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letterboxd · 3 years

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In Focus: The Mummy

Dominic Corry responds on behalf of Letterboxd to an impassioned plea to bump up the average rating of the 1999 version of The Mummy—and asks: where is the next great action adventure coming from?

We recently received the following email regarding the Stephen Sommers blockbuster The Mummy:

To whom it may concern,

I am writing to you on behalf of the nation, if not the entire globe, who frankly deserve better than this after months of suffering with the Covid pandemic.

I was recently made aware that the rating of The Mummy on your platform only stands at 3.3 stars out of five. … This, as I’m sure you’re aware, is simply unacceptable. The Mummy is, as a statement of fact, the greatest film ever made. It is simply fallacious that anyone should claim otherwise, or that the rating should fail to reflect this. This oversight cannot be allowed to stand.

I have my suspicions that this rating has been falsely allocated due to people with personal axes to grind against The Mummy, most likely other directors who are simply jealous that their own artistic oeuvres will never attain the zenith of perfection, nor indeed come close to approaching the quality or the cultural influence of The Mummy. There is, quite frankly, no other explanation. The Mummy is, objectively speaking, a five-star film (… I would argue that it in fact transcends the rating sytem used by us mere mortals). It would only be proper, as a matter of urgency, to remove all fake ratings (i.e. any ratings [below] five stars) and allow The Mummy’s rating to stand, as it should, at five stars, or perhaps to replace the rating altogether with a simple banner which reads “the greatest film of all time, objectively speaking”. I look forward to this grievous error being remedied.

Best, Anwen

Which of course: no, we would never do that. But the vigor Anwen expresses in her letter impressed us (we checked: she’s real, though is mostly a Letterboxd lurker due to a busy day-job in television production, “so finding time to watch anything that isn’t The Mummy is, frankly, impossible… not that there’s ever any need to watch anything else, of course.”).

So Letterboxd put me, Stephen Sommers fan, on the job of paying homage to the last great old-school action-adventure blockbuster, a film that straddles the end of one cinematic era and the beginning of the next one. And also to ask: where’s the next great action adventure coming from?

Brendan Fraser, Rachel Weisz and John Hannah in ‘The Mummy’ (1999).

When you delve into the Letterboxd reviews of The Mummy, it quickly becomes clear how widely beloved the film is, 3.3 average notwithstanding. Of more concern to the less youthful among us is how quaintly it is perceived, as if it harkens back to the dawn of cinema or something. “God, I miss good old-fashioned adventure movies,” bemoans Holly-Beth. “I have so many fond memories of watching this on TV with my family countless times growing up,” recalls Jess. “A childhood classic,” notes Simon.

As alarming as it is to see such wistful nostalgia for what was a cutting-edge, special-effects-laden contemporary popcorn hit, it has been twenty-one years since the film was released, so anyone currently in their early 30s would’ve encountered the film at just the right age for it to imprint deeply in their hearts. This has helped make it a Raiders of the Lost Ark for a specific Letterboxd demographic.

Sommers took plenty of inspiration from the Indiana Jones series for his take on The Mummy (the original 1932 film, also with a 3.3 average, is famously sedate), but for ten-year-olds in 1999, it may have been their only exposure to such pulpy derring-do. And when you consider that popcorn cinema would soon be taken over by interconnected on-screen universes populated by spandex-clad superheroes, the idea that The Mummy is an old-fashioned movie is easier to comprehend.

However, for all its throwbackiness, beholding The Mummy from the perspective of 2020 reveals it to have more to say about the future of cinema than the past. 1999 was a big year for movies, often considered one of the all-time best, but the legacy of The Mummy ties it most directly to two of that year’s other biggest hits: Star Wars: Episode One—The Phantom Menace and The Matrix. These three blockbusters represented a turning point for the biggest technological advancement to hit the cinematic art-form since the introduction of sound: computer-generated imagery, aka CGI. The technique had been widely used from 1989’s The Abyss onwards, and took significant leaps forward with movies such as Terminator 2: Judgment Day (1991), Jurassic Park (1993) and Starship Troopers (1997), but the three 1999 films mentioned above signified a move into the era when blockbusters began to be defined by their CGI.

A year before The Mummy, Sommers had creatively utilised CGI in his criminally underrated sci-fi action thriller Deep Rising (another film that deserves a higher average Letterboxd rating, just sayin’), and he took this approach to the next level with The Mummy. While some of the CGI in The Mummy doesn’t hold up as well as the technopunk visuals presented in The Matrix, The Mummy showed how effective the technique could be in an historical setting—the expansiveness of ancient Egypt depicted in the movie is magnificent, and the iconic rendering of Imhotep’s face in the sand storm proved to be an enduringly creepy image. Not to mention those scuttling scarab beetles.

George Lucas wanted to test the boundaries of the technique with his insanely anticipated new Star Wars film after dipping his toe in the digital water with the special editions of the original trilogy. Beyond set expansions and environments, a bunch of big creatures and cool spaceships, his biggest gambit was Jar Jar Binks, a major character rendered entirely through CGI. And we all know how that turned out.

A CGI-enhanced Arnold Vosloo as Imhotep.

Sommers arguably presented a much more effective CGI character in the slowly regenerating resurrected Imhotep. Jar Jar’s design was “bigger” than the actor playing him on set, Ahmed Best. Which is to say, Jar Jar took up more space on screen than Best. But with the zombie-ish Imhotep, Sommers (ably assisted by Industrial Light & Magic, who also worked on the Star Wars films) used CGI to create negative space, an effect impossible to achieve with practical make-up—large parts of the character were missing. It was an indelible visual concept that has been recreated many times since, but Sommers pioneered its usage here, and it contributed greatly to the popcorn horror threat posed by the character.

Sommers, generally an unfairly overlooked master of fun popcorn spectacle (G.I. Joe: The Rise of Cobra is good, guys), deserves more credit for how he creatively utilized CGI to elevate the storytelling in The Mummy. But CGI isn’t the main reason the film works—it’s a spry, light-on-its-feet adventure that presents an iconic horror property in an entertaining and adventurous new light. And it happens to feature a ridiculously attractive cast all captured just as their pulchritudinous powers were peaking.

Meme-worthy: “My sexual orientation is the cast of ‘The Mummy’ (1999).”

A rising star at the time, Brendan Fraser was mostly known for comedic performances, and although he’d proven himself very capable with his shirt off in George of the Jungle (1997), he wasn’t necessarily at the top of anyone’s list for action-hero roles. But he is superlatively charming as dashing American adventurer Rick O’Connell. His fizzy chemistry with Weisz, playing the brilliant-but-clumsy Egyptologist Evie Carnahan, makes the film a legitimate romantic caper. The role proved to be a breakout for Weisz, then perhaps best known for playing opposite Keanu Reeves in the trouble-plagued action flop Chain Reaction, or for her supporting role in the Liv Tyler vehicle Stealing Beauty.

“90s Brendan Fraser is what Chris Pratt wishes he was,” argues Holly-Beth. “Please come back to us, Brendaddy. We need you.” begs Joshhh. “I’d like to thank Rachel Weisz for playing an integral role in my sexual awakening,” offers Sree.

Then there’s Oded Fehr as Ardeth Bey, a member of the Medjai, a sect dedicated to preventing Imhotep’s tomb from being discovered, and Patricia Velásquez as Anck-su-namun, Imhotep’s cursed lover. Both stupidly good-looking. Heck, Imhotep himself (South African Arnold Vosloo, coming across as Billy Zane’s more rugged brother), is one of the hottest horror villains in the history of cinema.

“Remember when studio movies were sexy?” laments Colin McLaughlin. We do Colin, we do.

Sommers directed a somewhat bloated sequel, The Mummy Returns, in 2001, which featured the cinematic debut of one Dwayne Johnson. His character got a spin-off movie the following year (The Scorpion King), which generated a bunch of DTV sequels of its own, and is now the subject of a Johnson-produced reboot. Brendan Fraser came back for a third film in 2008, the Rob Cohen-directed The Mummy: Tomb of the Dragon Emperor. Weisz declined to participate, and was replaced by Maria Bello.

Despite all the follow-ups, and the enduring love for the first Sommers film, there has been a sadly significant dearth of movies along these lines in the two decades since it was released. The less said about 2017 reboot The Mummy (which was supposed to kick-off a new Universal Monster shared cinematic universe, and took a contemporary, action-heavy approach to the property), the better.

The Rock in ‘The Mummy Returns’ (2001).

For a long time, adventure films were Hollywood’s bread and butter, but they’re surprisingly thin on the ground these days. So it makes a certain amount of sense that nostalgia for the 1999 The Mummy continues to grow. You could argue that many of the superhero films that dominate multiplexes count as adventure movies, but nobody really sees them that way—they are their own genre.

There are, however, a couple of films on the horizon that could help bring back old-school cinematic adventure. One is the long-planned—and finally actually shot—adaptation of the Uncharted video-game franchise, starring Tom Holland. The games borrow a lot from the Indiana Jones films, and it’ll be interesting to see how much that manifests in the adaptation.

Then there’s Letterboxd favorite David Lowery’s forever-upcoming medieval adventure drama The Green Knight, starring Dev Patel and Alicia Vikander (who herself recently rebooted another video-game icon, Lara Croft). Plus they are still threatening to make another Indiana Jones movie, even if it no longer looks like Steven Spielberg will direct it.

While these are all exciting projects—and notwithstanding the current crisis in the multiplexes—it can’t help but feel like we may never again get a movie quite like The Mummy, with its unlikely combination of eye-popping CGI, old-fashioned adventure tropes and a once-in-a-lifetime ensemble of overflowing hotness. Long may love for it reign on Letterboxd—let’s see if we can’t get that average rating up, the old fashioned way. For Anwen.

Related content

How I Letterboxd with The Mummy fan Eve (“The first film I went out and bought memorabilia for… it was a Mummy action figure that included canopic jars”)

The Mummy (Universal) Collection

Every film featuring the Mummy (not mummies in general)

Follow Dom on Letterboxd

#the mummy #brendan fraser #stephen sommers #action adventure #fantasy adventure #action adventure film #the green knight #david lowery #dominic corry #letterboxd

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blackswaneuroparedux · 3 years

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Anonymous asked: Have you watched Lupin? What did you think? (And are you a fan of the books or other adaptations of the character?)

The short answer is yes, I have seen Lupin on Netflix. Overall I enjoyed it so long as I suspended my disbelief at certain things.

Unfortunately it took being struck down by Covid and being bedridden for me to actually to binge watch the whole series. So I was behind the curve when my friends, French and those outside of France, started to talk about it around me. I had to beg them not to give away spoilers until I had seen it all.

It did surprise me that it won rave widespread reviews outside France because usually French drama series don’t travel very well outside of France. I’m sure even Netflix had no idea how successful it would be for them. I’m sure being in Covid lockdown had something to do with it. In any case I don’t begrudge its success as it’s well earned.

However I wasn’t too surprised that within France itself the French reviews were decidely mixed and divisive. The critic at Le Point painfully hit the nail on the head when he wrote, “Le plus gros défaut de l'ensemble reste la pauvreté des personnages, tous unidimensionnels, caricaturaux et aussi épais que du papier à cigarette.“ - loosely translated as, ‘the biggest flaw of the whole thing remains the poverty of the characters, all one-dimensional, cartoonish and as thick as cigarette paper’.

There’s a growing amount of good French stuff on TV and streaming services but a non-French audience will not have had the chance to have seen all of it yet. I can think of any number of French television drama/dramedy/cmedy series that are much better than Lupin with better plots, characters, and even a truer perspective of French society and even modern day France (Dix pour cent (Call My Agent!), Le Bureau des Légendes, Engrenages, Baron Noir, and Paris Police 1900). But you would be hard pressed to find anything that comes close to Lupin just for the sake of something fun to watch during the Covid lockdown.

What makes the current generation of home made French television series so interesting is how much of it is a reflection of France’s own anxieities about itself and its role in a increasingly English speaking dominating world. In a funny way it sees itself as defiant plucky Asterix fighting off the Roman American cultural hordes from totally invading their Francophone culture.

For sure, it has societal and racial issues stemming from its colonial legacy and issues of immigration and integration (France has the largest Muslim population in Europe). However it seems to want to ‘resolve’ these issues through the almost sacramental adherence to French secularist ideals rather than American inspired ideas of social justice and equity. There’s always been something very admirable about the French - from the time of General de Gaulle and perhaps before - always swinging from snooty ambivalence to outright antipathy towards the influence of American culture ‘americanising’ French culture (no to Walmarts or fast food chains for example).

Is it any wonder then that Netflix’s ill-conceived American series ‘Emily in Paris’ was widely hated and mocked within France for just perpetuating those lazy American tropes of Paris and French culture?

Personally I know Francophile Americans, long resident in Paris, who were frankly embarrassed and spent a lot of time apologising to their French friends. I have one American friend who has told me that she was so mad that she would have blind folded Emily and shoved her hard in the car boot and drive her all the way to the poorest of the banlieues in the grimey crime saturated suburbs of Paris - Seine-Saint-Denis came to mind - and dump her preening arse there. She would slap her and tell the spoilt entitied brat to make her own way back home - you know, to her spacious apartment in one of the most expensive arrondissements of Paris that of course(!) any American intern working for French marketing firms can afford.

