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absolutebl · 30 days

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This Week in BL - Japan is Winning on Kisses & Other Alternate Realities

Organized, in each category, with ones I'm enjoying most at the top.

March 2024 Wk 4

Ongoing Series - Thai

Two Worlds (Thurs IQIYI) ep 3 of 10 - It would be great if we got the alternative romance with dead Kram from Tai’s perspective (JBL style.) Still I like this show. It’s a little bit like I Feel You Linger in the Air only with a love triangle. And while I'm not a fan of triangles as a general rule, I don’t mind it here because the set up is clever. Wayu and ao are fun sides too. It sure is moving very quickly, which I like. I’m not entirely sure what’s going on. But that’s normal for me with this kind of Thai drama.

Deep Night (Thurs iQiyi) ep 4 of 8 - They are extremely sappy boyfriends. I love that mom has a secret gf. Could we please have more of them? The love triangle sides are ridiculous, but I do like that it’s all out in the open. I also like they are actually addressing the complicated parental dynamics of owning a sex club. Honestly, I think Khem should have to be a host too. Learn him the right way, girl!

City of Stars (Fri iQIYI) ep 9 of 12 - It’s good, I like the fallout and them actually having to deal with crazy fans and past relationships. They’re so good at communicating it’s kind of a pleasure to watch them suffer through external pressures, because I have faith that they can make it through.

To Be Continued (Thai C3 Thailand grey) ep 6 of 8 - They are such cute puppy dads and so clearly meant to be together, the fact that they aren’t is just frustrating. The fight thing was stupid. And not a whole lot happened... plus singing. I’m getting fatigued with this one.

1000 Years Old ep 7 of 12 - Did I miss something happening, or did nothing happen?

Kiseki Chapter 2 (Sun iQIYI) ep 2 of 6 - It’s so boring, there’s so much guitar playing, and it got weirdly voyeuristic (in a very much not sexy way). I’m totally out. DNF

Close Friend Season 3: Soju Bomb! (Weds iQIYI) ep 3 of 6 - I can’t tell if this is trying to be a BL Romancing the Stone, or a BL Hangover, or both. The problem with situational comedy is it must be both situational and comedic, not just option one. The problem with calling something BL, is that it must be BL. This show got 1 of 3 claims correct. 33% is not a passing grade. DNF

Honestly, it's the HANDS with these two. They do beautiful beautiful things with their hands. If you're one of those hands-obsessed BLabies you should be watching LIBTSTA!

Ongoing Series - Not Thai

Unknown (Taiwan Tues Youku YouTube & Viki) ep 6 of 11 - So the worst finally happened. The mountain of pain has fallen down upon us. And now, hopefully in the second half things get better for our boys. But what a rough ride. Normally, this is not my style of BL, but everyone is doing such a gorgeous job with it, I can’t fault it… except that it hurts. The red thread symbolism was elegantly done. I’d like to hope we get a reunion in the next one, but knowing this style of series they’re gonna draw it out. There's gonna be a more pain first.

Love is Better the Second Time Around AKA Koi wo Suru nara Nidome ga Joto (Japan Weds Gaga) ep 4 of 6 - Those fuck me puppy dog eyes were perfectly executed. I would not have been able to resist either. Gosh they are so damn cute. This is a great show.

Jazz for Two (Korea Gaga/grey) eps 1-2 of 8 - This comes from the Shoulder to Cry On team so I'm scared, but this one is all actors* not idols so maybe they'll be braver. Boy howdy does it have a fantastic opening sequence. Also the lead is fucking adorable. Mr Broody McBroodypants is cute too. Korea sure loves “pretty but broken.” On the JBL end of the spectrum, is everyone in love with their siblings? That’s weird. The dining room scene was painful. All in all, it's good, I'm intrigued. Let's see how you go little show.

I stand absolutely corrected the lead is a member of NEWKIDD (in my defense I'd never heard of them until Build Up last month). I did recognize him from To My Star because at the time I thought he was too pretty to be only a side character.

AntiReset (Taiwan Fri Viki/Gaga) ep 10 fin - Again there was overuse of previous footage and maudlin navel-gazing grief over something we knew was going to happen. So I didn’t really feel much emotional connection to the drama. 7 year time gap.? t was a cute reunion but the moral quandary never really got resolved. I don’t know how to rate this, I’m not sure I will ever watch it again, so that is a big mark against it.

There’s nothing objectively wrong with this BL except how upsetting it is because of the foundational pygmalion story - grown man falls in love with an android who is basically both his slave and, by maturity level, a child. Yet that premise is crystal clear from the get go, so we watch it eyes open. The actors are cute, the romance sweet, the physical chemistry on point (of course, it’s Taiwan) and yet I was left ultimately unsettled by the concept, content, and plot. 7/10

My Strawberry Film (Japan Thurs Gaga) ep 7 of 8 - I'm so ready for this to be over, and for Gaga to have something good on. Soon please?

It's done, ready to binge, but I suck

What Did You Eat Yesterday Season 2 AKA Kinou Nani Tabeta? Season 2 (Japan Gaga) 10 eps

It's airing but...

Graduation Countdown (Taiwan YouTube) - It's too much to ask me to keep up with 2 minute verticals, I don't have that kind of TikTok endurance training. Waiting to binge.

A Secretly Love (Thai Sat WeTV grey) 10 eps - I watched the first ep but grey is too much work for this inferior of a show. I may pick up and binge if it gets distribution but for now, it gets a DNF from me. KimCop might have held this crap together but Kim without Cop? No thank you.

Lady Boy Friends (Thai WeTV grey) 16 eps - reminds me a bit too much of Diary of Tootsies only high school. Not my thing. DNF unless it turns a corner and is truly amazing.

Tangential to the genre

There has been the occasional discussion on this topic here in this little corner of tumblr so I thought there might be a few intersted in this podcast: AmericanThaiGuy Ron Weaver on the Complicated Issue of Racism in Thailand (The Bangkok Podcast)

Thailand passed its Marriage Equality bill through the lower house. It's expected to pass the high house and get signed by the King, but that hasn't quite happened yet.

And MaxTul dropped a photo shoot.

Next Week Looks Like This:

Starting Soon

3/31 Only Boo! (Thai GMMTV YouTube) 12 eps - New main couple for GMMTV in an idol romance about a boy who dances good and a food stand vendor. Other side of the tracks grumpy/sunshine pair who fall deeply in love but, of course, baby boy idol can't date. Boyband but from GMMTV? Control your singing and I'm game.

3/31 The Next Prince (Thai ????) 12 eps - trailer. ZeeNew in a fantasy/historical set in a palace where Zee plays a knight and Nu a prince - YES PLEASE. (Apparently this is just the pilot, not the start of the actual show, see comments.)

4/1 Love is like a Cat (Korea ????) 12 eps - This completed filming Aug 2022(!) which means there have been serious problems with post-production. This is another of Silkwood's Korean+Thai colab projects. Mew Suppasit plays a rookie film star, called the Cat Prince (for his cold arrogance) who goes up against a charismatic puppyish animal daycare director (JM of JUST B). There is a side romance (love triangle?) with a veterinarian. Geonu of JUST B is also in the cast. Dual languages.

Hum, trash-watch-a-licious?

4/3 We Are (Thai GMMTV YouTube iQIYI) 12 eps - University ensemble BL featuring PondPhuwin, WinnySatang, AouBoom, MarcPawinPoon - basically the good kind of messy gay friendship group (so more My Engineer and less Only Friends). Looks a bit like the Kiss series but everyone is queer. I'm IN!

4/11 Living With Him AKA Kare no Iru Seikatsu (Japan ????) 10 eps - Kindly Ryota goes off to uni only to find his new roommate is his childhood bestie, Kazuhito. Kazuhito doesn’t have a girlfriend and Ryota tries to help him figure out why, they fall in love along the way. Same director as Old Fashion Cupcake.

4/11 Gray Shelter AKA Gray Currents (Korea ????) 4 eps - SooHyuk is only just surviving and reunites with YoonDae, an old friend. They end up living together. One of the leads is played by Choco of Choco Milk Shake.

4/18 At 25:00, in Alaska AKA 25 Ji, Akasaka de (Japan Gaga - may not be global) 10 eps - Yuki lands his first starring role in a BL drama alongside superstar Asami (previously his senior at uni). Said superstar suggests they form a sham relationship until filming concludes. As they actually begin to fall in love, the spotlight begins to burn.

Seriously? You're killing me with these titles, boys.

4/26 My Stand-In (Thai iQIYI) 12 eps - adaptation of Chinese novel "Professional Body Double" by Shui Qiang Cheng. Stars Up (Lovely Writer) and Poom (Bake Me Please) directed by the same team as KP (not a recommendation IMHO - my biggest criticism of that show was the clashing directing styles). This one looks well complicated, lemme try: Joe is a stuntman for famous actor Tong. Joe falls in love with Ming but Ming sees Joe as nothing more than a Tong-replacement. After learning this horrible truth, Joe dies. Joe then wakes up in the body of another man also named Joe. He manages to rebuild the same life as before—with the same people eventually re-meeting Ming. Ming wants Joe back but Joe doesn't understand why. But Ming seems to know what's going on and wants to give him some kind of explanation.

I'm exhausted just trying to describe the plot.

Knock-Knock Boys (Thai WeTV) - 4 college friends conspire to help their friend lose his virginity. Familiar faces like Seng (yes, Billy's previous partner) and Best, news here.

Upcoming BLs for 2024 are listed here. This list is not kept updated, so please leave a comment if you know something new or RP with additions.

NOTE: It looks like one of my personal favorites of last year Unintentional Love Story is getting a spin off!

THIS WEEK’S BEST MOMENT

Just these two, in my head, rent free. Thanks Japan!

(Last week)

Streaming services are listed by how I (usually) watch, which is with a USA based IP, and often offset by a day because time zones are too much work.

The tag BLigade: @doorajar @solitaryandwandering @my-rose-tinted-glasses @babymbbatinygirl @babymbbatinygirl @isisanna-blog @mmastertheone @pickletrip @aliceisathome @urikawa-miyuki @tokillamonger @rocketturtle4

If ya wanna be tagged each week leave a comment and I will add you to the template. Easy peesy. (With so many tags when does a weekly tumblr post become a newsletter? That is this week's philosophical question...)

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verloonati · 27 days

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A very funny thing about a good man goes to war is that like on paper, the idea of the doctor going all out and calling in all of their debt to fight overwhelming odds and save a friend sounds amazing. It's like, in a at the time 50 years old show this shit writes itself.

But instead of focusing this episode on Amy's trauma (Wich barely ever comes up after that given howuch of it is used purely for the sake of the twist and not like character stakes) moffat chose to focus it on the doctor "rising higher and falling lower than ever before". Wich uh, should not be the point of this story.

Instead of giving us a meaningful reunion of well loved characters, (like stolen earth/journey's end did two series before) they just brought back the pirates from that very forgettable episode and the airplane guy from that Churchill wankfest episode. A gimmick that moffat already used in the opening sequence of Pandorica opens where everyeaningful side characters of the season (and at this point the era) pass along that painting that barely have any impact on the plot (by Wich I mean it could easily have been anything else that initiate the plot and make as much sense). So because he already did this he has to introduce new characters Wich well if you're gonna play out the doctor calling in their debt, using said debt to introduce more than half side characters of the episode and introduce them as if the viewer was anticipating their return is a definitely weird move.

Instead of giving us a real enemy to fight, the church of the silence never really feels that intimidating. The headless monks are clearly just there so the doctor can hide under a hood. And having rory destroy a whole cyber legion just for kicks undermines the threat level of the church in comparison (that man can threaten a whole ass cyber legion what are some human soldiers on a teeny tiny base gonna do?). Where journey's end gave us daleks with a whacky plan to destroy reality, with internal conflicts and dynamics, a good man goes to war never feels that much like the church is actually that powerfull. All they got is an hostage

Of course a lot could be said about the way this episode threat homosexuality in side characters as a comedic punchline. Wether it's the nameless soldiers that get beheaded or vastra and Jenny first appearance their homosexuality is supposed to be laughed at.

And then again there's the "rise higher and fall lower than ever before" shit Wich Is? Very fun in the broader context of the show? The episode end with a tiny base evacuated with no casualty and a baby kidnapped. When you consider the shit the seventh doctor pulled against the old gods, and how far he went to manipulate his companion, what the eighth and war doctor sacrificed and the atrocities they commited in the war In heaven and the time war, the shit 8 pulled in the divergent universe. How desperate 5 was on androzani, how 4 faced the guilt of allowing the daleks to exists, how 6 got put on trial and made to believe he failed to save his friend. How ten almost become fucking rassillon 2, how twelve chose to wait in a torture chamber for 4 billions year and the moment he got out fucked up his whole society and his own laws to save his friend, how ten got gollumified for a whole year before getting up by a genkidama powered by the trust and love of his friend telling people about him, even how thirteen faced the litteral embodiment of time whilst her parent set the universe on fire for the hell of it. How litteraly seven episodes before eleven got trapped in a box by his enemies and had to manually turn off and then on again the timeline. Yeah I don't think winning a rock and losing a baby that you still know will be fine is that special among all of this.

#dr who #moffat #11th doctor #a good man goes to war #the early moffat seasons really frustrate me because in between some of the best episodes of the show there's the grossest mysoginistic shi #ofc earlier and later season had similar problems. but imo never as potent as the quality rollercoster that was season 6 #the refusal to do anything with amy's themes that are still set up in stories lik girl who waited and god complex is so disappointing #like i don't want another fucking gareth roberts james corden episode but this time james corden has a baby

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emmym1 · 3 months

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My thoughts on... All-New Wolverine 2015 (#19-24) "Immune"

I've arrived on the fourth arc of this run! This arc definitely felt a lot different compared to the rest of the run, especially tonally. It's a lot more serious and grander in scale, but it still retains its comedic aspects.

The beginning of this arc felt really similar to the first arc of Kelly Thompson's Captain Marvel (even though that run came way later than this one so technically it's the opposite way around!) in the sense that we're dealing with Roosevelt Ssland being completely cut off from the rest of the world and it's up to our heroes to figure out everything. The intro leading up to the impact of the alien ship was super cool with the play by play narration. It was also really cool to see Laura and Gabby in their new suits, it makes sense they go for bulletproof suits given how much the bullets slow them down even with a healing factor. I really like how Laura's suit is very much inspired by the X-force look while also being a more casual outfit with the jacket and stuff, it's a super cool design, I absolutely love it! Gabby's new suit also just matches her personality completely. Solid designs all around!

It was really cool to see them slowly uncover the mystery behind the alien saying Laura's name and the virus it carried. I will say the whole healing factor healing everyone part felt kinda messy at times but it did make for a really cool team-up with Laura, Gabby, Deadpool, Old Man Logan and Daken. I really loved that part of this arc and how Iron Heart comments on them all being trained to be weapons and here they are helping everyone. That part was so good and really made the team up hit a lot harder. The friendship between Deadpool and Gabby was so sweet, I really need them to team up again! They're such gremlins together! It was also really heartbreaking to see Gabby being hit with the reality check that she can't save everyone and how serious it all is. It was such a moment for her character because she just completely breaks down and you don't see that often with her. I kind of wished they would've spent more time on it.

The part where they team up with the Guardians Of The Galaxy was when things started taking a crazy turn. I really like Laura's and Gabby's dynamic with them. It was a really fun team up! Also it's so cool how they finally gave Jonathan a translator and how he immediatly thanks Laura and Gabby for taking him in, that was such a wholesome moment. The brood parts made for some really fun action sequences and Gabby defying a brood infection was absolutely crazy to see, considering how usually once infected you're gone. The truth behind the entire situation and virus was also interesting to see play out.

I do feel this arc didn't have the same "vibe" as the other ones. I feel it's partially because Laura is a lot more serious in this arc than the previous one. I do wish they would've opened this arc by continuing her reunion with Megan and Deborah, because I really wanted to see more of that. Especially with how much emotion is behind that moment knowing the entire story behind it.

I do am intrigued as to where things will go from here because it seems as if another shady organization has set their sights on Laura, so it'll be interesting how that will play out!

#comics #marvel #earth 616 #marvel comics #x 23 #laura kinney #all new wolverine #wolverine

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daysofourlivesrecaps · 10 months

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Tuesday, 4 July 2023

Paulina’s bummed out because Abe’s been declared dead. (Did I mention Abe’s been declared dead? Nurse Whitley Or Whatley I Can’t Remember Nor Can I Be Bothered To Look It Up took a sample of Abe’s blood, then convinced the actor she had posing as his son, Theo, to spread it around the docks and tell the cops he saw Abe drowning. So he did all of that. Fake Theo the Actor, I mean.

So, yeah. Paulina’s actually not being a drama queen for a change because for all she knows, her husband is dead. Also Chanel is being level-headed and supportive instead of whiny and entitled?! Must be a dream sequence.

Speaking of dream sequences, John has one about Abe still being alive. Down at the docks. (“See? We told you we’d use the set if you paid for it! We’re using it SO MUCH!”) In fog that was added in post or maybe, like, delivered via a steamed-up camera lens or something. The point is, there is no way they also sprang for a fog machine or even a block of dry ice. Not this show.

Then John wakes up in a cold sweat and spends the next several segments talking through his feelings with the infinitely patient Marlena. Some superficial lip service is paid to the fact that she has also, as far as anyone knows, lost a dear old friend. But nobody’s here to talk through HER feelings. Quis therapy ipsos therapist? (Don’t bother looking this up. It’s flawless Latin.)

Nurse W.O.W.I.C.R.N.C.I.B.B.T.L.I.U. brings home a rare paper copy of the Spectator, which proclaims Mayor Abe dead.

