm man. where did he come from. i have no idea and i love it.

why is honjoong blindfolded. it was such a fast beat, if youre gonna blindfold someone give it a little longer and some more obvious narrative weight!

seonghwa does that quickchange, runs across that massive stage to the smaller set, and gets into places in like 45 seconds. it's not the hardest quickchange in the world but still, under a minute is fast for any quickchange, especially when there’s travel time involved. i think the fastest, most complex quickchange i ever did was in university which was a 50s cocktail dress into a flannel and culottes with a shoe, hair, and jewelry change in 35 seconds. and that took three dressers. quickchanges are always impressive. the added bonus of this review being later is that i can specifically reference that you can see him book it the fuck off stage in the full cam!

cute moment with the backup dancers dressed in costumes from the previous stages. i'm assuming this is a time travel reference? i'll get more into my thoughts on this in the staging section. regardless, love to see that iconic seonghwa moment again.

set

this is such a restricted space! they really pared down their dancing space with those staircases and ....arms? honestly i have NO clue what these are supposed to be. the only thing i can maybe think of is flying buttresses??? but why?? i mean, i'm 90% sure theyre just there for drama and i agree but i do still have questions.

there’s a lot of moving parts in this set? the buttresses, and the upstage centre staircase. i don’t think the staircase is totally automated because i spotted some dancers securing it in place, but it’s still a moving part. i do really like that we get that expanding upwards energy, because it's really tough to get functional level movement in this kind of a performance, mostly because of its length and because it moves so quickly. so seeing the downward vertical movement and then the upward movement was actually a really nice visual contrast that made use of how tall those fucking ceilings are, and the fact that they had less horizontal space. in sort of similar way to sf9’s jealousy stage, using long, narrow vertical lines really makes it feel like a castle space. the interiors of castles, especially the really old ones, are a lot smaller than you think they would be.

i’ve actually seen that type of small house/tent/thing several times in various types of performances before, but i think this is the first time i’ve seen it used as a time travel device (other than in the say my name mv). aesthetically it's a bit incongruent but i dont really mind because i'm used to watching rock operas that look a lot weirder than this.

lighting

there is so much happening. i have NO clue what the projections are doing. i dont hate it though, so that’s a plus? there’s a clear-ish colour arc even if it does get a bit funky in the middle, which is why the projections dont feel as insanely distracting as some of the other stages we’ve seen.

the climax is a perfect example of how to light a busy stage with primarily red but still maintain clarity on the performers. a little bit of red goes a long way; the spark stage from last week would have looked so much better if they had done what the ateez designers did here.

sound

i know it's only ode to joy, but answer already gets my motor running and then i get so gassed by the guitars and then by the time those vocals come in i'm inconsolable. i don’t know why i wasn’t expecting a rock opera stage but i'm so glad i got that surprise because i genuinely love rock operas so much. it's two of the most dramatic genres in music, what more could you possibly want?

staging

the choreo for answer is so goofy that I'm kinda glad this was mostly terrible mnet boom shots. i love it, but you can't deny that it's goofy. i spotted a couple of moves from their other choreos as well?

choreographing dance fights is just as difficult as choreographing real fights and i think they did a fairly good job here. i think it was a solid mix of dance and conflict that erred on the side of dramatic rather than accurate and i prefer that over trying to be ‘realistic.’ i’ve only ever seen one truly realistic fight scene on stage and that was for a deeply naturalist play (boring and a waste of the medium), but the best fight scene i’ve ever seen was in the prague national ballet’s adaptation of kafka’s the trial where three ballet dancers beat the absolute snot out of the main character with the most beautiful leg extensions. that whole show was probably one of the best pieces of dance i’ve ever seen, holy fuck it was so good.

despite how insane the music and the visuals were going, i actually really liked how sedate this was, on the part of ateez’s performance. there was a really sophisticated and resigned energy from them that is very different from what we’ve previously seen and i think that was a pretty admirable risk to take. reaching the top and then throwing away the crown? especially in a competition where every other stage has involved stealing crowns or royalty and there’s a group competing that got here through that very concept? that shows a real maturity, peace of mind, and foresight that i did not at all expect from a bunch of 22 year olds.

here we come to a very interesting comparison. both ateez and tbz are very heavily leaning on previously established group lore. we all know my thoughts on why it isn’t working for tbz, but here’s why i think it is working for ateez: it's because it doesn’t matter to the audience’s understanding of the stage. i had absolutely no fucking clue what was going on the first time i watched this, but that didn’t stop me from enjoying the music and all the weird shit they were doing. i totally believed that they understood what was going on. there’s a loose enough established conflict right at the beginning that draws us in, and really it doesn’t matter who they're fighting because they win in the end. the key here is that they’re so earnest. they believe 100% in every move they make on that stage. there’s no winks to camera, there’s not a drop of irony. they really deeply care about the ridiculousness of it all and that’s what makes it work. i sure as fuck dont know what’s going on, but i can see that they do, and i trust that. this is what i meant when i talked about convincing the audience you belong on stage in my stage presence post. i’ve never once believed that juyeon was anything other than an idol. he’s talented and very beautiful and he may occasionally stand on that stage like he owns it but it's always as juyeon. as an idol. but when hongjoong flaps around in that gigantic fur coat i 100% believe he’s a pirate captain. I believe he’s a punk rebel leader. i believe him a resigned king. there’s always a level of irony you have to fight as a performer because we all start from a place of disbelief. acting is not just lying to the audience, it's lying to yourself too. and if you succeed in convincing yourself? well, you’re already halfway to convincing us.

i checked it out because i wanted to see if they did the blindfold how i expected them to and was genuinely surprised by hongjoong’s fancam. the boy is EMOTING even when he knew the camera wasn’t on him; that’s a real dedication to craft.

ok i'm finished talking about this stage, this is over two pages in my document, there’s so many things i have not covered here but that’s fine, i'm quite sure any further thoughts will end up out there at some point.

---

sf9

costume

let’s get it out of the way......crop top. crop top? crop top. crop top.

ok, besides the crop top, i think i might actually like the backup dancer outfits more...? i find mannequin adjacent looks really fascinating and i thought there was a lot more they could have done here in connecting the two thematically. i actually think a change of costume on the boys would have been very interesting, especially because there was a lot of inference and direct reference to changes of colour.

ALL the backup dancers are wearing the same wig and i LOVE that.

special mention zuho’s.....jacket? the right idea but it absolutely should have been one of those extreme french cut bodysuits, you COWARDS. don’t come at me with this ‘male version of venus’ if you don’t have your whole torso out! come on!

set

not sure if this is meant to be a department store, a factory, or a white cube gallery. honestly you could make the case that they’re all the same place anyways. more on this later.

i loved the movator and wish they had used it more! that sequence was so good and they could have done some more interesting repetition sequences to further highlight the ‘sameness’/the breaking of that sameness.

i feel like the set could have been used more as a whole? i would have loved to see some mannequin interactions with those boxes, because all they did was dump colour everywhere.

....why did they feel the need to include the rain bit? i know it's likely because it's in the mv and at the 2018 dream concert taemin does perform move in the rain, but with the standing still and the box walls with the words it just looks like a department store ad. which i...dont think is what they were intending?

lighting

nothing really to say here. it has a similar feel to the mayfly rap stage, which is fine because the lighting for that was good. i could tell what was going on all the time and that’s the most important part. notable standouts are the lips sequence, that's fun use of pop iconography and very effective, and the scanning lasers at the beginning.

the repeating sequence in the edm dance break is actually done pretty simply, it's just what happens when you point a camera that’s livestreaming to a monitor directly at that monitor. it's a very cool effect and it was neat to see it used intentionally, especially with the handheld leds.

actually i also really liked the lightbox tables, those were cool.

sound

the remix was fine for the most part, it was about what i expected it to sound like. i did however greatly dislike that unnecessary edm break in the middle. what was the point of that? it didn’t add anything to the overall sound or arc of the stage because it was SO out of place. there was no connective tissue around it.

oh i was also not a fan of the effect on zuho’s mic. no one else had a discernible vocal effect so it felt a little out of place. also for some reason his cadence and tone right at the end made me think of some of the voices that bo burnam uses for his vocal masque sketches/songs, especially repeat stuff, weirdly? took me right the fuck out of it. i listened to it again after i slept and i’m still getting it, so maybe i’m just going insane so best ignore this part.

staging

loved the mannequin tree, not a clue why it was there.

do actually think this is a successful cover because it does what i was hoping it would, which is take move completely out of the taemin context and put it into an entirely new one. however, i’m really struggling to figure out what exactly that new context is? and what theyre trying to say with it?

obviously they went for a ‘show your own colours/individuality’ vibe, like i said in the set section, where exactly is this supposed to be? from the start i get factory/mechanized environment, which is fine and grand because mannequins and making repetitive motions and products and all that, makes sense. but then there’s stacked shelving type units happening and curtains and that combined with the mannequins give me pretty big department store vibes, which is also fine, because that’s still a comment on commercialization and the mass production of product. but then we get to the movator and the repetitive movements of the dancers say pretty clearly factory, but the lighting and projections are very pop art referential, plus combining that with the white set, just makes me think of an art gallery. so now is this a comment on the commercialization and commidification of contemporary art? are they making a statement about being ‘real’ artists among the others who have lost the critical understanding of why pop art was even a thing in the first place? and then the rain bit at the end literally looks like a department store ad, so are they then making another statement that they still are that packaged product? maybe the episode has more clarity in it but i’m genuinely a bit baffled by what the underlying statement is here.

i suspect it is not as deep as i'm making it, but i did say that i was likely to be hyper critical of this stage AND i am a grad student, so here we are.

---

tbz

costume

ok of all the ‘fourth gen’ style costumes we’ve seen, i actually like these ones more than most. i'm not entirely clear on the theme but i'm assuming it's meant to be post apocalyptic, and i'll take that.

backup dancers in black!!! we’re beyond this!!!

this will be a running theme with this stage, but i’m disappointed these don’t have more depth.

set

compared to every other stage, the set here seems especially plain. there’s so little set dec that it's disappointing. i do like the movement of the pieces themselves combined with the blocking; that first slide underneath the arches was slick and i would have liked to have seen more of that.

yea ok the big snake was cool and also a fairly complex build, but the transitions around it were a bit awkward for my tastes. especially the turn around, why did they even show that at all? you have control over what the audience sees, you can totally not show scenic transitions. skz were super smart about hiding theirs in last week’s episode.

also if you have a bigass puppet like that, i wanna see some more movement from it! it doesn’t have to be complex, we literally just saw a kraken balloon arm wave around aimlessly, but at least there was movement! that snake had a long ass body, why didn’t they at least take a pseudo dragon dance movement with it, that would have been such fun to watch with the iridescent scales. there was a lot of opportunity here!

lighting

i don’t hate it but also.... not a lot to say about it on the whole.

there were two really smart ideas here, the first being the front projection section, which i was SO glad to see! i explained in a previous review, but the projections in kingdom are not actually projections per se, because they’re actually massive led screens. there are two common types of projections in performance, rear projection and front projection. rear projection is when the projector is behind the screen, and front projection is ‘normal’ projection. rear projection can produce a crisper image because you have full control of the light values, because the projector is in a separate room from the performance space. but the downsides are that the projector has to be in a separate room from the performance space. so if you’re short on real estate, it's not ideal. front projection is much more common, because the tech is a lot cheaper and easier to access, especially now, and it requires less real estate because you can ceiling mount about the audience (you can move a projector wherever, this is just the most common spot in commercial theatres). but! in order to get an actually crisp image, you have to be really careful with your light bounce. it’s exactly the same principle as how you kinda can't see a projected screen when you have all the lights turned on, but when you turn them off it's a lot clearer. front projection works best in pitch dark, so when you use it in a theatre you gotta be smart about it. i use front projection a lot in my personal art practice as a singular light source, and that’s what tbz did here in that traveling/snake intro sequence. it’s a really fun technique that they used as a good gimmick because it’s not something we’ve seen before, and you get some great shadow effects because the projector is throwing light directionally at the performers (they have it set up close to the floor, it’s probably on a wheeled cart of some kind). however i did not like the snake intro. a bit too cheesy and out of place, especially because the asset quality didn’t match the rest of landscapes that we have been seeing.

the second smart idea, which is partially also a set and blocking thing but whatever, was that final image of the eclipse within the circle architecture with all the members standing in front of it. it was a great shot and a great ending pose, but it felt like a concept photo. like someone had that image as the idea that they then built the stage around, instead of a narrative first and then imagery after.

sound

this remix had SO much promise! those first two minutes were SO GOOD. i love that dirty discordant strings bit, it's gross and right up my alley. but it really fell off in the back half and i'm sad about that.

staging

i'm sorry tbz but.....what did you actually do differently than exo here? with the exception of the continual game of thrones references? nothing here felt transcendentally different from the original monster. and especially coming RIGHT after sf9’s move, which did go beyond its original context. this feels more like an awards show stage cover than a stage at the level of the others we’ve seen just this episode.

again like with the skz stage, there’s no conflict here. no tension. yes they do a great job covering the dance but it just isn’t enough! this is obviously personal preference and i'm sure lots of people liked the fact that it was uncomplicated, but even just a hint of narrative tension could have pushed this into more engaging territory. and if they didn’t want to do that, i would have loved to see them make up for that with extra visual spectacle. this is the no limits round! ikon is putting a full jungle on stage and these are grey cubes!

i think this is a perfect example of what i talked about at the end of my tbz section in my episode four review; this is a good performance, there are good elements at play and good ideas at their genesis, but the core of the issue is that nothing about this is transformative. all of the ideas here are just exaggerations of the original song. fuck, the snake was even IN the mv! and they didn’t even include the best part which is the lip chains! ive said before and i'll say it again; being a good artist has two steps, the first is understanding the material and its context, and the second is elevating the material from that context and synthesizing something new. tbz are really good at the first step, but terrible at the second.