I digress. My apologies. Watching this God awful show gives me PTSD.

Onto Lupin.

Thankfully Lupin doesn’t try to play to non-French tropes of what Paris is or isn’t. It does skim the surface of current discontents within French culture and society (race, class, power, and money) but ever so lightly so as to not get in the way of just spinning a good crowd pleasing yarn. It invites you to have fun and not to think too much. I have to be honest and say I enjoyed it as long as I suspended my disbelief here and there.

Lupin refers of course to the character Arsène Lupin, the French gentleman thief who stole jewellery from Parisian haute bourgeois and aristocracy at the turn of the century. Lupin, as written in the novels and short stories by Maurice Leblanc between 1905 and his death in 1941, was the archetypical anti-hero, a Robin Hood who stole from those who deserved it but kept the loot himself. He was often portrayed often a force for good, while operating on the wrong side of the law.

Lupin never really made much of an impact outside of France as he had within France where is revered with many French film and television adaptations. In England, we already had a Lupin type character in the form of A.J. Raffles, a cricket playing gentleman thief with his aristocratic side kick, Bunny. E.W. Horning’s stories of Raffles’ daring heists proved to be quite popular with the British public when Raffles first appeared on the scene in 1898. And even later Leslie Charteris’ The Saint took over the mantle from Raffles as the gentleman thief/adventuring Robin Hood.

I think Hollywood tried to introduce him to an English speaking audience (legendary actor John Barrymore even played him) but he didn’t really take off and eventually they found their gentleman thief archetype in Sir Charles Lytton aka The Phantom (played by David Niven and Christopher Plummer) in the Pink Panther movies. So Lupin never got the English audience he deserved.

I first got wind of who Arsène Lupin was when I was growing up in Japan as a child. As strange as it sounds Lupin was big in Japan especially after World War Two. The Japanese did their own take on the Lupin character using Japanese actors and plot lines but it was Lupin.

I don’t know how exactly but I remember watching these scratchy DVDs of these Lupin inspired films. I think it was one of my parents’ Japanese friends who was mad for all things Lupin and he had studied French literature in France. Jogging my memory I now recall these black & white films were done in the 1950s. One starred Keiji Sada and the other version I remember was with Eija Okada (he was in Resnais’ classic film, Hiroshima Mon Amour) as Arsene Lupin called (I think) Kao-no Nai Otoko. I didn’t understand most of it at the time because it was all in Japanese and my Japanese (at the time) was pitiful, but it looked fun.

There was even a Japanese manga version of Lupin which was called Lupin III, - so named because he was the grandson of the real Arsène Lupin.

The 1960s manga series spawned generations of TV series which I do remember watching and finding it terribly exciting if somewhat confusing.

It was French expatriate friends whom my family knew that introduced me to the real Arsène Lupin. They had a few of the books authored by Maurice Leblanc. It was in French so I read them to improve my French but enjoyed the story along the way.

I also remember them showing me scratchy episodes of the 1970s Franco-German TV series ‘Arsène Lupin’ with the monocle wearing Georges Descrières in the lead role. It was a classical re-telling of the adventures of the aristocratic gentleman-burglar and very family friendly viewing. I don’t really remember much of it to be honest.

It was some years before I actually started to read more of the Maurice Leblanc’s novels and short stories collection. I have them all now. I was a teen and I remember being stuck in a snowed in a Swiss Alpine chalet and with nothing else to do but pull out a few dog eared books from the bookshelves belonging to our French host and read to pass the time.

I read Les Dents du tigre, Arsène Lupin vs Herlock Sholmes, and Les Huit Coups de l'horloge and thoroughly enjoyed them in the original French. I was already reading classic detective and mystery novels (Sherlock Holmes, Poirot etc) so it was natural to read the adventures of Arsène Lupin.

I haven’t got around to reading all the novels and short stories but I have read most of them and I enjoyed them all immensely. In the same way Conan Doyle, through Holmes and Watson, manages to conjure a convincing picture of late Victorian and early Edwardian England, so Leblanc manages to give us a taste of Belle Epoque France through the eyes of his suave gentleman-thief, Arsène Lupin.

Indeed it's a lot like reading Sherlock Holmes in that you're always trying to figure out how he did it, but the difference is that you are rooting for the bad guy. You can’t help but be drawn to this gentleman thief who is charming, comic, playful, and romantic and generous. Lupin is not an intellectual puzzle-solver but first a master criminal, later a detective helper, who maintains his curious ethics throughout his adventures. In this regard he is very much the anti-Sherlock Holmes; and I wasn’t disappointed when I actually read the story where Lupin faces off with Holmes himself. Brilliant!

I’ve also seen the 2004 French movie with Romain Duris in the Lupin lead role and it also starred the majestic Kristin Scott Thomas and the sexy Eva Green.

It was a decent adventure flick and it was a clear confluence of different Lupin novels (The Queen's Necklace (introducing Lupin's childhood), The Hollow Needle (where the treasure is the macguffin of the story), The Arrest of Arsène Lupin (the gala on the ship as a backdrop) and Josephine Balsamo, (one of Lupin’s most memorable opponents in the The Countess Of Cagliostro).

Romaine Duris, a fine classical actor, was I felt miscast because he didn’t have Lupin’s levity of wit and be at ease within himself. I love Duris in his other films but in Arsène Lupin and even in his other film, Moliere, he seemed ill at ease with the role. Perhaps that’s just me.

The latest Netflix adaptation (or reimagining to be more precise) is a welcome addition to the world of Arsène Lupin.If you don’t over-think it, it’s bags of fun.

Omar Sy is immensely likeable. Sy is a deservedly a big star in France - he won the best actor César for “The Intouchables,” an international hit - and has played forgettable secondary characters in big-budget American special effects movies (he was Chris Pratt’s assistant in “Jurassic World” and a minor mutant in “X-Men: Days of Future Past”). It was reportedly his desire to play Arsène Lupin, whom he’s compared to James Bond (“fun, funny, elegant”), that led to the series, created by British writer George Kay. And it is on his charm that the series largely, though not entirely, rests.

So the basic story revolves around a jewellery heist. Sy plays Assane Diop, a first-generation French-Senegalese man in contemporary Paris. A collection of Lupin stories, a gift from his father - whose undeserved fate Assane set himself to avenge in long-delayed, Count of Monte Cristo style upon a criminal tycoon - has made the actual Lupin books a foundation of his life and profitably illicit career. This fan-ship goes as far as borrowing practical ideas from the stories and constructing aliases out of anagrams of “Arsene Lupin,” a habit that will attract the interest of a low-level police detective (Soufiane Guerrab as Youssef Guedira) who shares Assane’s love of the books. (That the detective also shares an initial with Lupin’s own adversary, Inspector Ganimard, is possibly not a coincidence.)

Among the many comic delights of Lupin, is an unspoken one. Time and again, the show’s hero, master thief Assane Diop is able to slip into a place unnoticed, or by assuming a minor disguise that prevents witnesses from providing an accurate description of him to law enforcement.

Why is this funny?

Because Omar Sy is six feet three (and, since most actors are short, seems even taller), is roughly as wide as soccer pitch, and is memorable even before he flashes his infectious million-Euro smile. This is not a man for whom anonymity should be possible - even allowing for racial bias in a majority-white country, Assane would be memorable and distinctive - and Lupin seems cheekily aware of this. Like the various incredible sleights of hand Assane deploys to pull off his thefts and escapes, his ability to be anyone, anywhere, is treated more as a superpower than as something even the world’s greatest criminal would be able to pull off.

At one point, when he’s slated for a cable news appearance as a much older man, we learn that Assane is also a master of disguise. The revelation of this skill arrives with a wink in the show, and it feels pointless to ask where he learned it, or how he affords movie-quality latex and makeup. Or rather, asking the question feels wrong.

We know this is impossible, the show seems to be asking its viewers again and again, but isn’t it so much fun?

The performances and the production - it has that particularly European filmic quality of feeling natural even when it gets stylish - keep the series warm even as the plot is made up of incredulous contraptions that require everything to go right at just the right time and for human psychology to be 100% predictable. Its physics are classical rather than quantum, one might say, and like the world itself, which becomes more curious the deeper you peer into things, it is best handled along the surface. You do not want to take too much time working out the likelihood of any of this happening. Just go along for the ride.

Somehow, though, it all works because Sy is so magnetic and charming that questioning plot logic feels wildly besides the point. Though he never looks appreciably different in his various aliases (including one ill-conceived live-TV appearance done under old-man makeup and a thick beard), he changes his posture and voice ( if you watch it in French that is) enough to allow for the willing suspension of disbelief, in the same way that any lead actor as Superman has to do when playing Clark Kent. But Sy and the show are at their strongest when Assane is just being his own Superman self, utterly relaxed and confident in his own skin, and so captivating that his ex-partner, Claire, can’t really resist him despite ample reason to.

If Assane seems practically perfect in every way, he is not perfectly perfect. His most obvious failing is that his criminal shenanigans and revenging make him less than reliable in his daily life, affecting his relationships with ex-partner Claire (Ludivine Sagnier, whom non-French audiences might recognise from “The Young Pope” and “The New Pope”), who despairs of his inability to show up on time to see his son Raoul (Etan Simon). Like Sy, Sagnier brings a lot of soul to her part - though onscreen far less, she’s as important as Sy to the series’ success - and the two actors have great chemistry. Also impressive and key to creating sympathy are the actors who play their flashback teenage selves, Mamadou Haidara and Ludmilla Makowski. Really, you could do away with action elements and build a series around them.

This is a pity because Lupin often fumbles its emotional reveals in other parts - the story of Diop being torn between his job and his family feels like wheel-spinning, rather than genuine emotional intrigue.

Soufiane Guerrab is wasted in the Young Detective Consumed by the Case role and spends most of this season pinning colour printouts of book covers to cork boards and getting waved off by his colleagues, who are all blinded or otherwise hampered by careerism.

But to my mind the weakest link is the villain himself and his daughter. Veteran actor Hervé Pierre hams it up as Hubert Pellegrini, a business tycoon who is the patriarch of the Pellegrini family. He just comes across as animated cartoon villain with no character depth (think moustache twirling Russian villain, Boris Badenov, in the Rocky & Bullwinkle cartoon shows). He just emotes anger a lot without any nuance or hint of complexity.

Even Clotilde Hesme who plays the daughter who is unaware of her father’s criminal tendencies is miscast. For the record I adore Clotilde Hesme as she one of France’s most talented classical actresses (that non-French outsiders will not have heard of). She is a classically theatre trained actress and is one of the best stage actresses of her generation that I have ever seen. I’ve seen her in plays where she is just mesmerising. She has said before that she’s more comfortable on the stage than she is on the screen. And when she has been on screen she still has been a powerful presence. She’s actually won a César too. Here in Lupin, she seems to have no agency and looks bored with nothing really to do.I really hope they give her more scenes in the next part of Lupin.

The series is at its best when following Diop enacting his plans, and when revealing each one from a different vantage, making us privy to every moving part like a magician revealing his secrets. The show captures the momentum of a clockwork heist, the tension of sudden obstacles and the ingenuity of improvised responses, with thrilling precision (especially in “Chapter 1 - Le Collier de la reine,” directed by Now You See Me’s Louis Leterrier).

Lupin is also politically incisive when it wants to be; it brings to mind Ladj Ly’s Oscar-nominated 2019 film Les Misérables, which adapted the broad strokes of Victor Hugo’s novel about the 1832 Paris Rebellion, and modernised the story by focusing on the police brutality faced by non-white Parisians.

Lupin opens with Diop disguised as cleaning staff and entering the Louvre after-hours, alongside dozens of forgotten, anonymous non-white workers as they pass by “La Liberté guidant le people,” Eugène Delacroix’s famous painting of the July Revolution of 1830 which replaced France’s hereditary rule with popular sovereignty.

Before any semblance of plot or character, Lupin centres broken ideals and promises unkept (without giving too much away, the show’s primary villain has much more nationalistic view of French culture and history which merely adds to a cartoonish caricature than a complex character). The rest of the episode is about valuable jewels once owned by Marie Antionette - one of the most recognisable symbols of wealth and extravagance in times of extreme poverty - which are put up for auction by the Pelligrini family, and bid on by other wealthy collectors with bottomless purses and no sense of irony.

Granted, beyond this auction subplot, explorations of race and class are largely limited to individual interactions, but the show continues to refer back to (and implicitly comment on) its source material in ways that wink at the audience. An elderly, unassuming target of Diop’s schemes seems like an unlikely victim at first - Diop, though he acts in his own self-interest, usually displays a moral compass - until this victim reveals the colonial origins of her wealth, immediately re-contextualising the ethics of the situation, in a manner that Leblanc’s stories did not. (The show is yet to apply this lens to Arsène Lupin himself, who Diop treats with reverence, but that’s a secondary concern since Lupin is entirely fictional in-world).

Barring some nagging structural problems - like cutting to flashbacks when things are getting exciting, or epilogues that feel ten minutes too long - Lupin mostly works. It plants a few personal seeds early on, which it keeps hinting at without fully addressing, but by the time its scattered elements come into focus, the show finally figures out how to weave them together, and delivers a mid-season cliffhanger that renders many of these flaws irrelevant.

