#we get more emotional nuance and insight into fucking MARK than we do them

[princess-stabbity]

corvidoe replied to your post “hghfhhf there ws this new sitcom playing in the background and i was...”

asdda omg... also "v jenji kohan" is such a simple but poignant descriptor too bc... that's literally all of their shows. you just... watch them for inordinate amounts of time and constantly question WHY but. you just. do. and then you are full of regret lmao

right??? like ive never watched weeds but its such A Signature..... kohan isn’t the showrunner for glow but i think shes executive producer and the other day i was rewatching the episode that broke me and i finally noticed that she wrote it and i was like “ohhhhhhhhhh” 

[theonceoverthinker]

OUAT 1X10 - 7:15 AM

Unfortunately, I’ve no jokes popping out at me for my opening this time, but a little birdie told me you should head below the cut.

(Got that one in at the literal eleventh hour! I work for my lovely readers ;) )

Press Release Mary Margaret and David continue to grapple with their unrequited love, and Emma and Regina grow suspicious over a mysterious new stranger in town. Meanwhile, in the fairytale land that was, Snow White yearns to ease her breaking heart as Prince Charming’s wedding to King Midas’s daughter approaches. General Thoughts Past During my review of “Snow Falls,” I commented on the fact that as that would be the only time we’d get any substantively meaty Snow and Charming scenes for quite some time and that every other episode’s flashback would depend on how well that episode handled them, I wasn’t joking and this is the first episode where you feel the effects of it. (For more on that, head on down to “Flip My Ship”). It’s weird, I never saw the nuance in King George, but damnit, he is right. True Love being worth fighting for regardless of the obstacles is one of the central themes of OUaT, and I think for the most part, the show does a good job of showing that. However, we sometimes forget that that pursuit is not without its consequences (Depriving others of the prosperity and peace that David and Abigail’s marriage would bring to their kingdoms), and here, George lays that out in no uncertain terms. Is he most likely acting more in the interest of himself and his kingdom more than anything? Yes, but the validity of what he’s saying still remains. His plans and reasoning are well thought out and admirably complex. I feel guilty. In the past, I just saw him as this one note villain, but holy hell: a few years can really do a lot to change one. I wish we saw more of him, only to see more of this viewpoint. Snow and Charming definitely do end up winning the day, but the idea of sacrifices and bloodshed are for the most part all but abandoned after this episode. The fact that David, immediately after hearing what George has to say, writes a letter to Snow discussing how he’s willing to abandon everything else without a second thought for her almost makes him unlikable in the face of that. The only thing that save his is that damnit, Charming lives up to his nickname!

Snow’s aspect of the story is interesting too. We see these two sides of her battling. The first side, of course, is her love for Charming, and that’s strengthened both by the letter she receives and the fear she has of losing him to his arranged marriage. However, what’s really clever is that the fear she had back in “Snow Falls” didn’t go away, and Rumple, Grumpy, and George help to reinforce her own doubts by giving the pursuit of love an actual cost - one’s heart, freedom, and potentially not theirs, but their beloved’s life. It’s a very clever use of characters. Actually, after a day or two, I realized that Snow’s arc was even stronger than I gave it credit for. In this episode, despite having her reservations about love, she does overcome them despite what I pointed out, and it’s only the fear of Charming dying that makes her back off. The ultimate resolution is so much like the character herself: Tragic, but not without that bit of hope always by her side (In this case, her new friendships and the breaking of David’s marriage). Present So I basically had no strong thoughts on this episode (Apart from dread at a certain aspect, but I’ll discuss that shortly) until we see Mary Margaret nearly fall down the cliff. 