“Whaddya got there?” says the very much still alive Abraham Carver. So settle in for another episode of Kim Coles Tells Unconvincing Lies! Hopefully we’ll at least get another episode of Body and Soul to help wash this tired old meal down.

Meanwhile, Real Theo gets a visit from Eli, who was easily the hottest dude on this show before he left a year or so ago. (Theo’s looking pretty good himself these days too, honestly.) Eli was here for a weeklong guest spot when I took my little break, and I thought that was the last we were going to see of him. But here he is again! Hooray!

And this time, he brought his wife, Lani! Double hooray!

Lani is Theo’s brother and also Abe and Paulina’s daughter. (Okay, the second part is a bit more complicated because this is a soap. But that’s an accurate enough description.) Oh, and she’s been away for a year because she’s been in prison for murder. The victim in question absolutely had it coming, but she’s a cop and in this beautiful fantasy world, cops are actually held accountable for firing their weapons without following the proper protocol. Ah, beautiful escapism.

Lani got a furlough from prison to bury her dad, because nobody realizes he’s just sitting around at Kim Coles’ house frowning at her really awful fabrications and hating all those stuffed cats. Seriously, by now I bet he could give you an extremely specific reason for why he hates each individual one of them.

Like his Black Patch partner, Steve is also feeling bummed out and guilty over the whole “we didn’t manage to find Abe and now he’s apparently dead” thing. Only Steve is going over the facts with Kayla, rather than opening up about his feelings. Opening up about your feelings is important, mind you, especially dudes this age in this culture. But it’s extremely telling to me that the husband of the surgeon is clinical and logical and the husband of the therapist is weepy and emotional.

Then Theo comes to visit the Johnsons, forcing me to once again play “Do These People Know Each Other and if So, How, Exactly?”

I lost this round. But given that Theo also paid a friendly visit to EJ recently, I think Theo’s just an extremely likable young man that everyone is happy to see. I’ll buy that.

Back at the Price residence, Paulina gives an outstandingly comedic read in this exchange.

But it’s not a cactus! It’s her daughter, Lani, home (temporarily) from prison!

Lani then demands that Eli take her to the police station (where they both once worked as cops) so she can go over the evidence in Abe’s case. And I’ll get to that in a minute, but GUYS! I GOT MY WISH! MORE BODY AND SOUL! And we’re about to meet one of the great soap bitches of all time. (Nurse Whitley/Watley’s words, not mine. And of course Amanda yelled it. Of course she did.)

Said bitch is Lorna Delorean (no, really), who is played by the woman who plays Kate. And in case you were wondering, this hasn’t stopped being the most amazing thing I’ve ever seen, done or eaten.

Lani goes through the case file as promised and finds this professional headshot of Jerry, aka the actor Nurse Wh-atever hired to pretend to be Theo. (I recently discovered that he’s actually the guy who played Theo in the first place, before leaving and being recast with that other guy. Which is a delightful bit of stunt casting.)

“Wait,” Lani says. “He’s an actor? Did nobody think this was a little suspicious?”

And back at the Nurse’s place, Abe continues to watch Body and Soul, only to discover…

…FAKE THEO THE ACTOR, APPEARING ON THE SHOW WITHIN A SHOW AS AN ACTOR!

Days still basically adheres to broadcast standards even though they’re streaming exclusive now and honestly I think this would have been the perfect moment for them to finally break free of all of that because what else could poor, confused Abe say here than “what the fuck?!”

(He doesn’t. But man, he really should have.)

#days of our lives #dool #peacock #soap opera

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stylesnews · 3 years

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“Feeling good in my skin/ I just keep on dancing,” Harry Styles sings in his latest single, “Treat People With Kindness.” And in the song’s exuberant music video -- which has garnered 17 million YouTube views and counting since its debut on New Year’s Day -- he does just that: Wearing a sequined jacket and bow tie, he chassés, spins and flutters jazz hands like an MGM musical star (with a little help from his equally debonair partner, Fleabag’s Phoebe Waller-Bridge).

Styles shot the video in early 2019 after several weeks of training with choreographer Paul Roberts, a collaborator since his One Direction days. “I think somewhere in the back of my mind, I knew this could be something special,” says Roberts, a veteran stage director and choreographer who’s worked on videos and tours for the likes of Sam Smith, Katy Perry, Diana Ross, and the Spice Girls (their Spiceworld stadium tour).

Watching the explosive fan reaction to Styles’s little known dance talents -- including from the Spice Girls, who've “sent lovely messages" about the video -- Roberts says it seems like "Treat People With Kindness" arrived at the precise right moment. “Most people’s comments are, ‘I’ve not felt that happy for three and a half minutes in a long time,’ or ‘I smiled from ear to ear the whole way through.’ It’s a positive light.”

He spoke to Billboard about Styles’ intensive training process -- and why he wouldn’t be surprised to see him dancing onstage again.

There’s been one pretty overwhelming reaction to this video: “This is the guy who was in the group that insisted they couldn’t dance?!” Did you expect this kind of reaction to Harry dancing? I’ve been with Harry for 10 years: I was with the One Direction boys from the beginning the whole way through their career before they took the hiatus, and they always made a very conscious decision that they didn’t want choreography as part of their brand -- but they did want a kind of disheveled organization in order to allow the cameras and the lighting to stand a chance in terms of presenting them in the best manner possible.

What was very evident to me was that all five of them, and then it obviously became four, they’ve all got their own magic. The only time I’ve experienced that was when I worked with the Spice Girls. I always knew that they had special skills aside from what they were in One Direction, whether it was movement, songwriting, being able to handle the business side of things. For such young lads they were very astute and very decisive. So, getting together with Harry -- he’s a bit of an alchemist, is Harry. Everything he turns his hand to turns to gold. Where did the initial dance-centric concept come from? Harry and the directors, Ben and Gabe [Turner], sent me a video link to the Nicholas Brothers scene from Stormy Weather and Harry asked me, "How long do you think it would take to dance like this?" I was like, "OK, are you being serious?" "Yeah, I’m being serious."

That is probably one of the most standout dance sequences ever captured on film -- so I knew we were aiming high. I said, "Why don’t we go into a studio and let’s workshop some choreography, some moves, some short sequences, and see what your ability is, see how we can tailor this to make you look the best you can possibly look." Obviously it would take some investment in terms of rehearsal and commitment, I told him it would be mentally and physically exhausting, but I thought, "My God yeah, let’s do it; this will be an adventure."

How long did the whole process take? We started in mid-January 2019, and we rehearsed and workshopped for about four to five weeks before the shoot, every day. Both Harry and Phoebe had other things going on, so, for instance, Phoebe was working on the new Bond movie in Canada, so I sent my assistant to Canada to work with her. I stayed in the U.K. with Harry, and then we went to L.A. where Harry shot two more videos, for “Watermelon Sugar” and “Falling.”

What was the process in the studio like with Harry? We didn’t even use his [vocal] track to begin with -- we used different big band songs, some contemporary alternative music. It was just about finding his [movement] language first and foremost. Then we developed the choreography and sent it to the directors, who gave us feedback. We enhanced the work a bit more, and then once we had some really solid sequences, Ben and Gabe storyboarded the scenes against the timeline of the music.

At this point Harry and Phoebe were still working separately, and then we joined forces in London, where we really started to refine these sequences of choreography we’d developed, trying to find the finesse and the style, almost making sense of the movement for them so they felt they had a dancer’s way of working the movement through the body. You’ve worked with a wide variety of artists, many of whom aren’t dancers first. How do you find, as you put it, the “language” of movement that makes sense for each of them as individuals?

I think the general answer is really communicating -- listening and understanding what the artist’s desire is. And also collaborating, so you don’t get too lost in yourself as a choreographer. What looks good on you might not transcend to the artist, or even necessarily the dancers.

With Harry, what was important within the language of the choreography was that it felt joyful and had personality. Him and Phoebe, with the work she’s done with Fleabag, you associate them and what they do with a sense of style, a real confidence, but at the heart of it it’s entertainment. And with the amount of time and budget we had, which was such a luxury in this day and age, we wanted to do something that pushed both of them out of their comfort zones. We tried to make it as athletic as possible but without compromising them as artists and becoming too comedic. We wanted it to be a bit quaint and cute in places, but we definitely didn’t want it to be thought of as nonsensical or silly.

Harry’s movement in the video is so crisp and precise, even his hands and arm extension look very dancerly. Did that come through a lot of specific work with you? As a songwriter and artist, for Harry it’s about detail, about pushing yourself to be the best. He’s always got questions: "Why are we doing that? Should we be doing this?" We got to a point during the rehearsal period where I brought in a ballet teacher, really to just get Harry and Phoebe to open themselves up from behind their shoulder blades, have an idea of extension, the lines that extend from your center all the way to the tip of your finger. I’d be saying, “Your arms Harry, your arm line!” Asking him to push his shoulders down, lift his carriage up, extend through his breast. And when he hit those lines, he’d be like, “Oh yeah, that feels different.” It’s funny: We spent a couple days apart -- he had to go off and do a gig somewhere -- and I was like, “I hope you’re rehearsing when you’ve got some downtime, dude!” And he sent me a picture in the gym with his arms in the most beautiful balletic arm line! I was like, "Yes, by George, you’ve got it!" Besides the Nicholas Brothers, did you have any particular dance references in mind for the feel of the choreography? I just delved into the MGM archives. Obviously [Fred] Astaire and [Gene] Kelly, the two greats -- especially with Astaire, we loved how sometimes it seems so effortless yet a bit throwaway, not totally totally perfect always. We enjoyed the moments from him of “I’ll just do a bit of this,” “I’ll just walk off camera left,” the dropping in and out of movement. We loved the duet “Moses Supposes” from Singin’ in the Rain, for Gene Kelly and Donald O’Connor -- we loved the camaraderie between them, which felt a bit goofball at times, and just that wry smile, the look to the left, knowing your partner is there and has got your back. It feels fizzy, it feels joyful.

And yes, there was a massive core of MGM-ism, but at the same time an absolute huge dollop of Harry-and-Phoebe-ism. It was important to us to feel a bit more contemporary, so again we stay true to Harry and Phoebe as artists. Has Harry indicated any interest in dancing more going forward?

We had a conversation back at the end of the summer about how much we enjoyed the process, and I know he was doing another project where choreography was involved, so we were just talking about it and how he felt. Coming from where he came from to what he was about to do, he felt he could be pushed even further. I don’t know if he got the bug, or if it’s just the way he is as a person, very inquisitive and wanting to keep elevating himself. There’s now been some talk on social media that it can’t be long before Harry does Broadway. What do you think?

I mean, I think with Harry Styles, anything is possible, is it not? I mean, I’m sure because he’s tasted the dance, he’ll inject that along the line in his career. It won’t necessarily be out-and-out dancing, but I guess it’s a bit like Bowie used to do, isn’t it? It’s the showmanship and presentation of the performance. Who knows? He’s just so open-minded and open-hearted — and because he’s so open it allows the universe to come back at him and he’s able to do anything he sets his mind to.

#harry styles #jan21 #paul roberts #billboard #article #tpwkmv

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kingstylesdaily · 3 years

Text

How Harry Styles Found His Inner Dancer For 'Treat People With Kindness'

He spoke to Billboard about Styles’ intensive training process -- and why he wouldn’t be surprised to see him dancing onstage again.

At the end of the “Watermelon Sugar” shoot, he wrapped, got in his car, came to the dance studio and we rehearsed into the night. Knowing how short a time you sometimes get with artists even for really big performances, I thought the rehearsals would dilute and we’d lose momentum, but both Phoebe and Harry were so committed. What was the process in the studio like with Harry? We didn’t even use his [vocal] track to begin with -- we used different big band songs, some contemporary alternative music. It was just about finding his [movement] language first and foremost. Then we developed the choreography and sent it to the directors, who gave us feedback. We enhanced the work a bit more, and then once we had some really solid sequences, Ben and Gabe storyboarded the scenes against the timeline of the music.

via billboard.com

#kingstylesdaily #Harry Styles #hs: tpwk #January 2021 #hs: news

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daughterofluthien · 3 years

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“decisions were respected” Sorry but didn’t Scott violently throw Isaac against a wall more than once just because Isaac liked his ex girlfriend in canon? That’s the literal opposite of healthy...

Hey, anon!

This is in reference to this post about Scallison for the shipping meme, where I said that one of my favorite things about Scallison is that the show lets them have a healthy breakup, and even date other people while still remaining friends. The scenes you are referring to are a pair of scenes in 3x13 Anchors.

So lets’s take a look.

(under a cut bc it turns out that when you try to be comprehensive, things get v long v quickly 😅)

The Scenes

I’m actually gonna copy/paste the dialogue of both scenes (along with minimal action/inflection notation for context) so that we can really make sure we know what we’re talking about here, so bear with me:

The first of these scenes occurs as Scott and Isaac are getting ready to head to school in the morning. After some initial ‘hey, what’re you doing, are you heading to school’ dialogue—during which both boys seem a bit awkward—we get the following:

ISAAC: [anxiously] Can I ask you a question? SCOTT: Okay... ISAAC: Are you angry with me? SCOTT: No! ISAAC: Are you sure? SCOTT: ...No. ISAAC: [awkwardly] What's that mean? SCOTT: I guess I'm not really sure how I'm feeling... ISAAC: [nodding] Okay. ...Do you hate me? SCOTT: [sighing] No, of course not. ISAAC: Do you want to hit me? SCOTT: [taken aback] No. ISAAC: I think you should hit me. SCOTT: I don't want to hit you. ISAAC: Are you sure? SCOTT: Why would I want to hit you? You didn't do anything, did you? ISAAC: [stammering] No. I mean, um... What do you mean? SCOTT: I mean, like, you didn't kiss her or anything, right? ISAAC: No! Absolutely not. No. SCOTT: ...Did you want to? ISAAC: Oh, yeah. Totally. [scene cuts to hallway outside the room. Isaac flies through the doorway and hits the wall] MELISSA: Hey! You two teenage boys? Don't test my entirely un-supernatural level of patience! ISAAC: ...Feel better?

The scene then ends, and we cut to subsequent scenes of Stiles and then Allison also getting ready for school.

The second scene is much shorter and happens later in the episode, after Isaac saves Lydia from an arrow that Allison fired while hallucinating. He and Scott are in Scott’s room again, and he’s telling him about the incident:

SCOTT: Right at her head? ISAAC: Almost right through it. And she keeps saying the same thing-- that she keeps seeing her aunt. Whatever's happening to you guys is getting worse. If I hadn't been there, then Lydia would be dead. SCOTT: ...What were you doing there? ISAAC: Uh... [scene cuts to hallway outside the room. Isaac flies through the doorway and hits the wall] MELISSA: [groaning] Oh, you guys, come on! This house does not have a supernatural ability to heal! So, stop it!

But of course just the text of the scene isn’t enough to accurately convey everything in even a tiny portion of a larger narrative, because nothing happens in a vacuum. With that in mind, let’s look at...

The Context

The first of these scenes occurs immediately after the opening credits, and is the first time we see either Scott or Isaac this season. (Assuming you consider 3B a separate season, of course, which is a whole ‘nother can of worms. This tv show we all choose to enjoy sure is Something.)

Often, the opening of a season is used to reintroduce the audience to the main characters—letting us know where their characters arcs are starting, and what they’ll be struggling with this season. Teen Wolf did this previously (and did it well, imo) in 3x01 Tattoo. Act 2 of that episode begins with a series of four scenes showing our main characters getting ready for school in the morning, highlighting where everyone currently is, and setting up where their arcs are going to go.

Scene order taken by itself would seem to indicate that they were trying to do something similar in this episode. It starts off with the hook of Stiles’ extended nightmare sequence. He can’t tell dreams apart from reality anymore, and wakes up screaming. Cut to black, cue opening credit sequence.

Immediately after the first ad break, we get a sequence of three scenes. The first is the longer of the two Scott and Isaac scenes (which, as previously mentioned, occurs as they’re getting ready to head out to school). The second is of Stiles. He’s packing for school, and the audience learns that he’s been struggling to read when he’s awake as well. Finally, we see Allison leaving her and her dad’s apartment. She seems like she’s doing fine, if a little over-focused. But then she gets into the elevator, and has an extended hallucination/flashback of Kate.

We learn soon after this that all three of them (Scott, Stiles, and Allison) are suffering from the aftereffects of their sacrifice in the previous season. According to the explanations we get both from Kira and, later, from Deaton, they’re slipping into bardo, or the space between life and death, and there’s a door open in their minds.

Okay, problem established.

It stands to reason, then, that all three of those opening scenes are supposed to serve to set up this problem. We’re shown, in three successive scenes, that all three of our sacrificees are, as the kids say, Not Doing So Hot.

(yes I know the kids don’t say that, let me be an increasingly out-of-touch millennial in peace)

This is all well and good, and honestly makes sense! Under this paradigm, the Scott and Isaac scene should be highlighting that Scott is Losing Control. Bardo is affecting him, and it’s causing him to be more aggressive. Giving in to violence in a way that he generally holds himself back from. Heck, the scene even starts with Scott flexing his fingers, and we (and Scott) see the shadow of a clawed hand against the door.

In the context of the narrative, it makes sense.

Except.

eXCEPT—

The Framing

The thing about the medium of television is that, when we’re talking about a scene, we can’t just look at the narrative structure. We also have to look at the scene itself: how it’s shot and directed, how it’s edited, even what music is paired with the scenes.

In the Stiles and Allison sequences, the scenes are very clearly shot for tension and horror. Long lingering shots on the things that Just Aren’t Right. Music that heightens the tension. Stiles gets some nice lil scare chords over the shot of the book that he can’t read, and there’s a very quiet droning in the background of the Allison nightmare sequence that slowly grows into some classic horror soundtrack music.

Okay. So far that tracks with the narrative thesis.

