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leverage-commentary · 3 years ago

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Leverage Season 2, Episode 13, The Future Job, Audio Commentary Transcript

Marc: Hello, Marc Roskin, producer and director of this episode.

Amy: Hi, Amy Berg, supervising producer and co-writer of this episode.

John: John Rogers, executive producer.

Chris: Chris Downy, executive producer, and co-writer of the Future Job.

John: Uh, this, did this start out of the haunting episode? Is this how the psychic came about?

Amy: The origin of this? No, the um, no I don't think so. Psychic Job was—

John: Was that Dean's?

Amy: No, it was literally a card that was on my board at the beginning of the season, along with Three Days of the Hunter, and Two Live Crew Job, so this was essentially plucked from the well.

John: This was one of the ones that sat there, that sat there for a long time, she was great, what, uh...

Marc: Jen Taylor, local Seattle actress. She was wonderful.

John: But it was Dean who really dug in on this one, because he really liked the bad guy. He really said, you know, ‘I really wanna hammer the fake psychics.’

Amy: Yeah, and he was the one who, sort of, had the vision of, sort of, making this a Parker episode and, sort of, getting to delve deeper into her backstory a little bit.

Chris: And there's Luke Perry.

John: Luke Perry was fantastic.

Amy: He was great.

John: How did we wind up casting Luke Perry?

Chris: I think it was suggested by our casting folks, and I think it was the first one on his list, and he said, Luke Perry would be fantastic for this role. And we all, we were kind of like wow. You know, you didn't really think of him as- as an evil psychic.

Marc: I would leave my wife for Luke Perry.

[All Laugh]

John: Luke Perry—uh, as a director, why don't you talk about working with Luke Perry, Marc?

Marc: He was wonderful. I mean, you can just really, when someone has that much experience working in television, I mean, it's amazing. He was on time, he never left set, he was always talking about character and would take any suggestions, you know, from me as a director, if you wanted to go another way, just let me know; he was just a dream to work with.

John: Now, what was the idea on this particular setting for the psychic, instead of like a formal office, or like, what was the set dec idea on this?

Marc: Well we wanted to have him working out of, like, a home type office, and actually we had to find something that we could build on the stage to work on.

John: Oh so that wasn't a location, that was-

Marc: No, that was just our basic, uh, hospital and Gina apartment set.

John: [Laughs] The Frankenset.

Marc: Shot on the same day as this day, on the stage, in our bar.

John: Okay, cool. Nice shot through the glass, by the way. I didn't know those taps worked. If I'd known those taps worked I would have been up north a lot more often.

Marc: They work. As soon as you request it, Eric Bates we'll start pumping a keg through them.

John: And this actor playing the brother—

Marc: Uh, Eric Riedman, he was great, too. I mean, he really, really clicked with Tim in this scene. They really worked well together.

John: And it was interesting. We were trying to figure out—we had a great victim, but ordinarily our victim has already had the thing done to them, but in the design of this, you needed the victim to sort of be in suspension.

Amy: Yeah, we needed a proxy. And uh, the brother was sort of a great emotional investment tool for us.

John: Yeah. And Portland actor, just a really, really great job. That was a good, 'I hate that guy moment', when we made her pregnant. And uh—

Chris: And taking her house.

John: Take her house, don't leave money on the table.

Amy: I guess we should point out that, uh, I named a lot of these characters - with the exception of Dalton Rand, Luke Perry's character - after the assistants on our show.

John: Oh, this one is the one where we used all the—

Amy: Yeah, it's Wilson, it's Nicholas, and Ryan, and—

Chris: I love that logo there, by the way, that went by.

John: Oh yeah, who designed that? The great Dalton Rand logo?

Chris: Oh they did a great job.

John: It was actually designed by Derek, right? Our computer graphics guy?

Marc: Yeah, Derek Frederickson in Chicago.

John: He banged it up for us. And it is amazing, this is another one where you could assume we are doing one or the other of any of the very sundry famous psychics, but really they all use the same cons.

Amy: Yeah, they really do.

John: And I’ll also say, Derren Brown was a big influence on this episode.

Amy: Yeah, I think you and I are maybe a little too obsessed with Derren Brown, and uh—

John: He is dreamy.

Amy: He's dreamy and he's sort of an—

John: And a powerful, commanding presence.

Amy: And he's an expert in NLP, which a lot of the stuff we talk about in this episode is, and he debunks a lot of psychics and mediums and things of that sort.