Then it hit me: The David and Mary Margaret storyline is this episode is the most fanfic-y, romance novel-y material I have ever seen (And that’s not a bash against it at all). Like, you get that mutual pining, David saves Mary Margaret after some tension, they’re stuck in a cabin together, they both love animals. Entire weeks’ worth of soaps don’t have half as many romance tropes as this storyline does! That said, the more I see of David Nolan pre-broken curse, the more I dislike him. He simply refuses to own the choice he makes and with these small windows of time the show is giving us, it’s either unrealistic or horrible of him to jump from one woman to the other. And yeah, at this point in the series, Abigail wasn’t too kind, but David didn’t know that, in hindsight, she hasn’t done anything more than be annoying, and everything we’ve seen of Kathryn has been delightful, patient, and kind thus far. I really feel like there needed to be more of a time discrepancy or evidence of some real trying on David’s part before suddenly doing whatever he could to see Mary Margaret. It makes David’s speech after releasing the bird so eye rolling to listen to (Though Josh’s puppy dog eyes and loving gaze make me really wish there was more to it) because while he claims that he has feelings for Kathryn, the most we’ve seen of it is a shaky scene together outside the Nolan house and a kiss that is now spoiled with the knowledge that it came right after David made a move to go see his crush. As for the August and Emma storyline, well, for one thing, they have a fantastic rapport. August’s ability to dodge questions like a skilled Mario Kart player dodges banana peels faced off against Emma’s focused and pointed questions is the greatest battle of wits. It positively glued my eyes to the screen, and the fact that I can say that despite knowing exactly what happens is so cool! Insights I love that opening shot! For one thing, it grants a special level of ambiguity as to what realm we’re in for those slow first couple of seconds. For another, they get Henry walking towards August through his reflection in the motorcycle! The cinematography of this show is so under-celebrated, and my ful props to them! Also, completely-unintentional-and-thus-hindsight-ily-badass foreshadowing of Henry riding a motorbike in the future! So I’m aware I’m 100% wrong about this wacky theory, but follow me on this. The episode is called “7:15am” and the most famous time on the show is 8:15. Is this, alongside a significant time for David and MM, an allusion to the fact that they’re figuratively one step behind the curse? I started blushing out of secondhand embarrassment when Mary Margaret revealed how much she knew about David’s schedule. “Love is the worst. I wish there was a magic cure.” It’s called booze! Wow! This is the first time I’ve seen Snow and Red have a scene together in a while! I missed their friendship! I find it so interesting how stories of The Dark One are kept under such wraps. In the “Desperate Souls,” the Dark One’s existence is borderline common knowledge because of how the Duke yielded him. However, Rumple - possibly due to fear or just a desire to be left alone - took the opposite approach and kept his reputation so quiet over the centuries, so much so that his mere existence is now questioned. Given his rather large...estate, what do you think he had to do to make that happen? Yay!!! We get to see Snow’s cloak again!!! Also, I don’t care if it’s just a set - the design for the scene between Rumple and Snow is creepy and beautiful! I love the atmosphere! It’s simple and shady! Rumple’s going on about all this anti-love stuff and I’m like, “Let’s talk in a year, bro.” Seeing Charming send out that bird makes me wish for a scene where the two of them spoke of Snow’s uncanny ability. ...Also, nice transition! XD I actually forgot that Grumpy gave the basics of his origin story before his episode came out. “Give us our best shot.” I can’t help but feel like that was so intentionally slightly off the mark from “our best chance,” showing that something’s not quite right. I love how as MM is getting her coffee at the end of the episode you can just HEAR the “fuck” as she hears the bell. Arcs David and Mary Margaret finding each other - One thing that I can say is that we get development here. Look, I’m not a fan of cheating plots, but it is interesting to see Mary Margaret and David struggle to find a happy middle ground in an emotionally complicated situation. That said, the lack of time and real commitment to being with Kathryn makes me question why they’d even bother having the cheating subplot. Snow and Charming finding each other - This episode builds right off of both the conclusion of “Snow Falls” and the insight of “The Shepherd.” Additionally, I like that Snow and Charming aren’t stuck in the “Do I have feelings for this person” phase of their romance for long because it allows for the rest of the arc to take off well from here. The Mystery of August Booth - We get a brief introduction of this arc here, and it wastes no time connecting to the main players: Emma and Henry. There’s also a cool subversion where we get an immediate insight into something that would otherwise be a several episode mystery in another series. However, both the man and mystery are still prominent and we as an audience know there’s still leagues to explore with him. Favorite Dynamic Snow and Grumpy. While their friendship is given very little time to build, not a second of it is wasted. Even as I know how Grumpy’s story ends up, those first niblets we get here make do a really good job painting his emotional dilemma and making a connection to Snow’s quest. Snow - in turn - gets to build off of Grumpy’s negativity by showing both optimism that opposes him cynicism and kindness when Grumpy and Sneaky leave the jail cell despite them intending on leaving her there. That wish for happiness is so sincere that it could melt steel. And the reciprocation that blossoms as the flashback progresses is just wonderful. Writer Had to do a bit of research (And by research, I mean a Wikipedia article, full disclosure) for this one because while the story (The basic actions and plot points) was written by A&E, the teleplay (The dialogue and smaller actions) was written by Daniel Thomsen. Thankfully, in regards to breaking this down, this information does me quite a few favors. Last time, I wasn’t able to do more than theorize what each writer contributed to the scripts, but right now, I can do a bit more to discuss the finer points. First, let’s tackle A&E’s role. I genuinely feel for the basic layout of this story. Regarding the past, I have no complaints. The broad strokes of emotional buildup work and the conclusion feels completely earned. My thoughts on the present prove to be more challenging. I don’t like that it ends as a cheating story, per se, but if that was to be the story, the basic layout of it does work. There’s a proper building of stakes and the big picture character beats hit home. However, execution is where I have my problems, so let’s tackle Daniel Thomsen. Again, I really have no problems with the execution of the flashbacks, save for oddly amazing piece of development for the villain and his motivation that is just kind of brushed aside. But that’s just a matter of doing too good a job. My issue is really with the present events, or just the things that aren’t on the page that really should be. It’s hard for me to feel sorry for David for walking out on Mary Margaret when there’s hardly an implication that he’s giving himself and Kathryn a fighting chance. I know I’m supposed to be feeling how he’s caught in between these two sets of memories and the kiss at the end does retain its weight, but so often during this episode, I just wished that he would make a choice and stick to it. What makes this all the more aggravating would be if there was just one or two more lines about making an effort there. And for a while, Thomsen was showing that through David and Kathryn’s interactions and the way he talked about her and things were feeling more like a real push-pull for him, but it was ruined the moment David said that he had been planning his coffee trips to coincide with Mary Margaret. At that line, my faith was shattered and it harmed my perception of the character. Rating 8/10. This was an entertaining episode to watch. Snow’s journey in the flashback was such an exciting story to witness, especially when it comes to seeing her interact with all of these characters for the first time. This is Ginny’s episode to shine in both realms and the show makes sure that you know it through the array of emotions she pulls off throughout the runtime. So much of Snow and Mary Margaret’s character is expanded upon through all of this. The present stuff is pretty flawed for reasons I explained above, but damnit, this show knows how to sell fairytale magic and fate and some impressive forest locations, music, shots, and animal habits really sell the scope of the small story. Flip My Ship Snowing - I love that lingering effect that’s clearly been had on Snow. Love nestled itself into her like coins in a couch sofa. But at the same time, there’s still that cynicism from the last episode and while love is pushing it out, the tragedy of their circumstances still keeps it there. And the cute look as she’s watching Charming go off to pack - both times! That is a woman in love! And then the sorrow when she has to end things with Charming is so hard because every gleam of her eyes just screams that this is the last thing in the world that she wants to do! AND as she’s walking away, she looks like she’s gonna collapse from utter sadness! DAMNIT, GEORGE! Swan Queen - Emma’s so flirty in that scene by the car and it’s just adorable against Regina’s no-nonsense business attitude! Captain Swan - “Not a day goes by that I’ve not thought of you.” Oh, that line brings back retroactive parallel memories! :D

()()()()()()()()()()()()()()()()()()()()()()()

Thank you for reading and to the fine folks at @watchingfairytales for putting this rewatch together! See you all next time and...be careful of the fruits you eat. They maaaaay be from a poisonous tree. ...If you can’t tell, I love a good stinger.