Lupin manages to have fun even with an antiquated premise - the story of a suave con-man who charms his way through high-profile robberies - while adding just enough new spin on the concept to feel refreshing. Omar Sy may not have much to work with, but his alluring presence makes Assane Diop feel like a worthy successor to Arsène Lupin.

Lupin isn’t going to win César, BAFTA, or Emmy awards, or even turn heads for its ability to develop tertiary or even secondary plots or characters - that doesn’t really matter. You’re there to see a difficult hero be difficult and heroic - everyone else is there to be charmed, vexed, or eluded by them. Sy’s performance bounds off the screen, and is almost musical. He floats through scenes like he glides over the roofs and through the back alleys of Paris; he outmanoeuvres his foes with superior literary references and sheer athleticism. He is irresistible and also good at everything he tries, even kidnapping.

I would encourage anyone to watch Lupin for a fun care free ride. But the only caveat I would make is watch it in the original French.

If you don’t know French then put on the subtitles to understand (that’s what they are there for). The real crime is to watch this (or any film or television series) dubbed in a foreign language. It’s disrespectful to the actors and film makers and it’s silly because it’s comical to watch something dubbed over.

Please watch it in the original French.

Then go and read the books. You won’t regret it.

Thanks for your question.

#question #ask #lupin #omar sy #netflix #tv show #culture #personal #arsene lupin #japan #maurice leblanc #france #french #society #arts

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forthegothicheroine · 3 years

Note

american psycho, the company of wolves, beauty and the beast (og disney), beauty and the beast (disney remake), tim burton's sleepy hollow, the over the garden wall miniseries, disney's legend of sleepy hollow (lmao i want it to be fall so bad), sofia coppola's marie antoinette, sofia coppola's the beguiled, the innocents, fire walk with me, crimson peak, coppocula

Hoo boy! Stuffing this big series of answers below the cut.

American Psycho:

Love it! I don't think the book would do it for me (I don't do well with graphic torture) but I thought the movie did a good job of showing us the kind of things he was doing, while also leaving enough ambiguity even before the twist at the end, and letting us sympathize with his depression (even if he can't name it) while also making him deeply unpleasant.

The Company of Wolves:

Do I like it as a big feminist statement? Honestly, not really- there's no sympathy for any women who aren't Rosalie or maybe her mother, and I think we are supposed to be conflicted over whether the choice she makes at the end is the right one. Do I like it as an exploration of an adolescent female id? Absolutely. Sex and violence and terror and quests are all on her mind and are all equally awful and thrilling, and Rosalie wants what's bad for her and isn't sure it's actually bad for her and the balance of power is always see-sawing and the whole thing feels like the most amazing dream.

Beauty and the Beast (original):

I thought the Beast was too mean when I was a little kid and forming my Disney opinions- I might actually like it more now. This is probably why I like the Cocteau version, even though what he does is basically still just as bad, because at least he's not a dick about it (and Panna a nevtor, which plays it all for gothic horror.)

Sleepy Hollow:

In retrospect, this one shows a lot of the problems that would later kill my love for Tim Burton, but it's still a lot of fun. The Hessian is genuinely scary, Johnny Depp is mugging a bit but it's not as bad as it would eventually get, and I want all the dresses.

Over the Garden Wall:

Pure distilled autumn in its aspects of both harvest and death, fun and fear. It's a world based on vintage Halloween postcards and fairytales that don't actually exist but feel like they do. I love every character, and that momentary flash where we see what the Beast looks like haunts my nightmares. My only caveat is that I do sometimes have to tell other people to keep watching after Schoolyard Follies, there will be a plot I promise!

Disney's Legend of Sleepy Hollow:

I think this is one of those where I never saw the whole thing, just the main song on one of those Best of Disney compilation videos. I'll at least give it credit for preserving the original story rather than making the Headless Horseman actually real (which I think most adaptations do because frankly the original story isn't long enough for feature length.)

Marie Antoinette:

This seems like one of those movies where you've supposed to get into the mood of the music and the visuals more so than the plot or characters? I can get into that.

The Beguiled:

I still don't know if I want to see this or not! The concept sounds cool and creepy, but I don't like the idea that these ladies are the good guys. Or maybe I'm wrong and nobody's supposed to be a good guy? Or maybe I should watch the grimier original since I unfortunately find young Clint Eastwood hot?

The Innocents:

I'm personally of the opinion that the ghosts in The Turn of the Screw were real (it's just that screaming at a child is not a good way to exorcise them), but the deliberate ambiguity/unreliability of this version is also creepy in its own way. It's a much darker ghost story that you'd get from most big studio films of the time, certainly.

Fire Walk With Me:

This really did a good job of portraying its protagonist as a real person rather than just an object of clinical observation or perverse whimsy (which I think Twin Peaks the Return fell into.) It's just so heartbreakingly sensitive and Sheryl Lee does such a good job of portraying Laura as both kind and mean, loving and hateful, and absolutely the victim of someone she should have been able to trust. And then the end, where Cooper is smiling gently at her and the angel has come back and she's laughing in relief? Oh my god.

Crimson Peak

I didn't love this as much as I thought I would (maybe because I was spoiled about what was up with the Sharpes, or maybe because I didn't like the implication that Edith should have gone with the nice boy best friend she didn't love) but I'd still say it's a good entry in the gothic romance genre. Stunning clothes and scenery, great actors, scary ghosts, an ending open enough for fanfiction. If I picked this up as an Avon Satanic Gothic at a thrift store, I'd definitely be happy!

Coppocula (Bram Stoker's Dracula)

Oof. I don't want to be a snob about this. I've definitely liked Dracula movies that were wackier or dumber than this (looking at you, 2004 BBC version!) This one just breaks my heart because there's so much talent on display and I just. fucking. hate it! That soundtrack deserved a better movie. That red dress deserved a better movie. All the characters deserved better writing. Whenever someone tells me they love this movie, I have to nod and say that it's certainly beautiful looking, because I don't want to be a terrible gatekeeper, and if it was an original vampire story it might well be a guilty pleasure of mine. I just fucking hate it. On the bright side, it did give us Vlad the Poker in the What We Do in the Shadows movie, a pitch-fucking-perfect parody of Gary Oldman's Dracula, and the Nadja/Gregor plot in the What We Do in the Shadows tv show, a pitch-fucking-perfect deconstruction of the reincarnated wife trope.

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foreignfields · 3 years

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Bly Manor rambling, ‘cause of course I need to get this out my chest.

As you all know, i’m not getting over Bly Manor, aka Dani and Jamie’s story anytime soon. Reading Henry James has made me realize how beautiful can stories be when adapted right. Because Turn of the Screw has gotten pretty horrid treatment through the years (not even plan to discuss The Turning), so It’s real nice to find someone who respects the author and the source material, and tries to do right by it. Henry James himself spent some time abroad in England, ring a bell? Exactly what the aur pair does. And I don’t know about this but apparently they were rumors of him being gay? If that is so, writing Dani as a lesbian is like, the most awesome thing anyone could ever do. Cause she gets that (short) happy ending.

It’s nothing short of incredible what Mike Flanagan, cast & crew, have done with it, and this is coming from someone who has seen, and liked Hill House, but Bly Manor, for me, is on an ambitious level of it’s own, and i’m more than thrilled to have seen it succeed, to see people talking about Owen, Hannah, Miiles, Flora, Rebecca, Henry, Edmund, Viola, Perdita, hell even Quint... they’re all great characters of their own, and I feel, they’re only enhanced by the miniseries experience, and the writing. The medium can help so much to tell a story, and a series was the best vehicle for The Haunting of Bly Manor.

Talking about Dani now, what a great character study. Her arc, accepting herself, saving the others, finding love in her life, finding Jamie. The portrayal of comphet. The Eddie jumpscares, have you ever seen jumpscares like that in horror films or tv series before? An extension of the character? The manifestation of her guilt? Never have jumpscares meant this much. It’s the work of a genius, really. And Dani, dear Dani, i’m older and it got to me a bit that she managed to find love at that age, if we go by what she said to Miles, she spent time travelling and teaching for 9 years, so hardly a teen, gives me hope. Yes, she was trying to escape from her past, and while you might be through with it, the past isn’t through with you. But she opened up about that, and that was the first step to heal, and to love. Frankly I love that quote about finding someone who might help burn away the shadows. Isn’t that what we all look for? To be understood? To be seen?

Dani Clayton, the audience surrogate, the Bly Manor mystery is solved thanks to her heroic self. If we go back to the source material, the governess in the story doesn’t get a redemption arc, but in Bly Manor, she does. She’d get the prize for being the most haunted character so I think it’s only fair she got to live 13 happy years with Jamie, it’s the least she deserved. Girl spend barely a couple of days without Eddie only to be possessed by Lady Viola. Also, how healthy their relationship is? They set a high bar. It’s fun how that can be traced back to Henry James, the love depicted in Sir Edmund Orme made me think a lot about Dani & Jamie, how about if, a handful of stories, from now on focus on that instead? External evil forces are driving the drama, not the relationship or sexuality of the characters involved? Cause it can be pretty tiring to see silly drama when you could craft a more convincing healthy love story instead. (I don’t mean it for every story, it’s just that, we see a lot of lazy writing nowadays, Bly Manor is not lazy, like at all, there’s a purpose for the dramatics, if there’s such a thing) and Horror and Romance, finest genres to explore this. I’m in love with the concept.

And man, the ending, bittersweet, and tragic, and just the perfect amount of everything. I wouldn’t have liked it any other way. People who say it’s a BYG are not seeing the big picture. After I was done watching it I felt numb, like it was too much, a while after, I cried of course. We spend 9 episodes living with those characters and then all of a sudden, the protagonist is dead. She sacrifices herself, for the one person she loves. It’s too much to take in if you ask me. And then you think, you rewind, Jamie said Dani was stronger than she thought, and Dani, on top on her anxiety, her fears, her guilt, she managed to do the right thing. She refused to lose Jamie, refused to live in a world without her, so she made the utmost sacrifice, to protect her. If Dani was the lady of the lake, she’d make sure no one would take Jamie. Because love, is the opposite of possession (the commentary on relationships is ugh, mindblowing honestly). Even if Dani was losing herself little by little, she never forgot that. That’s why her spirit lived on, cause like Flora said, dead doesn’t mean gone. And Jamie lives to tell that tale. That’s how you are remembered in the end, by being a story.

#it's probably written like shit #but it is what it is #i can't stop thinking about this show #so might as well scream about it on the internet #Dani Clayton #Jamie #dani x jamie #jamie x dani #Mike Flanagan #Bly Manor #The Haunting of Bly Manor #appy polly loggies if i'm somehow repeating things other people have said #i read a lot of articles and thought a lot about it #this is just rambling #Henry James #Sir Edmund Orme

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bbymochiroll · 3 years

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Anyone who is a beginner or curious in the world of Korean Pop~ 5 album that you should listen in korean music world

The Korean music industry has become an area that attracts everyone's attention in recent years. This great effect, which started with the use of Korea's power in the field of fine arts and the right marketing, caused many people to wonder about the music produced in this sector. This thread is for all people who have trouble finding their voice in this huge world or who want to try new genres. I hope you have fun.

Number five Adult Ceremony by Park Ji Yoon

Park Ji-yoon was one of the names whose music was appreciated by a certain group of people in Korea in the past. Her music style has more of a mature and erotic ambiance and it reminds me of Bjork. If Bjork had made a soundtrack to a Korean movie from the 90s, it would definitely look like this. If you like experimental music and mature music, you should definitely check out this album.

Number four 나의 외로움이 널 부를 때 by Jang Pil-Soon

Jang Pil Soon is a vegetarian Korean musician in her mid-50s. Along with being one of the most loved names of her era, her creativity makes her stand out. People who are new to Korean music generally argue that this music genre is not artistic enough, but with the right choices, it is not difficult to find the right fish for you from this large pool. If experimental music is too heavy for you but you still want to hear new sounds and if the vocal skills of the artists are valuable to you, this is the album you are looking for. If you like people who like to make songs that stand out with their vocals like Whitney or Adele, you can deal with this album.

Number three Good Boy by Zai.Ro

The fact that male artists produce vocal-heavy romantic ambiance-based songs was something that always stood out to me in my Korean music adventure. To see the male Korean pop artists, who are usually chosen for TV series or movies, sang their romantic songs with a not very exciting background and leave the scene, frankly, I didn't find it very amusing. However, the Good Boy album is a special album that has managed to separate itself from this not so fun world. Full of intense romance and disappointment, you'll feel like you're navigating a european director's short film. If you are interested in songs by names like Norah Jones or Mariah Carey but if you find names like Lana Del Rey too negative, this is the right album for you.

Number two Full Moon by SUNMI

Even though many people criticize the Korean music as not artistic enough. some people say that they like it to be positive but they are afraid to listen because it is too loud or too different from classic american pop songs. In my opinion, Sunmi generally never got the recognition she deserved because her company didn't give her the promotion she needed. This is a situation that is unfortunately experienced in the world of Korean pop, and this is the most important reason for the criticism of American or European listeners about the similarity of all songs. It takes time for creative names to come to the fore, as all the songs prepared for marketing always get the approval of the same names. Full Moon album is a quiet pop album. If you're looking for a korean pop album that doesn't produce much poetic music like Katy Perry, but doesn't make music like the noisy korean pop music that you're prejudiced against, this is the right album for you.