John: That's a really interesting way, too, by doing shows that make it look like he has those abilities.

Amy: And Apollo Robbins, our consultant, was helpful in, sort of, submitting some great terminology for us to use throughout.

John: Oh yeah, that's right, the cold reading terminology, yeah. Um, now this, where was this set?

Marc: This was an actual cable access station that they, again, just opened the doors for us. We didn't have to change any of the logos or the numbers, the people working the camera are the actual camera crew—

Chris: Wow, that's great.

Marc: —of this station, they were wonderful.

Amy: They absorbed us into their own productions.

Chris: Just like Three Days of the Hunter, this is another example of Portland opening its doors to us.

Marc: So all those monitors, they had up and running and feeding through our system as well, it was great.

John: Now did you take a look at any of the extant shows, in order to, sort of, see how this works?

Marc: Uh, I did, and a lot of it at first was just to see the set. And everybody—once you start looking at their sets—were like 'oh, maybe ours is a little too pretty.' [All Laugh] Some of them were just like two chairs and an easel, with something leaning against it.

John: 'I'm gonna sketch what your dead mother is saying.'

Marc: And then our construction crew, you know, built the risers, so we can have some depth with the audience. This was a fun scene. It wasn't supposed to be a physical scene, but Eliot and Lathrop turned it into one, so it was kinda fun.

Chris: I love when he gets mad here.

Amy: This was supposed to be a con, and then it turned into something altogether different.

John: He's just really annoyed at that dude up in his face. And you know what's interesting is we- it was a little weird developing this, because all the tricks that a lot of fake psychics use—not the real psychics, of course, with giant lawyers behind them, but the fake psychics use—are actually techniques we use in the cons, and so it was kind of this weirdly recursive thing. It's like, we're kind of exposing to the audience how they do this, but we do it every week.

Amy: Yeah, we're exposing ourselves as much as we're exposing Dalton Rand here.

John: And this is where he goes into cold reading. What was the—and it's interesting, cold reading is a fascinating subject, there's actually a couple great books that Apollo Robbins hunted up, and the idea that just by playing the numbers, just by playing the odds, any one of these guys can hit at about 80 to 85 percent success rate.

Amy: Yeah, it's act- it's basically asking a series of questions, and, sort of, gauging reactions to people without knowing anything about them in advance. Whereas hot reads or warm reads, as they’re sometimes called, are basically doing your homework beforehand, and getting research on the people you're about to meet with and, sort of, using that knowledge to, sort of, manipulate them.

Chris: The hot read is really more what our guy's doing, which is kinda how this thing broke down in the episode, was when we hijack and sort of take it over and hot read.

Amy: Yeah. Well we, the team basically underestimates Dalton here, and he surprises them.

John: They think that once they throw him, they'll get him, and he's able to cold read Parker. Which is also a big thing, not just in anchoring Parker's story into the episode, but the show always works when the nemesis is a bit more formidable.

Amy: Absolutely.

John: And it was kind of important, especially since Luke's kind of a really nice, he's got a nice guy vibe, it was kinda really important to start to hammer in on the fact that this guy is as good as they are. If he knew they were coming, this would be a very different game.

Amy: And I think Tim is great in this scene, because he's playing the audience, he's like, ‘Wait a minute, like, we were supposed to come in and sort of take over this guy, and he's sort of manipulating Parker, and surprising me in turn.’

John: Wow, look at Beth there. She is working.

Chris: Now, how'd you work with her on this when you went into this scene?

Marc: Um, it was interesting, because the scenes we shot first are the scenes later where it was really emotional in the Leverage apartment, where she really broke down, so she was already at that place once, and she just brought it right back, and I think Luke worked really well with her.

John: I also like that beat in the van where Jeri sort of chose, it was a very nice choice, where Aldis has got Hardison really pissed off, and Jeri's just admiring the craft. She's not as emotionally invested in the team, so she can kind of step back and admire this guy's chops.

Marc: And this scene was just such a great scene where all of our actors work so well together in, not only just rehearsing it, but getting Beth to a certain place, you know, where she should be, they were all really emotionally involved in this, and took a lot of time to rehearse—

John: Probably took twice as long as we usually do to shoot this stuff.

Amy: Well yeah, it was the characters being really protective of Parker, and the actors being really protective of Beth, it was really great.