Season Tally (81/220) Writer Tally for Season 1: A&E (31/70) Liz Tigelaar (17/20)* David Goodman (16/50) Jane Espenson (16/60) Andrew Chambliss (8/40) Ian Goldberg (8/40) Daniel Thomsen (8/10)* (* = Their work for the season is complete)

Operation Rewatch Archives

[orbularborbular]

My Thoughts on The Last Jedi

Spoilers below the cut! Do not read this review if you have not seen The Last Jedi! You have been warned!

[And please, kindly remember that I'm just another idiot on the internet with an opinion. I'm not trying to change anyone's mind with this review…I'm just sharing my reaction, because none of my friends are online while I’m writing this and I need to mouth off to somebody.]

Okay, so – analysis time. The way I see it, there are two main narratives in The Last Jedi. I loved one of them, and I hated the other.

Narrative #1 deals with The Force™ . Naturally, it contains the classic Star Wars themes of tragedy, forgiveness, and redemption, but it adds depth and nuance to these ideas in a couple of ways. It explores the importance of human connection, and it underscores the power that each individual possesses to determine their own self identity, and with it, their fate. The writers made the inspired decision to take the struggle between Light and Dark and externalize it – make it into an actual, literal conversation between two people: Rey and Kylo Ren, with Luke acting as the tormented mediator. Mark Hamill just knocked it out of the fucking park with his performance too – what an amazing conclusion to Luke's story.

Narrative #1 acknowledges the flaws of Jedi doctrine and provides a simple, brilliant explanation for one the biggest questions left over from The Force Awakens: why did Ben Solo turn to the Dark side? The revelation that Luke drew his lightsaber on Ben in a moment of weakness, only to recoil in horror at his own impulse, casts Kylo Ren in an entirely different light. Ben truly believed that Luke meant to kill him – and what troubled teenage boy wouldn't develop emotional issues if he thought his uncle were trying to murder him in the dead of night, especially when he was already under the influence of an evil CGI freak? (On another note, can someone explain to me why Snoke was wearing like, a gold bathrobe? What the hell kind of aesthetic is that?) Luke's culpability, however minor, heightens the tension in the conversation between Rey and Kylo Ren, because it makes him a more sympathetic villain. Suddenly, his rage and hatred make sense. Luke's shame and self-imposed exile make sense. Everything makes sense. The relationship that emerges between the three characters is believable and emotionally satisfying, even if Kylo Ren does make the decision to be a punk bitch in the end. But man, that fight scene where he and Rey are fighting as a team? Top fucking notch.

Narrative #1 works because it establishes cause-and-effect, and because it gives each character a complete arc. Past trauma motivates all three of the central figures: Kylo Ren, Luke, and Rey each have to contend with their own personal demons and choose whether to rise above them, or succumb to them. Their parallel struggles give the movie a sense of cohesion and suspense. Their decisions matter, and those decisions aren't necessarily foregone conclusions, because all three characters have the power to influence one another. Luke chooses to accept his past mistakes and to reconnect with his old comrades; in doing so, he is finally able to achieve the absolution and peace that have eluded him for so long. Rey refuses to give in to her feelings of loneliness and abandonment; instead, she uses the empathy derived from those painful experiences to try and reach out to Ben Solo. Kylo Ren rejects Rey's attempt to connect with him because he is either unwilling or unable to deal with his own trauma. He stubbornly pulls away, and ends up more miserable and broken than ever.

I simply cannot gush enough about how much I loved this whole storyline. Writers take note: this is how you create compelling character drama. The stakes were personal and emotional, but they also had larger ramifications. The imagery and cinematography perfectly complemented what was going on in the narrative, too. Like that scene where Rey saw herself cascaded out, row upon row upon row? Holy crap was that an insightful visual metaphor for the concept of self-identity. And can we talk about the red salt on the snow during the final showdown? How it smeared when stepped in, like blood? That shit was amazing. Luke's confrontation with his nephew was the perfect conclusion to their relationship, and the best possible send-off for Luke. He went out on his own terms, as the ultimate Jedi master: cunning, heroic, and self-controlled, able to own up to his mistakes without being destroyed by them.

Now, on to the part of the film I hated. :(

Narrative #2 is The Little Guys vs. Big Evil™. The themes of this narrative are courage in the face of impossible odds, and the wisdom to know when to make sacrifices. Unfortunately, there are two major problems with this half of the plot that weaken the impact of these themes. The first problem is that there is ZERO world-building in these new movies. None. Zilch. In the original trilogy, the lack of backstory was not a problem because we were thrown directly into a reality where an oppressive autocratic regime was already in power. The audience could accept that these fuckers were genocidal and that a ragtag group of rebels was fighting them, because Episode IV was a blank slate. The conflict was straightforward enough that we could just run with it once it was introduced. But the new trilogy is NOT A BLANK SLATE. The film needed to explain how we got from the events of Return of the Jedi (where the Rebels had just won a major victory, the Empire was reduced to a shadow of its former self, and the threat of pan-galactic annihilation was no more), to “oh yeah, everything is a shitshow again”. What the hell happened during the intervening 30 years? How did the New Republic fail so catastrophically that the First Order was able become such a threat? How did the Imperial Remnant get its hands on that much firepower and manpower without like…anyone noticing, or stepping in during the nascent stages? Where the fuck did this Snoke guy come from, and why is his name so stupid? The movie fails to explain the chain of events that led to this new status quo. It doesn't even hint at it. We get no new information about the conflict at all; instead, we spend over an hour stalling while Finn and Rose do their thing.