Now let’s take look at the Scott and Isaac scene.

We start out with some of those lingering shots I was talking about, as Scott is halted in his tracks when he notices the shadow of the clawed hand. We see his own hand is human and unshifted. There’s quiet, percussion heavy music over this portion of the scene that increases in tension at this point. Shaken, Scott closes his hand into a fist, and when he opens it, both the shadow and his own hand are smooth and human. The tense music fades out to silence, and he breathes a sigh of relief.

Scott opens the door to reveal Isaac, which startles him. There’s a short musical sting to underline this moment, and then the background music cuts out completely, leaving us (and them) in the awkwardness of this moment.

And OH BOY. IS IT AWKWARD. 😬

You can kinda see the Awkwardness Inherent in the System in the dialogue that I pasted up at the top—it’s a lot of back-and-forth, short statements, trailing off... And both Posey and Sharman are playing up the awkwardness as well. Neither boy looks like they really want to be there, and that includes Isaac, who initiated this entire conversation.

But here’s the thing.

The thing that really frustrates me about this scene.

It’s not the sort of awkwardness that exists to increase the tension. The sort that builds and builds until it reaches a fever pitch and you know something just has to give. You know, the sort of tension that you would want to build if you were showing how the protagonist of your show is no longer fully in control, and is on a knife’s edge of lashing out at his friend and beta.

Instead, it’s played for comedy.

And once again, a lot of this is down to the music.

Before the dialogue that I quoted at the top even begins, the music starts back up, and this time the tense percussion has been replaced by light, pizzicato strings. (That may not be the exact right term, fyi, I only really know enough about music theory to be dangerous.) But you know, the playful, plucked strings that often accompanies comedic or otherwise not-serious scenes.

Background music tells the viewer how they’re supposed to feel about the events in a particular scene, and the music here is saying that we’re not supposed to find this whole confrontation that dramatic. In fact, we’re supposed to find it funny.

But it’s not just the music that that frames this scene as comedic. It’s also the fact that we don’t actually see Scott shoving Isaac. Instead, the scene cuts to the hallway, and all we see is Isaac flying through the doorway.

Now, obviously I don’t have a direct line to the director and editors’ minds here. But I would bet money that those particular shots were chosen 1). because it’s so much easier to do a wire pull stunt when you don’t have to show what it’s in reaction to, and 2). because it’s kinda difficult to show your main character directly doing a violence and make it funny.

But show someone yeeted into frame, and that’s funny. Right?

(Spoiler alert: not in this context, it isn’t)

Now, I know I’ve been focusing on the first scene a lot—partially because it’s longer and partially because it’s really the only reason that the second scene exists—but I do want to take a look at the second scene really quickly as well. It’s much shorter and generally adopts a more serious tone than the first one, mostly due to fact that we’re smack dab in the middle of the action at this point. The weird visions that the sacrificees have been having all episode have started endangering lives, and they can’t just wait for it to resolve on its own.

But then the focused, intent exposition is broken by Scott’s question of “why were you there.” Then smash cut to a near identical shot of the hallway,and Isaac yeeting into frame.

The thing is, this scene is entirely dependent on the previous one. It only “works”—and I use this term loosely—as a call back to the scene at the beginning of the ep. Heck, both even have the stinger of a frustrated Melissa at the end of both scenes, frustrated at all the boys-will-be-boys roughhousing going on in her house.

Much like the first scene, this one is also set up and framed for Comedy.

Which is um. A Choice.

But What Does It All Mean

What frustrates me about these scenes, at the end of the day, is that the narrative intention and the directing/editing seem to be fundamentally at odds.

On the one hand, it makes narrative sense to say that the purpose of the scenes is to show that Scott is losing control. That he’s being affected by bardo and the open door in his mind, and it’s putting the people close to him in danger. But then on the other, the way the scenes are actually used are as comic relief. As a way to release tension between very tense, dramatic scenes.

I don’t think it works, as I don’t personally find it funny at all. But that really does seem to be the intention.

Once again, absolutely wILD choices were made on the part of tptb, and I really wish anyone had thought for two seconds about the implications of all of this, but nO

Ahem.

So now (literally 2K words later I’m so sorry 😅) what does this tell us about the characters? Certainly no one here is arguing that shoving someone is a good or defensible choice, whether it’s due to forces outside the character’s control or not. But even taking the influence of bardo in mind, is it even in character for Scott in the first place?

Because canon can also be written inconsistently/out of character, especially when we’re talking about a long-running show like tw.

One’s an Incident, Two is Coincidence...

Well, we all know the end of that saying.

So let’s end by looking at a few patterns.

As I mentioned at the beginning of this, once again, eXCEEDINGLY long post, this is reference to a post I made about scallison. I said the following in that post:

And I also really like that they [Scott and Allison] didn’t get back together. That they were allowed to be friends. That even though sometimes it hurt to watch someone you love loved love become romantically close to another person, decisions were respected, and no friendships were broken over it.

The first pattern we need to look at, then, is this:

What’s Scott’s pattern of behavior toward Allison and Isaac’s relationship?

And does Scott’s behavior toward Isaac in these two scenes match the pattern, or is it an outlier?

3x11 Alpha Pact: Sacrifice Prep The revelation that Allison and Isaac have grown close enough for him to act as emotional tether for her is very visibly a blow to Scott. He looks like the rug has been pulled out from under him, but he doesn’t look angry or upset, just.... sad. In fact, it looks like he’s swallowing back tears. But he nods towards the two of them and just says, “It’s okay.”

3x12 Lunar Ellipse: “I look for my friends” This is the epilogue of the season. Scott walks into the hallway at all of his friends in turn. Satisfied. Happy. First at Lydia and Aiden, then at Danny and Ethan. Then he turns and watches as Isaac and Allison walk down the stairs, and they’re laughing, and so obviously happy, and Scott’s small smile grows. He isn’t jealous here—he’s happy for them.

3x14 Illuminated: Mutual Recognition Scott and Allison are both at Danny’s halloween party, but they’re not here together. He sees her from across a crowded room, just like he did at the winter formal, so many months ago. But so much has happened, and they’re different people now. Allison’s with Isaac, and he’s starting to having feelings for Kira, but that doesn’t mean it doesn’t hurt, and that he doesn’t miss the relationship he and Allison had. For a moment, his fingers slip away from Kira’s, and he and Allison share a sad smile.

Believe it or not, these are actually the only other examples I could find of Scott reacting to Isaac and Allison’s relationship. And uniformly across them, he’s sad, yes—after all, he loved her, and that relationship is very definitively over now. But he never seems jealous, and he isn’t angry.

So, if the Scott and Isaac scenes in Anchors don’t fit the pattern of Scott’s behavior towards the new couple, what pattern do they fit?

“Hit me.”

The teen wolf writers have a... really upsetting habit, honestly, of “resolving” interpersonal conflict between two characters by having the “wronged” party hit the other. Afterwards, the tension is almost completely broken between them, as if letting the person act aggressively in a way consensual to both parties has somehow solved the problem.

2x11 Battlefield: Derek and Peter After Peter comes back from the dead, he confronts the now pack-less Derek and offers to help him. Derek, likely remembering that Peter killed Laura and was responsible for most of the events of S1, attacks him instead. After taking a beating, Peter says the following:

PETER: Okay, go ahead! Come on, do it! Hit me. Hit me. I can see that it's cathartic for you! You're letting go of all the anger, self-loathing, and hatred that comes with total and complete failure. I may be the one taking the beating, Derek, but you've already been beaten. So, go ahead. Hit me if that will make you feel better. After all, I did say that I wanted to help.

3x13 Anchors: Scott and Isaac We’ve already discussed this scene in uh. Detail. So I don’t think we need to go into the specifics again. But just a reminder that this dialogue exists:

ISAAC: Do you want to hit me? SCOTT: No. ISAAC: I think you should hit me.

5x15 Amplification: Scott and Liam During the previous supermoon, Liam—swayed by grief, the full moon, and Theo’s manipulations—tried to kill Scott and take his power. They’ve since rediscovered an equilibrium in their relationship, and Liam’s back in Scott’s pack, but they’re both still dealing with the implications of that event. In this episode, they’re attempting to break Lydia out of Eichen, but they’re not as strong as they should be, due to the mountain ash laced through the building, and are having difficulty breaking down a door. Then, the following exchange occurs:

LIAM: Hit me. SCOTT: What? LIAM: Hit me! I'll get angry, then I'll get stronger. STILES: Hit him. Hit him! LIAM: I tried to take your powers. I tried to kill you. Hit me! STILES: He also left you for dead. LIAM: I wanted you dead!

6x16 Triggers: Liam and Theo No one actually directly says “hit me” in this one, due to the circumstances, but the sentiment’s there. In this sequence, Liam and Theo are trying to convince Gerard and the hunters that the whole pack is hiding out in the zoo, so Theo goads Liam into hitting him, in order to stage a very audible fight.

THEO: Okay... Then they have to believe us.[shouts] Isn't that right? LIAM: [whispers] Why are you yelling? THEO: [shouts] You got a problem? Oh, that's right, you always have a problem! LIAM: [whispers] What the hell are you doing? THEO: [shouts] Shut up! [punches Liam] Yeah, you see that, Scott? Your little Beta can't even take a punch. And what do you think, Malia?

While there’s a variety of primary textual reasons here, all of them deal with personal issues between the pair, and all of them involve some level of catharsis for the person doing the punching. Taken all together, it’s honestly a pretty troubling pattern, especially given the inclusion of an actual canonical abuse victim initiating and receiving the violence.

TL;DR

This is a writer issue, not a character issue. The serious narrative context conflicts with the comedic framing in a way that is honestly baffling to me, and it doesn’t fit the established pattern of Scott’s character and actions. Moreover, it’s an example of the writers’ apparent belief that interpersonal conflict can and should be solved through consensual violence.

The pattern we do see, is that the Scott is saddened by the knowledge that Allison has moved on, but he’s glad that she and Isaac are happy. Similarly, Allison is saddened that Scott is moving on as well, because she does still care for him deeply. Despite their conflicted feelings, neither tries to disrupt the other’s new relationship.

On other shows, that would be a season-long, drama-filled plotline. Here, nothing.

And I legitimately love that so much.

#asks #anonymous #scott mccall #teen wolf #als;dkjlfkjf i'm so sorry that this turned out so long y'all #but it turns out that I have Thoughts #my meta

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hlupdate · 3 years

Link

He spoke to Billboard about Styles’ intensive training process -- and why he wouldn’t be surprised to see him dancing onstage again.

There’s been one pretty overwhelming reaction to this video: “This is the guy who was in the group that insisted they couldn’t dance?!” Did you expect this kind of reaction to Harry dancing?

I’ve been with Harry for 10 years: I was with the One Direction boys from the beginning the whole way through their career before they took the hiatus, and they always made a very conscious decision that they didn’t want choreography as part of their brand -- but they did want a kind of disheveled organization in order to allow the cameras and the lighting to stand a chance in terms of presenting them in the best manner possible.

Where did the initial dance-centric concept come from?

Harry and the directors, Ben and Gabe [Turner], sent me a video link to the Nicholas Brothers scene from Stormy Weather and Harry asked me, "How long do you think it would take to dance like this?" I was like, "OK, are you being serious?" "Yeah, I’m being serious."

How long did the whole process take?

We started in mid-January 2019, and we rehearsed and workshopped for about four to five weeks before the shoot, every day. Both Harry and Phoebe had other things going on, so, for instance, Phoebe was working on the new Bond movie in Canada, so I sent my assistant to Canada to work with her. I stayed in the U.K. with Harry, and then we went to L.A. where Harry shot two more videos, for “Watermelon Sugar” and “Falling.”

#harry styles #articles #tpwk #120121

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adhd-ahamilton · 3 years

Text

I got to see Hamilton in Sydney!!

It was a seriously, seriously amazing time – I was always worried that by the time I finally got to see Hamilton on stage (I was even supposed to see it in America last year lmfao) it wouldn’t mean the same anymore. And like, obviously it’s not my hyperfixation anymore. But even like this, it was still an incredible experience! I always figured that the recording would focus more on close-ups and the like because you can’t really see that on stage, but you really can see so much of what’s going on when you see it live and the whole stage is full of things to notice!

I have a lot of thoughts about it (mainly about the Australian cast, though some of these things could just be live performance things)!

Firstly, only two lines had their wordings changed:

* ‘John Adams doesn’t have a real job, anyway’ → ‘Vice president is not a real job, anyway.’ This got a good laugh from the audience; obviously it was changed to preserve the joke, since most Aussies wouldn’t have a good idea of who John Adams was. (I explained the joke when I watched the recording with my parents.)

* ‘Weehawken. Dawn.’ → ‘Jersey. Dawn.’ This was a bit of a surprise, but the more I think about it the more it makes sense. Aussies also wouldn’t know Weehawken (I didn’t even get that he was referring to a place when I first heard it), while Jersey is very clear because they already made a joke about it. (That one didn’t get much of a laugh though, ofc lol) And it’s actually more consistent because later they do say ‘we were near the same spot my son died, is that why’ so they drive that connection even deeper.

I don’t think there were any other music/staging/choreography differences from the recording – just the acting. But ooh, this really was differently-acted!

Hamilton

I love Lin-Manuel Miranda. I love his energy and enthusiasm and intelligence and his optimism. But while I loved his dorky version of Hamiton, I have to admit, I didn’t always think it matched up with even the musical’s script, let alone the real person. This Hamilton, though? I kept thinking about all the ways he felt different from the original, and almost every time, it was like ‘yeah, this feels more like what I know of the real Hamilton.’ (Or at least, the Hamilton we wrote about in fic.)

This Hamilton is aggressive and prickly. Up until Helpless, we don’t really see him smile – which makes sense, y’know, with ‘talk less, smile more.’ When he confronts Burr at the beginning of the play, he doesn’t have Miranda’s overly energetic and talkative air, he’s more pushy and too intense. You really feel like, oh, yeah, he’s just walking up to someone on the street and badgering them into telling him about their life story. When he says ‘God, I wish there was a war’ he’s less naive and more so hyperfocused on his goal he doesn’t notice he’s said something super insensitive. When Burr says ‘You wanna get ahead?’ his ‘Yes’ isn’t quiet and firm, it’s more ‘yes obviously, nobody would not want to get ahead, so just hurry up and tell me already.’

And that’s just in the first couple of songs! He continues on like this, with that kind of burning intensity and hot temper, through the musical, though ofc it softens at important times. Importantly, his relationship with Burr is largely based in frustration. When he does ‘My Shot’, it honestly feels less like he’s singing to impress the guys and more like he’s challenging Burr and everything he just told him; I’m sure I saw him glancing back at Burr several times. Likewise, when he tells Burr to go get Theodosia, it’s not questioning – he’s outright saying that if he really loved her, he’d take any risk for her. And in Schuyler Defeated, his ‘Burr?’ isn’t questioning there, either – he’s already angry, he’s just demanding his attention. He genuinely seems to like Burr in a weird way that even he might not understand at times, but for the most part he just seems to find him really frustrating and is always trying to incite him to do more.

This Hamilton also feels very independent, and even aloof. In The Story of Tonight, while the other guys are totally sincere and moved by it all, Hamilton feels sorta… distant. At one point he half walks off until Laurens brings him back, which I think happens in the recording as well, but here I especially felt like that was how he was ‘really’ feeling. Not that he was being manipulative or lying in any way, just that he couldn’t be in the moment because he was still stuck in his head thinking about the future. And the whole way through, he very rarely seems to properly open up – my friend said afterwards that Hurricane hits so much harder when it’s the first time he’s really vulnerable in the entire musical. Which is basically how it happens.

It’s funny – you think of Hamilton and Burr as being contrasting this way, with Burr keeping his cards close to his chest and not revealing what he really wants until The Room Where It Happens, but this Hamilton doesn’t feel far off. But rather than keeping a secret per se, it’s more… he has such an incredibly strong, intense drive, and you’re never super certain where it comes from. And in Hurricane, it suddenly becomes clear – all this time, he’s still caught up in that trauma, and still feels like he needs to fight and scrape just to survive, even when it turns into this self-destructive impulse. Honestly, Hurricane has always been kind of a weird song – he’s been corrupted and is not the most sympathetic beforehand, but then you get this grand slow inspiring song talking about how he suffered in the past and overcame it, but THEN you cut to an almost comedic number about how he fucked everything up for himself and his family. In Miranda’s version, that mood up-and-down always felt a little too jarring. Here it made perfect sense – it was so shocking to see how vulnerable he was at the beginning, and then the song isn’t just repeating what we learned in the beginning, it’s explaining what he’s been keeping deep down all along, but also making it clear that this is manic and awful and destructive.

Part of that is the singing, too. This Hamilton can rap really well, but his singing voice is startlingly gentle and beautiful. It really helps to get across the sincerity of his feelings in Helpless, Dear Theodosia, and as I said Hurricane. On the other hand, there are also times his voice just goes flat, like there are so many emotions he can’t process them – you see that a bit in My Shot when he gets worried (‘I never had a group of friends before’), but it REALLY stings when he says ‘I have so much work to do.’ That hit me way harder than Miranda’s version :(

However, when you combine this Hamilton’s aloofness with that certainty and intelligence, you also get a version of him that is particularly… ironic? He’s always crossing his arms (when he’s not rubbing his face with a palm; those two gestures repeat constantly through the play), and kinda stepping back and Watching people, with a bit of a sense of self-important and even patronising judgement. This is very much ‘So quick-witted!’ ‘Alas, I admit it.’ He definitely does come across like a dude who thinks he is ‘smartest in the room,’ and puts way too much stock in his own opinion. Particularly with Burr whenever they were getting along there was a distinct sense of ‘You know what? I actually think you’re pretty interesting. And my positive judgement is hard to come by, so that’s a big compliment.’ (Burr does not seem to get this weirdly condescending vibe though, lol.) Honestly…. I gotta admit: I really don’t like people like that, haha – though I can’t say it’s entirely inappropriate for Hamilton characterisation. This Hamilton genuinely feels difficult, and that matches up to what happens in the script.