Chris: Well I think it was actually, when it was written, more angry. You know what I mean? And I think seeing the dailies, it was, like, she took it to this incredibly vulnerable place that I don't think it really was on the page.

John: Also big credit to Dean Devlin, because he also had pushed that.

Marc: He did, he did. And this was a great scene, we have all the emotional arc with Beth, but as you guys were just explaining, in the script we explain the hot read and the cold read and we break it all down.

John: Yeah, and this is—again, we are always agonizing over how to explain this stuff, and having someone with a specific emotional response or attitude in the scenes makes a giant difference. And having it be Parker, who the audience is very very fond of, really helps, you know. We're now dumping an enormous amount of exposition on your plate, and you don't care.

Chris: Right, because it's—you know, we're seeing her in this really, just devastated place.

Marc: And we just found out a lot about her past that we didn't know about.

John: And he—I love that look up, just like, ‘Help me out here, I got nothing.’

Chris: Well the thing about it, and we'll talk about it when we get there, but the way she plays the scene at the end, with the brother, really was informed by all this, which was not at all on the page at all.

Marc: Right.

Chris: Like, when she hugs the victim's brother, and we'll get there, it's as if she's hugging her own brother.

John: And also it's interesting, because—oddly, it certainly wasn't intended, but it's just the way TV shows evolve—it helps, sort of, explain her relationship with Eliot and Hardison, you know. That's sort of how she fell into that rhythm, and that sort of proxy family—

Chris: It was not intended.

John: I would like to say, I'd like to say it was a sort of subconscious Alan Moore idea space.

Amy: Speak for yourself Chris, I totally did that on purpose.

John: Like two years ahead, like two years in advance?

Chris: Oh sure. That's what you're supposed to do on these commentaries—

Amy: Yes, many many years.

Chris: —you're supposed to go 'well, you see, I laid these—'

John: 'So this moment, two years earlier—'

Amy: Reason we're awesome, number 427.

John: But here's what's amazing is, we really, we're always like, in the show, could we possibly fool people with this? And then when you do this, this explanation scene, could you possibly fool anyone? They do! This is how they do it! We're not making any of this up.

Amy: No.

John: If anything, we're giving them better tech.

Amy: We're giving them ideas on how to be better at it.

Chris: And by the way, from a technical standpoint, these scenes were very difficult to shoot because we're going from monitors to action—

Amy: To flashbacks.

Chris: —to flashbacks, very hard.

Marc: And they're all green screens on the day we're shooting them.

John: Oh that's right, we didn't have the footage.

Amy: Nothing was on these monitors.

Marc: Nothing is on the monitors.

Amy: All we had was a nice bulletin board.

Marc: Yeah, we had a little bulletin board to show that they had the seating chart. And here, one of my favorite lines is coming up, it's just a great release valve, with all this tension, and, and her emotions—crying.

John: Yeah, you can see her turning, too. There's the sort of old Parker coming back, and the anger kind of building up in her face.

Amy: Yeah it's like, wait a minute...

Marc: And then this line from Eliot. 'Can we kill him?'

[All Laugh]

Chris: I think that was you.

John: Yeah that was, I think that was me. Quite sure. ‘Yeah, alright [Laughs] absolutely.’ I like, and Chris played it just right too, like...

Chris: Just a shrug.

John: And it's interesting, 'cause, that actually was intentional in the back half of the season this year. We really want to remind people, Eliot Spencer used to kill people. I mean, because it's really easy, because Chris is very charming, and he's very funny... yeah he was not a pleasant human being by any stretch of the imagination. And every now and then, you lose it a little, you know what I mean? You lose track of it, because he's such a nice guy. And who's that?

Marc: That is Lana Veenker, our casting associate there in good old Portland.

Amy: How did that come about? [Laughs]

Marc: You know what? We were just reading people and all of a sudden I'm like, ‘Why don't you read?’ 'No no no, I won't. Okay, gimme thirty seconds.' All of a sudden she read and we were like, 'Done.'

John: Done. We're out.

Chris: Didn't we write some pages where they have a long passionate kiss here?

[All Laugh]

John: Yes, we did. We did—actually we didn't write them, you know, they were faxed in, and I don't know where they came from.

Chris: Handwritten.

Amy: Yeah I think it was a Portland IP address, somehow.

John: Yeah, it was a little creepy, to tell you the truth. [Amy Laughs] Ah, no. And this, uh—you know, we need a new name for the assistant who's not a Busey.