Speaking of which... The second big issue with Narrative #2 is that it does not utilize its protagonists correctly. Poe gets some development, but Leia, Finn, and Rose Tico do not get character arcs. They do not change in any meaningful way as a result of what they go through. Leia in particular is static throughout the film. Sure, she spouts a lot of platitudes about hope, but we never get any real insight into what's going on in her head. Is she frustrated that she has to fight the exact same war she already fought in her youth? Does she feel guilty for failing to foresee and prevent the rise of the First Order? How has she been damaged by her personal losses, most notably the murder of her husband at the hands of her own son? The script just gives her nothing to work with. No pathos, no pain. She spends half of the movie in a coma, and the only time she gets to use her Force powers is when she's like...magically levitating through the vacuum of space (I call bullshit on that, by the way). Her only real moment of depth is her reunion with Luke. I think maybe the writers intended to put her character arc in the third movie, but uh...that's not gonna happen now, since Carrie Fisher drowned in moonlight, strangled by her own bra.

Finn, meanwhile, spends the entire movie on a wild goose chase. Sure, the casino planet was cool, but you could cut out that entire subplot and its absence would have no effect on the rest of the movie. The writing here frustrates me SO much because the character problem is SO EASY TO FIX. Here's how you make it work: from the get-go, the movie sets up an ideological conflict between Poe and Leia. Poe wants to blow shit up, while Leia favors a more cautious, big-picture approach. However, instead of following through on this conflict and forcing them to hash it out, the film fridges Leia and sets up purple-haired Laura Dern as Poe's foil. This decision baffles me. Leia is Poe's hero; he admires and respects her. Imagine how much more compelling it would've been if he had to make the gut-wrenching decision to pursue his own approach behind her back instead. Leia vs. Poe is a conflict with higher stakes. We care about both of these characters, and we can see both of their perspectives. Pitting the two against each other ideologically (but with no malicious intent), creates the opportunity for both of them to grow and change.

Here's how you fix Finn's subplot. Make his expertise on the First Order matter by allowing him to be the one who realizes how the flagship is tracking the Resistance through hyperspace. Have Finn reveal this information to Poe (it would make sense for him to approach Poe, because of all the people on board, Poe is the closest thing Finn has to a friend). The two of them decide that an infiltration job is in order. Poe calls Maz for guidance, and she recommends a slicer for the job. Because Poe is currently in conflict with Leia and the rest of the leadership, he sends Finn on a mission to retrieve the slicer in secret. Finn is thrown into a completely alien environment, and it proves to be a real learning experience for him. He sees the stark contrast between the ostentatious elite and the impoverished downtrodden, and his innate love and compassion begin to expand beyond just Rey (I still don’t understand how the First Order is responsible for the mistreatment of the children on casino planet, though. Isn’t the real oppressor like...late stage capitalism? lol).

Of course, he parks like an idiot, so he ends up getting thrown in jail before he can make contact with Maz's slicer. It's here that he meets Rose Tico for the first time. In this version, SHE is the chaotic neutral slicer with the longcoat and the air of charismatic unpredictability. Finn, desperate to escape, strikes a bargain with her. Initially, she only agrees to help him for the money, but as the film unfolds, we learn more about Rose. We discover that her sister died fighting the First Order some months or years before, leaving Rose jaded, aimless, and self-centered. Over the course of the third act, however, Rose sees something in Finn or in the Resistance that makes her reconsider her outlook. Perhaps Finn's fight with Phasma plays a role. She ultimately decides to honor her sister's legacy by taking up her mantle, and she joins the fight against the First Order. By condensing Rose Tico and the hobo-slicer dude into a single person, you create a character with a complete arc, and you create a subplot that matters. When Finn's attempt to infiltrate the enemy ship ultimately fails, it doesn't feel like a complete waste of time, because at least the Resistance gains a badass swaggering scoundrel of a slicer. A character that fucking cool should not be wasted.

A couple other quick fixes. You know the scene where purple-haired whatserface uses a hyper-speed jump to slice clean through Snoke's ship? It's one of the most visually arresting and memorable scenes in the film, but on an emotional level it's underwhelming because we literally just met the woman. Why not keep Admiral Ackbar alive a bit longer so he can be the one to make the iconic sacrifice? The audience already cares about him, so when he goes out in a blaze of glory, it packs a much greater emotional punch (plus, can we give an alien character a chance to shine for once? I'm so sick of all the humans). Back to Finn and Rose. For the love of God, please get rid of the awkward romance shoehorned in at the last minute. What you mean you “love” him, woman? You've known the dude for like two days! I mean, criminy. Rose Tico's character arc needs to be about coming to terms with her sister's death. Poe should be the one to save Finn by bashing his ship aside, because Poe is the one who's supposed to be learning when to sacrifice lives, and when to save them.

Anyway. As you may have guessed from this review, my feelings about this movie are super complicated. The humor was great, the visuals were atmospheric and creative, and the majority of the acting was fantastic. Every time Luke, Rey, or Kylo Ren were on screen, I was on the edge of my fucking seat. I was completely invested in their narrative and could not have been more satisfied with its conclusion. I was, however, sorely disappointed with the way the writers handled the conflict between the Resistance and the First Order. It could have been so, so much better. It deserved to be better, in a script this good. And honestly, maybe the reason I was so disappointed is because that's my favorite part of Star Wars: a ragtag bunch of miscreants scraping by on the strength of their camaraderie. The jump cut from Return of the Jedi to "everything is shit again" makes me feel like the initial Rebellion accomplished nothing. Like it was all for naught. I'm sure I could go digging for the full story in the supplemental materials and fill myself in, but like...it should've been in the movie. There's no reason why you can't devote five minutes to a little explanation.

Maaaaan. I get WAY too worked up about these things.

[zoetropia]

Zoetropia’s Top 10 Albums of 2018

Well, here we are, later than usual but I couldn’t let myself not do it. I didn’t do any music writing this year so this thing is going to be longer than usual, with a lot more extensive honorable mention section than normal. That means I’ll probably lose most of you until you get to the top 10 but oh well. I listened to 163 2018 releases by the time of this writing. These are my favorite.