---

ranking

btob - the cleanest and the most fun of the round. everything i wanted.

sf9 - fun and a good cover, despite being conceptually baffling.

ateez - very extra dramatic nonsense with an unexpected dose of sincerity. and it’s rock opera, of course i love it.

skz - fun, with some good thematic devices but generally lacking in arc. also australian accents, that’s an automatic ding.

tbz - honestly the first two minutes of the remix and the costume are holding this above 6th. it just wasn’t fully formed.

ikon - aesthetically this is a great set design and although i do love the opening and closing moments, everything else scrapes me the wrong way. super personal preference here, i’m not expecting anyone else to agree with me.

i feel like my rankings were probably pretty easy to guess if you’ve been around reading the reviews for long enough. i do have very specific tastes after all. i know sf9 ranked first in the episode but i have no idea what the other slots are. i’ll find out when i watch the episode in a couple of days, but i think yea a first for sf9 is fair. i do think its mostly because it’s a taemin song and you have to do something horrendous in order to fuck up a taemin song, but there is a lot of thought and work that went into that stage.

ok i'm done now, sorry this was later than usual, but i was busier and there were four stages that i had to review. also technical difficulties because tumblr is a garbage platform and nothing works properly. comments/questions/opinions always welcome, i know i didn't expand on a couple of points that i could have so hopefully y'all have some thoughts too!

* the type of hat that ~society~ has told you is a fedora is actually a trilby. what peniel is wearing is a real fedora, i felt the need to correct this unjust hat malignment.

** meaning ‘the appearance of being true or real.’ you do sometimes hear it used by normal people, but it’s more commonly used as a descriptor in film and theatre. it’s also one of the five rules of neoclassical theatre, which are: versimilitude, purity of form, five act structure, decorum, and purpose. the most prominent playwrights from that era are moliere and racine if youre interested in what those look like in an actual text.

[astrovian]

the official ranking of Claude Becker outfits

the official ranking of Daniel Miller outfits here

the official ranking of Adam Price outfits here

all Claude Becker outfits & rankings under the cut

we all know RA looks good in a suit, blah, blah, blah

after two of these rankings, this outfit is the physical embodiment of a yawn

I do appreciate the patterned tie to change things up a tad even if I’m not into the pattern itself. the intent is there, just not the execution

I will give props to the team for giving Claude a patterned dress shirt here (you have to squint a bit on the second image - more on patterned dress shirts later), but they really should have upped the game a little - change the tie & be less subtle with the shirt pattern

and I ask you, does Claude Becker not strike you as a man who would insist on at least a pocket square with his suits?? dream bigger stylists

3/10

@whoever stores old movie props if these weren’t disposed of immediately after filming i will pay you for a copy of one of these

putting aside the hilarious social commentary and fucking literal writing on this magazine cover done by some poor prop designer at 2am (”How to starve artists and other capitalist things”, as well as ”Claude Becker rolls up his shirtsleeves and unties his tie and puts on a vest and casually hangs his hands from his pockets” etc.), this is a nice change-up that made me question why we don’t have RA in just a waistcoat and dress shirt more often

also that tie pattern? fab. I love it. that is how to do a patterned tie. I hope we all know RA looks good in a suit, blah, blah, blah is paying attention

that being said, minimal points because we don’t actually see Claude wearing it in real life

4/10

where, oh where is my polo shirt? oh look, it’s right there

is there any RA character who is not afflicted with a polo shirt? not recently, apparently

I genuinely thought that it was a dress shirt for a moment which had me disappointed at the banality but then that turned into utter devastation as I realised we actually are looking at a long sleeve zip up polo shirt

the draping of the coat? phenomenal and what really brings this entire thing together

the long/three-quarter sleeves? the zip-up rather than buttons? better than one can normally expect from a polo shirt... and then they went and added stripes to the collar and sleeves?? regret

could be a lot worse but could ultimately also not be a polo shirt as well 4.5/10

could have tried harder during lessons but was a pleasure to have in class

I’m sure you all know my long-sleeve shirt obsession with RA but I made a promise to be honest with myself on these lists. the only feeling this outfit evokes is a ‘eh’

the equivalent of a middle slider 5/10

the Claude you’d actually have a fun day with

there’s something about RA in a hoody that just bangs. good lord I also have a weakness for those forearms

I also thought for a good moment these were dark jeans, but they disappointingly turn out to be sweatpants? however, it has made me think that we need to see RA in some darker denim shades more often 

this Claude is could have tried harder during lessons but was a pleasure to have in class but with just a little more fun and class to boost it *just* outside of the ‘eh’ zone

5.2/10

now this is how we do a long-sleeved shirt

I think it’s been fairly well-established by now that loose, long-sleeved RA is my ultimate weakness, so it’s nice to see that Ocean’s 8 is also making a concerted effort to murder me

also Claude’s obsession with sweatpants is giving me life

this is the Claude you make pasta with. and that pasta would be damn tasty, too

5.9/10

come hither

just-woken-up Claude is made 100x better by the bed head hair and the sleepy gaze

this man needs to get back into bed for a snuggle (preferably with me)

I can’t decide if I’m into the loose boxers or missing the tighter Adam Price undies. either way, it’s definitely not a bad aesthetic. and it reminds me, like dad chic Adam Price, that we don’t get enough of RA in shorts

I feel bad assigning numbers to a a shirtless one BUT Claude does transform into being fully-clothed in this scene so I’m going with it 6.4/10

you can kiss my hand anytime

the blessing of this film is not only the visual assault of attractive actors from all sides and genders, but it also instigates in me the thought that RA is wearing printed dress shirts and I can’t remember the last time I saw this?? I never even realised how much I need to see a lot more of this kind of look on RA until we were blessed with this vision

look at those lil’ elephants!! adorable. I hope Claude has a closet full of these with different animals on them

this outfit was so good, RA even wore it in his behind-the-scenes interview

7/10 for a printed, suited dream

the Claude you take home to mom & dad

god, it’s even better without the suit jacket

this is my honest appeal to the powers that may or may not be to put RA in more printed dress shirts

7.6/10

sometimes I think I should be more ashamed of myself

I feel like I need to preface this one thusly: okay, but like hear me out for real this time

I know this is ultimate hipster white-dude look and RA plays into that character so fantastically with Claude here. I mean just look at his expression. something about this whole look makes me want to simultaneously punch this man in the face and also take him home with me

this is a man who you know is a mistake before you make it, but choose to follow through anyway. he’s that last shot of tequila or the 5th glass of wine. you know you would go for him too. don’t even try to deny it

is the high ranking because of the novelty factor? is it because I’ve never seen RA wear a beanie like that and honestly the infamous running Daniel Miller could take notes? is it because I can’t take anyone who wears a beanie like that seriously?

all we do know is that I also can’t believe this is so high on the list

7.8/10

the moment we all learned Claude is 100% a bottom

one of the most iconic Claude moments in the film. RA plays the ‘dumb horny idiot’ character so well in this scene

not so into the pinstriped suit jacket but the hoodie peeking out from underneath combined with the thin scarf makes it for me

8/10

question: how may teeny-weeny scarves does Claude own, exactly?

who could forget the iconic moment when Sandra Bullock nearly shivs RA?

we have another printed dress shirt and I am HERE for it. it even has birds this time!! nice to see that Claude is not just a land mammal sort of man

I will concede that this is the sort of pattern that few men can pull off but RA is making it work and I am living

8.7/10

I’m not sure I can make a comment on this one that is even remotely appropriate except for “I told you Claude is a bottom”

safety first, buy some proper restraints for the bedroom please Claude/10

 modern royalty au Thorin

this is the moment that every single Hobbit fan went “hell yeah, now I have the perfect new aesthetic for my modern royalty Hobbit AU” (as an avid lotr/hobbit fan, I am not joking here)

RA looks like royalty here because he should be. please sign my petition to have RA usurp the British Queen

for real though, that baby blue sash is the 1000% perfect added touch to this suit and we love RA in a baby blue. a decent (and clearly successful) effort to match the faux Met Gala theme: European royalty. however, it is also pretty accurate re: the imaginative effort that most men have with altering their Met Gala outfits to fit that year’s theme

we need more RA in ‘modern royal’ roles for the #aesthetic and also so that he can dress like this more often

9.3/10 for a princely (or dare I say kingly?) figure

James Corden looks so gleeful running after Claude that it makes me happy. I get it, James. I get it

there’s really nothing spectacular about the general outfit here - except for the swagger RA is giving this

pants? shirt? boring, meh

check scarf? a brilliant switch up from Claude’s normal thin scarves. 

the popped coat? now we’re cooking

the sunglasses and wind-ruffled hair that screams “I’m hungover but I still look effortlessly handsome”? delectable

the dogs?? the best set dressing one could ask for

the attitude and ‘I’m too cool for you’ swagger? priceless and what makes this the second-best outfit of the whole film

9.6/10 this man could punch me and I would be grateful

hot diggity dog, someone get me Claude’s handcuffs

from the front view, it could be argued that this outfit (well, technically it may not really be a separate outfit as it’s the undone version of modern royalty au Thorin), while fairly exceptional, does not first place make

however, someone had the idea to shoot RA from a side angle in this and for that I am eternally in their debt

it’s all about the tease with this one. the glimpse of the suspenders (and holy shit, RA in suspenders was not a look I had thought about before). the way the waist coat hangs off Claude’s chest like that, just enough to make its presence obvious. the cufflinks. the delicate pocket watch chain.

if previous outfits on this list have been all sex and swagger, this is the foreplay. the subtle strip tease.

10/10 

[abigailnussbaum]

The Watch 1x01 - 1x02

The first two episodes of BBC America’s The Watch aired this weekend, and I’ve seen basically zero discussion of them on my twitter and tumblr feeds. Which I assume is because most of the people I follow are Pratchett fans who have been horrified by the press releases and the trailer (or, for that matter, the lackluster reviews) and decided to write the show off before it even started airing. To be clear, this is an entirely reasonable approach, but there’s nothing else on right now and I was bored.

Quick verdict? It’s not dire, but also not so interesting that you’d feel compelled to keep going with it. In fact, my most powerful reaction after the first two episodes is puzzlement - I can’t understand who the intended audience for this show is. The thinking seems to have been “everyone will be interested in a brash, in your face, rudely comedic fantasy cop show!” And maybe that’s true, but The Watch isn’t particularly brash, in your face, or even that comedic, so what’s left are fans of the genre(s), who are reasonably spoiled for choice right now (the show The Watch most closely resembles is Carnival Row, which is not amazing but still has a greater depth of emotion and a more interesting world). Why anyone would go out of their way to watch a show that seems to be working so hard to stamp out anything original about itself is a question the creators don’t seem to have asked themselves.

More thoughts below the cut.

First, something positive: I quite like the look of the show. There was obviously a lot of pressure from previous adaptations, not to mention the famous illustrations associated with the books, to strike out in an original direction, and I think the show really found one. Instead of fantasized-medieval-through-Victorian, The Watch’s Ankh Morpork combines those period and genre elements with modern ones. So The Mended Drum is now a seedy nightclub with DJ lighting and an open mike stage, and the city’s walls are covered with graffiti tags. The more distinctive settings - the Patrician’s palace, the Unseen University library - are not as interesting, possibly because the budget wouldn’t stretch to make them look really spectacular. But the core approach of the series, that Ankh Morpork is an old but modern city where there are also a lot of fantasy elements, is a fun and refreshing one.

Second, despite all the prevarication and spin in the run-up to the show, this is a Pratchett adaptation. It isn’t merely “inspired by” Pratchett’s novels, as the show’s title screen insists. It isn’t taking Pratchett’s ideas and making its own things with them. I can only assume that these claims were made in response to the backlash against stuff like “Sybil Ramkin, young, hot vigilante”. But despite changes like that, this is actually a fairly straightforward adaptation of Guards! Guards!, which also incorporates elements from Night Watch, plus some rather deep cuts from the rest of the Discworld corpus (the second episode, for example, implies that the ultimate villains of the series are the Auditors of Reality). So yeah, The Watch doesn’t have the excuse of being its own thing. It is a Discworld adaptation, but a bad one, that fails to understand a lot of fundamental thing about the world and the characters.

Third, I think the thing that most strikes about the show is how low-energy it feels. Despite billing itself as something outrageous, and despite some work on the visual front (and in Richard Dormer’s Jack Sparrow-esque performance as Vimes), the show itself feels almost bland. You see this in particular when it comes to the humor. It’s not that The Watch isn’t trying to be funny. There are jokes, and a few of them - mostly the ones original to the series - are mildly amusing. But when it comes to Pratchett’s own humor, the show simply has the actors deliver the gags and references in the most low-key way, and unsurprisingly the result is that hardly any of it lands.