Chris: Uh... Well, I mean...

John: Because we've had a couple.

Chris: Lackey? It’s kind of a lackey.

Amy: Do people know—have we explained—

John: We've explained the Busey's on both seasons.

Amy: Okay good.

John: Uh, yeah, he's not quite a lackey, he's more of a henchman.

Chris: Henchman, yeah.

John: For those of you building the characters in Savage Worlds, he would have one wild die. [Laughs]

Amy: Lackies don't have lines, henchmen do.

John: Ah, there you go, good point.

Marc: And this scene as well, the opening scene in this office was shot at like, one in the morning, twelve o'clock at night, Luke's first day—

John: [Laughs] Welcome to Leverage, Luke.

Marc: Yeah, exactly. And he just rocked it out.

Amy: Yeah, he's great.

John: He landed unctuous. It was a pity because it was one of those performances where in the middle you're like, ‘Oh man, I love when we find an actor and we want to bring them back— oh wait, he's a villain.’ This almost never happens with villains.

Marc: Yeah.

John: Drew was the exception, but he was a good guy villain.

Chris: I think he mentioned that he was a—he is a con man here, and that he could always have a twin brother.

[All Laugh]

Amy: Without the beard and mustache.

John: This is, uh, I actually showed up on set, I think this day, or the—I flew in...

Amy: This was my first day too.

John: Yeah, and we arrived and Marc was in the middle of planning the most insane thing ever.

Amy: Well, the thing is, I put this camera move in the script thinking and hoping maybe just to freak Marc out—with no expectation that he could possibly pull it off—as a joke!

John: Oh like the giant blue whale structure.

Amy: Yeah, yeah, as a friggin joke, and then like, he shows me this move, and, like, I nearly died.

Marc: I thought about it, and I was like, ‘Well, can we do it?’ And our First AD David Wechsler and New York AD goes, 'Do you want it?' I'm like, 'Yeah.' He goes, 'Then we could do it.'

John: Yeah, Wex stops traffic in New York; stopping traffic in Portland wasn't—'cause that's what happened, I showed up and I'm like, 'I'm going to the set' and they're like, 'I'm sorry sir, you can't go. They stopped traffic.' 'Well I know, but I'm a writer' 'No no, they're doing some sort of s—' I'm four blocks away! What the hell?’

Chris: By the way, Jeri Ryan here, fantastic look from Nadine—

Amy: Yeah.

John: And she's also got a great character going here—

Marc: She looks fantastic.

Chris: Got a great character.

John: This is a softer character than Jeri usually gets to play, even in the cons.

Marc: A little hippie-ish, yeah.

Chris: The hair was great. I mean really, they nailed this.

Amy: Well Luke even comments on it, “It’s a little on the nose, but [laughs] it works for you.”

John: But that’s the idea, to just kind of you know, not try to overthink it.

Amy: Yeah, it’s great.

John: And it was interesting, again, the—Jeri was great for us and she was really fantastic all year, but you know one thing she mentioned is, she got to play roles that nobody usually lets her play, even within the cons.

Amy: Yup.

John: And there’s another clue for you, where she spent the last—the time before her con career.

Marc: And here comes the shot.

Amy: I’m excited just thinking about it.

John: I’m a little giddy. Yeah, there you go.

Chris: Oh, around the corner!

John: Now that’s all done in camera, so what happens is you have to have everyone within view of that camera freeze. And then the camera man basically runs, we put a steadicam through and then we digitally speed it up.

Marc: Poor Gary Camp.

Amy: Gary Camp!

John: Poor Gary Camp.

Chris: Now that I thought about it, I bet you in the finale that’s what prompted Dean to do that shot with Sterling.

John: Right.

Chris: I bet Dean was like, he saw this and he was like ‘Oh you wanna try and top me with that? Well come and watch this!’

[All Laugh]

John: ‘I start and stop it four times!’

Chris: ‘I gave you your chance!’

Marc: But I don’t know, if you play it back you can see we also put some digital birds that are stopped—

John: Seriously? Like, if you slow-mo it you can see?

Marc: Yes. If you slow-mo it you’ll see two pigeons in the middle and we pass right past them.

Amy: That’s awesome.

John: I like the fact that, again, they’ve electrified the table, and that Nate is on board with Parker. ‘Cause again, that’s one of those little hints that Nate’s… sadism, for lack of a better word? is really starting to overtake his good judgment.