HONORABLE MENTIONS (in no order)

Yo La Tengo - There’s a Riot Going On: Solid, but solid for YLT is career-best material for most other acts. This band has been around for 34 years and they’re still this inventive, playful, and relevant. Incredible.

Mount Eerie - Now Only: Incredibly powerful (how could it not be?) but it’s more Mark Kozelek than Phil E. this time around.

Foxing - Nearer My God: A swelling, generous Emo magnum opus and its reach extends ever so slightly beyond its grasp by the end. But those first 5 tracks are an absurd collection of excellent songs.

Mitski - Be the Cowboy: Mitski goes full art rock in a very fine of collection of songs that show her range but struggle to cohere.

Phosphorescent - C’est La Vie: Matthew Houck and his band can still cut a lovely and rousing tune, and this album finds him growing up, settling down, and accepting the weight of the rest of his days. But yet, I miss his anger and rebellion. Some might say losing your rage is a sign of maturity. I don’t know if I agree.

Fucked Up - Dose Your Dreams:  Bursting at the seams with pretty much every style of rock that’s possible, but ultimately too shaggy to be a Great album. Still, there’s so much to like in this album, and it’s not afraid to give you more and more of it.

Joey Purp - Quarterthing: Wild, ranging, but most of all fun. Joey Purp finds himself stretching across styles, beats, rhymes, and samples but always sounds like himself. Maybe the most exhilarating rap release of the year.

Earl Sweatshirt - Some Rap Songs: And way out on the outer edges of what rap can be, we have Earl using his extensive powers of wordplay to explore his psyche and fill out the sketches of production that loop samples filled with tape hiss and record pops. It’s a rap record that feels both tossed off and intricate. In a word, effortless.

IDLES - Joy as an act of resistance.: A bit of a sophomore slump for one of my favorite new acts. Maybe they rushed to get the new record out to capitalize on the word of mouth of their bracing debut and a new record is always easier to publicize over a reissue. Still, there are some great, pummeling punk tunes here, and welcome additions to the set of one of the more raucous and rowdy live acts I’ve seen in a while.

Daughters - You Won’t Get What You Want: Brutal and uncompromisingly dark, this is one of the most frightening records I’ve listened to this year (I don’t listen to too much metal). Isolation, alienation, apocalypse, terror, despair. All the good stuff is in here! And while the unrelenting bleakness is part of its “appeal”, I just wish it wasn’t so one note.

The Sueves - R.I.P. Clearance Event: A relentless garage rock record, pumping up and speeding up some of your fairly groovy rock n roll to maximum distortion and maximum speed. They’re loud, they’re snotty, and if they’d leave Chicago, I’d love to see them in a tiny, sweaty venue soon.

Mastersystem - Dance Music: We miss you, Scott.

THE TOP 10

10. Superchunk - What a Time to Be Alive: Superchunk continue to justify their existence after their hiatus with their tightest and angriest collection of songs maybe ever. Always good to have the vets show the kids that they can rock just as hard, and be just as mad at the direction of the world.

9. Darlingside - Extralife: An absolutely gorgeous folk record, filled with beautiful male vocal harmonies and just the right amount of flowing instrumentation to build worlds of warmth. It’s thankfully free of fast strumming and floor stomping and sparingly uses the one-trick of a rousing crescendo in every song to explore more nuanced song structures. But when the trick is pulled out, it’s perfect.

8. Courtney Marie Andrews - May Your Kindness Remain: I love Kacey Musgraves and I was a big fan of her record this year, but this is my favorite country record of this year in a walk. The songwriting is strong and simple, foregrounding Andrews’ powerful voice and sad, longing words, and her strong backing band fills the space in just enough to color in the emotion.

7. Typhoon - Offerings: An enormously ambitious indie rock opera about life, death, art, and memory. Vividly detailed, intelligent, and impeccably orchestrated, this is the kind of record that’s aimed right at what I love. Oh, and it also quotes 8 1/2 so it was never not going to be on this list.

6. Parquet Courts - Wide Awake!: Never ones to shut up and play the hits, Parquet Courts goes full political with this one. Full of righteous ideological anger and the best and most varied songs of any of their releases, Wide Awake! tackles collectivism, environmentalism, economic inequality, violence in America, and how to stay aware, stay sane, find love and companionship, remain peaceful, and take care of yourself and others in a crumbling world. I can’t think of a record that captures this sociopolitical era more completely. And fuck Tom Brady.

5. Car Seat Headrest - Twin Fantasy (Face to Face): Will Toledo’s ongoing deep dive through his psyche takes a backwards turn as he remakes one of the more beloved of his “Bandcamp” albums with a full band this time. And these songs are worth the rework, as they are some of the brightest, heartbreaking, insightful, and detailed that Toledo has written in his young career. The new production doesn’t give them too much shine but instead fills out of enough of the sound to let them speak for themselves. Plus he did it all in a way that still fit the concept of the record. Pretty impressive.

4. Saba - Care For Me: Where Quarterthing is wild and Some Rap Songs is experimental, Care For Me is focused. It’s a sad, angry record about grief, loneliness, and depression. Saba’s flow seems to need to erupt out of him at times, culminating in the astonishing climax of PROM/KING as he describes the moment he found out about the murder of his cousin. It’s powerful, devastating music, and easily my favorite rap release this year.

3. Jon Hopkins - Singularity: It’s been 5 years since Jon Hopkins’ last LP and immediately upon listening to this new record, the time just seems to disappear. This is an album that could have taken a decade to make, or could have just appeared in the sleepless work of one night. As all of Hopkins’ work, it is precise and detailed, intricately textured and arranged. And as much as we know that every song on this album was worked over and perfected note-by-note, it still somehow feels organic and natural. Astounding.