Now, to be fair, this has been a problem with Pratchett adaptations since the 90s. Most of Pratchett’s humor is based in what his third-person narrator tells us about the world, and is hard to convey in a dramatic presentation (Good Omens tried to solve this problem by putting a lot of Pratchett’s narration in its voiceover, with only limited success). But even the dialogue-based jokes are so arch and stagey, that to deliver them successfully would require committing to a lot of very specific, demanding choices from the actors and writers (off the top of my head, the only show that even comes close to that kind of humor is Brooklyn Nine-Nine). It would have to be a high-concept, meticulously executed sitcom, whereas most Pratchett adaptations have been fantasy dramas with jokes. 

So it’s not entirely The Watch’s fault that it isn’t managing to convey the zany energy of Pratchett’s novels, but at the same time, it also clearly isn’t trying to. Its attitude seems to be that simply the existence of things like troll cops or assassins’ guilds who leave a receipt are funny in their own right. And sure, even in a media landscape in which fantasy has been mainstreamed by Harry Potter, the Lord of the Rings movies, and Game of Thrones, not a lot of fantasy settings have an orangutan librarian who only says “ook”. But what makes The Librarian funny isn’t that he’s a librarian who is an orangutan. It’s that he’s a librarian who is an orangutan who still behaves exactly like a librarian (while also doing ape things like swinging from the bookshelves and eating bananas), and that ���ook” can convey almost any concept in existence. The Watch doesn’t seem to realize this. It seems to be assuming that just putting that stuff on screen, or parroting Pratchett’s lines, will be hilarious in and of itself, while leaving out a lot of the specificity of setting, character, and tone that made the books sing.

You see this also in how it handles its characters. Everyone fixated on Lady Sybil when the promos came out, because that’s the most egregious misreading of the original (and rooted in the most boring assumptions about what audiences want and will respond to). But it’s everywhere. Take Carrot, for example. In the books, Carrot is fascinating because he’s never entirely what you take him for. He’s innocent, but not naive. Principled, but not a zealot. A goody-two-shoes, but not a prig. He’s always a lot smarter than you think he is, and most importantly, he genuinely likes and is interested in people. 

The Watch delivers none of this, and instead makes Carrot your basic hothead rookie who just wants to take down bad guys and sees the more seasoned, cynical officers who keep trying to slow him down as hopelessly corrupted. There’s none of Carrot’s openness, or his genuine love of the city, in this character. Instead he’s sullen and judgmental. And look, we could have a long conversation about which one of these characters is more useful to us and our ongoing conversation about policing (as well as a much shorter conversation about which one of them is truer to the ideas Pratchett was trying to convey about policing). But what feels more important to me, when coming to evaluate a new series that is trying to make an argument for why you should keep watching it, is the simple fact that there are a million places where you could find a character like The Watch’s Carrot, and hardly anywhere where you could find one like Pratchett’s. 

Again and again, it feels as if, in the pursuit of what it thinks of as outrageous, risk-taking storytelling, The Watch jettisons the unique characters from the books and replaces them with ones that we’ve seen a million times before. Angua in the books is kind of neurotic, and extremely thoughtful about the way her condition can incline her to see other people as objects to be used and consumed (which Pratchett later develops into an aspect of his theme of monsters-as-aristocrats). In the show, she’s obsessed with how her lycanthropy makes her “the real monster”. Oh boy, I’ve never seen a werewolf worry about being a monster before! I’ve never seen a scene where they send their friends away just as they’re about to transform! This is cutting edge stuff, I tell you. And while we’re on the subject, it gives me no pleasure to report that Anna Chancellor as Patrician Vetinari is thoroughly meh, because no effort has been taken to convey the character’s intelligence, near-omniscience, and constant scheming. Vimes is intimidated by her because she’s his boss and she’s posh, not because of anything specific to her. She feels almost identical to a million other posh rulers whose job it is to infodump to and threaten scrappy, working class heroes.

Which brings me back to my original observation: that I do not get who this show is for. It’s not for Pratchett fans, because it deliberately drops a great deal of what made his writing and characters special in favor of the most generic, predictable choices. But I can’t help but feel that anyone who is into this sort of extremely familiar cop story will be put off by the dragons and the wizards and the orangutan librarian, not to mention Dormer’s gurning performance. The whole thing is almost fascinating to watch - a work that clearly believes itself to be boundary-pushing and different, when really it’s just dull but with dragons.

[thearabkhaleesi]

SOME THOUGHTS ON HAMILTON & THE HAMILFILM

I said I wasn’t going to review Hamilton, & this isn’t technically a review, but I couldn’t help myself from discussing its genius or the film. If you wanted me to rate it, consider it to be a perfect rating: 10/10, 100%, A+, you name it. Since I’ll never be able to dissect or talk about Hamilton as in-depth as I’d like to (I could write an entire book on it & wouldn’t know where to stop), consider this a discussion or appreciation post where I express SOME of my thoughts on Hamilton & the Hamilfilm. - To me, Hamilton is a masterpiece and Lin-Manuel Miranda is a genius. He said something along the lines of “people will just think you’re a genius if you write a musical about a genius” but I disagree with him (& he was awarded the MacArthur “Genius Grant” so yeah Lin, you're a genius). Only a genius would look at the founding fathers and say: “yes, this is a hip-hop story”. And he doesn’t just tell Hamilton’s incredible story, he wrote Hamilton in such a way that every line, word, song, & verse is written in a specific way for a specific reason, whether it's as simple as a rhyme, or whether it’s because Lin Manuel Miranda is making a deep-reference we might later discover or whether it’s in the exact style & structure of Alexander Hamilton’s writings. Combine that with his fellow brilliant collaborators - Alex Lacamoire, Thomas Kail, Andy Blankenbuehler - you have a show where every stage direction, dance move, & note serves a greater purpose & they come together perfectly. Hamilton is absolutely filled with an unbelievable amount of hidden treasures (meanings, symbols, references) that I still find myself discovering new ones every time I revisit it, from the role of “the Bullet”, to the spectacular staging of Satisfied, & the mini replay in Hurricane to name a few. Lin turned a seemingly dry, confusing concept into an exciting, moving, unparalleled piece of art that speaks on each theme it touches upon - legacy, reputation, history, work, politics, honor, love, with great depth & meaning. And by doing so, the musical & it’s incredible lyrics could easily resonate with or impact anyone who, like Lin, Hamilton & me, have great value for those things. - One of the first things you might’ve heard or noticed about Hamilton, is that every actor in the show is a person of color (except those in the ensemble/King George). Everyone else: Alexander Hamilton, George Washington, Thomas Jefferson, The Schuyler Sisters, they’re all white in real-life, yet they’re played in the show by BIPOC, which in itself is a stroke of genius because Hamilton’s story is extremely relevant today & resonates more with BIPOC experiences than white people, & in every major project he’s worked on, Lin-Manuel helps amplify BIPOC representation; not only does he do that in Hamilton as well, but it’s the perfect way for the story to be delivered when you combine this casting choice with the music Lin wrote for the show that stem from BIPOC origins. Can you imagine how underwhelming it’d be for a white person to sing Lafayette’s raps?  It’s one of the ways “the story of America then is told by America now”, WITHOUT glorifying the founding fathers or excusing the horrible things they did. On the contrary, the show goes out of its way numerous times to emphasize that fact & anyone who took that away from Hamilton didn’t understand or pay attention enough. (Plus LMM condensed an entire man’s life into two & a half hours, give him a break).

As for the Hamilfilm, the only thing I can attempt to “review” is how it was adapted/filmed. And let me just say, director Thomas Kail pulled off an incredible feat with the Hamilfilm. When listening to Hamilton for the first time, I could visualize it all in my head like a movie, & I couldn’t really imagine how it’d be on stage. And when I saw it live, I was blown away & almost couldn’t imagine it as a traditional movie. So when I heard they were filming it this way, I was pleased but worried it wouldn’t be as immersive as the show. But Kail did it. He made Hamilton as immersive as it could possibly be on film, & I’d even go as far as to say it might be even more immersive than seeing it live as you’re provided a better perspective than any seat in the theater. He puts you on stage & in the audience simultaneously, through closeups that put us in the midst of the drama & show us the actors’ talents, wide shots that show us the stage & choreography in all its glory, and tracking shots that put us in the midst of the action, following all the melodious movements of the actors & dancers on stage. I’ve seen similar “professionally filmed” Broadway shows but none of them are as well-done or as well-directed as Hamilton was. (Though I’d trade a few closeups of King George for wide shots…) The editing was never off or felt choppy, which is remarkable considering they filmed it over several days & shows, yet it still feels like one outstanding show with the original cast - all of whom were sensational. I can’t even pin-point a favorite number or performance because I loved them all so much - Satisfied did give me goosebumps like nothing else though.

Still, it doesn't compete with actually being there in the room where it happens. The energy and experience of seeing it live is unbelievable. Does that mean you should wait until you see it live? It’s up to you really, but we never know when theaters will reopen, & the first instinct I had after the Hamilfilm ended is that I couldn’t wait to experience it live again. Rating: ‪10/10‬⭐️

[smokeybrand]

Welcome Back

I am a card carrying geek. I was that nerd in grade school, reading comics, watching anime, and larping with his friends during recess. I’ve always loved things like books and film, mostly because my ma had a penchant for the sci-fi and we would share in her hobbies. I’ve been a fan of Doctor Who since i was a wee lil’ Smokey and had a particular fondness for Max Headroom’s shenanigans. My chosen proclivities lend themselves to alternate universes, divergent timeless, and the interdenominational doppelganger or two. What i am trying to convey, here, is that i am not stranger to the revisit of a franchise. For me, rebooting an established work or expanding a loved lore is not a transgression. I am a fan of narrative. If you can tell a unique story, it really doesn’t even have to be that good, but something creativity and compelling, i am totally on board. This isn't as difficult a feat as you'd think considering how well Hollywood can adapt international films. The Ring and The Departed are effectively remakes of their original Asian fare and those films are spectacular. Nolan’s Dark Knight trilogy is the best example of this i can give. His deconstruction of the Batman mythos was one of the best cinematic and storytelling experiences I ever had. If you can take an established narrative, an established universe, and inject your own flavor into it, i am down for that, too. The Kelvin Star Trek timeline immediately comes to mind. Again, comic book guy, specifically a Spider-Man shill.

While i have years worth of alternate Spider-Men in the books to pull from, i think the most concise example i can give for a layman is to think Into the Spider-Verse, only with thousands more Spider-Men and Spider-Women. That’s the world I'm broaching this subject from, where there are decades worth of stories and reboots and remakes and reimagings, basically revisits, of a character that i absolutely love. Some are great like the Ultimate Spider-Man or the world of Renew Your Vows, and some are not so great, like that version Abrams’ kid came up with. That whole story was the worst. We have actually seen a little bit of this narrative reincarnation in the Spider-Man film franchise, itself, both good and bad. If we take the very first Spider-Man films, those campy, Raimi classics, as a starting point, then we had a terrible reboot in the Amazing franchise and a rather brilliant reimagining in the MCU outings. I really like the MCU retool. Tom Holland is THE onscreen Peter Parker and you can fight me about it all day.

Jurassic World and The Force Awakens are an interesting situation in the whole Revisit discourse. Both of these films are effectively reboots of the entire franchise and a whole ass remake of their initial entries. Beat for beat, theme for theme, these two films are basically the same as Jurassic Park and Episode IV, just less than they are in every conceivable fashion. Now, on paper, i should hate this but i don’t. There is a reason both of the imitations made billions for their respective franchise and that is simply nostalgia. We. as a culture, were starved for a Jurassic sequel and new Star War. When we got these movies in earnest, no one cared they were rehashes of the films that made them so important to the cultural zeitgeist. It was like seeing A New Hope and that initial outing to Isla Nublar for the first time, for a second time, but with much better effects. It had been decades since either of these movies had a proper release so we all just accepted that these were refresher courses in the lore. It was with the sequels that these things sh*t the bed so hard.

Fallen Kingdom and The Last Jedi skewed so far from what these franchises were, from the rules that had been established in the preceding films, including the first in their new trilogies, that they were offensive. Legitimately offensive. Jurassic World and The Force Awakens, as flawed as they were, left their worlds in respectable places. The narratives that could be built from those starting point were incredible. That potential was palpable. Lucas, himself, said that the stories should rhyme and you see that in his six films. Familiar yet different. Nostalgic yet original. Respectful yet original. None of that was recognized in the follow-ups and that is why these two franchises are on life support. It’s sad because there was potential there. Characters introduced were compelling and narrative threads left unties, could have become something great. Instead, expectations were subverted and the world completely sh*t on in an effort to be edgy, to distance itself from the established lore. That sh*t is whack. It’s not about being a fan of the franchise or a zealous istaphobe or whatever else the Twatter mob wants to accuse people of being. It’s about bad story telling. it’s abut a complete betrayal of a decades old franchise. It’s a bout being disingenuous with the property for personal gain.