Number one IN LIFE by Stray Kids

Stray Kids is a group that has been talking about a lot lately and I'm sure most of you know it. Be it the success they showed in the competitions on Korean television, and the fact that they are a group that clearly proves that they have improved themselves with each album, highlights them. The vocal abilities of the Stray Kids members are the kind I don't see much in other boy groups because the vocal skills of each member are very different from the group on their own. Even though I always see names with similar vocal abilities coming together in the member selections of boy groups under normal conditions, the situation is the opposite for stray kids and this creates a very nice ambiance. Since this album is designed purely for performance, it does not contain much poetry. So if you like house music or edm pop music this is the right album for you.

Bonus Track Outterspace by Kang Daniel

Kang Daniel's latest album Yellow is still the best Korean male pop music album released this year in my opinion. You can find the article I wrote about that album in my profile. Kang Daniel has always been a special name for me because although all of his songs have hit potential, he is one of the rare names that never changes his line. Praised by his fans for both his kind personality and hard work, Kang Daniel is also a really good name at making a poetic pop album. Outterspace is a song with modern disco overtones and I think most people will love it. If you like the popular TikTok songs today, you should definitely give this song a chance.

Thank you for reading. Please don't forget to share your favorite albums with me. We all need the power of music. All love xoxo.

#kpop #kpop review #album review #kang daniel #stray kids #skz #felix #sunmi

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adultswim2021 · 3 years

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Penguins Behind Bars | July 20, 2003 - 11:00PM | Special

Well, fuck me, I'm covering Penguins Behind Bars, aren't I?

In the past I didn't consider this to be a true Adult Swim original, and I forget why exactly I came to that conclusion. It may have been because for a time this was impossible to find. Now it's just up there on Adult Swim's website and app, ready to be watch by all those who are morbidly curious enough to check it out. It's a National Film Board of Canada co-production, which might be another reason I considered this to belong to a different canon. But a little more research reveals that this short is owned by Cartoon Network and it's current presence on the Adult Swim app seems to support this. So I guess this is, indeed, an Adult Swim original. I coulda sworn this played at animation festivals and was merely acquired by Adult Swim for a one-time showing, but I guess this was a bonafide attempt at piloting a series and this is still currently their property.

Penguins Behind Bars is a fairly straight-forward women-in-prison story with penguins instead of human women, making it so you can't beat off to it. The humor is pretty light and the tone is cute. It's fairly adult, but it's nothing that you couldn't get away with airing on normal Cartoon Network in prime-time. It's not exactly Ilsa The Wicked Warden. It just feels like a Canadian cartoon. In fact, I'd say the defining characteristic of Penguins Behind Bars is Canadian.

The director, Janet Perlman, based this on her graphic novel of the same name, originally published in 1989. She directed another penguin short in 1981, called The Tender Tale of Cindrella Penguin. It's shorter, more kid-friendly, and dialogue-free, and is basically just a retelling of Cindrella but with penguins. It is also cute. As I understand she has a pretty respectable career in animation and children's books. Good for her!

The main problem with this pilot is that it's boring. It's mostly just penguin-related puns and visual gags. The plot is played fairly straight. I struggle to imagine a genuine audience for this. Not juvenile enough to satisfy kids, teens or (let's face it) your typical Adult Swim viewer, not sophisticated enough to amuse high-minded adults. It's a strange mixture of concepts all around. I've never in my life encountered anyone seeking this out except out of some kind of completist duty on the part of Adult Swim or adult animation fanatics.

Speaking of seeking, for years this was considered "lost media" as a broadcast recording of this short was not known to have survived (I probably had one somewhere, not to brag). Eventually one turned up in 2017 and a copy was uploaded to the internet. Cartoon Network apparently took notice, had the upload pulled, and put up their own copy themselves on Adult Swim's website. I have a distaste for when TV networks protectively pull fan-supplied copies of rare TV shows or even commercials they have no intention of making available themselves, so this is about as happy an ending for Penguins Behind Bars as it deserves.

MAIL BAG

I have this vague memory of seeing something on adult swim of a woman holding her arms out (Katherine Hahn maybe?) and to a hip hop beat going: ♫I'm a lesbian/ I do what *I* want♫ Do you remember what this was. It's vague memory is ruining my spiritual life.

Oh WOW. This sounds like something that would air on Spike TV, frankly. It sounds like you’re talking about a live-action thing, but could it have been Gary the Rat? They had an exquisite animation style that could easily be misremembered as live-action. The phrase “uncanny valley” gets tossed around a lot in animation circles, but,

If Adult Swim teamed up with your favorite fast food burger joint to make an "adult" style happy meal what kind of Toys would you like to see.

I would very much appreciate a line of Happy Meal toys that are Looney Tunes but Censored 11 themed. I know this doesn’t answer your question. To answer your question actually I would also very much appreciate a line of Assy McGee toys

im assuming all the mean/trolling e-mail you get are from your friends. do you ever wonder if they are really your friends since they have nothing better to do than anonymously harass your blog?

No I wonder about better stuff like what if they remade the spice girls but they are all naked

Any thoughts on Mike Richards becoming the new Jeopardy host? And no it's not Kramer so I'm gonna cut you off on the pass there.

I don’t know who that is, I don’t know who Kramer is, I don’t know who YOU are. This is a three strikes your out kind of sitch here. YOUR OWT

Tuca and Bertie is coming back for a 3rd season on [AS], what is your immediate reaction. If it's "I haven't seen the show" then make something up. Lie. I don't care.

I love bird movies and I eagerly await watching these ones! I love to freak to the beak. Episode 1 binge watch coming up :D

#adult swim #adultswim2021 #penguins behind bars

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boomcomplains · 3 years

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It's typical. A loud noise sends a character back into a hostage situation, a war, or a gunfight. When faced with the majority of reporting on PTSD centers around combat-related PTSD (source), it makes sense that it's the shellshocked veteran we often see in books, TV, film and comics. However, the civilian population that experiences PTSD is 13 times larger than its military counterpart. Of course, there are more civilians than those in the military, so naturally, that population is bigger. This article is not meant to dismiss those in the military who deal with very real and terrible side-effects from their time serving.

However, it does beg the question, what does a character with PTSD look like when their trauma is outside combat?

I think a very good study of this sort of character is Dr. Nicholas Rush from Stargate: Universe. There are many other characters out there that I could use, but I'm in a SGU mood today, so I hope you'll forgive me.

At the beginning of the show, Dr. Nicholas Rush is a difficult man. Unable to deal with his wife's terminal cancer, he drowns himself in work so he can avoid the pain of losing her. When she dies while he is off-world, this complicated grief drives him to focus on the mission of the ninth chevron because he has to make his absence from her deathbed mean something. After all, if he didn't succeed, he would not have an excuse. Without the excuse, he would confront the nasty truth that he didn't support his wife in her dying days because he couldn't handle the grief.

The ninth chevron leads him to the Destiny, a ship far beyond the reaches humanity could ever dream to go, with a singular but ultimately mysterious mission. His doggedness to stay on the ship, and follow the mission is likely a reaction to his own inability to come to terms with the trauma of losing his wife.

Because of this, he approaches situations from an ultra-logical world that doesn't exactly coincide with the emotional gray side of the human experience. That's why when he felt that Colonel Young was repeatedly putting lives and the mysterious mission of Destiny in danger, he decided to... frame him for murder... and when that didn't work, stage a coup.

I promise, within the confines of the show, those were actually both very rational decisions.

The coup was the last straw for Colonel Young, so he abandons Rush to die on a desert planet that has no stargate and therefore no possibility for escape. So, metaphorically, Young essentially commits the murder that Rush tried to frame him for.

It is there, on a sandy planet without food or water, that the narrative of Nicholas Rush's PTSD starts.

While attempting to escape, Rush alerts an alien race called the Nakai to his presence as tries to fix a crashed alien spaceship. For the Nakai, it's a lucky find because they are hell-bent on boarding Destiny. Why do they want to get on Destiny? I don't know. They're aliens. Sometimes you don't get to know the why when it comes to aliens.

On their ship, Rush is tortured and imprisoned in a water tank (this is important later). So for the PTSD counter, we have both abandonment and abuse to contend with. His feelings about Young essentially murdering him for doing what he thought was right for the ship are compounded with being mentally torn apart by the Nakai.

Flash forward, Rush is accidentally rescued from the Nakai's clutches due to a lot of plot points I'm not going to go into. Frankly, it's very likely most of you haven't seen the series—or have forgotten more about it than you remember—and the last thing I want to do is turn this article into a Stargate: Universe season recap.

So, back on the ship, Rush isn't sleeping, which you find out after he commiserates with fellow torture victim Chloe. It's assumed that it is for the same reasons as Chloe, which are vivid nightmares. For those of you keeping track, that is a classic sign of PTSD. The subsequent not sleeping because you're afraid of having more nightmares is also a very strong indicator.

Unfortunately, insomnia leads to emotional decision-making, usually based on your experiences in that trauma. But let's put a pin in that for just a moment, and we'll fast forward to a later episode entitled "Pain."

In "Pain", the crew accidentally bring a tick onboard that causes vivid hallucinations, some of which are paranoid delusions. For everyone who experiences this, there is little rhyme or reason why the hallucination starts, and they go with it unquestioningly.

Rush, however, is different. His hallucinations are all triggered. When under the influence of the tick, Sergeant Greer (a proponent for Young's leadership) threatens Rush. Because of this, Rush experiences flashbacks to the Nakai ship and sees everyone as a potential Nakai threat. Paranoid ideation is a symptom of PTSD. When I say "paranoid" though, I fear that this may be read dismissively. PTSD, in many ways, is a survival mechanism. It's a set of prefab reactions because you have already experienced something similar. Essentially, it's not paranoid ideation to you, because it's happened before.

It is unclear if Rush himself was affected by the alien organism, but it seems very likely that his reaction was hinged on the perceived/very real threat to his survival. The fact that it has been established that he has not been sleeping for episodes now, and his hallucinations are of past experiences—such as the room flooding with water, or seeing other members of the crew as Nakai —it seems more than likely that Rush's experiences in this episode are PTSD-related and not due to the tick.

This, however, is not our only brush with PTSD. Let's move forward to the next season, where he finds the bridge of Destiny and hides that discovery from the rest of the crew.

One of the cool things about Stargate: Universe in the first season is that they never find the bridge of the ship. They don't even know there is one because Destiny is so massive and broken, they haven't found it yet... or perhaps the Ancients were so culturally different at the time they didn't design the ship with a bridge in mind. Even if they did, there would be a fair chance the crew would have no idea how to use it.

So, Rush—who is established to still not be sleeping after an incursion with the Lucian Alliance—finds the bridge of the Destiny. Until now, he and the Science Team had been interfacing with the ship in what I think is probably a janitor's closet, so this is an incredibly important find because it is vital for the survival of the ship and the crew. Naturally, that means Rush should want to share it, knowing what we know of him from before he was abandoned on the planet and then tortured by the Nakai. Before, it was the greater good. Now, it's survival is first and foremost.

But no. Rush, instead, reasons that Young cannot be trusted with this find, and starts to lead a double life of surreptitiously guiding the ship (to disastrous results) and pretending like he's still doing things from the Control Interface Room/Janitor's closet.

But what led him to do this? After all, keeping this find under wraps leads to dire situations that compromise the survival of the crew, and indeed causes the death of one member. It is not a rational decision.

Except that it is. If there is one thing I want to make very plainly clear in this article, PTSD-sufferers reactions are rational, even if they don't seem that way to an outsider. I think oftentimes we nitpick plots in fiction because characters make decisions that seem illogical to us. Sometimes this is deserved because an author did not sufficiently help us empathize with a character, other times I think it is because we don't understand what it means to have PTSD.

You don't have to be triggered to have PTSD affect your decision-making process. You see, unmanaged, PTSD gets you stuck in survival mode. It's an undertow that drags you down with things that were true but aren't necessarily true now.

So in Rush's sleep-deprived, and exhausted state-of-my-mind, he reverts back to Young being the threat despite all the work they had done to repair the relationship. While some may be frustrated with this backstep, I can't tell you how much I appreciate that about his character. It explains the rationale for doing something irrational, and makes his character so much deeper.

The beauty of Stargate Universe is that it shows PTSD as it is. Even better, no one is excusing Rush's actions because of it, and/or invalidating his experience. It simply is.

PTSD is so misunderstood, it deserves logical, rational representation, and it gets that with logical, rational Dr. Rush. I mean, let's face it, there is logic to what goes on in a PTSD-sufferers brain, but it's logic from a different time period. Dismissing it as irrational is insulting, and I love that Stargate: Universe never does that, and I think it is exactly why Rush is such a deep and meaningful character.

In the end, I think there is a lesson writers can draw from this: don't be afraid to explore this within some of your characters. Understand their viewpoint, and what drives them to make their choices. If you do that, you will never have a boring story.

#nicholas rush #stargate universe

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couldbeasong · 3 years

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1-60 for the ask meme

Ope sorry I did not see this until today. I think I know the one? If it’s not the one you meant just lmk lol

1. Selfie?

You can have this picrew but I wish to be unperceived.