2. Low - Double Negative: Despite being one of the figureheads of the genre, it really felt like Low had exhausted all the possibilities of “slowcore”. While they’ve never made a bad album, the formula of slowcore seemed to be inhibiting them more than anything, and it being 25 years into their career, it would be forgivable for Low to just continue making, say, Ones and Sixes over and over again. This is not what they did. This is easily best album Low has ever released. They twist and warp and distort their sound into shapes that are at once gorgeous, ominous, foreboding, isolating, and expansive. It is a remarkably cohesive album united around a sound that ebbs and flows, builds and decays, resolves and dissolves constantly and consistently. This is the undisputed masterpiece of Low’s career and I hope they keep getting better.

1. Beach House - 7: Similar to Low, it also seemed like Beach House had exhausted the possibilities of their brand of widescreen dream pop. To my mind, Bloom was the album they were working to all along and after that, they seemed a bit lost. Depression Cherry and Thank Your Lucky Stars had some nice tunes, but they were records that made it seem like the band didn’t know what to do now that they’ve reached their destination. And the two records made at the same time definitely didn’t help counter the impression that they lost their focus. But 3 years later, Beach House returned with their (duh) seventh album, and it’s the most focused statement of their career. It’s swirling and immersive, dialing up their shoegaze influence to build every song to an enveloping world of sound. It’s the perfect album to crank up my headphones and get lost in and Beach House is the perfect band to deliver that kind of album. It mines all the peaks of their previous records and melds them into one massive record that so consistently aims at my musical pleasure center that it seems a bit unfair to all other acts. I’m so glad that they found they way back, and that the way still points upward.

[mittensmorgul]

For the first time in weeks, I had exactly zero messages, anon or otherwise, asking me about the new episode. Let me say, I feel y’all’s apathy. There were a few things that are worth mentioning, though.

First of all I AM THRILLED THAT GAVIN WAS RESTORED TO HIS PROPER TIMELINE. As to HOW and WHY and all the rest of the details surrounding Gavin’s return... I’m just gonna...

BUT IT IS DONE. I am more than willing to just close my eyes to the timey-wimey bullshit fixing their original problem dredged up. It’s just gonna give me a migraine trying to sort through this problem. I just... can’t be fussed to care.

For ~plot reasons~ I’m just gonna... handwave the whole mess and pretend it’s just... not a problem anymore and just move on with my life. Especially since it didn’t really seem like Bucklemming themselves could be fussed to do it much justice. The whole plotline played out with the feeling that they’d been ordered to clean up their mess by Dabb and they went about it in the most perfunctory and grudging manner possible.

Okay. :)

On to the other important plot-related stuff, in order from least disappointing to most disappointing:

Mary’s descent arc is moving along apace. Those BMoL weapons that we find absolutely morally reprehensible (that mutate vampire blood to poison them en masse like some sort of radiation sickness, and now a ray gun that boils rugaru brains at twenty paces), Mary thinks they’re neat and effective tools. Her “training” session with Ketch was a more voluntary and only slightly less horrifying callback to Castiel’s “training” under Naomi to kill a warehouse full of Deans. To an extent, I think when Dean learns the entire truth about Mary’s involvement with the BMoL, it’ll have the same metaphorical impact. Basically a room full of “you’re dead to me” Deans... a la “the face.”

(aside to note that all I could think of when Mary complained about “the face” was Phil Dunphy on Modern Family talking about how “in the know” he is about the kids’ lingo... before listing off the acronyms he knew... including WTF, which he sincerely believed stood for “why the face.” WHY THE FACE. And yes. This was a serious WTF for me... in the correct meaning of wtf...)

So yeah, Mary’s come ~partially~ clean to Sam and Dean. She’s been willing to accept Ketch’s statements about Toni having been a “rogue operative” who wasn’t working within the authority of the MoL, but Sam and Dean have seen just a little bit too far behind their curtain. They’ve also had experience with these sort of shady deals, and unlike Mary, they’ve grown FAR past the “shoot first, ask questions later, just kill ALL THE MONSTERS” mentality. Mary still believes in that definition of hunting. On top of all the guilt she feels personally-- rightly or wrongly-- for the lives her boys ended up leading.

That fundamental core belief is in need of some serious shaking, and I think (I hope!) that 12.14 begins to address that for her. She’s still keeping some secrets (like her role in having been ordered to steal THE COLT in 12.12...) so Sam and Dean are still partially in the dark as to the extent of her shady dealings. There’s definitely more revelations to come to light before they have all the information they need to begin putting the RIGHT questions to Mary...

Dagon’s an interesting character. Kinda relieved she was used so lightly in this episode, so they didn’t have a chance to do anything regrettable with her... but still... both she and the two angels had no trouble finding Kelly, when Cas and Sam and Dean have been looking for her for weeks now with no success. I’m now rolling my eyes at the logic gap with that one, but then I remember Bucklemming and again it’s just easier to handwave it and accept they lack a grasp of narrative continuity and logic. *HEAVY SIGHING*

I’m slightly confused as to how she was able to just annihilate two angels so easily when Ramiel needed to use Michael’s lance on Cas... but then again maybe he could’ve just poofed Cas to death and he just wanted to watch him suffer with the wound from the lance instead. ¯\_(ツ)_/¯

(I should probably just title this essay *shrug emoji*)

(anyway, moving on)

Rowena was a delight, as usual. I love that she’s developed her own interesting relationship with Sam and Dean, independent of Crowley. And despite the fact that Rowena has worked with Crowley when their motivations were to defeat a common enemy, it’s interesting to see the sort of situation that has the power to drive a wedge between them.

I’m glad that Rowena’s grudge over being forced to kill Oskar has finally gotten a little payback. I also find it interesting that her revenge also including a “child” who had been “displaced in time.” Rowena had given Oskar immortality, which in its own way is just as problematic as Crowley’s desire to give Gavin a shot at a normal life in the wrong time.