I said at the beginning of this essay that i love a revisit. That’s why i went to see these sh*tty films. I also made very clear that i love storytelling. Fallen Kingdom and The Last Jedi lack in that fundamental aspect, that’s why they suck. They’ve done irreparable damage to the entire franchise and canon of these worlds that were so meticulously crafted by proper visionaries. Michael Crichton is rolling in his grave at what became of his Dinosaur Westworld and Lucas effectively bogarded his way into running Lucasfilm again after they sh*t on his legacy and that’s the thing; Legacy. These two franchises are part of American culture. They’re as revered as Apple Pie and Institutional Racism here. They’re not cash grabs or vehicles to push your politics. They’re modern fairy tales, myths, and should be respected as such. The thing is, though, i don’t believe there are actual creatives out there that have the vision to create like Crichton or Lucas anymore. Or, at least, Creatives that are willing to work within the constraints of this ridiculous studio system.

Modern film studios are disgustingly risk averse. That is a problem with anything making entertainment media nowadays but it’s most egregious in Hollywood. Films like Star Wars and Alien were made in a time when budgets didn’t swell to hundreds of millions of dollars so directors had to do what he could, with what they had, and that level of imagination birthed classics. It’s rare that creators get a blank check to deliver their vision nowadays, and even rarer that what they get to make if they receive that loot, is actually good. Zack Snyder and the train wreck that is Sucker Punch demonstrates my point perfectly. the new Lucases and Camerons are rare but there are a handful of directors who carry that torch. Denis Villeneuve is an incredible visual storyteller. He has a distinct vision for the grand and manages to craft proper worlds. Blade Runner 2049 is one of the best films i have ever seen in my life but it didn’t make money because people have been conditioned to ignore great storytelling for great effects. That sh*t is why people can say to me, with a straight face, that they think Batman v. Superman is better than The Dark Knight rises. That sh*t is stupid, shut the f*ck up. Deni was given the reigns to the Dune reboot and i think this might be the film that breaks him through to the mainstream.

Dune is a reboot. It looks like a revisit to the old David Lynch flick but with Deni’s penchant for the epic. This movie feels like what Jurassic World and The Force Awakens wanted to do; A respectful acknowledgment of what came before but an original take going forward. Dune is one of the greatest sci-fi novels ever written and Deni is one of the most profound visionaries in the game right now.  I have no doubt the new film is going to be fantastic. This combination is a match made in heaven, similar to Alex Garland with Annihilation or, more accurately i think, Luca Guadagnino and Suspiria. Those two films are f*cking incredible and they adapt the source material in a very, specific, manner. Annihilation is a reimagining of the book and carries its own themes and tones while the new Suspiria is a complete reinterpretation of what came before, that i believe eclipses the original. Dune looks excellent but i don’t know that it will be well received. Deni has his work cut out for him because the world of revisits is riddle with the corpses of films that couldn’t care the weight of what came before or what could have been. Still, i don’t want Hollywood to stop. As unoriginal as remaking things is, i adore a fresh set of eyes on familiar fare. There are infinite ways to tell the same story and that’s the fun of revisiting an old tale.

[grump-the-deer]

stuff about HDM ep 8 + overall season thoughts

in other words.....

FINALE TIME BITCHES

this episode was INCREDIBLE. A+++, perfection.

this is what I expected from the get-go, and what I got a lot of the time.

we got some great exposition + bonding double time with Asriel, some excellent portrayal of Asriel and Marisa’s relationship, plenty of dæmons being cool and adorable respectively (Pan and Salcilia running around playing anyone???), some STUNNING visuals, an epic little fight scene with the fire-hurlers and the zeppelins, some great culmination for Iorek and Lyra’s relationship, good ol’ Thorold development, some more Lyra & Roger development (ESPECIALLY the tent and end scenes - Roger’s death KILLED ME OH MY GOD) - just the perfect fuckin meal.

this was exceptional. round of applause for HDM.

(except the Will being 15 thing. what? why is he so old? he could pass for a tall 13- or 14-year-old. that makes it a little weird. I hope Lyra is supposed to be like 13 now then, idk. that’s still a pretty big difference at that age.)

I really have to wonder though - if they show they can do the above stuff perfectly, why didn’t they do it before???

the Bolvangar episode still leaves a bad taste in my mouth. this episode proves that they can make intercision horrific and emotional, and make it mean something with the dæmons interacting. Salcilia and Roger had good reactions - hell, Lyra reacting to remembering almost being separated from Pan was more emotional than the actual scene itself!! Roger’s death was HEARTBREAKING, thanks to his and his dæmon’s reactions!

they put the dæmons in enough, especially in speaking roles, that even when they weren’t around you didn’t really forget about them. I could always do with more background dæmons, but I can absolutely understand budget restraints - so long as you put them in enough. we need to feel they have an emotional impact on the characters. we need to feel like they ARE characters. not accessories.

Pan was a character in this episode. the things he says and do make an impact on the story. he was not a character in the Bolvangar episode, despite the fact that that was the MOST IMPORTANT episode for him to be around and active in.

they can do it right, but they didn’t. this series would be wonderful if they cut out that episode and reshot it and replaced it with a better take. hell, even just the intercision scene. it wouldn’t be perfect, but it would work.

so, overall:

HDM season 1 was a spectacular ride. the dæmons and bears look fantastic (when they’re actually in the shots), the voices are spot-on, the actors do a phenomenal job, and the writers actually added some interesting extra material and development.

some highlights for me are:

- Iorek and Lyra’s relationship. they got it absolutely perfect, if not better than the original. Iorek is perfectly stoic and bearlike and resolute, but Lyra earns his respect and even adoration, as best a bear can. it feels organic and has plenty of development scenes. just heartwarming.

- Lord Asriel all around. really awesome take on him, James MacAvoy loves him to pieces I can tell. he’s way better than the original, and that’s saying something. he’s got a lot more heart and I feel more connected to him despite him being a complete mad genius.

- Mrs. Coulter, for the most part. she’s got a bit of shaky characterization with Lyra towards the end - I’m not really certain of her motivations at the end - but generally she’s fascinating to watch on screen and absolutely horrible. I love her and I love Ruth Wilson as her. she’s positively uhinged. they did some really bold stuff with her character and her relationship with Lyra and I enjoyed every minute of it.

- Farder Coram ended up being great. he and Lyra are always a pleasure to watch interact. he really grew on me as soon as he started getting characterization, particularly with Serafina and the story of his son.

- the cinematography, lighting, set design, and graphics. I couldn’t ask for anything more. they went above and beyond and the framing and this world and its creatures look AMAZING. 10/10. hats off to the animation team in particular, of course.

- the acting. the acting is absolutely brilliant. particular standouts include Dafne Keen as Lyra, of course, James MacAvoy as Lord Asriel, Ruth Wilson as Mrs. Coulter, the voice of Iofur Raknison, and Farder Coram. honorable mention for Will, because he gets the character down so incredibly well.

- the respect for the source material. we’ve seen it blow up once with the Golden Compass movie, but this production obviously has every ounce of loyalty to the original. well, almost every ounce. the stuff they added ended up working very well and feeling organic to the original, and the stuff they kept, especially the verbatim lines, was delivered exceptionally. it’s clear they really care about the story they’re giving us.

- the opening credits are the most amazing thing I’ve ever seen. a beautiful tribute to the magic of this series’ themes and world.

and some notably bad stuff, a couple that almost come close to ruining it for me:

- Lee Scoresby. an absolute mess. one moment he’s true to the original character and being sarcastic and selfish, and the next he’s stealing pocketwatches for funsies, yelling out his dangerous motivations in the middle of a town infested with armed Magisterium soldiers, and cooing over Lyra like she’s his flesh and blood and he got injected with Mother Hen Juice. he’s genuinely stupid. his characterization is all over the place. his “development” with Lyra is either nonexistent or rushed, and the only thing he actually does for the plot is fly the damn balloon for about 5 minutes tops. Hester is his only saving grace, and even she can’t do it all. I’m sorry Lin, I really love your work in Hamilton, but this was really disappointing. and I have to blame the writing mainly. they wouldn’t let Lin act a character, they had to shape the character around him. and the whole thing suffered for it.

- the intercision, and dæmon relationships. the Bolvangar episode wasn’t terrible overall, but it did not build up well to the intercision scene, and the episodes around it didn’t help either - especially the previous one. Billy’s death was not sad for me, because the middle of the show did not utilize dæmon relationships with their humans and dæmons as actual characters. we didn’t see them interacting enough with their people to matter consistently to us. the first couple of episodes did this bonding beautifully, even with budget restraints to how many dæmons could be in a shot, and how frequently they could come up. they showed us just enough for us to care about them and what they mean to their humans, particularly Pan and Lyra, and conveniently kept them out of frame when they weren’t necessary to the dialogue between humans.

they can do it properly, but they chose to let it fall by the wayside towards the middle, and it really shot the show in the foot. almost irreparably, I’d wager. Bolvangar, for all its masterful horror trope usage and suspense, was not nearly horrific enough nor emotional at all, thanks to the lack of buildup. we did not care about dæmons and their humans beyond knowing the humans are basically dead without them. there was no feeling behind the threat of Lyra and Pan getting split apart, other than Lyra becoming a shell. the focus was on Lyra and Mrs. Coulter’s relationship, which I don’t have a problem with - but not at the cost of Lyra and her dæmon. you know, the very FIRST line of the books? the main theme of the entire book? arguably the whole SERIES? dæmons as souls, as a person’s sense of free will and consciousness? kind of important to develop an emotional attachment to, don’t you think?

- the Gyptian leads (sans Farder Coram). Ma Costa was passable. she did a lot of crying and a lot of being desperate and pining for her son, and not a lot of kicking ass, proportionally. she didn’t come off as a strong boat mother at the center of her family with sway in her community. she came off as a wiry and lost soul who is somewhat capable but more interested in being depressed and worried. she did get to shine when she killed the Bolvangar doctor, but that wasn’t enough for me.

John Faa was boring. he was a hardass and only every so often came across as the original jovial, caring, but no-nonsense King of the Gyptians. most of the time he was just telling someone not to do something or insisting someone do something. no real personality other than being serious.

Billy Costa had no real character. a waste, considering we’re supposed to care about his death.

Tony Costa was alright. he was kind of a loser, which I guess is okay. I liked capable Tony and his gobbler-fightin’ gang from the books better though. he had a couple good moments with Lyra, and Benjamin was a good addition.

- the themes of belonging. I don’t like how they changed the message about Lyra belonging in different groups. the point isn’t that she can “be anyone she wants to be” - that’s not how real life works, or should work. she can live with the gyptians and like them, but Ma Costa in the books asserts that she can’t be a gyptian, because she’s not part of their ethnic group. a similar message was overlooked with the bears - Iorek gave her the name Silvertongue because of his deep respect for her and what she had done for him, not because she was “one of us bears” now. she isn’t a bear, she’s a human.

the point is that she doesn’t have to be something to find an emotional home with the people themselves. it’s about what she builds, surpassing what she is - which is a product of two twisted, misguided people - taking what’s given to her and making it into something beautiful of her own volition. it’s a very nuanced theme and it’s basically thrown aside in this adaptation in favor of pseudo-colorblindness theory that origins don’t matter and you can stuff yourself anywhere you please. it’s not a deal-breaking point and most people probably won’t pay attention to it, but it’s worth mentioning anyway.

-

so overall, the show was really really spectacular. a ton of fun, beautifully crafted, with a few hiccups and one major major issue. the dæmon thing gouged out a good chunk of the enjoyment for me, and the integrity of the actual story too. a huge huge blunder on Jack Thorne’s part. I’d like to say they recovered from it, because they did do a pretty great job wrapping things up, but it still lingers in the back of my mind as a big blemish on an otherwise incredible work.

I have high hopes for the future seasons though, when dæmons aren’t around as frequently and less characters are on screen, so there will be more time and budget available to be devoted to them, particularly Pan as a character. they’ve shown they can handle this material skillfully, and I have a good amount of faith in them. I can’t wait to see what else they do with the concepts I’ve come to adore so much.

[precuredaily]

Precure Day 160

Episode: Yes! Precure 5 12 - “Protect Urara’s Stage!” Date watched: 23 November 2019 Original air date: 22 April 2007 Screenshots: https://imgur.com/a/KiGZvA2 Project info and master list of posts: http://tinyurl.com/PCDabout

When did this become the Precure stage show?

As I indicated in the last review, this is one of those episodes that just really sticks out in my memory, but it turns out I don’t actually remember much about it at all. It’s not as impactful as I recalled, but it represents a step forward for Urara and it has a kickass fight. Let’s get started!

The Plot

Urara has been tapped to host a stage show at an amusement park, which is a big break in her career. She meets her friends at the park, along with her overly prepared manager Washio and Masuko Mika, who’s there to write about her for the paper. Mika and Washio hit it off right away, speculating about where Urara’s career could go from here, culminating in a Hollywood movie and an Oscar nod.

Urara arrives at her rehearsal, goes through wardrobe, and starts going through her routine. Unfortunately the star of the show has had an emergency and called out. Nozomi quickly volunteers to play her part in the show, to save Urara’s debut. Unfortunately, she isn’t a very good actress, but it’s too late to cancel the show now. Outside, we see Girinma handing out fliers for the show and making ominous remarks about its content....

At showtime, the stadium is filled with children and their parents, wanting to see the forest animals show. Nozomi is extremely nervous, despite Urara’s reassurance, and trips and falls during her entrance.