2. What would you name your future kids?

For female names I like: Harmony, Slyvia, Edelweiss, Bethany, and Opal

For male names I like: Uriah, Aiden, Kai, Levi, and Luke

3. Do you miss anyone?

My grandpa and Midnight (old dog)

4. What are you looking forward to?

Going on vacation in a few weeks, the end of the semester, and seeing @calligraphywitch tomorrow

5. Is there anyone who can always make you smile?

@calligraphywitch and my other girlfriend. They’re hilarious lmao

6. Is it hard for you to get over someone?

Romantically? Not really. You kinda gotta just accept it and move on. In the past, always being like: this will never work because of reason xyz helps.

Friendship wise? Absolutely. It depends a lot on the emotional investment I put into the relationship, but I find myself still missing people I haven’t talked to since High School or Middle School.

7. What was your life like last year?

It was weird being a freshman in college and trying to survive. I had a lot of family problems going on along with one of my best friends from High School being on her death bed for a while. A bit of a crisis of faith as well. But we survived, God willing! I miss pre-pandemic times tho

8. Have you ever cried because you were so annoyed?

Ask my brother. I’m sure there’s been an instance.

9. Who did you last see in person?

My grandma across the room from me!

10. Are you good at hiding your feelings?

I hide them so well I can’t even find them!

I like to pretend they aren’t there and repress them a lot but idk if I’m good at hiding them from others per say.

11. Are you listening to music right now?

I’m in a zoom meeting for class, so I guess my professor's voice?

12. What is something you want right now?

Freedom

13. How do you feel right now?

Kinda tired, kinda nauseous, kinda bored. Idk I probably need to drink some water.

14. When was the last time someone of the opposite sex hugged you?

Uhhhh idk about a week ago? My last hug was probably a week ago too XD

15. Personality description

I like to think I’m funny

16. Have you ever wanted to tell someone something but you didn’t?

I work in customer service- everyday (:

17. Opinion on insecurities.

Everyone is insecure about something. It’s kinda fascinating how even though all of humanity is exactly the same (in terms of our struggles and insecurities, we don’t vary) we still judge others for having them. Confidence is seen as a virtue and the most attainable goal. Society profits off of your insecurities tho so be aware of what they are and don’t let yourself be scammed.

18. Do you miss how things were a year ago?

Certain aspects perhaps. But 2019 is gone. It performed and then it left. It can’t hurt us or help us anymore. There’s little use in dwelling on that and wishing for 2020 to be 2019.

19. Have you ever been to New York?

No, but I swear Ima go one day and see a show on Broadway.

20. What is your favorite song at the moment?

I have like three I’m cycling between rn

When You’re Home from In the Heights

Wake Up by Jenny Owen Youngs

Together by For King and Country

21. Age and birthday?

Old enough to know better and October

22. Description of crush.

He’s super great and super intelligent, not to mention super in love with God. Frankly, he deserves better than me. I gotta lot of self-improvement that needs to happen, but we’ll see what happens XD

23. Fear(s)

Heights, drowning, spiders, super dark streets and rooms, not being good enough

24. Height

5′5″ respectfully

25. Role model

It’s changed through the various stages of my life. Rn tho a few of my Christian online friends

26. Idol(s)

I mean I stan Brian David Gilbert, but I don’t idolize him lol

27. Things I hate

Cheesecake, sickly sweet stuff, when someone grabs the receipt out of the printer even though it’s way more effort for them to do so than for me just to hand it to them and it throws me off of my rhythm, fudge

28. I’ll love you if…

You exist (and even not then because fictional characters just hit different lol)

29. Favorite film(s)

Tangled, Ella Enchanted, Enchanted, Howls Moving Castle, Princess, and the Pauper

30. Favorite tv show(s)

Brooklynn 99, Parks and Recreation, Ouran High School Host Club, My Hero Academia, and Bojack Horseman (I’m going through a phase with it rn lol)

31. 3 random facts

Blue is my favorite color, I own almost nothing in blue, people are better at identifying members of their own race better than members of other races.

32. Are your friends mainly girls or guys?

Girls- they’re easier to talk to and approach. Tho I stan and love my guy friends. They are kings.

33. Something you want to learn

Everything? Idk I have an insatiable desire to learn and it switches. Consistently, I want to learn how to make my own clothes, play either piano, guitar, or violin, and detail cars.

34. Most embarrassing moment

Uggg I’m not talking about it and neither is @calligraphywitch

35. Favorite subject

I really enjoyed Statistics as much as I have hated it. My all-time favorite class I have ever taken tho was AP US Literature

36. 3 dreams you want to fulfill?

Graduate grad school, get married, travel overseas

37. Favorite actor/actress

uhhh probably Chris Pratt or anyone who was on Parks and Recreation. Tho Broadway actors, I love Christian Borle

38. Favorite comedian(s)

John Mulaney

39. Favorite sport(s)

I miss playing softball and volleyball so prolly those

40. Favorite memory

There are too many to count. But usually, involve good conversations under the stars after 2 AM.

41. Relationship status

Have a picrew of my sister and me. Keep scrolling and mind ya business (jk ily anon)

42. Favorite book(s)

The Bible lol but fictional book wise, I will always love the Warrior Cats series. Red Queen was pretty lit. The Hourglass Door gave me a love for time travel aus lol. And Library Wars is near and dear to my heart.

43. Favorite song ever

You can’t ask me thisssss

Idk Hope is what we crave by For King and Country

44. Age you get mistaken for

24-30 it depends on the context

45. How you found out about your idol

@calligraphywitch

46. What my last text message says

No xD not disney

47. Turn-ons

When you have a musical playing and the end of one song is the start of another so they bleed into each other. CHILLS or when a line of poetry just expresses how someone feels. OR when different parts harmonize just right

48. Turn-offs

When my computer deletes my homework right before it’s done

49. Where I want to be right now

In a little cabin in the woods

50. Favorite picture of your idol

51. Starsign

Scorpio

52. Something I’m talented at

Reading peoples emotions

53. 5 things that make me happy

Music, Friends, Deep Conversations, Hugs, and God

54. Something that's worrying me at the moment

So much to do so much to see

55. Tumblr friends

Friends and mutuals include:

@calligraphywitch @an-assortment-of-forks @repentance-brings-healing @synthetic-blanket-hairs @loneallegiance @boywiththewand @knightof-cups @a-lil-strawberry @linkedwolf @indygo @obnoxioushair

There’s plenty more than that and I love you all ^^

56. Favorite food(s)

Tacos, Crab Ragoons, Salty Foods, RICE

57. Favorite animal(s)

Wolves and cats

58. Description of my best friend

Artistic, beautiful, supportive, hardworking. She is hilarious and an amazing person. There’s so much to the many reasons I love her I just can’t do it in words

59. Why I joined tumblr

Back in the 7th grade, my friends all had one and helped set me up with one. And that’s that.

60. Ask me anything you want

You want nothing ig lol if you want to submit one I can answer it still

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butyouvealwaysbeenthecaretaker · 3 years

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Twin Peaks: Fire Walk With Me spoilers under the cut, as well as discussions of abuse

So, I really liked it, and apparently that’s unusual among actual fans, for various reasons like “it isn’t funny” IT’S ABOUT CHILD ABUSE

“and really gratuitous to watch” but honestly, I actually liked how it was handled a lot better in the film than in the TV show, because the TV show is in this sort of Lolita unreliable narrator place about its absent central girl, only existing through other people’s words and memories but about 80% of those speakers boned her or wanted to, so yeah once you strip back this narrative structure which is suggestive without being explicit, it is very distressing - which frankly feels a little more appropriate -

& it centers her and her choices in her own story, including in the role of detective for her own life - which I liked very much

“she was more interesting dead than walking about” that says more about you than the film, buddy

“didn’t have any of the other characters” almost all of those subplots were terrible, and actually I really liked the barely-there cameos and the contrast between maudlin everyday stories and this horrifying, hidden life

“undermined the supernatural implications of the TV show that Leyland was being possessed by a demon” again, I think it says more about you than the film that you want to shy away from the harm done to this character by watering it down to a tale of demonic possession, rather than a tale of incest in which both parties are cope-distancing themselves from what’s happening by dissociating the crime onto an imagined third party

like there’s definitely something about the TV series that slips into the prurient, that implicitly starts assigning her some culpability as town slag and party girl rather than vulnerable person.

& what’s distressing about the film is, it’s about slippage and hiding and trying to avoid the truth; the way it shows the domestic environment as threatening; the horrible family dynamic in which her mother is, surely, part-aware of something; the only person who’s there for her is another teenage girl who’s completely out of her depth for the help Laura deserves from like, a competent adult. Little details, like her learning to listen for the ceiling fan in the hallway, and the revelation that Leyland thought it was all consensual - a detail that strikes me as frighteningly true to how abusers think (again, I think Lolita is the touchpoint here)

It really spells out that the murder was not the end result of too many boyfriends and drugs - quite the opposite, really, that the drugs were trying to block something out, and the boys were this devastating slow-internalisation of sexual value, and you can feel her collapsing but also holding tight to who she is, and you can feel her succumbing to the idea that what’s happening is somehow her choice

I feel very strongly about this film, and that it is good; that it’s not degrading but a lot more respectful of Laura as a person rather than a cypher; & it is a extremely difficult watch, but it works for me in a way the TV series rarely did so there’s that.

& it hits the emotional beats that mattered to me in the show, like, this slow-rippling-out of her death in ep1, how a person is turned into an absence; & I also think the ending of the film is interesting, because it’s got a different implication to the tv show about what’s happened in the lodge - what stuck with me was, she’s trapped in there, and screaming, and she never gets to escape that or be anything other than that, and the imagery of that works - you become the thing that abuse turns you into - and she never got a chance to be anything but that, or to escape it. And it is dark, but that’s the story and the great silence that follows.

Good film.

#the cinema tag

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wonderfulworldofmichaelford · 4 years

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Psycho Analysis: Yzma

I feel like there’s no sense in introducing this one. You know her. I’ve seen all the gif sets, the quotes, the images, the memes… it’s safe to say most every person on the internet is intimately acquainted with The Emperor’s New Groove’s geriatric villainess, Yzma. So, let’s just cut to the chase and talk about why Yzma is a fantastic villain, shall we?

Motivation/Goals: Yzma’s goal is pretty simple and yet also infinitely understandable. She wants to take over the kingdom from Kuzco because, after years of being treated like garbage by the snotty little emperor she likely helped raise, he’s just firing her because she’s old and ugly. Like, it is TRUE, but it’s still incredibly tacky and rude. It’s not hard to empathize with her at least a little bit as she goes to poison the snotty, miserable emperor, though it really does become harder to side with her as the movie goes on and she continues to berate her poor manservant Kronk.

Performance: The legendary Eartha Kitt of Adam West’s Batman and My Life as a Teenage Robot fame gave Yzma exactly the voice she needed to instantly ingrain herself in your memory forever. Kitt was absolutely not afraid to ham it up, and combined with the character design and animation, it makes Yzma a delightfully over-the-top figure that is easy to love to hate. Even better, she has insanely good chemistry with Patrick Warburton as Kronk, and the two play off each other extremely well, leading to Yzma being part of a good 95% of the movie’s funniest scenes. It helps that, while she is definitely very funny, she is more often the straight man reacting to the insanity her compatriot brings to the table, a dark mirror to Kuzco and Pacha’s relationship… well, comparatively dark. These two are a couple of goobers after all. What I think really helps is that, despite being the straight man in a general sense, Yzma is still probably one of the most insane villains in Disney’s filmography, as in literally unhinged, so she is as able to generate laughs as anyone else.

Final Fate: Yzma’s attempts to kill Kuzco backfire spectacularly, and instead of succeeding in any way, shape, or form, she ends up turning herself into a cute little kitty. It’s a marked improvement, honestly. How she changed back to normal for the TV series, who can say? By all accounts it doesn’t make sense. Just don’t think too hard about it, it’s a comedy after all.

Best Scene: Considering how the entire climax of the film is an absolute cavalcade of comedy, we could go with that. Or we could go with her attempts to poison Kuzco at dinner. Or we could go with her interactions with Pacha’s family. The “problem” with Yzma that every scene with her is so great that it’s hard to single out any single one moment as outstanding, because all of them are pretty much on the same level. She’s remarkably consistent with how great she is.

Best Quote: It’s really hard for me to pick just one line (which is something I tend to say a lot, but I mostly talk about good villains on here, so cut me some slack), but I think the combination of the delivery and just how great Kitt’s voice was really helps make her brainstorming ways to kill Kuzco a legendary moment:

“Ah, how should I do it? Oh, I know. I'll turn him into a flea. A harmless little flea. And then I'll put that flea in a box, and then I'll put that box inside of another box, and then I'll mail that box to myself! And when it arrives, AH HA HA HA! I'LL SMASH IT WITH A HAMMER!!! It's brilliant, brilliant, BRILLIANT, I tell you! Genius, I say!”

The laugh is really what sells it, honestly.