But, the consequence is that after Hurricane, some of the later songs didn’t have quite as much of an impact on me as in the original. In It’s Quite Uptown, I could somehow never quite lose that vision of Hamilton as a bit sarcastic and superior – the way he rubs at his face in grief still just felt a little… put-on and theatrical, like you can hear the frustrated sigh underneath. And this is a song that demands complete, total, unrelenting vulnerability – Miranda’s Hamilton sounds like he’s dying the whole time and that makes the emotional stakes really felt. Maybe it’s that his voice was TOO gentle in this song – Miranda’s more awkward voice actually adds to the exhausted brokenness of the situation?

And finally, when we got to The World Was Wide Enough… Miranda’s speech there in the silence might just be my favourite sequence in the entire musical, so I think anyone else would have struggled to match up to that. It doesn’t help that I was distracted trying to figure out Burr in this scene (which I’ll get to later). It was still beautiful, of course, but ‘What is a legacy?’ just feels so so very Lin-Manuel Miranda and anyone else singing that just doesn’t feel the same.

Overall, I really really enjoyed this version of Alexander Hamilton – as I said, he felt much closer to the actual characterisation I always imagined for him. And this one showed some really fascinating vulnerability in unexpected places, even if the ending didn’t quite land as well for me.

Burr

This Burr was really, really fascinating as well – an interpretation that feels different all the way through, but really pays off at the end with something very striking.

So, something the group of us all agreed was that this Burr felt a lot more like the ‘trust fund baby’ he calls himself. There’s something elegant and refined about him, a rich person who is used to moving through the world as a person to be admired. He’s actually quite graceful, somehow, even though he barely dances? But that also really brings to the fore one particular element – entitlement. (Seriously, my mum is physically incapable of bringing up Burr without mentioning the word ‘entitled’, lol.)

This is a Burr who is used to not having to work for things. He just sort of expects things to fall into his lap, eventually, in contrast to Hamilton. The world will eventually shape to match his desires – that’s how things work. Even in the latter part of the musical, it doesn’t so much feel like he needs to fight and scrape like Hamilton to get ahead, but more like… getting ahead is his birthright, and he just needs to effect that inevitable change into the world. But I’ll get to all that later.

The other thing my friend said was that this Burr feels very much like a preacher’s son, and the more I thought about that the more I agree. There’s something almost… toxically positive about him – the smiles don’t feel two-faced and manipulative so much as maybe like, wilfully ignorant? There’s a very ‘Don’t fret, God will work things out in the end :)’ feel about him, actually. But there’s also something deeply naive in him. Leslie Odom Junior’s version also had some of that genuine lack of understanding – when he muses in confusion over Hamilton in Wait For It, or when his face scrunches in confusion when he says ‘I don’t see why that has to end’ in Schuyler Defeated, and this one does all that, but it feels like an even more inescapable part of his character.

Like, there’s something about this Burr that is just a bit… lame. A bit ‘Hello Fellow Kids.’ But, intentionally!! As I said, he’s a preacher’s son. When he tries to act kinda cool or badass, it just doesn’t quite work. When he interacts with the other guys, even as he smiles wanly and shakes it off when they insult him, you feel like he does still want to be – or even think he is? - part of that group of cool young men. He’s just too… nice, almost. I felt a little more bad during The Story Of Tonight (Reprise) and all. And he seems to take it really earnestly that Hamilton likes him, even if, like I said, there’s a sorta superior quality coming from Hamilton.

He just comes across more naive. Rather than a manipulator, this Burr comes across as more of a shameless Yes Man, who doesn’t think there’s anything wrong with what he’s doing. But I also sort of felt like other characters easily saw through him, and Burr didn’t quite realise that. Like with Jefferson, it sorta felt like he thought he was being really strategic but Jefferson was just like ‘sure, this guy works as an ally, even if he’s kinda annoying.’

And when it comes to Wait For It… the song makes it clear that bad things have happened to him – he hasn’t gone through life without suffering – but he hasn’t had the same reaction Hamilton has had. While Hamilton learned nothing will come to him unless he takes it, it feels like Burr learned that things will just… happen to him, good or bad, and he can’t control it. Nothing that has ever really affected Burr has been of his choice – he inherited his position, and then his parents died, and all of that was just the uncontrollable whim of the universe. Leslie Odom Junior’s version emphasised the ‘I am the one thing I can control’ aspect a bit more – you feel that that version really had worked hard and struggled for the sake of his studies and job, but this Wait For It gave me a very uncomfortable feeling of being trapped. It’s as though everything about him is already decided, and even his efforts aren’t personal decisions so much as just what was natural and expected of him to do.

And that makes the second half of the story feel very different for him. In Leslie Odom Junior’s version, we see him take that self-control to new levels – that realisation that there is something that means as much to him as all of that drive and intensity Hamilton puts out, and it’s his own ambition. That he does want that, and he will have to fight and get his hand dirty to make it happen. As the story goes on, he becomes increasingly desperate and fearful, understanding more and more what it was to be that kid in the hurricane, becoming viscerally aware that terrible things can and will happen to him unless he stops them.

This Burr doesn’t feel like that. His downfall isn’t frantic. It’s very very cold.

In The Room Where It Happens, yes, his ambition crystallises and he changes strategy. But it feels less like an electric jolt, or an earthquake, and more of an epiphany. It’s okay for him to do these things. It’s right. He belongs in the room where it happens. Whatever he does to bring him there is by definition right and good.

He honestly seems to be feeling good through much of it. He’s so smiley when he comes up to Jefferson. He seems even more confused than Leslie’s Burr when Hamilton is actually mad at him for unseating Schuyler. And in The Election of 1800, there’s nothing of the original’s tired, manic energy, like he’s pushing himself to the brink and plastering on a smile to get through it. When this Burr campaigns, he’s energized and charismatic and friendly and filled with almost a kind of serenity. Like this is what he was born to do. His future is almost here – he just needs to reach out a little and it will be in his grasp.

Which, brief aside here while I analyse this haha – so, in Australia, a big part of our culture is what is called Tall Poppy Syndrome. i.e., an instinctive bitterness and hostility towards those who are perceived to stand above others. It’s often described as an aggression towards successful people, but I think that’s only part of it. Australians would describe their culture as breezy and casual and relaxed, but there’s also something disaffected about it, IMO. You’re not meant to ever take anything too seriously. Yes, we all take the piss out of politicians, but it’s sorta ‘lame’ to really seriously oppose them, too. It’s like our culture is stuck in the mindset of a self-conscious fifteen year old, where we’re all sorta lazily cynical and ‘bluntly honest’, but you’re not supposed to ever actually do anything about it all. Caring too much is kinda embarrassing. You’re just supposed to make fun of people and keep living your life. We don’t get the same fundamentalist groups intent on forcing their viewpoint on society like America does, but we also don’t get the same idealists who fervently believe that if we work hard we can make things better. They exist, for sure. But… well, it’s hard for me to imagine an Australian Leslie Knope, you know? (Who, btw, is one of my favourite fictional characters of all time, for reference.)

Watching Burr in The Election of 1800, I was struck by a memory. It was an Australian season of The Amazing Race, and on top of all of the typical relaxed Australian reality show contenders (seriously, I don’t know what the fuck Drag Race Down Under is on, that is the most un-Australian reality show I have ever SEEN), there was one couple that were I suppose Go-Getters. The type who eat healthily (probably vegan) and get up every morning in their athleisure to work out at the gym or go for runs. They were peppy and enthusiastic and they announced with huge smiles that they were going to WIN this! And the other contestants absolutely despised them. At one point, they did something to attract specific ire – honestly, it was probably nothing more than just not helping another duo who were going the wrong way, because in Australian reality shows everyone helps. But after that, multiple groups all ganged up to sabotage them. They took such delight in watching these two cheery people’s optimism flag, so very self-assured in having taught them to ‘not take yourself too seriously.’ Burr, as he was campaigning, reminded me of them.

It’s really telling, I think, that Burr is the one who reminded me a little of Leslie Knope, here – albeit obviously a much darker version. The kind of person who dorkily believes in the system and puts himself out there unselfconsciously, whose wide smiles are unironic and unmocking. In the original, Lin Manuel Miranda actually compared Hamilton to Leslie Knope at one point, with Hamilton’s ‘thirty years of disagreements.’ It’s a very Australian thing, to make Hamilton less earnest and more aloof and sarcastic, to make his anger as much about frustration with other people as about believing in something himself, and to make Burr, by comparison, sincere. Australians don’t really trust sincerity. Honesty is to be framed as an insulting joke, and Burr is just too polite to do that.

When the results come, Burr’s serene smile only very very slowly fades. Before his expression really drops, he turns away. When Your Obedient Servant starts, he’s quiet. The whole time he sings, he’s measured and controlled and entirely certain of himself. He doesn’t have LOJ’s grit or spikes in volume on ‘just to keep me from winning.’ He’s unnervingly quiet.

Even into The World Was Wide Enough this continues. In the original, Burr is outright frantic. He’s desperate and shaking with anger and fear, and when he points at Hamilton’s glasses and the like, you can feel that he actually isn’t sure of himself – that he’s trying to justify this to himself and knows he sounds crazy, but he just can’t pull back now. His voice shakes and goes up and down. When he says ‘we were near the same spot his son died, is that way?’ it rises and when he says ‘this man will not make an orphan of my daughter’ he cracks in real tears, like the mention of Philip reminded him of what’s at stake here, like that really is the reason he’ll kill him. This Burr stays quiet and cold. He doesn’t waver.

If that Burr was desperate, this one feels… and I hope this doesn’t sound like a joke: like a thwarted rich nice guy. The other Burr learned from Hamilton too well, and is replicating his self-destructive energy. This Burr hasn’t learned anything at all. Winning is still his birthright, and Hamilton has stolen that from him. Burr deserves it, and he deserves to punish Hamilton for this. It’s not an explosion of shock, a scrabbling for purchase in this new chaotic world that will doom them both. It’s vindictive. Burr knows what he is doing and he wants to hurt Hamilton for all Hamilton has hurt him.

After the shot, I was surprised to find myself not tearing up as I expected (usually, these two last songs always get me). With the original Burr, his singing is laced with pain as much as regret. When he repeats ‘death doesn’t discriminate’, we feel his sorrow as he fits Hamilton into the same kind of category as his parents and wife, as someone important to him who died. When he says ‘he may have been the first one who died, but I’m the one who paid for it,’ we understand that he’s referring to the depth of his grief. That having to live with knowing he killed Hamilton feels, in this moment, worse than death.

This Burr is still cold. And when he finally gets to it, and says ‘I’m the one who paid for it,’ he looks away. He almost spits. His face is contorted in bitterness. It’s rough and gritty, for the first time in the entire musical.

I can remember it vividly – it was shocking to see, and sends shivers through me to remember. I’d been waiting for that cathartic sadness, but it wasn’t here. This Burr, deep down, didn’t feel for Hamilton, at least in the end. He was pissed off because for once in his life his actions had consequences. Because of Hamilton, he had fucked up his life forever. His worldview had been shattered. And at that moment, that was all he could think about – that resignation and bitterness and anger. All along, maybe, he had been nice only because he’d had no reason not to be. Once it didn’t benefit him, and his pride and entitlement were damaged, he showed who he truly was.

It… was an experience, lol. Honestly I think it was partly lost on me because I so loved the original version and was like working myself up ready for a good cry here, so I didn’t get to just sit and take the full impact – I kept searching for a grief or fear that wasn’t there. But I don’t think this version is bad! It’s a very valid interpretation of Burr, and it was extremely fascinating to see unfold.

If I have one critique, it’s that one kind of problem with the whole Australian show is that the performances lacked grit. I really wanted more edge, more aggression, more intensity of those emotions – something more sharp and shocking. Hamilton delivers this kind of thing at times, especially early on, but ofc it fades away in the end. Jefferson, as I’ll get to, is too smooth-talking while also having that cold serene kind of anger. When we lack both Hamilton’s broken It’s Quiet Uptown and Burr’s frantic ‘this man will not make an orphan of my daughter’, we don’t get those life and death stakes quite as highly. By focusing all of Burr’s anger in one line, I think the rest of the songs didn’t have as much of an impact as I’d like.

But!! I really enjoyed this interpretation, and I’d love to see it again knowing what’s coming!

Eliza

OKAY nobody else is going to get those huge walls of text lmaoooo

Anyway this Eliza wasn’t a super different interpretation than Phillipa Soo’s, but I think she pulled it off at least as well, if not even better?

So, the really big obvious thing about this Eliza is her smile. Her actress has this amazing, big toothy grin that feels so lacking in guile, but also still so comforting. It’s so attention-grabbing and almost impossible not to be affected by. It just screams ‘hey, things will turn out okay, so cheer up! :)’ And it’s something that just comes out on Eliza as if on instinct – she’s wearing it through most of That Would Be Enough, and at the end of Take A Break when she escorts Angelica away, and even in Blow You All Away when she’s comforting Phillip or in flickers when describing Hamilton’s old letters in Burn.

The thing about Eliza as a character is that she’s basically defined by her emotional intelligence. She feels as strongly as Hamilton, but where he is uncontrolled and reckless and both self and other destructive, she is the opposite of all of those things. She’s measured and practical and knows exactly who she is and what she wants at all times. She will sacrifice for others, but it’s because she decides to, and if she is hurt, she will not keep herself in harm’s way. It’s an interesting kind of competence and I can understand in theory why it’s cool to have a female character like that even if I, as a neurodivergent mentally ill woman cannot relate in the slightest and feel sorta awkward to be judged against.

This Eliza nails all of that perfectly. She’s effortlessly charming and soothing whenever she wants to be – in That Would Be Enough, when Hamilton is turned away and putting up all of his sharpest bristles, you can feel her become something soft and liquid and find her way up against him regardless without getting hurt. It’s that strength of character that makes their relationship really work – it’s not necessarily that she completely understands him or is good at ‘handling’ him, but that her certainty of purpose and deliberate, skilful compassion make her perfectly suited to calm Hamilton’s deep down insecurities. She loves him entirely and makes him believe that. And when Hamilton responds with his own intensity, she loves that, and believes in that.

And all of that makes it mean so much more when she steps out of that natural mediator role for a moment. In Helpless she’s adorable, so giddy and excited and so clearly crushing on Hamilton with a youthful energy that somehow doesn’t feel all that naive. As she sings she’s constantly glancing back over at him, it’s really cute haha. But she does feel a bit more vulnerable here – it does feel like she’s silently asking for help from Angelica when they talk. More startlingly, there’s Non-Stop – when she calls out ‘Alexander’, it is SHARP. It’s the same kind of tone Hamilton takes when he calls out to Burr in Schuyler Defeated. It’s a bit startling actually, but in a good way.

That tone, I think, foreshadows Burn. Again, I think this Eliza takes the same tone as Philippa Soo, but this version (maybe just because I saw it live!) embodied it even more – she talks about her own desperation to understand, re-reading their old letters, and cites Angelica as back-up, but when she reaches the mid-point, she stops and seems to think. She weighs up the situation and her emotions. And when she says ‘I’m erasing myself from the narrative,’ it is very deliberate and conscious. She is in control of her fate and she can see herself objectively and this is what is just. Her moral core is impenetrable. She sees long arc of the future that Hamilton and Burr are so obsessed with and she says, yes, this is what should be done.

And then in It’s Quiet Uptown, that same self-certainty is there from the very first word. This whole musical, even at her lowest, Eliza has instinctively brought out that comforting, wide smile. Here, her face is expressionless. If Hamilton’s acting here didn’t quite hit my mark, Eliza’s was spot on. The withdrawal of that earlier warmth is all the colder when there is no doubt within her about it, and nobody can argue she’s wrong in that. When she takes Hamilton’s hand, she still doesn’t smile. It’s sad :(

Of all of the final songs, Who Lives Who Dies Who Tells Your Story hit me closest to the original. It’s actually almost jarring to see Eliza ask ‘have I done enough?’ This whole song, we hear a hasty energy to her she’s lacked all musical – the first sign that Hamilton has rubbed off on her, too. But when she asks ‘Will they tell your story?’ it’s still Eliza – this isn’t about a legacy, it’s because she’s still that giddy girl from Helpless who loves him and wants to do everything she can for the people she loves.

(Whenever she and Hamilton see each other but appear to walk past one another, only to circle around and meet in the middle again, I cry lmao;;)

Her gasp at the end is soft and quiet and delighted, as though she just spotted someone in the crowd who she hasn’t seen in years and can’t wait to catch up.

If I have one critique, it’s the lack of grit again. Her scream at Philip’s death wasn’t as wild and destroyed as Phillipa Soo’s, and while I like her gasp, I prefer the original’s shocked, overwhelming joy.

Overall though, she was extremely good! Her charisma was just blinding, but it was in that perfectly ‘mundane’ way you’d expect from Eliza. But that solid, immovable core always shone through. They really sold her relationship with Hamilton, too!

Angelica

This is the one I feel like I have the least to say about. My mum said she was the only character who just couldn’t quite match up to the original, and I don’t really agree, but I don’t have a huge amount to say, either.

This Angelica felt a bit older and more mature than Goldsberry. The original Angelica has a bit of brashness and vivid emotion to her – a bit more out there and exaggerated in her actions and expressions. More bold but also more chaotic. This one was a bit more quiet and considering. Diplomatic, maybe?

I actually worried when I first saw her that she wouldn’t be able to carry Satisfied because she was too confident and capable I wouldn’t be able to believe her vulnerability, but no, she pulled that off perfectly. When she was standing in the dark there in the end, the sadness radiated from her.