Crowley’s weirdly powerful feelings toward Gavin, I believe, stem from just how human and vulnerable he’d been through most of s9 when he was at the peak of his human blood addiction. Granted by 9.21 he’d “recovered” a lot from that, but he was also biding his time waiting for Dean to completely succumb to the Mark. Crowley had some weirdly familial feelings for Gavin, after having largely ignored the boy for most of his life. Getting a chance to give Gavin a taste of normal modern life was probably the least he could do to repent for that... but the fact he STILL seemed to care so much now is just... weird. IDK.

I saw another post complaining that Sam and Dean didn’t “let” Crowley have a proper goodbye, and Rowena had frozen him when he’d reached out to Gavin. BUT CROWLEY WAS NOT ABOUT TO SHARE A TEARFUL GOODBYE. HE WAS ABOUT TO BOOP OUT WITH GAVIN AND TAKE HIM TO PLACES UNKNOWN TO PREVENT HIM FROM RETURNING TO HIS PROPER TIMELINE. So, no. I don’t think their actions there were hypocritical.

Dean’s shirt during the “Send Gavin Back To The Bottom of the Ocean” scene was eerily similar to the ugly plaid couch on which Cas nearly died in 12.12. So, watching Gavin reunited for all time with the “love of his life” while wearing the goofiest look on his face as these people who were brought back together by the power of their love in order to repair a broken timeline and restore a bunch of innocent people to life... *it’s all about the love... and love* and I mean thanks costume and props folks for dressing Dean in Castiel’s 12.12 couch basically. I see what you did there. I only put this so far down the list because it’s interesting, but that’s all it is.

Cas and Dean are still having private phone calls. But after the intensity of 12.12, and the revelations about Cas and his feelings, what we were given as a reminder here was just... underwhelming. There was just no weight to it, as if 12.12 hadn’t even happened. As if Cas hadn’t nearly DIED, and confessed his LOVE and feeling of FAMILY and BELONGING. It’s just... opportunity wasted to have given some sort of (or ANY sort of) emotional punch to the fact that Cas has just ~randomly left the bunker to fruitlessly continue the random Kelly search~ all alone. I mean... ???

Crowley. Oh dear. Can you say, Character Assassination??? I mean, wtf, bucklemming. After one of Crowley’s strongest episodes in YEARS, where we got a plethora of incredible insight into his motivations, his history, his intelligence, and his FEELINGS for the Winchesters-- including Cas-- all of a sudden we get this ridiculous disaster of characterization?

Seriously, WHAT THE FUCK.

What was both ridiculous and terrible here:

Crowley really had no idea that the Winchesters had failed to kill the nephilim?

THEY HAD BEEN IN PRISON BUCKLEMMING! REMEMBER? WHERE YOU’D PUT THEM WITHIN MINUTES OF THEM BANISHING LUCIFER IN THE FIRST PLACE?! AND IT WAS YOUR STUPID FUCKING PLOT HOLE THAT ALLOWED THAT TO HAPPEN IN THE SAME MOMENTS THAT KELLY WAS ALLOWED TO “ESCAPE.”

I mean, you could’ve just left her in the White House with the President and had Cas escape safely with Sam and Dean, BECAUSE YOU, CROWLEY, HAD THE ABILITY TO JUST BOOP IN AND PICK KELLY UP TO DO WHATEVER YOU WANTED WITH HER DOWN THE LINE. BUT NOOOOOOOO IT’S YOUR OWN DAMN IDIOTIC CANON ACROBATICS THAT HAVE LED US TO THIS INANE PLOT SITUATION FROM WHICH THERE IS APPARENTLY NO REPRIEVE. YOU STUPID FUCKERS.

So in order to make this entirely idiotic and contrived plot line work, you have to warp a character so far beyond logic that they barely even seem to be the same character we saw the week before... and no. After the brilliant writing, the loving recollection of past canon and the incredibly nuanced characterizations we’ve had over the prior three episodes, this just felt THAT MUCH MORE FUCKING CONTRIVED AND WRONG FOOTED.

I’m not really gonna forgive this bit.

Crowley, Mr. “i’m the only one on the board who doesn’t underestimate those denim wrapped nightmares,” Mr. King of Protecting his own Self Interest, Mr. You’re Good But I’m Crowley... you... bucklemming... want us to believe that in ANY ITERATION OF REALITY that Crowley is not only petty and vengeful enough to have his demons pull the same “resurrect the meatsuit” bullshit they pulled to fix your meatsuit with in 11.01 TO DIG UP AND REPAIR LUCIFER’S FORMER VESSEL NICK, as well as “studying the molecular makeup of the cage” in order to forge some weird dog collar thing strong enough to hold Lucifer, and that you would risk unleashing Lucifer on the world again ENTIRELY OUT OF PETTY VENGEANCE BECAUSE YOU WANT TO FORCE HIM TO CLEAN YOUR FLOOR WITH HIS TONGUE?!

I’m sorry. That’s just... no. That’s too much no.

AND IT GETS WORSE!

Not only is Crowley suddenly behaving idiotically out of character here, HE IS ALSO SUDDENLY MORONIC ENOUGH TO LET INFORMATION SLIP IN LUCIFER’S HEARING? Like the fact that he even had a son at all, let alone was having some sort of ~personal issues~ surrounding this weird parental family dynamic?

AND CROWLEY IS REPEATEDLY PUTTING HIMSELF IN A SITUATION WHERE HE’S LET HIMSELF BECOME COMPROMISED THIS WAY?!

I mean... this is NOT the Crowley we’ve seen lately. The Crowley who would sacrifice the only weapon that could potentially put Lucifer out permanently. One of the FEW weapons that could even protect him from what he should likely expect will be the revenge of Dagon and Asmodeus after Crowley essentially broke his deal with Ramiel... yet he’s too busy being a petty little tyrant toward Lucifer to be concerned about them?

I guess I’m particularly outraged about this 180 degree about face in Crowley’s characterization because after three OUTSTANDINGLY character driven episodes in a row, what we got here was a TERRIBLE FUCKING MESS.