Final Thoughts & Score: Yzma is probably the single greatest Disney villain who doesn’t totally follow the Renaissance villain format post-Renaissance, with only Turbo really being a contender for the crown. What I mean is this: the Renaissance set a serious precedent for animated movie villains going forward. They had to be hammy, have huge personalities, and get their own song. Ratigan was something of a prototype, and then Ursula went and set the standard. Sure, there were exceptions in the Renaissance – Hades is great but got no song, and Ratcliffe is… Ratcliffe, and he has a song – but for the most part the best Disney villains had a clear style. Ursula, Gaston, Frollo, Scar, all of them are some of Disney’s best and all of them stick to these rules.

Yzma came early in the post-Renaissance era so it would make sense for her to fit the bill entirely while they were still experimenting with new styles, but because of the tumultuous production of The Emperor’s New Groove, she ended up keeping the ham while having her villain song cut. And yes, this is a damn shame, since Eartha Kitt was a fantastic singer and the song’s not half bad, but I think the movie as a whole and Yzma herself work better without music. She’s just so funny with how she reacts to and interacts with things throughout the movie, I just don’t think she really NEEDS music to really push her over the top in terms of quality. Like, let me put it this way: I think, without “Be Prepared,” Scar would probably not be quite as impressive. I think with a villain song, Jafar would have been even cooler. Yzma? She’s pretty much perfect the way she is.

I debated a long time on what score to give her, but I frankly think she does deserve a 10/10. I almost gave her a 9 on the basis that she didn’t have a song, but her overall performance combined with my realization she didn’t need her song to be great made me decide to reward her with the highest marks. However, there is one criticism I have that I think stands: she would not nearly be s funny if not for the presence of her faithful lackey. So let’s talk about him, shall we?

Psycho Analysis: Kronk

I put this one to a vote, and it turns out that a lot of people consider Kronk a villain. I guess if we’re being technical he is an antagonist, but a villain? Kronk is pretty much the least evil villain out there. Still, it’s pretty impossible to deny that he’s not exactly a good guy when he’s complicit in an assassination attempt. Kronk’s a bit of a morally gray figure for much of the film.

He’s also, without a doubt, the funniest character in the film.

Motivation/Goals: See Yzma above. He’s just her lackey, so he doesn’t have much in terms of goals of his own. He does, however, have a conscience, as well as numerous skills including some serious culinary skills, including knowledge of fry cook lingo.

Performance: This is one of the roles that really put Patrick Warburton on the map, alongside Joe Swanson in Family Guy. And if I’m being honest, this is the definitive Patrick Warburton role in animation. Kronk is just an absolute delight to watch, since he’s basically the lovable idiot character perfected. He’s a ditz, but he does have a lot of skill in some interesting niche areas, he’s not truly good or evil and has a moral code, he’s very quotable and funny in a pretty natural way… Kronk has got it all! And it’s all thanks to Warburton injecting that Patrick Warbuton-ness we’ve all come to love from his performances.

Final Fate: Of course Kronk gets redeemed in the end. The dude is the biggest softie on the planet. Maybe Yzma should have thought twice before insulting his spinach puffs.

Best Scene: Kronk has a similar problem to Yzma, where every single scene he’s in is incredibly perfect, but unlike Yzma, there is one scene that really narrows things down and gives you the perfect summation of Kronk as a character: the scene where he is attempting to dispose of Kuzco’s body, does his own theme music, argues with his shoulder angel and shoulder devil, and then ends up saving Kuzco, thus allowing the rest of the plot to happen.

Best Quote: Unlike Yzma, there is no way I could possibly narrow down Kronk’s best quote. Whichever one is your favorite, you’re right. That’s the best one. Everything out of his mouth is gold.

Final Thoughts & Score: Kronk is a very interesting lesson when it comes to Psycho Analysis because, while he is certainly antagonistic, and certainly is a great character, he’s not a great villain, which is what these reviews are for. Like, he is easily the best part of the movie, he is hilarious, his chemistry with Yzma is undeniable, and this is Warburton’s definitive vocal performance in animation… but it doesn’t make Kronk a good villain so much as it makes him a good character. Like there’s no way I can give him below an 8/10, because again, still an antagonistic role, but he can’t score much higher because his personality is just so legitimately NICE that calling him a villain seems really weird (which is why I put it to a vote in the first place).

I really can’t stress enough how much I love Kronk; he’s like in my top 10 favorite Disney characters. But when it comes to villains, I really don’t think he’d make the cut, because even when he is doing something bad it comes off more as misguided loyalty to Yzma than an actual desire to do bad. It’s really telling that it’s the most petty of things that makes him drop Yzma like a hot potato: Kronk was never really a villain, he was a good guy who made poor life choices and had a toxic friend influence. He didn’t really have a character arc where he became a better person like Kuzco did, although Kronk’s ultimate turn to the side of good does somewhat mirror Kuzco’s; he simply realized that the friend in his life he devoted his time to was an awful person and decided to leave her behind, and when all is said and done, that just leaves a big, buff nice guy who likes to cook. And that makes Kronk a truly great, funny, and lovable character.

It just doesn’t make him a great villain.

#Psycho Analysis #Yzma #Kronk #Eartha Kitt #Patrick Warburton #The Emperor's New Groove #Disney

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littlehollyleaf · 5 years

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Name ten favourite characters from ten different things (books, tv, film, etc.)

Then tag ten people

Tagged (ages ago, whoops!) by @castiel-saved-me-from-myself

(I’m sorry, I got distracted!)

1.Supernatural. Castiel.

Obviously. I may be out of the fandom now, but I’ve never loved a character as much as Cas, and probably never will.

2. Good Omens. Aziraphale.

Thought I’d put both my darling angels at the top :) I suspect that without Zira there to pave the way Castiel may not even have existed, so I love him double - for himself and for Cas as well :p

While really quite different when it comes to their personalities (just think how Zira would SHUDDER at Cas’ trenchcoat), they share a lot of character traits and tropes (mini-series!Zira anyway, maybe less so in the book, or less obviously anyway), so, no surprise that I should adore them both. I’ve also said before, and I stand by it, that Aziraphale is sort of a combination of my favourite aspects of both Cas and Dean in one, with Cas’ struggle with Heaven/god and trying to be a good angel and finding he loves humanity/earth more, plus Dean’s whole ‘performing Dean’ thing and repression of queer feelings he is scared to admit to (out loud) because he believes they are somehow ‘wrong.’

...just to give a little insight into my feelings about these two that was neither needed nor asked for...

4. Hellblazer. NBC Constantine. Legends of Tomorrow. John Constantine.

Aaaand the other guy I love twice because Cas, and indeed spn in general, kinda owe their existence to him. Though in turn his fabulous live action portrayal by Matt Ryan probably owes its existence to spn and Castiel’s popularity. So... there’s a weird ouroboros situation happening with my favs here that makes my head spin whenever I think about it, but I love it - stories within stories built on stories feeding off stories, which connects to wider themes of story and storytelling being vital and intrinsic to life and stuff.

Anyway, despite his wardrobe, Johnny is NOTHING LIKE CAS. He is, in fact, a lot like Dean. But I like him more. Maybe because he’s British :p He has the whole ‘repressing his feelings’ things, a bit like Zira, but it’s not because he thinks they are wrong, it’s more of a coping mechanism to deal with the constant tragedy/trauma his life/lifestyle/fate causes him to suffer. But whatever the reason, I like my characters facing that struggle :) (actually the British element is probably way more significant to my enjoyment of him than I’ve been fully aware of... that’s probably why I loved Zira so fast as well... obviously they are both a completely different class of British, literally, but the fact they ARE British is INTRINSIC to both their characters, and I guess a little, vaguely patriotic part of me is excited by that... :p)

4. Gotham. Edward Nygma.

Since I’ve started giving explanations - I love Eddie because he’s also got the whole ‘emotionally repressed’ / out of touch with (his) emotions thing going on (as seen in Zira and Cas), but with the addition of various geeky / ‘tech guy’ character traits that I also love.

5. Doctor Who (Classic). Vislor Turlough.

I waxed poetic once about how I liked Gotham’s Edward Nygma because he reminded me a bit of Turlough. That was early on in my Gotham days though and given how Eddie developed I don’t see as many similarities now. Turlough shares some of Eddie’s ‘dark’ traits however - self-centered, often lacking in empathy for others and nonplussed (sometimes even happy) to see them get into trouble or hurt. But ultimately his attempts to be self-serving and cowardly end up thwarted by him developing feelings for specific individuals despite his best efforts, which is what I enjoy about him (and actually that’s a lot like Eddie still, huh... their endgame’s are opposing though ofc - while Eddie goes on to embrace being a villain, Turlough gives up on villainy and even becomes a bit of a hero, now and then). Plus, Turlough is the ONLY Companion (IIRC?) to have joined the Doctor specifically in order to MURDER him and... idk, I just think that’s cool :P

6. Doctor Who (New). Donna Noble.

(I’m trying not to double up on fandoms/shows so I can cover more, but New and Classic Who count as different things, kinda, right...?)

Donna doesn’t really fit any of the character traits I’ve talked about above, though I guess her low self-esteem is something that all my other favs share in various ways (though it’s not such an EXPLICIT aspect of their characters and story arcs as it was for Donna I’d say). What I first loved about her was that after YEARS of New companions (and other randoms) being literally in love with the Doctor, she had a strictly platonic relationship with him. Yeah, I think maybe the show was a bit heavy-handed about it, but even so it came as a huge breath of fresh air and frankly a RELIEF to me. Not that I’m opposed to the Doctor having romantic/sexual relationships, it was just that... coming from a childhood love of the Classic series where that just... didn’t happen (save a fleeting kiss in the TV Movie - which I actually enjoyed fyi!), it just... idk, was starting to stretch my credulity that EVERYONE seemed to be falling for him maybe? Or at least for me it was growing tiresome. So the fact she didn’t have that element to her character/story was a plus. Then I just adore how loud and brash she is when calling anyone, including the Doctor, out on their shit (I envy her that maybe). Plus I like the way she isn’t... traditional TV pretty, you know? (ie. young and slim, like a lot of other companions).

...or maybe I just like redheads *shrug emoji*

7. Spartacus. Naevia.

(she has two actresses okay? and they both deserve kudos!)

Truth is I love FUCKING EVERYTHING AND EVERYONE IN THIS SHOW. Spartacus is like... my PERFECT SHOW. There isn’t a single moment, a single plotline, a single character that I don’t enjoy. I have never even CONSIDERED looking up or writing fic because the finished product is completely satisfying exactly as it is. God. But I wanted it represented in this list so I had to pick someone!

Considering the time period there couldn’t really BE a ‘geeky, emotionally repressed with low self-esteem’ character :p BUT nearly ALL of the characters have the whole ‘struggle to understand/discover who they are’ thing and the ‘who I am and want to be is counter to who I’ve been told I am / should be’ arc, on account of the main cast being rebelling slaves (though the other characters are equally complex and compelling and I love them too - Lucy Lawless in particular is incredible!). Anyone who’s seen me blog about the show before might have thought I’d pick either Agron or Nasir as my favs, since I do like to squee over their romance. But whenever I think about the show it’s usually Naevia who I remember first, because her character arc/development just BLEW ME AWAY. She went from someone I’d kinda dismissed at first as a typical het love interest to a WARRIOR GODDESS and you SEE all the key moments of that growth, you FEEL it, it makes ALL THE SENSE. And her romance with Crixus, which again I was initially a bit dismissive of as a typical, sudden, weak het romance, grows into, imo, one of the deepest, most developed, most believable love stories in the show. So yeah. Naevia. Amazing.

8. Due South. Ray Vecchio.

(he’s the guy not the dog - gifs were limited! ...also the dog is actually a wolf, it’s a whole thing... that doesn’t need exploring at this juncture)

Ray was my first TV crush :P He had a bit of a sidekick vibe to him I guess, which I like (lead characters tend not to interest me as much). He wasn’t ‘geeky’ exactly, but he def had the ‘trying to look/act cooler than I am’ thing going on... also an obsessive attachment to his vintage car... meanwhile his partner Benny was the stoic, ‘British, stiff upper lip, keep emotions in check’ one who was always trying to live up to the ideal persona dictated by his people/employers, in this case the Royal Canadian Mounted Police... HUH, so... it’s actually SUPER WEIRD that I ended up loving Cas and Zira over Dean and Crowley when it seems pretty clear suddenly that my first big fictional fav was CLEARLY the Dean-Crowley to Benny’s Cas-Zira......?? Ray was FUNNY in a way Dean and Crowley aren’t though, I think? He def filled a ‘comic relief’ slot on the regular and I liked that a lot (it also made his serious, angsty moments EXTRA serious and angsty, and extra angst is something I always love!)

9. The Librarians. Eve Baird.

Remember this little show? It was... is... sorta ridiculous. Not amazing. Based on some... very cheap, very OBVIOUS Indiana Jones rip-off films, that were also ridiculous and... not... great (the third one is the best, with an awesome performance by Stana Katic aka Kate Beckett as a vampire, but I digress). But... idek, I am EXTREMELY FOND of the series for some reason :p

There are a WHOLE BUNCH of characters that fit my ‘type’ more than Eve tbh... in fact... probably every.single.other.main.cast.member (save perhaps Jenkins?) shares the traits above that typically make a character my fav. But... EVE! I just... think she’s neat! ...maybe it’s BECAUSE all the others are main/lead characters that makes me gravitate towards her? In a cast where ‘geeky, socially awkward, struggles with emotions’ is the norm, Eve being the no-nonsense, socially competent, badass soldier type therefore becomes different and thus more interesting to me? Also, much like with Donna, I appreciate that she’s an older woman who gets to have a full character and plot of her own. There’s also something about her romance with Flynn that... makes me feel warm and fuzzy.