I actually got a lot more chemistry between her and Hamilton this time; I always thought I disliked the relationship in that canon because of my grudge against how LMM wrote it, but maybe it’s just that LMM was too old for her lmao. You’d think her quietness would contrast with Hamilton’s pushiness, but if anything it feels like she can just eyebrow-arch off his usual way of getting under people’s skin – when she says ‘you forget yourself’ it’s subtly disapproving, then when he delivers the punchline, it’s like he proves himself enough to earn her respect. Indeed, their mutual aloofness actually suits them both really well. You can just imagine them working together, quietly sharing their judgements on everyone else in the room around them. They’d be a terrifying power couple, and that really connects up to her advice in Take a Break.

I don’t have as much to say about the rest of the musical though. (actually IDK if that’s all partly just because by the end my ADHD brain had to work a lot harder to keep up, lol.) Her piece in The Reynalds Pamphlet did the job, and her singing in It’s Quiet Uptown was beautiful.

I guess, if I had to contrast them, the original Angelica felt more spirited and aggressive – very ‘you want a revolution? I want a revelation!’ - while this one felt more like the settled head of the family who already had her place but understood the world perfectly and knew she’d have to pick and choose what she wanted most. (...spoken like that she sounds like a big contrast to Burr, funnily enough?)

Lafayette/Jefferson

So not too much to say about Lafayette – the guy pretty much did him the same as Daveed Diggs, and pulling that off is very impressive but there isn’t too much to analyse here. If anything the Lafayette felt slightly less bright and cheery than the original, which may have been done to contrast with Jefferson.

Jefferson, on the other hand, was quite different. Diggs’ version is very loud and kinda abrasive and arrogant – always smiling and bouncing but with something clearly malicious lying behind all of that. He’s got a harshness to him, deliberately intimidating and surprisingly authentic in what he reveals of himself. He’s a villain character who’s fun to watch because he’s having fun himself and you gotta admire his balls.

This Jefferson is much more smooth and manipulative – maybe taking over from what Burr sometimes delves into? When he first appears, he plays to the crowd, encouraging the cheers, but it’s less arrogance and more like, he’s a celebrity putting on a show. He’s friendly and cheerful all through What’d I Miss?, disarmingly enjoyable to watch. He’s someone who knows the crowd and likes the crowd and is very very good and getting what he wants from the crowd without making it obvious he’s doing that. He’s definitely the type of #relatable celebrity fans would really want to defend.

But Hamilton represents a very clear change to his status quo. He starts off singing What’d I Miss? just in a fun, conversation-starting way as a rhetorical question, but after Hamilton introduces himself, he seems genuinely taken-aback. His last ‘What’d I miss?’ sounds like a genuine question, like, ‘wait wtf what’s going on here all of a sudden?’

And then we get the Cabinet Battles. Despite the above, Jefferson starts off his argument oozing with relaxed confidence. He doesn’t need to take any of this seriously – it’s already in the bag! Everyone loves him and as long as he makes some nice jokes and smiles disarmingly enough, he’ll always get what he want. And then Hamilton starts talking. And he’s pushy and hostile and sarcastic and mocking and angry and superior. And the whole time, Jefferson stands straight and Stares at him. We get none of Diggs’ ‘Haha, this guy is a riot! :D’ type of energy – this Jefferson is deeply displeased, and he is watching very, very carefully to take stock of the situation so he can put an end to it.

It’s actually really well done IMO – when the crowd oohed and ahhed, it felt like a 50/50 of ‘what the hell, people aren’t supposed to DISAGREE with Jefferson!’ and also ‘holy shit this guy is acting like an actual obnoxious child who needs to stfu right now.’ Both Jefferson’s easy entitlement and Hamilton’s unhelpful abrasiveness really got across.

In the second battle, Jefferson is much more careful. Whether it’s because he isn’t underestimating Hamilton anymore or because he cares much more about this, there’s an unamused urgency underlying everything he says. He still tries to be friendly and charming and diplomatic, but his smile drops often. This issue is important and he is not going to back down on it. It’s actually still not quite as immaturely insulting as Hamilton – more like, ‘can we stop humoring this asshole kid already and do something we very much need to be doing?’

(Also fun fact: in The Room Where It Happens, when we get to Jefferson’s version of events, Hamilton’s ‘I had nowhere else to turn’ is SO fake and sarcastic it was really funny, like even the Hamilton in Jefferson’s head can’t bring himself to actually say that sincerely.)

So, when we get to Washington On Your Side, he’s cold. At the time, he contrasts well with Burr, who is all smiles and surprisingly relaxed. This Jefferson is more like Angelica, quietly analysing the situation and slowly coming to a plan. The difference between cold, planning Jefferson and smooth-talking Jefferson is also great.

Because of all this, he has less of the really comedic stuff the original Jefferson got, with the exaggerated expressions and movements – in We Know, he’s more struck dumb by everything than the more over the top reactions Diggs did. But the controlled coldness contrasts with Hamilton better – it makes sense that he was the one who successfully connived himself to the top. And we get much more of that contrast between public and private Jefferson that is one of the interesting real-world meta statements, where who is was to the people and who he actually was were very different.

…….I think I had some kind of impression of ‘because I’m the president’ but I can’t remember what it was anymore. Hrm.

Anyway: enjoyed!!

Mulligan/Madison

So, how I’ve been saying the show lacked grit? I honestly think it might’ve all just collected in Hercules Mulligan lmao – obviously his parts are meant to be bold and brash and powerful, but these ones hit even harder than usual. His part in The World Turned Upside Down was just so Loud I could feel it in my chest! Great performance, I loved it!

Madison was very very different naturally, but also very different from the original version? While the original Madison felt tired and a bit disgruntled, like he was exhausted by Jefferson’s in-your-faceness and just wanted to get this done so he could get back to his work, his one felt much happier to be there. This Madison felt like he actually saw himself as Jefferson’s teammate, like he considered himself part of the show and was happy (even smug) to be helping out. When Jefferson passes him the microphone, rather than say ‘France’ with an irritated expression as if to say ‘everyone already knows this, just get on with it already’, it feels more like this Madison already rehearsed this with Jefferson deliberately. He calls out ‘France,’ as though it is some incredible zinger, like he’s been given the mic drop here. It’s pretty cute haha!

Overall this Madison felt a lot younger. Talking afterwards my mum mentioned that Mulligan’s role is hard because he has to switch to playing ‘an old man’, and was pretty surprised when I said Madison was actually the same age as Hamilton. This version felt a lot more age-appropriate. He still gets sick and starts coughing (and it feels a lot meaner when Hamilton makes fun of him! The dude was just so happy to be here – let him have his zingers!!), but aside from that he thrums with nervous energy behind Jefferson, like he’s ready to help out anytime he’s needed.

In all, he kinda feels like he fulfils that certain comedic henchman trope a bit? It really comes together with the ‘Can we get back to politics?’ ‘:’( please!!’ exchange. Madison isn’t made fun of, per se – it’s not like he really does enough in the script to get that kind of attention. But he’s just a bit funnier and more sympathetic, while also strangely feeling more like he and Jefferson are an actual team. (I mean, Jefferson hands him the mic as though he’s setting up a zinger, too. They’re both a bit ridiculous!)

Laurens/Phillip

Okay, this was one I was really curious about, for obvious reasons – LMM always sorta made it out that since he never included any of the Hamilton/Laurens stuff in the script, he kinda tried to act it in there more. In Story of Tonight or Ten Duel Commandments, or even briefly in the opening song, there’s meant to be a closeness that hints, however subtle, at that relationship.

Unfortunately, I didn’t get that at all here.

Laurens’ casting surprised me at first – he’s super short and extremely baby-faced, to the point that I wondered if he wasn’t played by a cis man. (His actor is a man, though, though ofc I wouldn’t know if he’s cis or not.) I was kinda confused about that all through the first act… until I got to the second act and, uh, remembered. But despite this – perhaps because of it? - he is an absolute firecracker. He’s hot-headed and rough and determined and every bit the young impassioned soldier.

He’s a bit more naive in the early songs – he seems genuinely friendly with Hamilton in The Story of Tonight, and you feel like he really does just like him from the moment he hears Non-Stop – but like I said, Hamilton is still pretty closed-off through all of that, so… it doesn’t really feel mutual. Hamilton likes him fine, but it doesn’t feel like he cares as much as Laurens does.

In Satisfied, he indeed seems super drunk, but it’s more like he’s just too young and drinking too much at a party than anything. The only time I really felt any particular chemistry between him and Hamilton actually comes from Story of Tonight Reprise – when Hamilton wanders off to speak with Burr, in sincere friendship, and Laurens comes over and starts ribbing Burr about his girl with almost malicious energy, it did sort of feel a little like he was jealous, if only that Hamilton and he had been talking so easily.

Finally, we get to Stay Alive. There, Hamilton and Laurens are just so angry and disgusted with Lee that they don’t really have room for anything else. It’s all very focused and determined and Manly, without any time for something softer or close between them. And I’m not sure how to feel about that. Laurens’ revulsion for Lee is historical record, and it says a lot about him and his values that that was so important to him. But there are other important parts of Laurens – that worry and fear and insecurity inside him, that ended up being so damaging to him. In such a limited script for him, ‘Alexander, you’re the closest friend I’ve got’ is really his one chance to show some of those emotions before he dies. Instead, Laurens never really gets to show that vulnerability, and I worry that it makes him feel too much like a ‘generic soldier character.’

I wonder if it’s because this Laurens looked so youthful that they sort of overcompensated, and felt the need to make him extra manly to make it clear he belonged there despite his appearance. But it sort of felt a bit too… macho for me. Nowhere to be found is that 18th century romantic friendship. Instead, it’s been replaced by a more WWI era Comrade and Comrade type deal. They’d die for each other, but would they write romantic letters to one another? And I think this is also unfortunately pretty Australian – real emotion is lame!! The only acceptable emotion is fucking hating your boss, and challenging him to a duel with your squadmate to get him what he deserves.

Well, I’m reading too much into it all, lol. But I always felt like the original Laurens barely got to show much of himself as it was, and this one felt even less so, unfortunately.

His final scene – is it We May Not Live To See Your Glory? - is done well, though. Again, Laurens just sorta feels like a generic young soldier, but ‘idealistic soldier who died too young’ is moving enough on its own. And in one of those rare moments, Hamilton really does feel shaken and vulnerable. ‘I have so much work to do,’ as I said, hurts – so lifeless and unlike him. Like nothing could process those emotions in him now, or express them.

Philip, on the other hand, is the exact opposite. First of all, yeah – having a shorter, younger-looking actor makes that Take a Break scene WAY less awkward, haha. It wasn’t even funny, it was just like ‘oh huh this just kinda looks all right?’ And the actor did really well playing a kid! He looked like a completely different person there, which is really good.

And then we get to Blow You All Away, and hoo boyy. If Laurens had been excessively confident, Phillip oozes uncertainty with everything he does. When he flirts with the girls ‘when I come back we’ll all strip down to our socks’ he manages to pull off the cocky act but in basically every other line you can see and hear the ‘a-am I doing this right? I’m not screwing this up, am I?’ radiating off of him. He definitely believes he’s doing the right thing – when he says ‘you talk about my father I will not let it slide’ there’s no hesitation – it’s just that he very clearly isn’t sure if he’s up to the task of doing it.

It was sorta interesting, actually – I think the original Phillip was more naively overconfident and reckless, and only had an attack of the nerves after he got himself into the duel. But – and this might just be me projecting here, lol – when this Philip confronts Eacker in the theatre, I got a real sense of like… ‘??? can I do this here? Where are you meant to threaten duels???’ and when Eacker is like ‘piss off, I’m watching this show now’ he seemed to wilt a lot, and straight up froze for a second or two, like he really didn’t know what to do at that point. And then of course when he talks to Hamilton he’s really worried…

And then his death. Somehow, I never used to cry much when this happened – it’s obviously very sad, but it didn’t manage to hit the right heartstrings to make crying, even in the recording. But oh god, this one was just awful… Even as he’s dying, Philip is still just so desperate for approval, like he’s so scared his parents will be mad at him for screwing it up, and Eliza is trying so hard to reassure him before he dies… I cried a lot :(

So overall, I really liked this Phillip, even if I don’t necessarily think it’s an improvement to the original. Laurens I kinda preferred the original, though this was still an interesting interpretation that gave me a lot to think about!

Washington

The guy did well! He has what Washington needs, and that’s a stature. When he’s on stage, your eyes are just naturally drawn to him. Even when he’s not doing much, he’s still a little intimidating. He has presence!

And in fact, this actor had an interesting quirk where the whites of his eyes could be seen easily? In Right-Hand Man, as he’s striding around at the center of the stage, his eyes just looked white, and it drilled in that slightly manic, crazed intensity underlying his strict, rigid rapping and self-control. It have the whole thing a really great effect.

But this Washington also had a sort of almost… slight fem-ness to him, that I didn’t get as much from the initial? It’s funny how during One Last Time, I suddenly got this vivid though, ‘oh, it’s like he’s a cool supportive teacher.’ Which… obviously?? Haha. Like he’s clearly a mentor to Hamilton all the way through! But it’s that specifically teacher description I really felt all of a sudden, that he was warm and approachable and gentle at heart, despite everything I said above lol.

Like, I feel like this Washington was just a bit less stoic than the original? Slightly more expressive and less stern. When he says ‘I’m from Virginia, so watch your mouth,’ in the original, it sounded like he was genuinely kinda offended? It was ‘watch your mouth’ as in ‘don’t disrespect my home state.’ But in this one, Washington sorta grimaces a little theatrically and says it more incredulously, like he’s actually saying ‘you wanna maybe try thinking about who you’re talking to before you say that shit, son?’ It’s more of a warning – less that he’s upset and more that other people would be, so he should really try thinking before he speaks.

He also still does the part in Who Lives Who Dies Who Tells Your Story when Eliza says she spoke out against slavery and he kinda stumbles and stares and then looks down in shame, given the real Washington’s actions.

I liked him! I felt a little more warmly to him in the end than the original, but that might just be a product of seeing it live.

Peggy/Maria

Okay so I don’t really have anything to say about Peggy, which had basically always been the case, hah. :’) I mean, I think this version made the transformation between her initial wariness vs her later excitement more clear? But that is very likely a live show thing.

Maria, though!! Honestly? I was never really a fan of the original Maria’s performance. She just feels too much like a cliched seductress archetype, and while you can argue that that’s the role she plays in the story, especially since there’s the uncertainty over whether or not she was deliberately setting Hamilton up, it just feels too on the nose. It makes it harder to believe Hamilton didn’t know what was up the moment he saw her, which I don’t think is intentional. And it makes me feel bad for the real Maria Reynolds.

But this one was very different – much more vulnerable. When she first talks to Hamilton, she’s not doing a sexy pout and throaty singing, she’s just sorta… quiet and monotone and lost, much like Hamilton gets when he’s too emotional as well. Like she’s in shock and truly has nowhere to go is just sort of crumpling as a person. And when she propositions Hamilton, again it feels sincere – she just wants him to stay.

And after he talks to James Reynolds (just as perfectly, theatrically assholish as in the original), that continues. When he confronts her, she genuinely seems desperate and scared and upset. I felt so, so sorry for her that I was yelling in my head right then ‘you can’t just leave her now!’ at Hamilton – and then immediately remembered what that’d mean… it’s a much more gripping situation.

And then in the end, James Reynolds walks off and claps, and Maria just stops, face and body entirely stoic, and follows after him in silence… Is that an indication it was all an act from her? Or is it that she’s so scared of him that she totally closes up and can’t cry, can’t show any kind of emotion or weakness around him, and just has to try and be a silent and flawless wife? No matter how you interpret it, it’s chilling.

Oh, and IDK if this is done in the recording, but in The Reynolds Pamphlet, she gets given one, too, and her look of just… upset/disgust is also really painful. At the end they say ‘his poor wife’, but who thinks about poor Maria?? :(

I still wouldn’t say that this is an accurate adaptation of the real events, since I think that gets right into the script and structure of Hamilton in ways that a regional performance just can’t really make better. But this version is at least better. It plays Maria with more dignity, I think, than making her into a sexy bombshell, even if that bombshell act does get subverted in the original as well. This one feels significantly more sympathetic.

King George

He was great!! He was played by an older actor who seems to have done a lot of serious Shakespearian plays, which of course makes him absolutely perfect – both in that he could flawlessly depict that pompous old privileged Brit, but also in that he probably has a good backing in comedy and political satire :P He was clearly having the time of his life playing to the crowd – throughout all his time on stage he was constantly alternating between doing one or two lines very serious and mostly straight, before doing something absolutely hilarious. That back and forth worked extremely well!

Also I never saw it properly on the recording but when he gets up and dances in the middle of the stage during the Reynolds Pamphlet?? AMAZING.

Obviously, Johnathon Groff is his own personality and is friends with LMM and brings all of that unique stuff to the table that nobody could replicate. But this actor was just as much fun to watch, and does have the added benefit of really looking and sounding the part.

Final Thoughts

I’d really love to hear other people’s thoughts on this run, especially from the perspective of it being an Australian cast/audience – I really hoped the booklet would include at least a piece or two from someone who worked on this run, but it did not. (In fact, it was one of the scantest musical books I’ve seen? I don’t regret buying it as a souvenir of course but usually they have at least one or two interesting pieces of new content aside from just backstage pics…)

What really sticks out to me is the structure of it all. Hamilton is definitely the central character that brings everything together through the first ¾, but around The Room Where it Happens Burr starts to take over bit by bit, allowing him to keep up the energy as Hamilton falls back further and further into becoming both less of a hero but also more quiet and passive. By The Election of 1800, Burr is giving us all the energy – until the end of The World Was Wide Enough, when he too falls back and Eliza takes over.