Before she can recover, Girinma drops a mask onto a prop tree, which turns into a giant Kowaina. Out in the crowd, Mika is confused by this strange story direction but the audience all thinks it’s part of the show. (no magical falling asleep here!) Rin, Karen, and Komachi all rush onto stage with Nozomi and Urara but aren’t sure if they should transform with all these people watching. However, Urara’s actor instincts kick in and she tells the audience to look at up just as Karen convinces the stage manager to turn on the spotlights, blinding the audience members momentarily. The girls seize their opportunity and transform into Precure. They fight the Kowaina as the opening theme starts playing, and it’s a very visually spectacular fight as they run, jump, and dive through tree branches and vines to try to land a few solid hits on the monster. It tries to shoot a leaf storm at the audience but Mint blocks it with her shield, and then Girinma tries to attack a nosy Mika, who is protected by Aqua. Dream manages to shoot off a Dream Attack, defeating the Kowaina, as Girinma retreats. There’s a gag during all of this where Washio is worried because he can’t see Urara, and somehow didn’t connect the dots when the five girls transformed on stage.

Mika, recognizing the Pretty Cures from her first meeting with them, takes lots of pictures of the battle and plans to write a piece about them. They’re sure that this time they’re busted, but once again Nuts runs interference, going up to her in his human state and saying hello. The next day at school, all the students are crowded around the newspaper again, and wouldn’t you know, it’s an expose on Nuts and Mika’s fated reunion, with a tiny article about Urara’s stage show at the bottom. Washio comes up and asks Urara to put on that show again, because the Precure fight was a smash hit with audiences, but the other four girls wave it off, and the episode ends.

The Analysis

I don’t know where to start. Urara is giving it her all in this stage show, and she even improvs a bit to keep their cover and distract the audience while they transform. She’s really good at what she does, and she has a promising future as an actor ahead of her. She presents a really energetic performance for the kids and tries to mitigate the danger by making it seem like the monster attack is part of the show. The show must go on, indeed! Additionally, when Nozomi steps up to play the part of the rabbit, despite fumbling in the costume and having trouble with her lines, Urara just rolls with it. I love that all the girls are really rooting for this to work out for her, and during the fight they defend the sanctity of the show and Urara’s part. And honestly, props to Nozomi as well. She’s trying her best here. She’s clumsy and has been kicked out of the drama club before, but her heart is in the right place, and there are no better options so the other three girls agree to help her with cue cards.

there’s a new kaiju in town

The battle itself is action-packed and filled with some dynamic scenes that I will turn into gifs. It’s one of the better fights in this show so far. I love how the girls fly around through the vines and branches, delivering some swift ass-kickings. There is some reused footage from the opening, namely the part where the five girls line up as the song counts off “One, two, three four five!” The kowaina makes itself a difficult target, despite its large size, and that keeps the battle interesting. It takes some work for the girls to actually get to the mask and break it. The large amount of civilians keep the stakes high, as they’re easy targets for a massive attack. This lets us see Mint use her shield in a more interesting way than normal (because I’ll be honest, a lot of the times she blocks the enemy’s attack when she could just dodge). I love getting to see her make use of her strengths. Shield cures are highly situational, but this was a situation in which it was very effective. Also, I liked how Mika’s insatiable lust for a scoop put her in danger. She won’t learn from it, but it’s an action that had nearly fatal consequences because Girinma was out for her head, and it took Aqua intervening to save her. When she did that, she referred to her by name, which might cause Mika to recognize them down the road... I don’t think so but we’ll find out.

Speaking of special attacks, there’s something I want to discuss about them. In the FW shows, the special attack was only ever used as a finisher. They never used Marble Screw or Twin Stream Splash to attack in the middle of a battle, but they do use their special attacks in Yes 5 as both attacks and finishers. Some of their attacks simply don’t work as finishers (I mean, I’d like to see them TRY to finish a monster off with Mint Protection, that’d be cool), and pink rules so you usually see Dream Attack used to take down the monster. What they don’t have is a clear group finisher. That will change, of course, but as long as this persists, I get a sense of inconsistency about what will and won’t destroy a Kowaina. The use of special attacks that aren’t finishers is a bit of a deviation from the original concept but it’s still tame here. I don’t think they ever go too far down this rabbit hole, but it’s worth noting.

This episode manages to mix in a good amount of comedy on the side, without overwhelming the main plot, and I admire the balance. Washio is a fun manager but he is really over-prepared. He appears carrying two giant duffle bags for Urara, despite the fact that her outfit is provided, and among the many things he has brought are some charms for....

Nono Hana could use that last one

He and Mika play off of each other really well, they’ve got a nice comic relief duo schtick going on. Mika, of course, is mainly in this to get a good story for the paper, and having a local celebrity at school is a good outlet. Reporting on her career advancements is a big step up from reporting what she ate for lunch. Both of them readily buy into the fight scene, assuming it’s part of the show and not that there was some kind of actual danger, and Washio is just distressed that Urara has disappeared instead of fearing for his life. At the end of the episode, both of them ramp up the comedy in their own way. Mika’s crush on Nuts has not yet gotten old, and probably won’t for a while yet (don’t quote me on that), so continuing the running gag where she gets distracted from a big story by a chance (or intentional) encounter with him gets a thumbs up in my book. I don’t get tired of seeing Nozomi and Rin’s exasperated faces when they see her reports.

Also, Urara has a nice little gag there where she’s hopping up and down trying to read the paper because she can’t see over their shoulders. I’ll gif that soon.

Urara gets a couple of other moments of note, where she seems to be breaking the fourth wall. At the very start, when she’s sort of practicing her introductory speech to the crowd, she turns to speak to the show’s audience, and Rin questions who she’s even talking to. (Rin makes a good straight man, by the way).

The last gag of note is when Coco and Nuts say they tagged along because you never know when a Pinky could show up.... and then a Pinky shows up right then. Yeah, Pinkies, remember them? They’re kind of supposed to be driving the plot. There’s more of them than there are Heartiels and Miracle Drops combined, yet they’re barely mentioned.

Just some other small observations before I wrap this up, I love everybody’s street clothes in this episode. They’re a little different from what we’ve seen them wearing before.

except for Rin

Urara’s sailor blouse and knee-length skirt make her look a little more mature than her normal attire of puffy shorts and sleeves. The other four are wearing outfits strongly reminiscent of their clothes from the ending. Rin and Nozomi’s outfits are exactly that, except for the butterflies. Komachi and Karen’s outfits are the same as what they wear in the ending, but the colors are a little different.

for reference

And for some reason the art in this episode is very hit-or-miss. A lot of good shots still seem slightly off model. It’s a little jarring, it’s not low-detail (except for one laughably bad frame), it’s just that faces are drawn with warped shapes. Yes I am going to chronicle every time this happens in every show, it’s notable.

What happened here is that they quickly zoomed out to show the whole stage, and they wouldn’t need to show much detail, so to achieve the effect, they started way zoomed in on the cell before pulling back, rather than create a new drawing for one just frame. It’s not really visible when watching.

So, animation stuff aside.... this was a great episode! Since the major theme of this show is finding and chasing your dream, showing each girl’s different progress in that regard is important, and they do it so well. Urara is a bit further ahead than the others, but she still has a lot of work to do to become a famous actor, and her friends want to help her however possible. It’s what this show does best, and this was a fun stepping stone.

Next time, Rin is getting pulled in every direction at once! Look forward to it!

Pink Precure Catchphrase Count: 1 “kettei” by Nozomi herself, 1 each by Washio and Mika (spoken together)

NOTE: I’m going to come back to add some gifs to this post at a later date. I really wanted to include them the first time around but due to unforseen circumstances, this review was delayed several days past when I wanted to get it out, so I didn’t want to delay it any further. I’ll make a post on @pcd-status​ when I update this.

[anorakofavalon]

The Beauty and the Geek: Why Brutasha Makes Sense

(AKA: An Open Letter of [Constructive] Criticism for Joss Whedon)

I wrote an essay in which I parse through my feelings on probably the most controversial pairing of the MCU. I settled on the relationship making sense, thematically, even though the execution was terrible. Sorry if it's a little long, but I'd love to have a discussion about this with any of you willing to take the time to read it.

---

Joss Whedon is great at his job. He’s flawed, like anyone else, but he’s a fantastic writer. I hardly need to remind you of his portfolio, after all. As a matter of fact, his portfolio is so very nearly spotless that his writing flaws come across, at least notably, in only one movie. Avengers: Age of Ultron. You might point out Justice League, but I’m discounting it because while there were flaws there, they weren’t all his, and not all of them were present in unison.

In Ultron, Whedon was pushed to his writerly limits. Understandable, considering that he was burdened with not only following up on the masterpiece that was The Avengers, but he had to do so while taking into account the events of the movies that took place between then and Ultron and where that left the characters. Not only that, he also had to setup the rest of the franchise and introduce a multitude of new characters. Doing any one of those three things is difficult, but doing all of them at the same time while also offering a coherent and enjoyable movie to fans is a monumental task. He did what he could.

One particular weakness of the movie, as pointed out by a large number of people after its release, was the relationship between Bruce Banner and Natasha Romanoff. Recently, people have warmed up to and adapted to it. But the damage is done. It left the impression on just about everyone that it was rushed and clumsily handled. I agree that it was clumsily handled, but I don’t think that it was necessarily rushed.

I’d like to make an argument for the relationship, and in doing so, maybe offer a critique to Mr. Whedon that might be helpful. My argument is the following: Bruce and Natasha’s relationship in the Marvel Cinematic Universe is thematically sound. It’s a natural step forward in both of their respective arcs, and I believe that Mr. Whedon made an excellent, and conscious, storytelling decision when creating the pairing. (He might even have had it in mind since The Avengers.)

But before I go any further on analyzing why I believe this, I think it’s important to dispel a few common and relatively superficial complaints about the couple. Firstly, some people prefer Natasha to have been with Clint, Steve, or even Bucky. I understand the general sentiment there, but I have contentions against any of these people because they don’t make sense in the context of the MCU. Clint is out of the picture because he has a family, and they are simply best friends, practically siblings to each other. Bucky and Natasha have very little screen time together in which they aren’t fighting by the time Age of Ultron happens. Steve is the most sensical of these options. But Steve and Natasha aren’t compatible people, at least not in the sense of a romantic relationship. Why? Because A.) She explicitly prefers more passive, “dorky” men, B.) Steve is still not over Peggy Carter, C.) Putting them together would be, aside from blindingly obvious, harmful to their wonderful friendship because D.) Steve and Natasha have, up to Ultron, had a very strictly professional relationship. They’re friends.

The other big complaint is simply that Bruce Banner seems to be too old for her. This is a, frankly, ridiculous complaint. Mark Ruffalo is one hot dude, and Black Widow is a fully grown woman perfectly capable of having emotions for whoever she damn well pleases. Somewhat older or not.

And speaking of those emotions, people have been quick to point out that they seemingly developed out of nowhere. I disagree, to a certain degree. The seeds of this have been rooted from the very beginning of The Avengers. Their first interaction was tense and interesting. Subtle things were present. Hints of flirtation (granted, at the time she was trying to manipulate and recruit him into helping SHIELD) were present, and there’s a few visual cues. Particularly when Banner says “I don’t always get what I want” while touching a crib. I recommend re-watching it.

And of course, there’s the entirety of Ultron, where they throw quick glances, outright flirt, and seem to have developed a close relationship via “the lullaby”. But the leap from Avengers to Ultron is quite wide, considering that a few things have happened, and besides, wasn’t she deathly afraid of the Hulk during Avengers? The answer to that is yes. And that’s why it was so jarring for practically everyone, including those of us who have embraced the ‘ship. Presumably, all of their bonding happened during Natasha’s stay in Avengers Tower between Winter Soldier and Ultron. The problem? We didn’t see that. We just saw that she could calm down the Hulk all of a sudden and had a good relationship with Banner.

I won’t defend the execution of this. It could have been smoother, without a doubt, but given the duress that Whedon was under with managing the storylines of literally every other character, I can forgive him. But what I can’t forgive him for is the execution of a few other things concerning the two. Namely, how he handled their conversation in the Barton household and the Ultron kidnapping.

The Barton Household conversation could have been positively wonderful. It was a little off-putting instead. I don’t think it’s a bad conversation mind you, it shows that Black Widow is willing to open up to Bruce Banner in a way she doesn’t usually do with others, and it really serves to humanize her further. The premise is this: Bruce Banner isn’t willing to be with her because he believes that he’s a monster and that he can’t give her a normal life (read: children). Natasha counters with the fact that in her view, she’s a monster because the Red Room made her one. And she can’t have children. The issue is clear: these are two separate, parallel, lines of conversation happening at once, and they get muddled, and viewers got confused accordingly. The way the dialogue was framed had disastrous consequences. Rather than achieving its goal the scene left us with the impression that she thought she was a monster because she couldn’t have children when really what she meant was that she was a monster because the Red Room dehumanized her and turned her into a weapon, and in the process, sterilized her.