10. Buffy the Vampire Slayer. Jonathan Levinson.

(tumblr gif search failed me so I had to grab from elsewhere...)

Listen. Look. Okay. Buffy is pretty old school these days so, for anyone not in the know, as a character, originally, Jonathan... he wasn’t even a side character, he wasn’t even REOCCURRING, he was barely a background character. For several episodes he didn’t have a name and it wasn’t until several seasons after he became ‘Jonathan’ that he actually got a surname. Danny Strong was just an actor who happened to be occasionally on-hand when the script called for a random to have a line, until eventually that happened often enough for Joss to think ‘hey, you know what, let’s make this guy an actual part of the show...’

He got a couple of episodes focused on him in S03 and S04 respectively, but didn’t become a regular until S06 (and wasn’t in S05 AT ALL). Other than that he had a HANDFUL of ‘blink and you’ll miss it’ moments here and there, not even full scenes for the most part, usually lasting no longer than the above gif.

I tell you all this so that when I say childhood me (well... somewhere between 12 and 14 years anyway) was OBSESSED with this character in the show, and I mean O B S E S S E D (to the point of spending hours painstakingly making VHS recordings purely of the episodes he was in), you understand how UTTERLY BIZARRE that was. Because this obsession pre-dated S06. Was, in fact, in full swing during the airing of his S04 episode - which was, like, a fucking DREAM COME TRUE for freakily obsessed me fyi, because the whole episode was constructed with him as the LEAD CHARACTER, because he’d performed a spell to make him super awesome. They even changed the title sequence to read ‘Jonathan’ instead of Buffy! And while other fans were no doubt just lol-ing at the random I was bouncing about on my sofa all ‘MY TIME HAS COME!’ and fucking SWOONING over seeing MY CHARACTER suddenly in the spotlight and getting to do crazy fun OOC shit like this -

Then when S06 rolled around and HE WAS A LEGIT REGULAR, omg, I was in HEAVEN! First TV boxset I ever bought that - Buffy S06 :P

So... yeah. A bit of a fav. Geeky. Outcast. Slowly grows more morally grey, what with that spell I mentioned and also the fact he was teamed with the ANTAGONISTS in S06. I guess you could say he was the beginning of a lot of my fav fictional character traits/tropes (though looking back - I think his ‘villainous’ teammates in S06, Andrew and Warren, are more my ‘type’ these days, and I did end up loving Andrew especially a whole damn lot, but at the time I’d been a Jonathan fangirl for so.fucking.long. there was just no chance anyone else in the show was ever gonna come close to my heart!)

THE END.

Sorry not sorry for the tmi. I got a bit too into this one.

Actually sorry I have so few women on the list :( Internalised misogyny/sexism is a real thing and I spent a lot of my life being... somewhat unfairly dismissive of female characters or at least prioritising male ones over them. I’m working on it.

Ten people is SO.MANY. to tag. But I might as well do this right this time, since I’ve come so far. But if you’d rather not play, no worries! <3

@enchantersnight @momecat @bold-sartorial-statement @vampirebillionaire @edwardnashtons @miss-olivia-cellophane @knightinpinkunderwear @supes9 @leaper182 @hamburgergod

Honourable mentions (because I CAN):

Gotham. Lucius Fox.

Gotham. Fish Mooney.

Gotham. Tabitha Galavan.

Doctor Who. The Doctor.

Doctor Who. The Master/Missy.

Supernatural. Hannah.

Supernatural. Naomi.

Buffy the Vampire Slayer. Andrew Wells.

#about me #a true but boring story #well this was a fun nostalgia fest for me!#apologies to the rest of you.............

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brightandshinynewstories · 5 years

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I was tagged by @geekundercover, so:

Name ten favorite characters from ten different things (books, tv, film, etc.) then tag ten people.

(I’m not going to put any Critical Role characters because, frankly, I can’t choose between any of them)

1. Lup, from the Adventure Zone! What a character she is. Everything about her, from her passion and empathy to her absolutely legendary lines (”You’re dating the Grim Reaper?!”) is just so, so good. She’s easily one of the best parts of the podcast, in my opinion, and she’s only there for the last arc! What an absolute legend.

Putting the rest under a cut because this got long:

2. Keladry of Mindelan, from Protector of the Small. Another wonderful, powerful female character with unshakable morals. I distinctly remember how special it felt to read about a girl whose biggest goal was to protect others without being particularly motherly or feminine. Also, she had a dog and a flock of sparrows, which was very cool of her.

3. Fiver, from Watership Down. Going in a completely different direction with this one. I know that Hazel is the main focus of the book, but I do really adore Fiver’s story as well. I actually have a lot of complex thoughts about his place in the narrative, but in the interest of keeping this post a reasonable length, I’ll hold off. I’ll just say that there’s something really special about a character driven by fear who isn’t treated as useless or stupid by the narrative (by the other characters, on the other hand...).

4. Finn the Human, from Adventure Time. There are so many great characters in this show, including absolutely amazing female characters, but I think Finn is especially interesting because we quite literally see him grow up. He goes from an irresponsible, violence-loving eleven year old, to a traumatized teenager, to a still-traumatized-but-healing-and-learning-how-to-have-a-more-nuanced-view-of-the-world slightly older teenager. And we got to see it happen in real time! More or less.

5. Pepper, from A Closed and Common Circuit. I have a soft spot for post-apocalyptic stories, and while hers definitely doesn’t fit that genre, it does fit into what I like about them when they’re done well: people in horrible circumstances keep on being people. She has good days, bad days, she has fun, she learns, she grows. She realizes that she didn’t deserve to be treated the way she was, and while it takes a long time and a lot of help and effort, she eventually manages to escape her bad circumstances and find something better. Also, the scene with the spices made me cry happy tears for her.

6. Ahsoka Tano, from Star Wars: The Clone Wars. Okay, I’ll admit she’s partially my favorite because back when the movie first came out, I read a review that basically said “Do we really need a female character in this movie that already has an entire two other female characters? The answer is no,” and at the time I thought that was a real hot take (newflash: I grew up and Learned). She’s also just another awesome character who we get to see grow up to become really formidable (I mean, she held her own against Darth Vader. How cool is that?), and she provided an excellent look at how learning to be a Jedi works.

7. Raven, from Teen Titans. This is getting into Ye Olde Fandom for me, but I couldn’t do a list like this without including her. I mean, she and Starfire are easily the most powerful members of the team, and they’re good, close friends with each other when most stories would have put them at odds. Her story arc absolutely blew me away the first time I watched it (each episode in three parts on youtube), and I always loved how she had a place in the Titans as herself. She was creepy and weird, but she belonged there anyway. That was always really special to me.

8. Granny Weatherwax, from Discworld. Look, every character in this series is fucking phenomenal, but how many can match Granny’s wit, her rock-solid stubbornness, her absolute dedication to being a good person despite her own wishes? Vimes probably could, but for me, Granny comes out ahead because she’s already there by the time the series starts. Her whole character is knowing exactly who she is, and using that certainty as a weapon. I know it’s a little weird to list all these characters who grow and change and then say “here’s one who doesn’t do that,” but it honestly works phenomenally.

9. Aveline, from Dragon Age 2. My favorite game of all time, despite its many, many faults, both technical and narrative. Aveline, whose arc is all about losing and then finding love again. Who, given half an opportunity, takes the position of captain of the guard and starts dragging the nightmare that is Kirkwall into some semblance of law and order. Not to mention, she develops an incredible friendship with Isabela, and I’m always here for shouldn’t-work-but-it-does-anyway friendships.

10. Keisha Taylor, from Alice Isn’t Dead. I’m talking specifically about the novel, since I haven’t listened to the podcast (I will! Eventually). She’s stuck in this horror story that rings alarmingly true to real life, she’s riddled with anxiety and fear, and she completely gives up at one point, but she still sees the story through to the end. Her forgiveness of Alice comes with an acknowledgement that Alice still hurt her and scared her. Her fear is acknowledged in a very thoughtful, almost gentle way. She is allowed to be any number of awkward, uncomfortable things without being mocked for it. She’s really just wonderful.

(If I tag you, don’t feel any obligation to participate. It’s just a fun invitation 😊) @hoarding-stories @lifefilledwithstories @mightynott @disasterhumans @inkedinserendipity @sockablock @luckthebard @concept-stage @acepalindrome @bravest-notts

#tag game

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09yards · 5 years

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7 - Houston, I have so many problems (days gone by - nct)

Days Gone By masterlist | main masterlist - ao3 link

warning: excessive use of italics in this chapter because apparently I felt like it and I've only worked on this during night hours and honestly it probably doesn't make sense because it isn't edited properly okay love you bye now, enjoy the chapter (:

Mark drowns his sorrows in T Swift, Grey's Anatomy and Ben and Jerrys and we talk about Johnny a whole lot and the pressures of school and life decisions.

I’ve got a hundred speeches thrown-out speeches I almost said to you

Yeah, after all this time, I’m still into you

Johnny was a good brother, just not exactly role model material. He was protective, but still let you do all the dumb stuff you thought of - like jumping fully clothed in the lake during winter or staying out past curfew because ‘mum will never know, not unless you tell her anyway’ - he was the one there to laugh with you, cry with you, encourage you to do stupid things because you have to live your life. Mark never really understood when Johnny would go on some philosophical rant about how you only get one life, if you aren’t enjoying it then you’re not doing it right.

He wasn’t constantly thinking about what to do next, how if he did this or that then this would happen. Mark was confused by it in all honestly, he couldn’t comprehend that Johnny studied for fun, wanted to do well not because he felt he had to but because he wanted to. Mark never felt like he made choices purely for himself, he did it for other people or because that’s what he was supposed to do. It wasn’t just academics, Mark was nice to everyone, he it his tongue when he really wanted to correct someone on their opinions (everyone is entitled to their own opinions but the guy was just plain wrong, zero factual basis for his arguments). Mark liked being in control of his own thoughts and feelings, he liked dictating his own life, for once. He just didn’t know how to regain control. He wanted to stop doing things for others, he wanted to be a little selfish – wanted to make himself happy first. He didn’t realise there was absolutely nothing selfish about that at all.

And then, as stupid as it may sound, Mark started binging Grey’s Anatomy. The medical drama was a major turning point for the sixteen-year-old (at the time), taught him about how he wanted to help people, how he wanted to make a difference to people’s lives. He remembers sitting down and talking to Johnny about it, about how he felt like he’d found his calling. Sure, if anyone asked him now, he’d tell people that he fell in love with medicine as a young child, always playing doctors with his teddy bears and seeing his mum go to work every day, not that Sandra Oh being the magnificent actress she is, made him want to learn more and more about the field, thus he pulled an all-nighter googling different medical pathways and finding what was right for him – and how.

Johnny was there for all the big decisions in his life. Johnny was there when Mark didn’t realise you were supposed to ‘come out’ if you were anything but straight (frankly, he strongly believed in the idea that no ones sexuality should be pre-determined and that no one should feel the need to define who they are - like that clip in ‘Love, Simon’ which prompted Jisung, Hyuck, Renjun and Jaemin all telling him to shut up when he went on a rant about how assuming someone’s sexuality is wrong and how coming out shouldn’t just be for the non-heterosexual) and in the midst of his first full-on breakdown over his burgeoning crush on Daniel from year 10 maths, Mark had said ‘he’ around thirty-two times, give or take a few (yes, Johnny had counted just to be sure), and only then had it truly dawned on Johny that this was it, this is the closest Johnny was getting to an ‘I-am-gay-and-this-is-me-coming-out-to-you’ moment. Honestly, it’d made Johnny quite proud - his mother was an avid supporter of the community and they’d grown up completely aware that any and all love was love, nothing wrong with any of it and those who believed otherwise didn’t deserve a lollipop (sue him, he was only eight and that was their mum’s way of describing people who were arseholes without calling them bad names). Johnny was there when Mark, sweating nervously and disgustingly clammy-handed, told them how he wanted to follow in their mothers (actually Meredith Grey’s, not that he was going to tell his mum that) footsteps and become a doctor too. Why he was so nervous, he’ll never really know nor understand.

Especially not when Johnny picked him up and twirled him around in a hug shouting about how his little brother is going to be a doctor, Johnny always was one for theatrics, their mum on the other hand gave her usual warm-hearted smile, said she’d support him no matter what and wrapped him up in one of her bear-hugs. She always gave the best hugs, they simply felt like home, like no matter what you’d be safe.

Jisung smiled, too young to really care and didn’t understand why Mark had made some big deal about it – “it’s just a degree, you could buy one online for like a hundred pounds instead”. Yes, Jisung spent too much time on the internet, Mark really didn’t want to know what the majority of his time on there was spent doing. Honestly, Mark had him pegged as some sort of edgy Tumblr teen running an insanely successful blog for a book-turned-tv-or-movie series so the majority of his time was probably devoted to reading (that Mark knew) and watching and then reviewing the episodes. It was somewhat worrying the amount Mark had thought about this, was he a multi-fandom blogger or did he just stick to one? What was he watching? Shadowhunter’s? Harry Potter? Sherlock? So, many, questions. But hey, it wasn’t Marks business to know. If he’d just asked Jisung he’d be aware of the youngers multiple blogs, one dedicated to his love of kpop and idols with dimples, the other dedicated to reviewing and just general chatting and fan theories about his favourite book series turned movie/TV shows, Mark wasn’t as far off as he’d like to believe.