Amy: Yes. He’s—yeah it’s, little by little he’s starting to sort of fall to pieces here and sort of turn to the dark side.

John: Well, what’s nice is we started with the arc with the hospital one with- with the sadism, and then, you know, we had to sort of lean back on it for Gina’s arc. And then when we came back it was nice, that was basically the thrust of the back episodes. This was a lot of fun coming up with what the possible fucking visions could be. Oh that’s… I’m sorry, I’m drinking. [Amy Laughs] They’re used to me swearing on these by now! This really is like making, building a puzzle backwards.

Marc: This was really clever writing, and then to have the ability to shoot it was so much fun.

Amy: Aw. Thank you Rosky.

John: Yeah. We try to keep you entertained up there, after all your—this was only your fourth?

Marc: Yes.

Amy: Fourth episode?

John: Fourth episode, with no notice.

Marc: Yeah.

Amy: How was this episode different from the other three you’ve done?

Marc: It was fun to be in different places, you know, just to new places in Portland. It was fun to have a guest star like Luke to work with. And I loved having the emotional hook with Parker, ‘cause my first episode I did in the first season was a Parker episode, it was the Stork Job.

Amy: Oh! This is like your Parker bookend basically. That’s great.

John: Also it was interesting, watching with the sound off, I didn’t realize that’s one of the longest villain character scenes we’ve ever had. Like just when he’s parked there at the chair and she runs the con on him. Luke was really, really great.

Amy: He’s not bad to look at. [John Laughs] That’s kinda my job since you’re all dudes. [Laugh]

John: Well you know, I can appreciate a nice piece of man flesh as much as the next person. What is in this?

[All Laugh]

Marc: And the coffee finally spills.

John: And did we do the driving stunt there? No the driving—yes, the driving stunt’s after this.

Chris: It’s after this, yeah.

Amy: Yeah, yeah it was, the first part of it yeah.

John: But we shot it that day.

Amy: With the amazing, highly maneuverable Hyundai Genesis.

John: Hyundai Genesis was great. If you’re gonna murder someone with a car, the Hyundai Genesis is the way to go.

Marc: This was another local actor, I mean he just has… what a great face for television.

John: You know what, he looks a little like the British actor Peter Mullan actually, the guy who was on The Fixer?

Amy: He does! Yeah he does.

John: It’s really, I’ll tell you what Portland gave us - good cops.

Marc: Yes.

Amy: Oh yeah.

John: Our cops up there, ‘cause we just look at the Bottle show, and the three guys who played the Boston cops in the background, they’re just grounded.

Amy: This guy smells cop. [Laughs]

Chris: If you’re a cop-looking guy living in LA and you wanna get some work...

Everyone: Move to Portland.

Amy: We’ll employ you!

Chris: Just go! You listen to this right now? Load up the car, get up there! There’s work for you, my friend.

John: After these commentaries come out, people are gonna be on buses. There’s gonna be, like, bus tours for actors. And this was a lot of fun, was coming up—this was actually, I think we’d had the fortune cookie con in something. What was the story? Remember? We’d had it on the board for a while. The fortune cookies, the substituting.

Amy: Oh dude, so long ago; I wish I had the answer to that.

John: A lot of the, I mean that’s the thing is, there’s actually in the writer’s room a board of stuff.

Amy: Yeah.

John: And some of the stuff has been around long enough that it’s like, I know there was a provenance.

Amy: I think there was a fortune cookie con card.

Chris: Mm, I don’t know if a whole… might have been a story beat; it wasn’t a whole con.

John: Not a whole con, it was a story beat, yeah. But the idea of substituting—

Chris: This is a great- Here we go; here it is. [Laughs]

Amy: Look at it shining in the sun, beautiful.

John: And that’s a great—what was the choice on the, like in the moment, in the script it just says, ‘He realizes.’ How did you decide to go to the slow-mo and..?

Marc: I wanted to do a slow-mo in the 360; the world’s kinda spinning on him and just the—

Amy: The camera’s a great touch, too. I like it.

Marc: Yeah, well I wanted the can to just show the proximity of how close he was, how much he’s tempted fate.

John: This was also one of the sequences that—who cut this?

Marc: This was Sonny.

John: This was one of the sequences where Sonny Baskin really, really, really slammed it together because this is always tricky, figuring out how the flashbacks work. In what order, in what pace, at what exact moment in the scene. And I think in the script we played around with showing some of it upfront, and then—

Chris: How much of the dialogue to replay was kind of the trick.