Given this, this Hamilton did an incredible job throughout most of the performance – he had amazing chemistry with every other character and really exemplified that scrappy, intelligent, driven, but aggressive and difficult character that never quite shined through in LMM’s performance for me. Burr’s more subtle performance complements that well, and he even arguably outdoes Leslie Odom Junior in The Election of 1800. However, after that I think his quieter acting and singing sort of fails to fill the hole Hamilton left behind, reducing the climax a bit of its energy. Thankfully, Eliza was able to bring that all back for her final number.

It also strikes me that this performance is a bit less teary, at least from the men. Eliza, Angelica, and Maria all bring out that vulnerability and the sadness of their positions wonderfully – a great improvement in Maria’s case, for me. However, Burr’s The World Was Wide Enough severely downplays the sincere regret angle, while Hamilton never quite hits the right notes on It’s Quiet Uptown. However, Hurricane and Phillip’s performance in Blow You All Away definitely hit that fear and panic leading to self-destruction. (Interesting I guess that Burr doesn’t also seem more fearful in The World Was Wide Enough?) Is that also a gendered expectations thing, perhaps?

Either way, I’m extremely glad I was able to see it if only for Hamilton’s performance – honestly, maybe the reason it seemed to lose a lil steam was just that Hurricane was so good everything else failed to follow it, haha. Burr also absolutely fascinated me here, too, and that was so much fun to see play out in real time!

Hamilton will be coming to Melbourne next, and I’m not sure yet if I’ll be able to go there but I’d really like to! It’d be really fun to test out these expectations/conclusions of mine with a fresh viewing, as well as see any other new cast changes/interpretations…!

#Hamilton #Hamilton Sydney #musical #this is INCREDIBLY long lmfao #IDK if I should apologise or the opposite #I miiiight end up xposting to ao3 as well as a meta #if I can be bothered to read it through and edit it a bit maybe heh

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monkey-network · 3 years

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Why Shrek IS The Best

Tastes can change, you know? And it’s less about “What’s good about this now compared to before”, more of “Why would you like this now as opposed to before”? Unless allergic, you didn’t get why dark cola or hot chips tasted bad to you as a child, but when you grow up you can come to understand and appreciate it. Shouldn’t pressure yourself, that makes things worse, but things can certainly align in helping this newfound respect you get for something you’d believe you would never want again. That really is where I stand with Dreamworks’ Shrek. As a kid, while Toy Story left me traumatized for a while, Shrek left me side-eyeing with how crass and ugly it looked and I never wanted to think of it. But, as I grew up to respect animation a lot more, 2018 was where I looked back at Shrek and soon come to understand how wrong I was and how much greatness it has that I now consider it an all time great. And with it getting inducted into the Library of Congress, I thought it was finally time to present what I see in this film. Let’s do this right with...

The SOMEBODY

Now this frame has been meme’d to death. If there’s anything iconic about this film, ‘bout the franchise as a whole, it’s the exact moment when our main character charges out of his outhouse as Smash Mouth’s ‘All Star’ gets going. But this honestly just says a lot about Dreamworks’ direction from its previous films where compared to Disney that’ll take their time making the setup before getting into the hype point for its lead, Shrek gets going in one minute if we don’t count the logo intro. Not even The Emperor’s New Groove, which was going for the same tone before Shrek even released, took more of it’s time with the fairy tale aspect of it in its intro. Shrek literally wipes his ass with the fairy tale aspect before giving us the SOMEBODY, all around a minute. This frame really shows that this is sticking to the Disney formula in some way because it’s wasting no time getting into it. It represents the more brisk pace Shrek has with pulling you into what it’s gonna be about. This overall frame works in its thematic and parody aspect and I’ve yet to see anything top this exact moment, not even the greatest films I’ll ever remember.

But enough about the fact that I made a whole paragraph about this one frame of the movie. Let’s dive into what I say is a piece of the heart for this film.

The Earnestness

Speaking of Disney, you probably notice that their films have some cushioning in their presentation, like they generally don’t show things with a straightforward lens; there’s some theatrics in the way their best movies present themselves. That’s not a problem, mind you, but that helped me understand how Shrek does things very differently whether you consider it parody or not. While it throws mockery at the played out conventions associated with fairy tales, especially its most subtle jab at copyright, it doesn’t full on say fairy tales are annoying and bad. Hell, the film IS a fairy tale adapted from a fairy tale about a fookin’ OGRE that can eat lightning and kills with farts. But, it’s an accurate and earnest way to view a fairy tale from a somewhat realistic lens. Let’s take Shrek’s journey for instance.

Typically, the main character would want to experience something more; explore new horizons, prove themselves, find their calling. Shrek off the bat doesn’t need or desire any of that. He’s content with his life, beside the angry mob he casually scares off, and throughout the film he’s not interested in anything else outside getting the squatters out his swamp. He happily makes a deal with the villain of the film to exile those innocent refugees off his land so he could then build a wall to keep everybody out. Bringing up Emperor’s New Groove again, Shrek and Kuzco are the few characters I know that are actively antagonistic even when they’re forced into their situation from outside forces. However unlike Kuzco that gets to be emperor again but learns humility, Shrek is in the same spot as before but learns that there are people out here that can love him for who he is. I can’t say there’s anything grand about that, but it doesn’t need to be unlike the many Disney or any film that tries to shower you with the grandest themes. The relationships Shrek has with Donkey and Fiona are the most grounded I’ve ever seen because they’re not only natural, they’re hardly dolled up with the bells and whistles made to either drum up the biggest laughs or tug the heart strings viciously. When I think about it, I honestly could see myself in Shrek. He isn’t made to be a legend, he isn’t some secret genius or lost prince, he’s just an every-man ogre that wants to live peacefully or meet SOMEBODY that doesn’t treat as someone to be feared or disgusted at. Everything Shrek says is something anybody could or would say if they were his shoes because he, and the film in general, is the most grounded without making it all distractedly meta or genre-savvy. This is generally helped by...

The Dounkaey

Everyone’s talked about how Donkey is the best confidant for Shrek and Fiona. How he’s most true to himself to where he’s the most openly musical character in the film, and how he’s the most balanced here with his comedic vs serious moments. But I gotta say it too: Donkey is one of the greatest sidekicks ever. He’s a motormouth, but is never annoying to where you wish he left the film. The couple times he is purposefully annoying, not for a joke, is when he knows Shrek isn’t being truthful. He truly gets to know Shrek on this journey, and is the character Shrek gets to capacity to actually loosen up to, so it’s fitting that he’d be the one to push Shrek when the ogre’s sounding more vague than usual. Even when he’s harshly insulted, Donkey doesn’t take it as bad as when Shrek kept trying to shut him out again in the 3rd act after the Hallejulah sequence which is the scene in every Shrek movie where’s there a super sad song because Shrek is alone and yadda ya. I’ll get to it in a bit, but he is as much responsible in providing Fiona that seed of doubt that Shrek wouldn’t love her as the ogre she is. Donkey is the greatest friend because he wants to be there for those who are okay with him being around, and while you could give and take sidekick animals in your notable films with them in it, this film really wouldn’t have happened without him. Speaking of Fiona, I won’t retread what’s been said before like with Donkey but I did want to bring up something I haven’t seen many talk about,,,

The Love for An Ogre

I’ve seen many say the scene where Shrek overhears Fiona talk about “Who could love an ugly beast?” and misinterprets that as her talking about him as a cliched or contrived downside to the film, but I feel that a defense can be made. It personally makes sense that Shrek would misinterpret that and take it personally because 1) Who else would Fiona be talking about? 2) How would he know she was talking with Donkey? 3) Why would he just barge in on her? 4) Has no one considered that this moment is parallel to when Fiona overhears Shrek’s conversation with Donkey the night before?

Fiona is very much the antithesis to Shrek’s character where she can very much be open about what she wants but is scared at the idea of anyone figuring out who she really is. She’ll gladly be gross, kick ass, eat the young of a bird she let explode, but won’t let anyone see her true face. That’s why her curse makes sense, and why Shrek would take a fondness to her despite her initial disdain of him rescuing her. Fiona’s a character where the surface level beauty is her weakness as opposed to Shrek where it’s internal. Which is why when she overhears Shrek open up to Donkey about his societal isolation, she’s soon more comfortable around him. And it’s why when she opens up to Donkey about her looks, Shrek would unfortunately take it personal enough. I ask again, why would Shrek barge in on a conversation he wasn’t aware of or who she was talking about to not take it about anything else but him when what he heard such a cut so deep, especially from a character that bears his similar issues? It also helps that Donkey was in on it, as Shrek feels reasonably betrayed by the only other person he’s come to appreciate in his life. Contrived as it seems, it’s thematically important and appropriate to the conflict of Shrek’s character and the film overall. Don’t know how this could be conveyed any other way because it adds up at least.

I just wanna know how Shrek got to Faarquard’s and back by sunrise like did he run cuz that looked like a huge distance to travel on foot but anyways...

I’m sure things could’ve worked out if Shrek knew, either by barging in that night or through Donkey, but I think it’s fitting that the climax takes place at the wedding. After Shrek and Donkey understand their friendship, after Donkey reciprocates the Dragon’s love (more ways than one), and when Shrek grasps the mistake he made to charge over to Fuccquad’s chapel, we get to...

The End

After everything, we get to the moment where Shrek and Fiona get to share their first kiss, Fiona permanently transforms into an ogre, and we get this exchange. One of my favorite exchanges in the whole film:

Shrek: “Are you all right?” Fiona: “Well yes. But I don’t understand... I’m supposed to be beautiful.”

Shrek: “But you ARE beautiful”

We don’t need any other vows to understand their relationship was built up to this. This moment where Shrek can reaffirm Fiona’s feelings of being able to be herself in every way, because she allowed him to be himself in every way before. That’s that mutual love, baby, that just gets me every time and makes this film one of the best romance stories I know as well, even when it isn’t solely about the romance. This is Shrek’s story, and there’s nothing more touching than seeing this outcast not only get another to view him as a friend, not only someone to love, but people, if only a couple, to actually wanted to get to know him. I know Shrek 2 expands on this more, and it’s considered a golden sequel, but I will always cherish the first movie for how much it tells us off the bat while appearing as a “Take That” to Disney films. This is the genesis of Shrek feeling more accepted for himself and society and it just bears so much good commentary while being a good adventure nonetheless. Like you could say this film indeed has... dimensions? “You were trying to meme about la-”

The Conclusion

Mentioning it, I always had this thought with the conversation Shrek and Donkey had of why Shrek didn’t just “be an ogre” and pillage Fuccnut’s fortress. It’s possible Shrek could’ve taken out Faarquid himself, but that would mean being the beast he knows people have shunned him for, grabbed the torches and pitchfolks for, made him feel worse for. Shrek enjoys being an ogre, but he doesn’t like how society makes him feel lesser as an ogre. That really is what the four films have been about for him and what I’ve come to appreciate about these films personally. It can be easy to love yourself even when there are others out here that stand against you, but it’s hard to consider that anyone else could love you for who you are in spite of how you try to present yourself. But if there’s anything Shrek showed me, it’s that it’s possible. There can/will be people out here who appreciate the real you, will be there as much as you want to for them, and can help you realize more about yourself as opposed to suffering to silence eternally. Generally ideal, I know, but this film in the least offered me that thought in the most balanced way possible. It’s incredible how much of a tightrope this film has in its parody and sincerity and that makes its induction in the National Film Registry and being the first ever Best Animated Award winner pretty justified all things considered.

I know this film, the character, has been a meme over the years. As Schaffrillas mentions in his video, the direction Dreamworks made because of Shrek’s success kinda turned it into a heel people clowned on because, in theory, it was nothing but a joke with the onions and the swamp and IT’S NEVER OGRE. Then again, like I said in the beginning, tastes change. I’d say with Schaff’s masterful analyses on the film series and 3GI’s Shrek Retold and Shrekfest, the perception of the film sure enough shifted like the perception of Megamind. It’s one thing for a movie to blow people away or leave them thinking it’s horrible beyond belief, it’s another to take the time to then look back and see how those feelings have changed. For Shrek, it’s a film that was able to trudge out of the meme era to be a film many consider a strong, rewatchable, and unique. Like the beauty of Spongebob, Shrek is a considered a classic because as in the times as it appeared when it released, this film actually stood on its own with the most enjoyable and meaningful timelessness, exploring the desired love for the self, that deserves to be recognized. What else can I say, people?

It’s The Best

#Shrek #dreamworks #dreamworks animation #animation #movies #cartoons #reviews #analysis #long post #Good Stuff

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centrally-unplanned · 3 years

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Haruhi Suzumiya’s Limited Shelf Life

The Melancholy of Suzumiya Haruhi, an adaptation of a light novel series of the same name, is a 2006 anime who’s ascent into stardom occurred with unmatched speed, but in my opinion its staying power as a “relevant” anime experienced an equally rapid descent. Most people would point fingers at the legendary - just unparalleled in its audacity and “fuck all y’all” vibes - Endless Eight arc of its second season. Others, such as this quite fun video essay on Endless Eight which partially inspired this essay, point to the lack of light novel source material dragging down the possibility of more content to keep up momentum. I’m not going to make a numbers or data-based argument on how the Haruhi franchise actually performed; instead, after rewatching the Haruhi anime recently I feel the show itself was built to have a limited shelf-life from the get-go, and its decline should be no surprise.

Haruhi, to briefly summarize, is the story of Kyon, a witty-but-average highschooler who gets tsundere-roped into being the assistant to the titular Haruhi Suzumiya, a bored maniac constantly trying to drum up paranormal hijinks for kicks who is, unbeknownst to herself, secretly God who’s boredom if left unchecked will destroy the universe. That might sound like a pretty zany plot premise, but it has nothing on the presentation of the show itself. The ‘first’ episode of Haruhi aired, with no context or lead in, as an obviously garbage-tier magical-girl show ‘home-made’ by the actual characters in the show, with fourth wall-breaks and editing mishaps aplenty. And while the next episode proceeded to be the proper episode 1, the whole show airs entirely out of order, with characters referring explicitly to past events that the audience has not seen. Which all leads into the final episode of the first season being chronologically...episode 6. Pieced together afterwards, the show has a complete arc from the episodes 1 to 6 that were peppered throughout the broadcast order, and episodes 7 to 14 are one-off stories that enhance the characters and showcase the (subtle) changes resulting from that original arc.

This presentation was a *huge* part of the success of the show, primarily because it contributed so much to the Drama of it all. Love it or hate you had something to talk about, and the puzzle of what was actually going on - particularly after the first episode - pushed the 2ch thread comment counts into the Haruhi-blessed heavens. It wasn’t just a gimmick though - what it did was make a good show out of, well, not-very-good source material.

Haruhi in broadcast order presents a sort of arc mystery in that how you see Kyon & Haruhi act around each other changes as the timeline jumps around, and that answer to “why?” is slowly revealed to you (spoiler alert, it's fundamentally romance, but it is well done). It gives that finale a ton of impact, and given how well you know the characters means you are really invested in their relationship at that point. But in chronological order...well that conclusion is a bit rushed, isn’t it? 6 episodes to care about a romance, half of the run-time of which is spent on the 3 other main characters besides Kyon and Haruhi? And then those later episodes, more than half the season, are just one-offs with no narrative. Airing chronologically would be a bad way to structure the show, for sure - but that is exactly how the books go! They are decently executed but jeez are they fluffy beyond the first novel, which tells that tight 6 episode starting arc.

The show’s first season even acknowledges this, even in its later filler, by jumping around in what they actually adapt. One of Haruhi’s best episodes is episode 12, “Live Alive”, which features the stunningly-animated “God Knows” musical performance, but also ends on an intimate moment between Haruhi & Kyon where Haruhi lets slip a bit of growth in seeing what emotional value doing things for others can hold over always chasing her own myopic desires. It’s a great way to set up her slow-burn evolution, so it works well as lead-in to the finale (which is when it broadcasts). That is why Kyoto Animation chose to adapt that scene... from the depths of Book 6!! They skipped over several novels of content to pull that story out, because they needed it - as the rest of the source material is often filler.

Even the comedic chops of the show, its other strength, often exist in the first season despite the source material, not because of it. The seams actually start to show in season 1 itself, which has a few clunker episodes in its runtime. One of the comedic underpinnings of the show is how it parodies sci-fi anime & light novel elements, making fun of how esoterically nonsensical they can get. In one of the early episodes, when one of the crew - Mikuru - reveals herself to be a time traveller sent from the future to ‘protect the timeline from Haruhi’s power’ or whatever, her explanation is just completely skipped over by our point-of-view character in Kyon, with every other word bled together in a montage sequence as the camera spins around the scene, to highlight how silly the *mechanics* of the powers of these characters are to think about. It's definitely a great gag - which makes it very odd when, in episode 7, the characters spend, and I counted, *4 minutes* explaining over static shots of the characters how the mechanics of the paranormal villain-of-the-week operated. Its has a wider point, the show isn’t incompetent, but its jarring given how earlier the show told you so stridently that these kinds of details won’t matter. But that story is from book 3, it's what the source material becomes, so they can only go so far to fix it.

All of these problems just compounded on themselves when they made additional content, as at that point they had already mined the source material for the arc-nuggets it had and only the detritus remained. Remember that hilariously-bold opening episode, of a magical-girl homemade trainwreck of a film I mentioned? The one that is so funny precisely because you have no context for it, such that your confusion just heightens the humor while you also somehow learn so much about the characters you have never met via the bold characterization? Want to watch *five episodes* about them making that film, which you have already seen and is in the end nothing but a punchline? No? Then 30% of season 2 won’t have much to offer you, since that is what they did - because that smash-cut opening gag doesn’t exist in the source material, it instead gets a whole book devoted to it. For sure other stuff happens in those episodes, it isn't terrible - but it fundamentally lacks the stroke of genius of that season 1 opening, to trust in the audience the way they did to go along for the ride.