While awkward, a lot of people later understood what was meant and the outrage died down. But it didn’t help that later in the movie, Widow was used as a literal damsel in distress when she was captured by Ultron for very little reason. Now, I’m a firm believer that strong female characters should be allowed to have love interests. Love isn’t a weakness. But this moment makes Black Widow seem like merely a love interest. She was helpless and a man had to rescue her. And it was, you guessed it, her love interest. This whole concept was a mistake. It could have been any other Avenger. Because if there’s one thing Black Widow is not -- it’s helpless. (And as a side note, that scene at the Avengers party where he fell on her chest? Ridiculous. Whedon pulled the same trick in Justice League and it was equally un-funny. It harmed his cause more than it helped. Comedy could have made the transition into the relationship less jarring for fans but he approached it in the single worst way possible. Also, the ass shots. What the hell Whedon? Like, I get it, but c'mon man. If you're gonna do it, at least be egalitarian and give us some Hulk booty too. Taika did it.)

All of these things combined gave people a less than spectacular impression of the couple at first, since it consumed both of their respective storylines for the entire movie, but I warmed up to it and so did others. Because despite the execution, I think it makes perfect sense thematically.

It begins in The Avengers. We’re going to briefly revisit the scene I mentioned earlier, where Natasha is recruiting Bruce. At this point we know a few things about them: Banner is relatively in control of the Hulk, but he doesn’t want to “Hulk out”, He is not afraid of Natasha, and finally, Natasha is very much afraid of him. At first she acts unfazed, but when he slams his hand on the table to test her there is genuine fear in her eyes and she pulls a gun faster than he can blink. He smiles away the tension, assuring her he was just testing her. But the power dynamic became clear. At first, Natasha believed she could manipulate him like she did Tony, but with Banner that wasn’t the case. He saw right through her. This remains a constant theme. He could read her like a book.

She’s weary of Bruce for the rest of the film, but it culminates when she faces the Hulk. Mr. Whedon lets the camera linger on her after her near death experience. Natasha Romanoff is shaken. This was incredibly humanizing for her because the Hulk is a force that she is truly powerless to do anything about, which must be an unfamiliar feeling for the world’s greatest assassin. Regardless, when Fury calls her to take down Barton, she walks it off. That encounter grew her character. A character that has remained fairly mysterious thus far except for one single moment, a truly wonderful scene where she manipulates the ultimate deceiver: Loki.

Loki thinks he’s got a read on her, likely because she was being very honest when she told Loki “I’ve got red on my ledger, and I’d like to have it clean.” Loki already knows, playing on her apparently emotional side by saying “Your ledger is dripping red, it’s gushing and you think saving a man no more virtuous than yourself will change anything?”

It’s all a trick, of course, because she pretends to let it affect her. But Black Widow knows how to compartmentalize emotions, and she handled the situation wonderfully. But I don’t doubt that what Loki said was true -- to a degree. That is Black Widow’s chief insecurity: that she is a monster, and she can never be a hero like the other Avengers because of her past.

A few scenes later, after the Hulk Out, Banner wakes up in a warehouse, where an old man is looking over him. The very first thing that he asked was “Did I hurt anyone?”. And that there is his chief insecurity: that he is a monster because he is a danger to everyone around him.

So you have two characters who both have terrible pasts that were forced on them by circumstances entirely out of their control. Both admire each other professionally as well as people. Let’s not forget that Natasha’s first interaction with Banner was of him living in an impoverished country in order to help people. Both are looking to become better than who they are, but I wouldn’t be surprised if Natasha was affected by this. Hulk has caused just as much harm as she has, but Banner is making up for it by healing others. She might feel she can’t do that because her skillset has always been to harm others. That’s why I think she’s one of the most compassionate of the Avengers, and always comforting her friends. Be it Steve at Peggy’s funeral, or Clint in Endgame when she’s the only family he has left. It makes total sense that Bruce and Natasha would turn to each other as friends and confidants. I don’t think anyone else in the group could understand their shared and unique type of trauma. And as Natasha said, “all [her] friends are fighters”. But Bruce is not. In her eyes, he’s a perfectly normal, mild-mannered gentleman. She’s not afraid of him or Hulk by the time Age of Ultron rolls around, but boy is he afraid of himself.

And they both want normality. So they propose running away. A bit on the dramatic side, but I can see why Whedon chose to use this idea. It makes the ending of the film more poignant, when she chooses to have Banner Hulk Out (and I suspect Banner understands why), thus sacrificing their fantasy of normality. Because they’re Avengers. The mission comes first. Still, it was far too melodramatic for my taste and out of character for both of them. Particularly Natasha. And again, it makes it seem like Natasha was Banner's love interest when it really ought to be the other way around, from a storytelling perspective and also because of the nature of the characters. That was a lapse in judgement from Whedon that weakened the presentation of their potential relationship.

I don’t think the relationship will remain completely intact by the time Endgame finishes, but I do think they’ll acknowledge it and give them a proper send off. It might not last, but their relationship helped them grow as characters. It allowed Banner to realize that he isn’t really a monster. That he is useful in his own right. And it helped Natasha get peace of mind. She isn’t a monster either, she’s a hero. And for better or worse, that means she has to do heroic things. Even sacrificing normalcy.

And plus, it's just adorable man.

[dewbond-blog]

Shallow Dive: Rascal Does not Dream of Bunny Girl Senpai

I want you to think about a bolt of lightning.

When you see one in the sky you are often filled with emotions and feelings. It’s powerful, beautiful, awe-inspiring, and almost all too fleeting. Once the lightning comes it is as gone as soon as it came and you don’t really think about it anymore. Still when you saw that lightning you were just blown away by how much it affected you, or just how great that experience was.

That is pretty much the series we are talking about today. Let’s waste no time and dive into 2018 series, the sharer of the Anime of the Year: Rascal Does not Dream of Bunny Girl Senpai.

I’ve talked about this show several times both on my blog and others, but I’ve waited to give it a proper overview because I wanted my thoughts to solidify. I tend to stay away from week to week episode reviews because I prefer to get the whole picture, the entire point of the anime before I give my thoughts. I am also glad I gave this show sometime after the final episode because I didn’t want my thoughts on that piece to affect my entire view of the series.

Bunny Girl Senpai was a show that many people didn’t think they would like. One look at the poster could make you think this was another slice of life romantic harem comedy. What people weren’t expecting, and neither was I, was that it would be one of the most thoughtful, well written and just plain good series this year.

The plot is simple. We follow Sakuta Azsuagawa, a sort of ‘go it alone’ Holden Caulfield (with thankfully none of the angst or inflated self-importance) type of guy as he discovers that “puberty syndrome” a sort of scientific abnormality linked to teenage problems, is causing several different girls in his school to undergo strange events. Whether it is body switching, time loops, being invisible to anyone but himself or splitting yourself into two people. Sakuta has to help these girls figure out their issues, all the while trying to nurse and raise his bullied sister Kaede back to health.

Right off the bat, Bunny Girl Senpai had probably the best three episode run of any series in the last five years. If the series had ended right after those three episodes, it might have been completely flawless. The first arc centered around our titular bunny girl senpai Mai Sakurajima felt like an entire movie played out over three weeks. Mai and Sakuta’s romance and chemistry are some of the strongest I’ve seen in years, and both of these characters felt more realistic and endearing than almost any romance I’ve seen in anime. There are none of the tropes or moments that are so often attached to anime romances and despite the science fiction twist, Mai and Sakuta’s attitudes to each other feel earned, touching and most of all realistic.

That is the key word here. Bunny Girl Senpai is a very realistic show. No, not in terms of the science and puberty syndrome, but in the problems and atmosphere of its characters. I’ve said it before, but Bunny Girl Senpai is an anime about teenagers in high school, not an anime about teenagers in an ANIME high school and that is a very important point to make. The problems of the girls are things all girls I expect have gone through, whether it is wanting to escape the spotlight, feeling inferior to your successful older sister, obsessed with trying to fit in, being insecure about your body, or the fear of being abandon by your only friends. These are real problems that are thankfully portrayed by realistic characters in a realistic setting. Most of all, they are able to talk about teenage problems without coming off as pandering or “after school special,” something that is very difficult to do with viewers. To see high school students actually act normal in ANIME, where a high school is so often used as either a springboard for outlandish plots or a walking trope factory was absolutely refreshing to see.

Now Bunny Girl Senpai does have some faults. The science fiction elements can be hit or miss, and too often the show just has characters explain this through dialogue rather than visual examples. Some of the girl’s story arcs are stronger than others, with the third starring Sakuta’s scientific sidekick Futaba feeling the weakest of them, and the overall plot settled into a “Sakuta meets a new girl, identifies the problem, solves the problem” formula pretty quickly. These, however, are extremely minor when compared to just how perfect the show nails its characters, atmosphere, themes and pretty much everything else. Something frankly this good always ends up short so how, but never in a way that would damage it’s standing.

However, like a bolt of lightning, I wonder if something like Bunny Girl Senpai has a staying power. I won’t lie, it wasn’t a show I thought of much after I watch its weekly installment. I loved every single minute, but after the credits rolled I didn’t much think about. Just like lightning it appears in the sky, blows your mind and then is just gone and you move on with life. Will we be talking about this show two months from now? Five? Seven? A Year? I don’t think we will, and yet this show is one of the best anime I’ve seen since ReZero. Maybe that is ok, perhaps some pieces of anime are meant to simply be like that, doing what they have to do and then fading into history.

Rascal Does not Dream of Bunny Girl Senpai is, as I have said in this blog post: a bolt of lightning. It’s beautiful, spectacular and deeply moving, and then just like that lightning, it is gone. It is one of the best anime I have seen since ReZero brought me back into this genre, and absolutely deserves its place as the best anime of 2018. A masterpiece of high quality, despite being something I think many will forget about, viewers of this blog and anime fans, in general, should absolutely not skip out on this show.

[dweemeister]

Braveheart (1995)

The summer of 1995 provided moviegoing audiences with a third Die Hard movie, Casper, batnipples, Disney’s problematic Pocahontas, Apollo 13, Waterworld, and one of the most understanding children’s films of all time in Babe. That is a busy summer to say the least. Amid that clutter, one of the most successful movies of that period could not possibly have been made now, let alone find the audience it did twenty-three years ago. Released by Paramount in North America and 20th Century Fox internationally, that film is Mel Gibson’s Braveheart, a thirteenth-century war epic about Scottish knight William Wallace (played by Gibson) taking arms against King Edward I of England in the First War of Scottish Independence. Braveheart was Gibson’s second directorial work after more than a decade as a figurehead for 1980s Australian cinema and presence in the Lethal Weapon series. This is a visually striking, technically accomplished film rife with homophobia, misogyny, and historical howlers that continues to sharply polarize viewers about its cinematic merits. Through the fires of these controversies, the extremely violent Braveheart has bludgeoned its way to becoming an iconic fixture of 1990s Hollywood.

It is 1280 in Scotland. As a child, William Wallace survives King Edward “Longshanks” (Patrick McGoohan) invasion of Scotland. Following Scottish defeat, Wallace is taken on a European journey by his uncle Argyle (Brian Cox). Years later, Wallace (Gibson as an adult; James Robinson as a child) will return to his village and marry childhood friend Murron MacClannough (Catherine McCormack as an adult; Mhari Calvey as a child). But Longshanks has granted his English nobles in Scotland right of the first night, and Wallace’s successful attempt to save Murron from rape eventually ends in her execution. Enraged, Wallace – assisted by his fellow villagers – massacres the English forces sent to his hometown and drives the remaining English military from Scotland. Longshanks will not take military defeat without response, ordering Prince Edward (Peter Hanly) to quash the rebellion. War and royal intrigue breaks out, leading to Edward’s wife, Isabella of France (Sophie Marceau), being sent to negotiate with Wallace and the two falling for each other far too quickly.

With that plot in mind, viewers should understand that the only historically accurate aspects of Braveheart are the names of the historical figures involved and place names – really, that’s it. The Scots wear kilts, despite the fact kilts would not be invented for another several hundred years. If one wants to understand the First Scottish War for Independence and the history surrounding this era, read a book instead. Screenwriter Randall Wallace admitted that his script was based less on history than on the epic poem The Actes and Deidis of the Illustre and Vallyeant Campioun Schir William Wallace, written by Blind Harry in the fifteenth century.

In its medieval swordplay, Braveheart has more to do with Spartacus (1960) than anything in a 1930s-40s 20th Century Fox or Warner Bros. swashbuckler. The film’s enormous battle scenes – shot in Ireland with over 1,500 members of the Irish Army Reserve participating on both sides of this cinematic conflict – are excellent collaborations in deploying men on foot and horseback smashing into each other on a grassy plain with a frantic camera attempting to make sense of the scrum. The use of 200-pound mechanical horses running on nitrogen cylinders even fooled an animal welfare organization that decided to investigate the film because of the effect’s realism. When not indulging in ill-advised slow-motion, these battles, perhaps too frequently placed into the film to the point they becoming fatiguing, are spectacular in their choreography. The collaborative effort between Gibson, cinematographer John Toll (1994′s Legends of the Fall, 1998′s The Thin Red Line), editor Steven Rosenblum (1989′s Glory, Legends of the Fall) and second unit crew members contributes to a blood-soaked, crashing symphony of mangled limbs and human brutality that no other film depicting medieval warfare has since equaled – especially the Battle of Stirling Bridge, which is horrifying in its impact despite the absence of the crucial, eponymous bridge. Many films since Braveheart portraying contemporary war likewise pale in comparison.