Most of s12 so far has felt so deeply personal, like all of the major plot arcs have been deeply rooted in the characters own feelings and history, and have revolved around the questions of what is family and what is love and who am I and where do I fit in this world.

And in 12.13, it seems like ALL of that was just tossed out the window in favor of a couple of utterly contrived and flimsy plot points.

With a few obvious exceptions as stated above, it just felt entirely out of step with the rest of s12. In the hands of a capable writer, that could’ve been an entertaining and believable episode. But what we were served lacked any of the finesse and character development we’ve grown accustomed to.

Pro tip for writers: You have to make the plot actually fit the characters you’re writing for. This episode is an excellent example of how NOT to do that... >.>

[psychotherapyconsultants]

Anthony Bourdain Taught Us To Appreciate Our Differences

You may not have heard of him or know of him only in passing, but Anthony Bourdain is one of those people who defy a simple label. Yes, he was an award-winning chef.

But perhaps more importantly, he was a master interviewer, even if he never viewed himself that way. He exposed millions of people to the rich and diverse cultural and culinary world, challenging us to open up our own horizons through the exploration of food.

Bourdain is a chef, writer, and personality that made his mark in the culinary world back in 2000 with the book, “Kitchen Confidential: Adventures in the Culinary Underbelly.” He spent the early part of his career running a number of kitchens in New York City (most famously, Brasserie Les Halles), but the success of the book propelled him in a different direction. Kicking the more serious drug habits that so many chefs succumb to, he started doing television shows.

The success of the book landed Bourdain a television show called “A Cook’s Tour” on the Food Network. After that, he hosted two successful shows on the Travel Channel: “Anthony Bourdain: No Reservations” and “The Layover.” In each of these shows, you couldn’t but help notice that although he could be at times overbearing and self-absorbed, he demonstrated a wily intelligence and naked honesty. Traits not usually associated with successful television shows about food.

He jumped ship in a risky move to CNN in 2013 with the launch of a show called “Anthony Bourdain: Parts Unknown.” The food show — which takes the host to various countries turning it into a rich and glorious travelogue — has won multiple Emmy Awards. It cemented his reputation as a thoughtful and insightful commentator on the intersection of food and culture.

Many people can’t afford to travel, especially to some of the more exotic locations that Bourdain was best known for. Viewers could vicariously share these experiences with him, and learn a little bit about the people and their culture too. Underrated was Bourdain’s honesty and his interviewing skills, by being able to draw ordinary people out of their shells to talk about what was important to them in their food, neighborhood, and culture. He opened our eyes while doing so in an entertaining fashion.

After watching an episode of his show, you often felt like the world was a little bit smaller, because you saw how much alike we all really are as human beings. Once you strip away the shallow identifiers of race and nation, you discover what most world travelers already know — we’re more alike than we are different.

Bourdain, like Kate Spade earlier this week, died by apparent suicide. He was 61 and left behind an 11-year-old daughter, Ariane. He quit his 2-pack-a-day smoking habit in 2007 when she was born, and was just a casual drinker by the end of his life.

The Rising Tide of Suicide

Despite our best efforts, suicide is rising at a rate that is alarming to many epidemiologists, psychologists, and health policy experts. The U.S. Centers for Disease Control and Prevention (CDC) noted recently that suicide is now one of the leading killers of people, and has risen over 25 percent since 1999. What people don’t appreciate, however, is that suicide is not just a mental health problem, as this NPR article notes:

Often, the suicide seemed to happen without warning: 54 percent of the people who killed themselves didn’t have a previously known mental health issue. “Instead, these folks were suffering from other issues, such as relationship problems, substance misuse, physical health problems, job or financial problems, and recent crises or things that were coming up in their lives that they were anticipating,” says Stone.

So many people today simply don’t seem to have the resilience or the resources to adequately and effectively cope with the stressors of living. I’m not sure we know or fully understand the reasons behind this lack of resources — could it be our over-reliance on technology? lack of meaningful rights of passage in adolescence? or something else altogether? — but we’re looking at a trend that is unlikely to get better on its own.

The CDC report suggests helping people more with resilience by teaching better problem-solving and coping skills earlier in life. And that may help, some. But as these recent celebrity suicides highlight, the problem can impact even those people who, by most measures, likely already have these skills and seem to otherwise have a pretty well put-together life.

Collectively, we all need to do more to help reduce this problem — it’s not something the government or a mental health advocate can do on their own. Sure, we can highlight the problem draw attention to it, and use a celebrity’s death to help remind us that in addition to Bourdain, 122 other less-famous individuals also died by suicide on the same day. Another 123 will die today. And another 123 will die tomorrow.

Some people believe, “Well, it’s their choice. What can be done to stop a person’s choice in a matter such as this?” While suicide may be viewed as a conscious choice by some, it is anything but. It is a choice predicated on lies. It is a choice of a hopeless person who can see no end to their emotional pain and turmoil. And it is a choice that results in a permanent end to what is most often a temporary problem.

In short, it is a false choice — one we mustn’t rely on to explain our own inaction or lack of caring.

I’ll leave it here with a few of my favorite quotes from Bourdain:

“If I am an advocate for anything, it is to move. As far as you can, as much as you can. Across the ocean, or simply across the river. Walk in someone else’s shoes or at least eat their food. It’s a plus for everybody.”

“As you move through this life and this world you change things slightly, you leave marks behind, however small. And in return, life — and travel — leaves marks on you. Most of the time, those marks — on your body or on your heart — are beautiful. Often, though, they hurt.”

“Life is complicated. It’s filled with nuance. It’s unsatisfying… If I believe in anything, it is doubt. The root cause of all life’s problems is looking for a simple fucking answer.”

Rest in peace, Anthony Bourdain.

  Need help now?

Please call the National Suicide Prevention Lifeline at 1-800-273-8255.

Learn more: Suicide Helpline: Suicide Resources

from World of Psychology https://psychcentral.com/blog/anthony-bourdain-taught-us-to-appreciate-our-differences/