Endless Eight obviously didn’t help the show maintain popularity, and the movie is pretty decent, but there was no escaping the fundamental problem; namely that everything after Season 1 is fundamentally niche. It appeals if you like this specific genre of show, and these specific characters. Which is fine, but that can never be the Most Popular Show around, that market size is capped. The moment Haruhi the show had to keep going beyond that first season, it had nowhere to go but down.

#haruhi #essay #adaptational weirdness annals

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popculturebuffet · 3 years

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The Three Caballeros Ride Again Review!: And Ladies (Ride of the Three Caballeros)

Saludos Amigos! I’m back with yet another comics review! And we’re back on The Ride of the Three Cablleros! Thanks again to WeirdKev27 for commissioning this retrospective. It’s going to get pricey and I greatly appreciate it. PREVIOUSLY ON RIDE OF THE THREE CABLLEROS

In short.. a bunch of short segments of varying quality, a very thirsty Donald hitting on ladies, the first appearance of Panchito and some very good music. A fun time was had by all. Along with a LOT OF drugs by the Disney Animators. The film wasn’t a huge success, but out of the 6 package films, it was a fan faviorite alongside the Mr. Toad and Ichabod movie, and thus was rereleased quite a bit, as well as being one of the first of this era to end up on VHS due to it’s cult popularity. As for Panchito and Jose they’d get plenty of success overseas, with both getting solo series in their respective home countries, Jose himself having just resumed having comics again this year, and being rightfully massive characters. But despite being a hit with fans across the world.. in the US... they were pretty much shoved in the Disney Vault for a few decades. Jose would show up on the Wonderful World of Disney, in it’s various forms, three times after the Three Caballeros while Panchito just vanished aside from reuses of the Three Caballeros footage. Their careers in the US just sorta vanished for a few decades. But as suddenly as they vanished, our boys returned triumphantly. Naturally being the most used out of the duo, Jose would show up for the first time in decades during Mickey Mouseworks, a show full of new late 90′s produced Mickey Mouse shorts, all but two of which would end up being recycled for the much more popular and well loved House of Mouse, which would feature the triumphant return of the Cabs to animation after so long away. We’ll get to that next time, as just a year before the Cabs had already reunited in the pages of Walt Disney’s Comics and Stories in one of Don Rosa’s best loved tales. The Ride of The Three Caballeros was something Don Rosa had wanted to do since he got the job writing Duck Comics in the first place. As he explained in the back of the complete library edition named after this tale, Uncle Keno isn’t the biggest fan of the Donald Theatrical shorts. Having experienced the Carl Barks comics first, and having built his career around them later, he just wasn’t a fan of the goofier, angrier, less nuanced theatrical short Donald, often feeling like he was an entirely different character from the one he loved. And.. honestly he’s not wrong. Both were built for entirely different kinds of comedy: While both did slapstick, Slapstick, along with standard comedy shenanigans, was the main weapon in Shorts Donald’s comedic arsenal. Barksian Donald, while not immune to slapstick, was more like a well built sitcom character: Multi layered, sympathetic when he needs to be, but still having tons of faults to be exploited for laughs and to play off other characters. As a result while I like Donald in the shorts I do prefer Barks version of him, and the shorts Barks did are usually the best of both worlds, combining Donald’s everyman schtick with his slapstick schtick. Of course later cartoons would pick one or the other or combine both, but I do get his point and at the time he wrote this story the only cartoon show starring Donald was.. Quack Pack.. which I can only imagine his reaction to seeing that train wreck.

But as you can probably guess there was one exception and it was The Three Caballeros. Don genuinely enjoys the beautiful music and the wonderful chemistry the three have. So after a trip to Mexico gave him the perfect setting and the fire in his belly to finally do it, he finally wrote the story. And since they weren’t Barksian characters and hadn’t had any other apperances in decade, Don also took a dive into their comics. Since Jose was more of a fancifial freeloader in his comics, Don decided to ignore this characterization and go with his own based on the film: A latin playboy and lounge singer. And i’m okay with him doing that, as unlike say with Marvel and DC when they destroy a character, Disney characters are both more fluid continuity wise and his is still rooted in a version of the character, and he’s fully accepting and apologetic that some fans hate him for this. Also for some damn reason they redesigned Jose at some point in his Brazil to look like this:

This is far from the dumbest comic book costume change i’ve seen, but it’s certainly one of the most lame, as his original outfit is dapper, stylish and fits the Brazilian version of him well. And it’s not like you CAN’T update the classic Disney characters with modern appearances. Quack Pack, which has somehow come up twice in this review, did so great with Donald and Daisy, giving them new clothes and a haircut in Daisy’s case but both still look great. Same with Goofy for Goof Troop who just wore a dad sweater and bow tie, which puts him in the small but significant club of “Bow Tie Wearing Characters who have defined my life” with Opus the Penguin and the 11th Doctor. You can update a classic character’s’s appearance without coming off like...

Which given Jose’s outfit there is horrifyingly similar, says something. Anyways, Rosa had more use for Panchito’s stories, which had him as a cowboy protecting small towns with the help of his trusty steed Senor Martinez. Rosa loved both aspects and thus used them here, with Martinez getting a makeover to fit Rosa’s style better. Rosa is also the one to popularize Panchito’s last name, having found it on a scrap of research, not realizing the character’s last name was not at all widespread and thus giving him a canon one that has stuck to this day, and sighing in relief when he finally got conformation from another fan this name was indeed something Disney had used after loosing his research scrap. So with the two boys characters set, a plot set up and a whole sequence planned we’ll talk about on the way “The Three Caballeros Ride Again!” was born. How good is it? Well join me under the cut and i’ll tell you.

We open in Mexico, specifically near the Barranca Del Cobre, aka The “Copper Canyon” of the Sierra Madre, a natural land formation simlar to the Grand Canyon that Don Rosa saw during his trip and thought would make a great setting. While larger than the Grand Canyon, Rosa figures in his notes it simply isn’t as popular because it’s more isolated than the Grand Canyon and that, combined with it having trees inside distracting from it’s rugged beauty, makes it much harder to build a tourist industry around. The four are headed to El Divisadero, because this comic is determined to kill me with it’s difficult to spell names apparently, where Huey, Dewey or Louie spouts off for no particular reason about the currently being built Chihuahua El Pacifico Railway. Seriously the boys might as well be the security guard from Wayne’s World in this comic, their role for most of their brief page time is just to set up stuff for later. I mean i’m fine with setting up your setting but there are better ways than just spouting off tons of exposition apropos of nothing.

Donald has driven the boys here for a Woodchuck Jamboree. I did actually look into Jamborees, as before this it only had ever come up in one of my favorite movies of all time, Moonrise Kingdom, and mentioned occasionally in the Ducktales Reboot. Jamboree was first used for a worldwide scouting Jamboree but has gone on to mean a huge gathering of scouts, with the Boy Scouts of America having one every four years, so odds are it’s just a big yearly or quarter yearly thing for the woodchucks. Still it would be nice to see a big gathering like this in the series, especially since several of our cast are involved in them, including the possible power trio of Huey, Violet and Boyd, and Della and Launchpad could easily be slotted into the plot as seen in this season’s premiere.. as could Dewey and Louie if they really want to since according to Frank their members.. they just aren’t nearly as invested as their brother, and thus don’t do Woodchuck stuff unless he drags them into it, as seen with “Day of the Only Child” in the series itself. It does make sense: Dewey doesn’t have the survival instinct or patience for camping, and Louie hates effort, the out doors, and doing things for anything but profit. Scouting is all of that. So the boys have driven all this way for the Mexican Jamboree, as they’ve been carefully raising their tarantula Tara, and the Tarantula Breeding Badge is only given out in Mexico, which is plausible: Different branches of a worldwide organization would have different awards and what not in different countries. And Tarantula’s are also native to mexico so that makes sense.. and I want you to apricate that I’m afraid of spiders, not cartoony ones, for instance, this is adorable.

Galvantula4Life. But real life ones or realistic looking ones? Yeah no fuck that. So I had to go to the Wikipedia entry and see several horrifying looking sizeable spiders for this one tiny fact. Your welcome. Tara ends up on Donald’s face with the boys assuming Donald is sad to see her go instead of you know FUCKING TERRIFIED A GIANT SPIDER IS ON HIS FACE. This gag does not work.. but probably because as I said i’m afraid of spiders and this is my nightmare, you little sociopaths.

The boys however worry about what Donald will do for the weekend as they prepare to board the bus to the Jamboree... why it’s meeting in an out of the way town like this I have no idea, but i’d guess plot convince. They realize he has no friends, which Donald shrugs off, and they REALLY shouldn’t say to his face, but ruminate on it once he leaves to do whatever after vaguely talking about friends he had in the past.

I like this scene even though it annoys me a bit: Ilike it because it does set up how Donald really DOSEN’T have any friends in the comics. It’s part of WHY Rosa was drawn to the Cabs: Their one of the few equal relationships donald’s ever had, people who treat him as a partner, in both sense probably, a friend, a true amigo. As the boys point out Scrooge is a monster to him in the comics, paying him 30 cents an hour which I actually put into an inflation calculator to get an accurate read on how little that was by 2020 standards.. and it’s 3 dollars an hour. Hence why I call him a monster, why that bit hasn’t aged well, and why Rosa REALLY, REALLY should’ve retired it. It dosen’t help reading that knowing Disney largely treated Rosa the same way is cringe inducing at best, if not for any fault of his own. It being cringe inducing for an employer horribly mistreating and underpaying his employees though is his fault, he’s a grown ass man, even in the 90′s this had to be a problem, be better.

And yes i’m being hard on Don Rosa but just like with the comics thing, I simply expect better from the man given just how much respect I have for the guy. His art is gorgeous, his research is immaculate, his knowledge of old films is wonderful and his love for them so infectious i’m tempted to seek the ones he’s mentioned in notes out. He’s a truly wonderful guy and one of my faviorite comic writers.. but I have to treat him fairly like I do ANY of my idols. Just to prove that, I love Grant Morrison, especially his run on New X-Men, but a lot of it hasn’t aged well including some of the language and the entire subplot with Emma manipulating Scott into having an affair when he wasn’t in the best mental place and she knew that and was acting as his therapist, and treating that as a regular affair REALLY doesn’t play well nor should it have. I love Al Ewing, with all my heart and soul, but his run on Ultimates, while having some great worldbuilding and a spectacular cast, ultimately wasn’t very good after the first arc. Not terrible but not good. John Aliison, of Scary Go Round and Giant Days fame, while impressive has had plenty of stories I just didn’t like for various reasons and will probably get into some day and some parts of his stories haven’t aged well. It’s the hard but necessary part of being a critic: You have to be objective and see all the parts of a creator’s creation, not just the ones you like and call them out when they screw up. To me being a fan isn’t about just blindly loving something, it’s about knowing WHY you love it and being willing to call out faults while still thoroughly enjoying the work. There’s a fine line between being blindly loyal to someone, which has created Zach Snyder's awful cult of personality that I hate so much, and being an overly critical shithead and I hope I’m straddling that line.

Back on the scene after that filibuster they point out Gladstone, who himself is a monster to me for how he doesn’t lift a finger to help his nephews or cousin, and constnatly flaunts his luck to Donald, and is a bit more than teasing especially since he tried to, you know, steal your house once boys. That’s canon.. that’s a barks story so it’s canon here. You.. You remember that right? He tried to steal your house. And we will be getting to that one next month, just you wait. Finally the Daisy part that annoys me slightly. The boys being sexist.. was sadly the style at the time this story is set, the 1950′s, and thus plays better for me than it does in Ducktales, as their just little boys and don’t know better. Them assuming Girlfriends aren’t like having friends, while accurate though does bother me a bit, but only because the way this story treats Donald’s relationship is PRETTTTTYYYY bad and this sets that up. But we’ll get to that. Thankfully this foreshadowing of terrors to come is quickly forgotten as we get a GENUINELY great two panels of Donald lamenting his lack of friends. It just works really well, selling his loneliness and how isolated he truly feels without any, which while I have friends I can relate to as I only really hang out with on regularly.

This is what I was talking about. While I will point out Rosa’s flaws.. their truly outweighed but his artistic mastery. In just three panels he really has a truly emotional and heartrending scene, and just that one close up among them is all we need to get the true depths of Donald’s loneliness. I can be hard on the guy, but it’s because he’s one of the best there is, best there was, and best there ever will be and thus I hold him to a high standard. But with that we transition to...

Or rather first his boss at the hotel, whose pissed his headliner has skipped out on him again to woo a lady, and while he plans to fire the guy, only isn’t throttling him because he figures one of his “Senorita’s” boyfriends will do that for him. And while I do like Jose as a playboy i’m not really fond of him trying to have sex with someone in a relationship, as it puts both him and the person he’s having an affair with in a really bad light. It does fit the character, I just don’t have to like it. As for this particular Senorita, it turns out her boyfriend is a notorious Bandito and is thankfully out of town. So yes, Jose is essentially acting out Come A Little Bit Closer by Jay and the Americans.

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Naturally just like the song, said Bad Man returns, Alfonso “Gold Hat” Bedoya, a machete wielding baddie who while understandably pissed about another man making time with his girlfriend, is less understandably about to murder Jose. Though unlike the song, Alfonso’s Lady, rather than help Jose, encourages her boyfriend to murder him and clearly has a fetish for cheating on her boyfriend with various men and watching as he kills him which.. Jesus. This is why while I don’t LIKE the idea of Jose hitting on women in a relationship it does work here, as he’s still not nearly as bad as either of these two, so it evens out. Jose escapes with his umbrella but crashes.. right into the back of Donald’s car. Rosa, Alfonso’s lady, encourages him to murder both of them for funsies, and being a brutal thug, Alfonso obliges and shoots at the car. And since, to quote the duck himself, Donald doesn’t like being killed “Even a little”, he books it out of there.

Alfonso doesn’t peruse them though. He’s on the trail of a treasure hunter who has a map to the lost town of Tayopa, which contains untold silver, but before he can do that he has important buisness to get to.

I fucking love that gag and that Rosa snuck more adult gags in there knowing plenty of Duck Fans, such as myself, are grown men, women and others who can handle this sort of thing, while still slippnig it past the kids.

Donald, once the fear’s worn off a bit, starts to wonder WHY he’s running when he’s not the one who pissed off the guy, and ignores Jose’s good point about the fact Alfonso really dosen’t seem like a guy who sees nuance.. until Donald sees a wanted poster for Alphonoso and keeps driving. He eventually gets far enough away to feel safe.. and confront the guy who got him into this mess.

Now kiss. While sadly, they do not, we do get a lovely warm reunion between old pals. Rosa keeps their past vauge as, correctly, he pointed out in his authors notes that the Cabs movie really had no plot, accurate, so instead just vaguely alluded to Donald having known the two in his pre-daisy and boys past and likely had similar adventures to the movie, but adapted more for Rosa’s barksian universe. Jose explains he often finds himself cash poor and thus hits the road to drum up some money, and Mexico is a great place for that as it has plenty of tourist money.

Though as Jose talks about their past we get the most uncomfortable running gag of the story.

While Donald’s paranoia here is played for laughs.. it just.. isn’t all that funny that Donald’s relationship with Daisy in the Rosa canon is apparently sooooo deeply unhealthy that just HEARING about him having a romantic past before him, as Rosa confirmed this was pre-daisy in his notes, causes Donald to panic and worry she actually somehow heard this. It just isn’t funny.. it speaks of MASSIVE relationship issues and some form of domestic abuse on Rosa!Daisy’s part. It’s stuff like this why there’s only a handful of Donsy relationships I like: Her treating him like shit is reduced to a punchline, instead of being used for character growth. It’s also why I’m deeply dreading covering “Legend of the Three Cablleros” at the end of this retrospective. I just don’t like when Disney media treats Daisy expecting too much of Donald or being hyper jealous of him as hilarious and while I take this more as the story not ageing well rather than barks fault, as since then Domestic Abuse against Males has become a more widely known and talked about issue, it still doesn’t’t make it plesant. It just makes this not entirely his fault. Just like it’s not Stan Lee’s fault this panel is both deeply hilarious and uses a now kinda racist term.

I named an entire youtube channel after that.. we all have our regrets. I also bring it up since currently Harry’s become terrifying villain Kindred... and thus the current big bad of an entire Spider-Man run and the being hopefully bringing one more day into the light and hopefully leading to it’s undoing.. once had a goofy mustache he genuinely referred to a “Fu Manchu Face Fuzz” that for all we know he regrew under the mask.

Donald fondly remembers the old days of being a badass adventuring team and decides, screw it, let’s go show that Gold Hatted Paloka whose boss.. but being Donald ends up driving them into The Copper Canyon instead. Our heroes end up lost in the canyon and , fitting for Donald get shot at. I can only imagine his thoughts right now.

Their mysterious attacker threatens them.. before revealing himself to be Panchito, whose glad to see his friends having mistook them for Alfonso. Turns out HE’S the mysterious treasure hunter Alfonoso was after, to no one’s surprise. We get another deeply unfunny “Daisy’s only a thousand miles away gag” as the boys reminisce and get introduced to Panchito’s horse, Senior Martniez. He also tells the boy about his map.. but how he’s hit a snag as the lost town where the silver, from a silver mine.. is now buried under pounds of volcanic rock, a volcano having erupted. This is artistic license as Don Rosa admits there aren’t any known volcano’s in Mexico, but that they also still haven’t found that missing town, so this was his explanation. All is not lost as Donald’s globetrotting with Scrooge meant he knows his history.. and thus spots an old mission which, at the time, were used by preists as cover for secret mines. Donald naturally bungles his way in and we get the much better running gag of the Cabs thinking Donald did something amazing when he really just wondered into slapstick. They end up down the shaft, with Jose deciding Donald can’t do all the work, and finding a secret entrance under a sanctum sanctorum.. a religious thing I have no idea what it ii s but is clearly where Dr. Strange got the name. Regardless they find some old kegs filled with pure silver. As Panchito puts it:

And he did ideed. In a nice moment that shows off his character, Panchito has no hesitation for sharing the wealth: He wouldn’t of got this far without his friends, and he wont get the Silver cashed in without their help. He also fires off his guns in celebration.. forgetting their in a cave, a gag I genuinely like.