Braveheart would be a disastrous film without John Toll’s cinematography, whether in action sequences or peaceful moments. The use of natural lighting and the on-location shooting in Ireland and Scotland appeals to Toll’s strengths for exterior shots, lending Braveheart a near-mythical angle amid large landscape shots blessed with eerie cloud covers and looming, verdant mountains. Toll makes Scotland a place of dreams – especially in the blue of twilight when the sun’s reds have retreated westward, welcoming the cool and comfort of the evening. This suits the film, as Gibson is not filming a historical drama. No computerized flourishes or too many swooping helicopter-aided vistas pry the viewer from the film. Toll’s camera for these landscapes and shots of the village (reportedly built by the production crew to Toll’s specifications) remain still or are gently heightened or lowered by crane shots. Close-ups are mercifully spare, reserved almost entirely for violent scenes.

The word “freedom” is tossed around with such promiscuity and depthlessness that Braveheart’s 178 minutes cannot be justified. Wallace’s screenplay touches lightly on the era’s politics, Wallace’s love life, and the ideas why Scotland should be independent from England. Political philosophy this is not. Look elsewhere for films of military leaders with a wracked conscience, psychologically impacted by the slaughter they have initiated. Instead, we are presented with anachronistic dialogue like this: 

WILLIAM WALLACE: Before we let you leave, your commander must cross that field, present himself before this army, put his head between his legs, and kiss his own arse.

Sure, dude. If possible, maybe that commander might have a future as a contortionist.

Braveheart presents William Wallace as a man on a revenge-fueled mission who will consider all possible means to liberate his people – he has an irreverent sense of humor that makes given scenes a tonal mishmash. Wallace’s romantic interludes with Murron and Isabella? Gibson, McCormack, and Marceau, respectively, are all unconvincing – despite an enormous assist from Toll in these passionate scenes.

Casual homophobia is directed toward Prince Edward (later King Edward II), the son of Edward Longshanks (Edward I; who was a bellicose monarch, but becomes a cartoonish archetype in this film). Prince Edward is depicted as effeminate and gay, and his lover Philip (Stephen Billington) is killed by defenestration. The film further compounds this depiction by associating the Prince’s homosexuality to his ineffectual character – Longshanks constantly chastises his son’s lack of masculinity and Princess Isabella also disapproves of her husband for those qualities. This is not to say homophobia did not exist in the late thirteenth century, but that Gibson and Wallace are doubling down on the Prince, making him a punchline puppet of a leader because of who he is. Aggressive masculinity and sexual expressions inundate the battle scenes, too – swinging swords should be interpreted as one might think.

Women have almost zero agency in Braveheart, as they are depicted as sexual vessels to remain pure and chaste while the men fraternize and fornicate all they wish. Wallace’s campaign of violence begins not because the English lords have invoked right of the first night (prima noctis) for other women, but because prima noctis has been invoked for Murron (whose sexual faithfulness is idealized after her death in a pair of visions Wallace – who, by sleeping with Isabella, does not return that same faith – has). One of the few topics that women speak of throughout the film is sexual interest/satisfaction or lack thereof – Isabella’s only purpose in the film is to bang Wallace so that she can deliver an inflammatory piece of news to Longshanks on his deathbed.

Other than Toll, another craftsperson showcases their mastery in this film. That master is composer James Horner (Glory, 1997′s Titanic). 1995 proved to be a career year for Horner, having composed the scores for Apollo 13, Balto, and Casper. His second-best score of the year behind Apollo 13, Braveheart’s score is mostly devoid of the wanking masculinity described above, combining cultural elements that might seem inappropriate for a film about Scottish warriors – given the use of Japanese woodwinds in Legends of the Fall (a generational epic drama about a Montana ranching family), Horner’s instrumental appropriation knows no bounds, for good and ill. Along with the requisite bagpipes (rather than the Great Highland bagpipes that are generally associated to be “bagpipes”, Horner utilizes Uilleann pipes – Irish in origin, Uilleann pipes are softer and considered to produce a less harsh sound than Great Highland Bagpipes), this heavily orchestral score also benefits from a boys’ choir reminiscent of Casper, Horner’s affinity for Irish music, and quena (an Andean flute) for “The Secret Wedding”.

Three major motifs exist in Horner’s score: for Wallace, Murron, and Isabella. Wallace’s motif is first in the main title through the Uilleann pipes and will be the most-repeated theme in the film, fragmented up by percussion in the battle scenes, and often accompanied by strings in melodic unison (most heroically at 6:05 in “Freedom/The Execution Bannockburn”). Murron’s motif assumes melodramatic, (and very quickly afterwards) tragic connotations upon its most memorable appearance on quena in “The Secret Wedding”, chorally reprised at 3:10 in the “End Credits”. Dominating the final third of the film is Isabella’s motif, best outlined in “For the Love of a Princess” by the entire orchestra, and containing echoes of “The Ludlows” from Legends of the Fall. Credit the London Symphony Orchestra for providing a gorgeous recording, even if Horner’s score to Braveheart is not the most musically interesting effort of his career.

Producers Bruce Davey (Gibson’s longtime producer) and Alan Ladd, Jr. (son of legendary Paramount contracted actor Alan Ladd) navigated numerous obstacles at 20th Century Fox and Paramount to complete the film. This enormous, nearly three-hour production of a time period unfamiliar to North American moviegoers could not be produced at this scope today. A 2018 Braveheart would require even more major studios from various nations to finance the project, as epic films have all but disappeared from the multiplex because of their forbidding costs and lack of action star/superhero connections. Gibson’s ambition is staggering here. Yet Braveheart is let down by Gibson’s hypermasculinity and homophobia – reflective of his troublesome political dimensions.

The film’s cultural importance when it was released is unquestionable, but it remains to be seen how time will treat Gibson’s directorial breakout work. By being released in the mid-1990s, it is among the last Hollywood epic films largely untouched by excessive CGI – the effects are gruesome because they are practical. Though the characterizations are simplistic, Braveheart is an effective character piece for many, if not for this writer. Caught between the praises of fanboys of a certain demographic and those who loathe Gibson and/or Braveheart, I can neither adulate nor dismiss this movie outright. Bring on the insults on my manhood, but say it with a Scottish accent, would you kindly?

My rating: 6.5/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found here.

[crdenhart]

10 Movies You Should Watch This Halloween 2017

October is here, and now is the time to get into the Halloween spirit! Instead of the traditional “best of” Halloween movie list (don’t need to mention yet again how much I love The Shining, the first two Halloween films, and The Exorcist), here are a list of 10 movies (in release date order) that may not be as well known or not usually listed among the upper echelon of scary movies but perfect for this 2017 Halloween season and worth a look.

Eraserhead (1977)

“In Heaven everything is fine…”

The spectacular new season of Twin Peaks just came to an end last month, so this Halloween would be the perfect time to take a look back at David Lynch’s brilliant feature film debut on its 40th anniversary.  The film create a sense of total dread and darkness in its beautiful black-and-white cinematography, eerie sound design, and well-acted performances. It is pure horror!  The film has inspired a significant number filmmakers over the years, including Stanley Kubrick while he worked on The Shining. It may be one of the most important movies ever made!

Phantasm (1979)

“Boooy!”

This cult-classic horror film was remastered in HD this past year (with the help of JJ Abrams) so this Halloween would be the first time to experience the film in its full visual glory.  I love the creepy music, eerie sets, and low-fi feel of the film; feels like being in a haunted house. Really high quality for such a low budget and some really good scares, especially Angus Scrimm as the menacing Tall Man. If you like movies such as Stranger Things, Super 8, and the Halloween series you will love Phantasm!

Vincent (1982)

“Vincent is nice when his aunt comes to see him, but imagines dipping her in wax for his wax museum.”

This early Tim Burton stop-motion short film is a masterpiece! Vincent Price provides the narration with great inflection.  The animation is top-notch and some of the best stop-motion work ever; love the dark visuals and music.  At some points it feels like we are getting a glimpse at Tim Burton’s childhood.  The short celebrates its 35th anniversary this year, and its influence shows in the many stop-motion films that have been released since (i.e. Nightmare Before Christmas, Corpse Bride, ParaNorman, Frankenweenie). It’s almost as if all stop-motion animated films have to be horror-themed and this one was the first.

Halloween III: Season of the Witch (1982)

“Happy, happy Halloween, Halloween, Halloween! Happy, happy Halloween, Silver Shamrock!”

Most overlook this film and pass on it as “the one without Michael Myers,” but Season of the Witch is actually a great horror film in its own respect. John Carpenter’s idea of having a different Halloween-themed story with each sequel while maintaining some of the same crew and cast (albeit in different roles) was way ahead of its time and now seems to be commonplace with American Horror Story changing its story and characters every year.  I love the cinematography, special effects, scary soundtrack, especially the dark “Silver Shamrock” commercial song.  The movie also celebrates its 35th anniversary this Halloween.  Definitely worth another look because it is actually a good horror movie, especially if one doesn’t think of it as a Halloween sequel.

Return to Oz (1985)

“There’s no place like home!”

Many see this movie as the weird Wizard of Oz sequel. However, it stands on its own as a truly unique fantasy adventure film. It is actually quite dark in parts; more in the likes of The Neverending Story or The Dark Crystal than the 1939 original.  This movie is great for Halloween with the fall setting, the Halloween visuals (i.e. Jack Pumpkinhead, the thousand-head wicked witch Mombi), and the spooky interpretation of Oz.

Stephen King’s It (1990)

“They ALL float down here. When you’re down here with us, you’ll float too!”

If you like the new IT adaptation (or if you don’t), definitely check out the 1990 original. The new film has more impressive special effects and is a better movie overall, but the 1990 miniseries holds a special nostalgic place in my heart and is much scarier thanks mostly to Tim Curry’s terrifying performance as Pennywise the Dancing Clown. This film also would make a great introduction to the horror genre to younger viewers because it scary without the excessive gore or gratuitous sex found in many horror films.

Halloweentown (1998)

“Being normal is vastly overrated.”

With the passing of star Debbie Reynolds this past December, this Halloween is the perfect time to pay tribute to the late actress by watching one of her best films.  My siblings and I watched this film and its sequels (the 2nd one is good too, 3rd and 4th are not so much) every Halloween at our grandparents’ house. Not really scary as much as it is a fun Halloween movie. I love the decorative set designs of the town (it’s a place I would love to visit if it were real) and the cool costumes used for all the monster characters who live in Halloweentown. It’s a movie all ages can enjoy!

The Sixth Sense (1999)

“I see dead people.”

With writer-director M. Night Shyamalan making a successful career comeback earlier this year with Split, this Halloween is the perfect time to take a look back at the film that made him a celebrity filmmaker. The atmosphere and performances are incredible!  I used to watch this film for the horror elements as a kid and in my teen year, but now as an adult, I see this more as a film about love and relationships.  There are some scenes that really hit me deeply on an emotional level, especially in the scene where Cole tells his mom how much her mother really loved her and the final scene with Malcolm and his wife.  One watching this movie can see why Shyamalan was at one point thought to be the next Spielberg.

Rob Zombie’s Halloween (2007)

“Behind these eyes one finds only blackness, the absence of light.  These are the eyes of a psychopath.”

This Halloween marks the 10th anniversary of Rob Zombie’s Halloween film (my dad and I saw it theaters on opening day when I was a high school freshman). It is quite possibly the best horror film of the past 15 years! Though not as much of classic or as scary as the 1978 original, the 2007 film stands above other horror remakes (i.e. Nightmare on Elm Street, Friday the 13th, The Fog, Prom Night, Psycho, Amityville Horror) and succeeds by being its own thing and not trying to be a carbon copy of the original.  I especially like the performances including Malcolm McDowell as Dr. Loomis and Daeg Faerch as young Michael Myers.  Also some really great cinematography and use of colors and overall pacing that gives the story a grand scope.  Plus it has a killer soundtrack featuring awesome songs like “God of Thunder” by KISS, “Baby, I Love Your Way” by Peter Frampton, and “Love Hurts” by Nazareth.

Trick ‘r Treat (2007)

“Always check your candy.”

Good elements of dark comedy are sprinkled throughout this colorful horror anthology. I like how the film is several Halloween-themed shorts that are all tied together.  It’s the rare horror film that is both fun and scary!  Also check out writer-director Michael Dougherty’s short animated precursor “Season’s Greetings,” really retro and creative!

Happy Halloween!  By the way, as an added treat, here is a picture from my animated Halloween short in post-production called “Halloween Cat.”

[smokeybrandreviews]

Welcome Back

I am a card carrying geek. I was that nerd in grade school, reading comics, watching anime, and larping with his friends during recess. I’ve always loved things like books and film, mostly because my ma had a penchant for the sci-fi and we would share in her hobbies. I’ve been a fan of Doctor Who since i was a wee lil’ Smokey and had a particular fondness for Max Headroom’s shenanigans. My chosen proclivities lend themselves to alternate universes, divergent timeless, and the interdenominational doppelganger or two. What i am trying to convey, here, is that i am not stranger to the revisit of a franchise. For me, rebooting an established work or expanding a loved lore is not a transgression. I am a fan of narrative. If you can tell a unique story, it really doesn’t even have to be that good, but something creativity and compelling, i am totally on board. This isn't as difficult a feat as you'd think considering how well Hollywood can adapt international films. The Ring and The Departed are effectively remakes of their original Asian fare and those films are spectacular. Nolan’s Dark Knight trilogy is the best example of this i can give. His deconstruction of the Batman mythos was one of the best cinematic and storytelling experiences I ever had. If you can take an established narrative, an established universe, and inject your own flavor into it, i am down for that, too. The Kelvin Star Trek timeline immediately comes to mind. Again, comic book guy, specifically a Spider-Man shill.