With everything that was happening with Hyuck, or rather lack thereof, Mark was desperate to feel at least somewhat in control of his life. Desperate to feel like he was doing something that mattered, like he was working toward something. One thing Mark could always rely on is that all of his friends and family, among other things, would describe him as a workaholic. As much as Mark loved to attempt to dispute this, he couldn’t. It was the truth and being the emotionally constipated teenager that he is – what better way to deal with your emotions that not doing so and instead throwing yourself into schoolwork? Mark was a broken human in many ways, in many ways he was just normal. Just like any other teenager feeling like they didn’t have their lives under control, feeling like they had to make life altering and affirming decisions at the age of sixteen or seventeen. It wasn’t fair. It didn’t feel fair at least. It didn’t feel fair that he couldn’t have some cute teenage love story like in the movies, didn’t feel fair that he had to submit his university applications by mid-October when everyone else got to wait until December, didn’t feel fair that everyone else had their soulmates or were finding them left and right but he was stuck.

It was stupid and selfish but he wanted to feel upset. He wanted to feel like he’d lost something rather than just admitting the plain truth that Donghyuck just didn’t like him back. Not every love story was straight (oh the irony) out of Wattpad and not everyone got their happy ending, at least not yet. So, a very stressed Mark was free to wander mindlessly around his home, mind too occupied with some parallel universe where there’s no such thing as soulmates and everyone possess the ability to fall in love with whomever they wish. Not that that would change much in Mark’s case, but let the guy dream okay? Okay.

Johnny was a good brother. But Johnny was still his brother at the end of the day.

A brother who comes home for the weekend unexpectedly and so his seventeen year old brother believes he’s able to be singing his heart out to wildest dreams by Taylor swift, I break from crying over Mcdreamy’s death, with a pot of Ben and Jerrys fish food (yeah he was in full blown sad mode) in hand and the most over-sized hoodie he could get his hands on, actually wearing his glasses for once and well… Mark was a mess, in peace, but Johnny took the initiative of filming Marks current endeavours before making his presence known by snorting obnoxiously and crumpling into a ball (well as close as Johnny could get to folding his over six foot body into something remotely small) on the floor of their kitchen unable to breathe normally for at least ten minutes and unable to look Mark in the eye for the next two hours while keeping a straight face, as every time it resulted in him wheezing again and managing to get out a “Y-you, you listen,” another wheeze, “to Taylor, the Taylor Swift,” another, stupid, wheeze, “like queen of break up songs when you’re sad? Oh, Mark, where did I go wrong with raising you.” Yeah, not the most pleasant of experiences for Mark, his bright red ears clearly displaying his emotions.

He should be allowed to drown his sorrow in peace, listening to Taylor Swift (and Adele but Johnny didn’t hear his rendition of ‘hello’ so #MarkFirstWin) eating his ice cream and dancing around the kitchen. We’ve all been there and anyone who says they haven’t done some sort of version of this is a down right liar, or just really, really, lucky and hasn’t experienced any form of heartbreak ever.

Nevertheless, this is the same Johnny who then slaps you so hard on the back that it winds you, and then tells you with the biggest shit-eating grin on his face, “Hey! You know what would be perfect to distract you?” No Johnny, he was taking the Taylor Swift route. Mark just shook his head, his ears tinting red at the memory of Johnny catching him again (yes it was three hours again) and how he would definitely be relaying the message to others. “Well, your uni applications are in, nothing you can do right now to change that. So, I wasn’t going to invite you because I knew you’d say no but now I’m leaving you no choice. As it’s Winwin and Yuta’s birthdays, they’re having a party tonight and you are coming with me.”

“But-“

“Yeah, no buts. You’re coming. Yes, everyone will be there – it’s a family affair. Even Jisung is coming for a bit but I’ve already bought him chocolate milk and put it in the fridge at Yuta’s place.”

“And you’re really going to let me drown my sorrows in alcohol after my birthday party?”

“Sure, after all, what’s the worst that could happen?”

Like Mark said, Johnny let you do the dumb shit. He’d help you pick up the pieces later.

Hyuck. Alcohol. Jungwoo. Alcohol. Yuta. Alcohol. Winwin. Alcohol. Jaehyun. Alcohol. Soulmates. Black-out drunk.

#markhyuck #nct fic #markhyuck fic #nct #nct fanfic #nct fluff #dojae #nct donghyuck #nct haechan #nct mark #nct oneshot #nct fics

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militant-holy-knight · 5 years

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Benioff and Weiss Were Always Hacks: You Only Noticed Now

Or why you should be worried for the future Star Wars movies made by them

(Disclaimer: this blogpost contains spoilers for Game of Thrones)

With only two episodes left for the series to reach it’s conclusion and the announcement for future Star Wars movies in the horizon made by David Benioff and D.B. Weiss (henceforth referred to as D&D for simplicity sake), not many fans seem to be excited about it as they should due to the creative choices taken in regards to the final season of Game of Thrones. Speaking as a GoT fan, I used to enjoy the show a lot and I believe it reached it’s peak on Season 4 and started to go went downhill on Season 5. If D&D were in charge from the beginning what happened?

D&D’s job was always to adapt the book series by George R. R. Martin, which means any merit to the show’s writing can be attributed largely to Martin while D&D were only fit for it to make it work into a tv show - which is still laudable in it’s own right because there are things in the books that still wouldn’t translate too well into the show. In any case, they did their job well from Season 1 to Season 4 which adapted the first trilogy in the series. Even though there are still five books in total released at the time, Season 5 is where they started to run out of material to adapt because some storylines didn’t find their proper conclusion and they needed to come up with their own unique deviations.

Season 5 is considered by many fans to be the low point in the series because of it’s extremely low pacing and controversial liberties taken: the biggest ones have to be the Dorne subplot because that meant axing popular book character Arianne Martell, Stannis Baratheon turning irredeemable evil and paying with his life and Sansa’s marriage to Ramsay Snow leading to her rape, which is still a very hot button among the fandom to this day (and understandably so). Season 5 did have some moments like Hardhome which showed the strength of the true villain of the series, the Night King, the leader of the White Walker invasion who brings winter with him. He is the Thanos-like menace who is teased since the very start of the show with the very first scene opening with a White Walker killing some Night Watch’s rangers and warning us about the danger he represents.

Season 6 fixed some of these problems by giving a more dynamic pacing and build it up with the Battle of the Bastards as the climatic encounter instead of something completely anti-climatic like Season 5′s finale where Stannis Baratheon’s forces were liquidated by the Boltons offscreen. But still, it was an entire season wasted to fix another one’s problems and it still had some individual problems.

And then Season 7 came along and it all went to waste. I wouldn’t say it was as bad as Season 5 because at least shit happened and it wasn’t boring, but it was still full of groan-worthy moments like trying to force some romance between Jon Snow and Daenerys Targaryen which doesn’t work because they have no chemistry and they are related by blood, curing Jorah Mormont who has been infected with a dangerous disease that will turn him into a snow zombie by simply cutting out the infected area, and of course lest we forget the Wight Hunt in Episode 6 “Beyond the Wall” which broke all suspension of disbelief. Lemme sum it up for you what happens in that episode so you can get the idea and let me put up a map so you can get it from reference.

The heroes come up with the idea to capture an Wight and bring it South to convince Cersei to from a truce.

The travel by boat to the Wall from their base on Dragonstone.

After reaching the Wall, they walk into the land beyond it to find a wight.

They find one and send one of their members back to ask reinforcements having to sprint a indeterminate distance.

The team gets surrounded by the Night King’s army in a frozen lake for a indeterminate amount of time.

The allies at the Wall send a raven back to Dragonstone requesting help.

Daenerys summons her dragons to fly to the land beyond the Wall to rescue the heroes.

They are fighting to the last against the advancing horde of the Night King just before Daenerys arrives in a triumphant moment to save them.

And all of this happens like... Within a hour apparently. Several days should have taken place between this exchange but time moves at the speed of the plot, but D&D seem to be relying on emotional torque to get viewers to ignore all internal logic and be mindblown by the crowning moments of awesome. And this is the core issue with their writing.

D&D write their scenes the same way they film sex scenes apparently, hoping that the emotional moments will make the audience be carried over. Thing is... I realized this after thinking up about many moments in the past. Hardhome was one such example in Season 5 to make up for its abhorrent dullness and even Season 6 wasn’t safe from this. For example, remember how Rickon Stark died just so he could provoke Jon Snow to act irrationally and spur him into conflict? Why didn’t Rickon run in zig-zag when Ramsay began firing arrows at him? Why did he run into a straight line? Did these writers not watch Prometheus to learn their lessons from it’s mistakes? This problem was carried over in Season 8 and amplified a lot in the Long Night. Many people pointed out the several military blunders made by the protagonists when fighting against the Night King’s army.

youtube

I could talk about the moronic choice to film everything in absolute darkness and make it impossible to see shit.

I could talk about how idiotic it was to waste your cavalry against the enemy bulwark.

I could talk about how they didn’t create trenches with tar or use fire for more effective manner against the undead.

But I’d rather talk about that moment.

Arya killing the Night King.

You know at first I was okay with that because:

I wasn’t being a fan of Jon Snow in a long time.

Arya wasn’t a Mary Sue, had skills that justified her, so I could buy it better.

But the more I thought about it, more I came to the realization that it was a wrong choice all along.

Arya never had any investment in killing the Night King. She was a character defined by a list of people she wanted to kill including the Freys, Cersei, Joffrey and others.

Arya was trained as an assassin yes... But her training in Season 5 and 6 was very lackluster. She spent some time doing menial works, impersonating some people and trying to spill some poison on someone’s drink. She never learned invisibility, teleportation or any other cool shit.

And most importantly... Melisandre predicting that Arya would shut down “blue eyes” way back when they met in Season 3. If she sensed she was always destined to kill the Night King why did she ever support Stannis? Why did she even support Jon Snow? She even referred to him as the Prince that was Promised. Some fans can try to spin this as much as they want, but it breaks the plot retroactively very hard.

The actress herself didn’t think she deserved it

Of course all of these things were ignored by a large part of the fanbase, more specifically the “woke” crowd because YAS QUEEN SLAY. Little did they know that the very next episode would force them to eat a real shit sandwich when “The Last of the Starks” seemed to turn the narrative against Daenerys Targaryen by turning her into the Mad Queen, killing her handmaiden Missandei and setting up Jon to be the next King of Westeros. Not helping matters is that a series of leaks not yet confirmed as of the time of writing were released prior to the episode (but I personally feel they were legitimate due to some specific things but that is not the point) which sent many Daenerys fans into panic mode.

Speaking as someone who really doesn’t like Daenerys Targaryen, I can actually sympathize with them at some level because this shift appears to be very sudden specially now that the authors favored her more until this very moment. Some viewers can argue that there were always signs like her burning the Tarlys for refusing to bend the knee, which I personally took issue with before but it never really came across as the sign of an insane ruler since she offered very valid rebuttals. It all seemed like the plot was tailored to take her side no matter what and I considered Dany a Mary Sue. But just because they seem to be turning her into a villain now, it doesn’t make me hate the story any less.

Now... I spent an inordinate amount of time bitching about Game of Thrones and if you are an Star Wars fan that doesn’t know anything about it, you might be lost to anything I am writing. Well I needed to give an proper context to both GoT and SW fans since those seem to overlap now and give you a warning because Star Wars seems to be more lost now than ever. D&D were never particularly good writers, they were incoherent about continuity, care more about spectacle over substance and seem to share a thing about subverting the audience’s expectations like a certain Ruin Johnson who succeeded in completely ruining a franchise like there was no tomorrow. The key difference between D&D and Ruin is that the duo doesn’t share the same flippant attitude or picking up fights with fans on Twitter - on the contrary, D&D understand the power of fanservice even if it means daggling the metaphorical shining keys in front of the audience.

As we come close to Game of Thrones conclusion, I have a feeling that nobody will truly come out satisfied with it should the story take the direction that we are really dreading. I’ve seen interviews about how Emilia Clarke sounds really sad and deflated, seemed like she was really disappointed with how the show ended. Whatever happens, the blame can be laid on the feet of Benioff and Weiss for their frankly baffling creative decisions. This season has been disappointing through and through with two or three episodes being needlessly long and filler to booth and to make matters worse, it was supposed to end earlier than 10 episodes. Why did they need to rush it and yet fill the series with so much dead air?

Now can you imagine a Star Wars movie made by them? With all these things I listed? The next trilogy is already dated, we don't know if it's D&D or Ruin Johnson yet. We are talking about a couple of writers that have no sense of realistic scale, continuity or logic, but rely on cheap emotional tricks to have the audience invested until they begin thinking about it. I would laugh until I was sick if this season turns everyone against those two fuckwads that Disney changes their mind about putting them in charge. If the world was a just place, this is what would happen at least.

#star wars #game of thrones #rants

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