After some off screen loading and hoisting, the boys are slowly on their way out of the canyon, with Donald’s Car and Senor Martinez pulling the cart with the silver together. With some downtime the three talk about what they’ll spend the money on.

About what you’d expect. A big beautiful music venue

For Jose, and a nice ranch to retire at for Panchito. Both despite being wondering souls would love a simple place to call home, in their own personal styles. While they are BIG goals, their also likeable and understandable ones: Jose just wants to stop having to do all these tours and carouse and party and perform at home. Be his own boss, and live his own dreams instead of working for whoever will put up for him. Panchito just wants to retire from being a wondering hero to a peaceful life of farming, an honest reward he well earned. And Donald?

This is easily one of my faviorite moment’s of Rosa’s, one that really cuts to comic donald’s character: Sure he can be lazy, a trickster, hot tempered, and overconfident.. it’s why we love him.. but at the end of the day he genuinely loves those boys and their his first prority and I can see why the reboot took that trait and made it his defining one. They may annoy and frustrate them and he may pull a switch on them, 50′s after all.. but he loves his boys and knows they’ll do great one day and despite his spendthrift ways when given big money.. their all he can think about. Sure Donald probably has his own personal dreams, but instead of going big and retiring he’d probably just take only a small sliver of that money to open a humble hot dog stand or something, so he could have something of his own to provide them, while still giving most of the money to their college. Scrooge is who we all want to be.. Donald is who we are at our core: Flawed people who just want to do our best. It’s why I love the guy so much. The boys rest in the small town of El Divisadero, which like the town we started in is a real place, though both are much smaller, even as of 2000 when Rosa made his visit, so he had to embelish slightly. THey stop at a local watering hole only to find Alphonso. While Jose is naturally worried, Gold Hat has moved on to Panchito and wants to know why he’s here. However Donald thinking quickly says he’s part of their nightclub act, and we get a rousing version of the three cablleros, which when reading this I synched up to the song. I won’t put it here, as it’s too big for tumblr and it really works more as a whole, but needless to say, it’s the highlight of the comic. While Rosa did have doubts about putting a musical number in a comic, and it’s often trickey, he makes it work with the energy, vibrance and number of gags, that compensate for the music not being there. There’s tons of great gags, from Donald getting thrown out window, to the stone faced crowd who only cheers when Alphonso ends the number by whacking the three with one of their own guitars. Alphonso quickly realizes what’s goin on, finds the silver, and then hyjacks the train. The boys take off after him in the car, as Donald triumphantly states “The Three Cablleros Ride Again!”. The three head after Alphonzo, who finds them when trying to release the other cars to increase speed, and then shoots at them. It seems hopeless... until donald gets launched into the air, into a cactus then back into Alphonzo knocking his guns out in a great bit of slapstick. The Conductor, likely not knowing about the others or not carring, detaches the cars though, so our heroes and villian are now sent rocketing through the world’s most dangerous railway. Which, as you’d probably already figured out, is very real and what inspirited rosa to use this setting and thus indeed wind through dangerous mountainsides and over thin cliffs like a real life Donkey Kong Country level. Eduardo still has his machete though and easily beats Jose’s umbrella, but some more Donald slapstick and him apologizing to daisy about the senioritis as he wishes her goodbye seriously GET SOME COUPLE’S COUNSELING IF THAT EXISTS IN THE 50′S. It puls his sombrero down over his head, and with jose’s umbrella top landing on it, carries him off where he ends up in a lazy asshole sheirff’s jail for a gag. The boys however continue going back.. and the railway is unfinished at this time in history and while they save the silver, their fucked. But Donald has a plan, running to the back of the cars to get his car, and while it has trouble starting, Panchito throws some chilie’s in the tank to get it moving again. The boys find the silver.. but when one barrel spills they find out it’s not actual liquid silver.. but quicksilver, which was used for silver refinment. So while i’ts shiny, and toxic so of course Jose sticks his hand in before knowing what it is, it’s worthless. Probably. The boys.. all have a nice laugh over it. I love this moment. Sure the boys lost their dreams.. but like Scrooge, the three belivie theirs always another rainbow. What matters is the journey they had and the reunion that restored their friendship. Donald also muses the boys are smart enough to get their own scholarships anyway, so it’s no big loss.. but he does have to get back to Disvadero as the jamboree ends tonight and Jose agrees as he now needs a job again. The owner balks, understandably since Jose missed a performance to get laid and then disappeared overnight.. but the Hotel Owner is visiting so as long as he can provide a big act he’s good, and while Jose is worried as he already gave them his best, the boys naturally pitch in to be the cablleros once more. After all

So we close on Huey, Dewey and Louie returning, still worrying about donald, when they find him on stage. We then end on a truly heartwarming and great last few panels.

Final Thoughts: What else can I say? This story is beautifully drawn, as usual for Rosa, well paced, fun and really fleshes the Cabs out from the movie. It has a warm, fun adventurous tone and it’s nice to see Donald in the lead since Rosa usually did Scrooge stories and thus Donald was the justifiably surly sidekick instead of the main man> here he’s in the spotlight and gets to show just what he’s made of, while still being the hilarious mess we all know and love. The story honors the original film well, while forging it’s own path and is beautifully built into history. My only real complaints are the nephews being annoying, Alphonso’s somewhat overwrought accent, and of course the daisy gags.. but it’s all HEAVILY outweighed by one of Rosa’s finest hours and easy enough to ignore. Check this out if you can. It’s a classic for a reason.

If you liked this review, you can commission your own by messaging me on here or at my discord technicolormuk#655 for five dollars a comic story or animation episode. Whenever the ride resumes next, we’ll coming on down to the house of mouse to see the boys return to the screen. In the meantime keep an eye on this space for regular Ducktales reviews every Monday, including once this run ends as I intend to start playing catchup, loud house reviews whenever, my tom retrospective that’s returning soon, and my retrospective on the Life and Times of Scrooge McDuck, with chapter 2 of that also coming soon. Until then, there’s always another rainbow.

#the three caballeros #jose carioca #panchito pistoles #donald duck #don rosa #ride of the three caballeros #the three caballeros ride again #huey duck #dewey duck #louie duck #daisy duck #mexico #comics #reviews #elmo keep

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yukisohmasmokesweed · 4 years

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heeey... so, might be still a bit early to ask, but: top 10 "things" about season 2? could be eps, moments, characters, things they did, whatever you feel like, literally ur top 10 favorites from it

i interpreted this to mean top 10 moments so....top 10 moments!

10. (from 2x4)

i love this whole fight so much. it’s kind of an unspoken thing after it’s first established that they have to hide a huge part of their lives from everyone around them since it’s a given, so i like this bottled-up frustration over having to live constantly walking on eggshells coming out. i also really really like that we get to see haru acting genuinely scary as dark haru; it’s introduced as a comedic thing and haru is a generally well-adjusted character compared to the rest of the zodiac, and so i like that we get to see just how destructive and chaotic his coping mechanism really is. filmmaking-wise it’s a little boring but i don’t really mind because it’s tense enough that i don’t really notice it.

9. (from 2x17)

this is the only funny one on my list because i live for the drama haha but i like this scene for more than its humor! this episode takes place at a point in the season where yuki has been able to accept that he is allowed to put himself and his recovery first, and has spent enough time with others and pushed himself out of his comfort zone enough to shake off the instantaneous automatic fear of rejection that his social anxiety manifests as. because of the slow undoing of this hardwired reaction and because he’s become very comfortable around kakeru, though, his real, unrestrained personality as well as his actual opinions start slipping out. i like that this scene shows us 1. that he cares for tohru so deeply that he would end a friendship over her getting hurt, even though he thinks it’s childish after he says it and 2. that not even yuki knows what his real personality is like because he’s kept it repressed for so long. and i think for people with social anxiety the reaction to this kind of thing is embarrassment, but despite his embarrassment kakeru accepts what he says at face value because he likes yuki for who he is, not who he pretends to be for other people’s comfort. this is a very sweet moment between the two of them even if it’s buried a bit underneath the humor and kakeru’s easy acceptance of yuki’s more dramatic and snarky side is one of the reasons yuki trusts him so much when it comes to heavy stuff. i don’t love the bg changes to this cartoony thing in fb but in comedic scenes like this one it didn’t bother me, and i thought all of the art in this episode was really nice. this was also one of my favorite voice acting moments from shimazaki, i looooved loved loved him stuttering as he turns around right after he has this revelation, i think it’s super funny and also very natural-sounding, plus it’s a different kind of delivery from yuki but it fits him so well.

8. (from 2x19)

i love this little moment between shigure and hatori. the way they talk about the curse in this scene is very indicative of their characters and how they feel about the curse: shigure is flippant and casual when he says rin visits him to see if he knows how to break it, and hatori is shocked at the idea of it, then instantly becomes resigned, claiming it’s not possible. but this moment right at the end is just *chefs kiss* the way shigure says hatori’s name so weighty, and the delivery of “...do you hear it?” is curious if not hesitantly hopeful, some of my fav line readings in the whole show. i also really love the pan up the stairs back up to the house when he says “the sound of breaking,” the implication of tohru’s involvement in this clear. this scene is also visually stunning and i like the track under it a lot.

7. (from 2x18)

i’m obsessed with this scene and i’m obsessed with every line reading from nakamura, he is so incredible. i thought the art in this scene was gorgeous and every blocking choice was amazing, the body language and where they moved and when was perfect. also one of my favorite tracks off the ost plays under this scene, and i love that it ends just before shigure delivers his line, “i’m the worst.” and rin looks over her shoulder in silence other than the sound of the door(!) sliding closed as shigure exits. you can feel in this scene how desperate rin is and how frustrated shigure’s flippancy is making her. i also really like rin’s body language in general, she’s a good amount touchier than anyone else, and she’s all over shigure in this scene, both because she’s propositioning him but also because of her implied closeness (gure-nii) to him.

this is an excellent shigure scene, and i love these lines included in particular as well as the repeat of them in the finale. it’s a moment of actual self-awareness and self-reflection from shigure for sure, you can tell by his face, but in true shigure form he is not saying it because he’s trying to be emotionally open with rin; he’s saying it to get her off his back. he knows that the curse is weakening but he also knows that the harder he pushes people and the harder they struggle to get out, the more likely the curse is to break. it’s cruel and manipulative and the most painful way to go about things, but hey at least he knows it!

6. (from 2x25)

this whole scene between shigure and hatori in the finale is a super hard hitter; they both know everything about one another and have nothing to hide and they are also very desensitized to cruelty, and so their conversations are incredibly frank, and they don’t skirt around anything, either. i like that hatori doesn’t hesitate to put shigure in his place regarding akito’s status (a good example of hatori as akito’s enabler and the upkeeper of the status quo in order to keep everyone’s lives as calm as possible at the cost of his own happiness), and i like that shigure immediately gives it back by calling out hatori’s attachment to the bond—which is an interesting thing to bring up and speaks to the bond as not just a curse, but of how it is also their family and community. their lives do revolve around it, so the curse breaking would be an unthinkable change to something integral to their existence.

i chose this moment in particular because it’s a great insight into shigure’s emotional state, one of deep jealousy and pain over akito’s rejection of him. i like that it’s a close-up of his eyes here; shigure’s eyes are important in the reboot, and seeing them here tells us that this is his emotional truth. when hatori calls him out, though, they are hidden again. these lines are also delivered so well, i love how low in his register he’s speaking, it’s not something we hear from shigure a lot. it’s very heavy and very indicative of his pain.

also, i like when they copy things exactly from the manga, so i liked this shot a lot as the closer of the scene:

5. (from 2x21)

ok obviously i had to put this because it’s my favorite scene in the manga...i thought this was very visually beautiful, loved that they had yuki standing in darkness (in front of a door!) and kyo illuminated by the light, but a light from a place he’s not allowed to enter. i think the lighting design speaks to how yuki views kyo, not only when he’s a little older as someone who is naturally charismatic and attractive, but in the moment, as a potential ray of light, a possible friend who could understand his situation through shared life experience. i just love the puff of breath yuki gives in reaction to kyo confirming what akito has been saying to him about how everyone hates him and everything is his fault, and i love yuki’s hands folded in front of his chest, protecting the most vulnerable part of his body as a reflex to words that deeply wounded him.

i like this scene for its function of the root of yuki and kyo’s conflict: that kyo needs to hate yuki and scapegoat him for his own problems due to yuki’s status in the family, and yuki hates kyo back to protect himself. it’s a very nuanced and deep take on a fictional rivalry that comes from a very realistic place of maladaptive coping and morphs into something more habitual and every day over time. also big love the casting choices for these two as children. this scene was amazing, it’s super short but i like this specific moment in it because it does a great job visually showcasing yuki and kyo’s immediate reactions and emotions to meeting one another for the first time.

4. (from 2x25)

i thought this whole sequence was incredibly well-done, but specifically i loved this part where the music swells and the loom crashes down onto the floor over akito’s repeated lines. also one of my favorite voice acting moments of the season, i loved akito delivering these lines through hiccups and sobs and trailing off into childish crying, and the art and animation was very visceral. seeing akito this out of control was amazing and kureno’s reactions to akito hit very very hard; it’s easy to sympathize with him and see why he would agree to this, and it contextualizes his decision to do so when all we the audience has seen before this is akito’s terrible and abusive behavior.

i also really liked kureno’s hands coming in towards akito to comfort, it reminded me of this

from 1x9 but flipped; instead of kureno’s hands coming forward to comfort akito but representing his choice to trap himself in the curse, it’s akito’s hands coming from behind to force yuki to stay with akito against his will. they also both cut off very suddenly, which i like a lot.

3. (from 2x8)

this transition makes me go absolutely ballistic. visually i love akito and tohru turning to look over their shoulders in opposite directions, i just think it looks very sexy and it was a cool way to transition out of one scene and into another. i also like the mirrored body language to set them up as each other’s foils in these two scenes. akito brings kureno, who is functionally their love interest, out for a walk and then proceeds to belittle him, his status, and his opinions. tohru goes out with kyo, her love interest, so they can have a nice time at the beach. they have a very open conversation about the “monstrous” aspect to kyo where tohru validates and appreciates his thoughts and emotions. having these two scenes back to back was a really smart move to contrast our protagonist and antagonist and set them up as each other’s foils, and it’s definitely my favorite scene transition in the season.

2. (from 2x10)

i loooove how insanely tense this scene is. i really like that shigure and akito are sitting in silence here until akito starts their monologue in full, and then the track is cut off at its crescendo by kureno’s knocking. the track being bookended by low ambient sound from outside makes it more impactful when it does start playing, and the track cutting off with the knocking makes the sound of akito’s clothes moving as they get up and the door sliding open while the camera is still trained on shigure’s expression deafening. i also like the shot choices in this scene, particularly the close-up of akito’s hands around shigure’s jaw and that we can only see their mouths, as well as the shot of shigure seething but partially blocked by akito’s torso. the voice acting in this scene is also bonkers good, particularly yuichi nakamura’s shigure.

this is the first time the audience has seen shigure mad, not just annoyed or frustrated, and that’s definitely a big part of why i love this scene. his conflict with akito adds a lot of depth to his character and i like seeing a different range of emotion from him than normal. i also just love the introduction of their whole relationship drama love triangle thing going on with the adults, i honestly think it’s hilarious that takaya baits the audience into thinking it’s going to be a love triangle between the teens and it just completely is not but is instead a deeply fucked up one between the older characters. truly a stroke of genius

1. (from 2x8)

i love this whole scene so much. i think cinematically it’s gorgeous, i love that they’re surrounded by greenery and i really like the leaves starting to fall around them and the beams of sunlight behind tohru. those choices could have come off flashy and overdone but i feel the way it was directed was subtle enough that it didn’t feel like ibata was holding my hand through my emotions, but impactful enough that it’s an emotional gut punch every time i watch it. the moment where the flute ends with tohru’s internal line and transitions into strings/chimes mixed with the sfx of the wind rustling through the leaves is beautiful and probably my favorite use of soundtrack this season.

the reason i love this moment in particular so much is because it so encapsulates yuki and tohru’s relationship. she sees him so clearly and has been in his life long enough to tell that his reaction to rin is a marked change from who he was when they first met. she also knows that yuki working through his trauma over akito is something he needs to do on his own, and that the best thing she can do for him is to support him and show him that she loves him. on yuki’s end, he already knows tohru will support him unconditionally, but he’s now at a place where he’s able to accept it in stride and knows without a doubt that she’s there for him. this little moment really showcases what their whole relationship is about and was gorgeously done. this scene very quickly became one of my favorites when the episode came out and i’m pleasantly surprised that it’s stayed there; in fact, it was totally enhanced by the development of their relationship this season, which has undoubtedly become my favorite relationship in all of fruits basket. i think a friendship as deep as this one is a rare gem in fiction, let alone one between a man and a woman. this whole exchange is very beautiful and touching and a great summation of what they both mean to each other.

#fruits basket #fruits basket season 2 #yeah im putting this on the tag because i spent a long ass time on this post #meta???#anonymous #ask #takes a huge bong rip

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