While i have years worth of alternate Spider-Men in the books to pull from, i think the most concise example i can give for a layman is to think Into the Spider-Verse, only with thousands more Spider-Men and Spider-Women. That’s the world I'm broaching this subject from, where there are decades worth of stories and reboots and remakes and reimagings, basically revisits, of a character that i absolutely love. Some are great like the Ultimate Spider-Man or the world of Renew Your Vows, and some are not so great, like that version Abrams’ kid came up with. That whole story was the worst. We have actually seen a little bit of this narrative reincarnation in the Spider-Man film franchise, itself, both good and bad. If we take the very first Spider-Man films, those campy, Raimi classics, as a starting point, then we had a terrible reboot in the Amazing franchise and a rather brilliant reimagining in the MCU outings. I really like the MCU retool. Tom Holland is THE onscreen Peter Parker and you can fight me about it all day.

Jurassic World and The Force Awakens are an interesting situation in the whole Revisit discourse. Both of these films are effectively reboots of the entire franchise and a whole ass remake of their initial entries. Beat for beat, theme for theme, these two films are basically the same as Jurassic Park and Episode IV, just less than they are in every conceivable fashion. Now, on paper, i should hate this but i don’t. There is a reason both of the imitations made billions for their respective franchise and that is simply nostalgia. We. as a culture, were starved for a Jurassic sequel and new Star War. When we got these movies in earnest, no one cared they were rehashes of the films that made them so important to the cultural zeitgeist. It was like seeing A New Hope and that initial outing to Isla Nublar for the first time, for a second time, but with much better effects. It had been decades since either of these movies had a proper release so we all just accepted that these were refresher courses in the lore. It was with the sequels that these things sh*t the bed so hard.

Fallen Kingdom and The Last Jedi skewed so far from what these franchises were, from the rules that had been established in the preceding films, including the first in their new trilogies, that they were offensive. Legitimately offensive. Jurassic World and The Force Awakens, as flawed as they were, left their worlds in respectable places. The narratives that could be built from those starting point were incredible. That potential was palpable. Lucas, himself, said that the stories should rhyme and you see that in his six films. Familiar yet different. Nostalgic yet original. Respectful yet original. None of that was recognized in the follow-ups and that is why these two franchises are on life support. It’s sad because there was potential there. Characters introduced were compelling and narrative threads left unties, could have become something great. Instead, expectations were subverted and the world completely sh*t on in an effort to be edgy, to distance itself from the established lore. That sh*t is whack. It’s not about being a fan of the franchise or a zealous istaphobe or whatever else the Twatter mob wants to accuse people of being. It’s about bad story telling. it’s abut a complete betrayal of a decades old franchise. It’s a bout being disingenuous with the property for personal gain.

I said at the beginning of this essay that i love a revisit. That’s why i went to see these sh*tty films. I also made very clear that i love storytelling. Fallen Kingdom and The Last Jedi lack in that fundamental aspect, that’s why they suck. They’ve done irreparable damage to the entire franchise and canon of these worlds that were so meticulously crafted by proper visionaries. Michael Crichton is rolling in his grave at what became of his Dinosaur Westworld and Lucas effectively bogarded his way into running Lucasfilm again after they sh*t on his legacy and that’s the thing; Legacy. These two franchises are part of American culture. They’re as revered as Apple Pie and Institutional Racism here. They’re not cash grabs or vehicles to push your politics. They’re modern fairy tales, myths, and should be respected as such. The thing is, though, i don’t believe there are actual creatives out there that have the vision to create like Crichton or Lucas anymore. Or, at least, Creatives that are willing to work within the constraints of this ridiculous studio system.

Modern film studios are disgustingly risk averse. That is a problem with anything making entertainment media nowadays but it’s most egregious in Hollywood. Films like Star Wars and Alien were made in a time when budgets didn’t swell to hundreds of millions of dollars so directors had to do what he could, with what they had, and that level of imagination birthed classics. It’s rare that creators get a blank check to deliver their vision nowadays, and even rarer that what they get to make if they receive that loot, is actually good. Zack Snyder and the train wreck that is Sucker Punch demonstrates my point perfectly. the new Lucases and Camerons are rare but there are a handful of directors who carry that torch. Denis Villeneuve is an incredible visual storyteller. He has a distinct vision for the grand and manages to craft proper worlds. Blade Runner 2049 is one of the best films i have ever seen in my life but it didn’t make money because people have been conditioned to ignore great storytelling for great effects. That sh*t is why people can say to me, with a straight face, that they think Batman v. Superman is better than The Dark Knight rises. That sh*t is stupid, shut the f*ck up. Deni was given the reigns to the Dune reboot and i think this might be the film that breaks him through to the mainstream.

Dune is a reboot. It looks like a revisit to the old David Lynch flick but with Deni’s penchant for the epic. This movie feels like what Jurassic World and The Force Awakens wanted to do; A respectful acknowledgment of what came before but an original take going forward. Dune is one of the greatest sci-fi novels ever written and Deni is one of the most profound visionaries in the game right now.  I have no doubt the new film is going to be fantastic. This combination is a match made in heaven, similar to Alex Garland with Annihilation or, more accurately i think, Luca Guadagnino and Suspiria. Those two films are f*cking incredible and they adapt the source material in a very, specific, manner. Annihilation is a reimagining of the book and carries its own themes and tones while the new Suspiria is a complete reinterpretation of what came before, that i believe eclipses the original. Dune looks excellent but i don’t know that it will be well received. Deni has his work cut out for him because the world of revisits is riddle with the corpses of films that couldn’t care the weight of what came before or what could have been. Still, i don’t want Hollywood to stop. As unoriginal as remaking things is, i adore a fresh set of eyes on familiar fare. There are infinite ways to tell the same story and that’s the fun of revisiting an old tale.

[akaroot]

First thoughts and feelings on The Last Jedi.

Spoilers will be below under the cut. 

So, this movie was a LOT to process. It’s 2h23m and it is packed full of stuff. While I'm still taking everything in that happened, it turns out in order for me to digest it all, I need to talk about it, so I will do that here.  Okay, lets start off with the fact that, in my opinion, this movie is really, really good. Like, it’s really fucking good. Visually one of the best, if not THE best, looking Star Wars films out there. Like, take that Scarif space fight and turn that into an entire movie it looked that good.  This film managed to make me love Rey, Finn, and Poe even more than The Force Awakens. They actually got more time to be developed and I loved that. The three of them all gave incredible performances, and I’m glad they gave Oscar Isaac a role that he could really fill in and he did an incredible job. While I didi love them in The Force Awakens, The Last Jedi really did an amazing job at making them feel fleshed out and they all had really great arcs in this.  Now lets move onto our new coming characters, cause there were a few. So lets start off easy with Rose Tico who was quite honestly, incredibly likeable. I loved her storyline with Finn, and it allowed us to see another side of this galaxy the First Order was screwing up. While Rose and Finn did have a sequence that I felt took too long, and should have been cut to make it shorter, as it felt like a halt in the pace of this film, overall I loved watching them together. Kelly and John have amazing chemistry and yeah they work so well on screen together.  Now, Laura Dern has an interesting role in this film. General Haldo comes into this film feeling cold. And that’s not meant to be in a bad way. She’s trying to remain a cool and calmed demeanour as she enters a really dire situation. She and Poe have some conflict, as he can’t just sit down and do nothing which he thinks Haldo is doing. Poe, Haldo, and Leia all have a really interesting storyline together. In fact, these three compliment each other so well, it’s really hard not to like their scenes. These scenes with the Resistance are also some of the most tense moments of the film as they’re running low on time as the First Order quickly closes in on them.  Overall the two new characters were really well integrated. While not done to the level as the main trio, they were really well done. I get why some may not like Rose, or Haldo, but in my opinion they were really good additions to this series.  Okay, so, we’ve talked about Finn and his storyline with Rose. And Poe and his story with the Resistance. Now here’s where the film gets a little flimsy. The storyline between Rey and Luke is really well done. However, Luke’s side is a little... iffy. In fact, I completely see where Mark Hamill was coming from when he said that he didn’t like anything about where Rian Johnson took Luke in this film. While Luke has some spectacular moments in the movie (like, truly spectacular. Hamill was incredible), his motives felt... uncertain, and like Johnson was trying to answer why Luke was on that island, even though I feel like we mostly picked the answers up in The Force Awakens. In fact, Luke’s characterization was a little bit of a hot mess, which is why I think all the reviews that are bad, are picking up on. The film as a whole is so so good, and while it does have its plot and character flaws, the main mess of this film lies in how Johnson decided to handle Luke Skywalker. And he’s not a character you should really mess up, because then you get people hating on the film for doing that to a character who is so deeply loved. Anyway, Luke’s reason for being on that island, as we knew, was because of how bad things went for him when training new Jedi. But, as seen in the film, Luke has a second of thought to kill his nephew, Ben. So this would have been an incredibly good moment to learn that Luke is on the island not because he failed Leia, Han, and Ben, but because he failed himself as a person, and a Jedi. He would have been on that island because he could live with that thought... But that’s not the direction the film took. Instead it flip flopped on Luke and why he was there and overall,  he wasn’t the Luke we came to know. However, there is one moment on that island that I think changed the game for Luke. That was one hell of a scene.  So, I know I've written a lot already, and I think Luke was one of the weakest parts and reasons this film could achieve some higher greatness status even though again, its really really good. But we have one more giant section to talk about, and that Rey, Kylo Ren, and Snoke. But first I want to touch on the fact that, while Phasma again wasn’t a huge character, he screen time was honestly so good?? I saw an interview with Gwendoline Christie where an interview asked if we saw Phasma without her helmet or got to see or face and Gwendoline said she couldn’t answer. My first thought when hearing that was “her helmet is gonna get slashed and we’re gonna see her face!!!” before thinking that meh, she would have said that even if it were no... but ho boy was I right that first time and ugh, that moment was... maybe one of my favourites in the scene. Her line, and then what Finn says back?? I got chills. While underused again, Phasma was a small highlight in my opinion. General Hux was also very interesting in this, as he and Kylo seemed to be fighting to be in Snoke’s good nature, and for when Snoke is no longer Supreme Leader, one of them hoped to be next in line. While Hux wasn’t the big bad scary dude he kinda was in The Force Awakens, he was still a great character. Hux got the short end of the stick in a way, but his screen time was surely entertaining.  Now back to our conflicted duo and the guy who is prying on that weakness... Let me just say right off the bat, I love Rey. I love her so damn much. While I did not like parts of her and Kylo’s force interactions, I did think it was incredibly interesting to see their conversations. Both of them feel the pull to either the dark, or the light. This is the biggest theme in the film by far. Dark and Light, good and bad. You can’t have one without the other. Those two elements need each other. It was incredibly fascinating to watch. While some may not like the characterization of these characters because Kylo seemed to spend most of his time being conflicted, I thought that was needed. Because he was conflicted. He felt the call to the dark same as he did to the light but he was being held back by the fact that he’s trying to be something hes not... he was trying too hard to be Darth Vader. But we learn that the darkness in Kylo wants power. He wants to own everything... he wants to rule. It takes him a second to get there, but once he does... we see that the fight against Kylo Ren is going to be a tough one. This leads to another sore aspect of the film however, since Snoke... was pointless? He amounted to almost nothing, although his death sparked an incredibly cool fight scene with Rey and Kylo versus the guards. Like, it was really cool. But this fight ends with Kylo asking Rey to join him in ruling the galaxy. They would stand side by side and lead everything, and with all of the doubt in Rey’s mind, you feel like theres that chance she could. However, Rey shuts him down. Rey has backed away from the dark side because it can't fulfil her with what she wants. One of the biggest things Rey had to learn was that the past, her parents, were holding her down. She couldn’t see that right in front of her she had a family, and Kylo was the one who wanted to destroy that family. This leads me to Rey’s arc in that she really struggled. The darkness wanted Rey pretty badly, and Rey was enticed by it. She wanted something that she felt like the dark side could give her, even though she already knew the answer. In my opinion, Rey’s internal struggle was more well done than Kylo’s because you can see that anger in her. you can see the parts of her that the dark side wants to take advantage of. But in the end she chooses the light side. She chooses her family and Finn over the dark side that leaves a feeling of emptiness. And it leads to such a great moment. This film is really grey in terms of good and bad, and I think that is why this film is darker. It’s not entirely about taking down the first order. It’s about the choices you make, and the failures that come from those choices. Failure is such a huge theme in this, and failure isn’t some happy feeling. But this film ends on a high note, because with failure comes to opportunity to be better. You learn from your mistakes, and with that, you grow. This film was dark, but with it ending on a note that you can rebuild something broken, it makes the point of the film feel worth it. Sometime you have to fail in order to move forward. 

But they did kill off Admiral Ackbar and I will never forgive the movie for that fuck you Rian Johnson Ackbar deserved better.