John: Exactly, how much we make sure the audience is following.

Marc: And I don’t think some people were understanding, like, why I took so long to shoot that car sequence when he stepped out. That it does play later, and it does have to have different feels and looks to it.

Amy: There’s two parts to it, yeah.

John: And again, this is another one where you have to anticipate, this guy checks credit reports, we know he checked the victim’s credit report earlier, you know.

Chris: And another thing is, one of the hallmarks of our show is that when we create a character, we don’t always create powerful con characters. We create characters that have vulnerabilities that our bad guys can exploit. So here, we created a fake story of her having bad credit and being in debt for hospital bills.

John: Yeah it’s like Chris in the MMA one, Kane, he plays in a very power-negative position in that. Pretty much every variant of a con character you can possibly find.

Amy: José! The name on the cup.

John: And Chris is ridiculously delighted to be doing this at this point actually. [All Laugh]

Amy: How can you tell?!

John: I think he’s just enjoying stealing—driving a truck to tell the truth. And I love the idea that Hardison would do this and this is just what he does. He spends his weekends filling fortune cookies with fake messages. He does all the grunt work.

Marc: That’s a good shot.

John: That is a great shot. And we’re locked in. And this was also tricky, too, because again, because the victim had not been burned yet, essentially, and it was a preventative con. It’s not something we usually do, and trying to figure out how to accelerate this con, and what exactly Con A was, was really—it kicked our asses to tell you the truth.

Chris: The danger was really the tricky part, when to introduce the danger.

John: And now we knew we wanted to do the maestro Hardison beat in this script. Marc, you had a very specific reference for this whole bit, which was the radio announcer in Warriors right?

Marc: Yes.

John: Though Hardison is basically being a geek hacker—what year was that, 1980… Walter Hill, The Warriors…

Marc: Late 70s.

Amy: ‘79, or something. Around there.

John: Basically Marc reached back, like 35 years, and found himself a really great filmic reference for her side.

Chris: Well the key here is, the writing of it was making sure to go quickly from one, to the next, to the next.

John: Boom, boom, boom.

Chris: Each piece of information feeds to her, and she synthesizes it and comes to a conclusion.

John: It also helps explain how good Tara is.

Chris: Yeah.

John: She’s gonna run this con character as she’s getting all this crap dumped into her ear.

Amy: She’s playing vulnerable to him, but sort of expert to us.

John: I also love that he’s just given up at this point. We had not told the set people to put the orange soda in the fridge, but they just filled it and it just stayed that way for the year. I love that Nate’s just given up.

Chris: Yeah, this is Hardison’s war zone. He’s gonna need to be armed.

Amy: Gummy frogs, always important.

John: Gummy frogs, a call back from the magician episode. And Aldis really dug in there, really great job. Oh that’s Ire!

Amy: That’s Ire!

John: Was our…

Chris: Camera intern?

John: Camera intern, yeah. And she does some acting, and she was fantastic.

Amy: Her audition was fantastic, yeah.

John: Yeah, that was one of the ones where it was like, ‘Okay we’ll audition you.’ At the end of the audition, ‘Wow…you have a career in this.’ [Laughs] But she’s going into camera work. She’s gonna, believe back this year as one of our camera people...

Chris: Oh she’s gonna come back? Oh that’s great.

John: And why the choices on the lights in the- the blue? Just liked it? Just like the set of one color tone?

Marc: Yeah, just liked it. Dave had an idea about it, and it just worked real well.

John: And it stayed consistent through this setting. It’s a very nice contrast with the sort of warm orange and wood tones of like, Nate’s apartment. It helps track locations a lot easier.

Marc: And Beth freaked out a lot of people when she walked on set with that wig.

Amy: Many many people did not recognize her.

John: I know, that’s really odd, right?

Amy: It was fun.

John: It’s a great wig.

Amy: Yeah it is.

John: Hair and makeup did a great job with that, ‘cause you guys sent me the photos and I was like, ‘I have to shoot the season finale. Did they cut her freaking hair?’ No, great wig. And this is hot read, this is our crew doing hot reads on the fly, and it’s a lot like the Bottle show, where it’s like, you can’t do the wire in two hours. In theory, you can’t hot read someone simultaneously as you’re conning them. Well, you know.

Amy: Maybe you can if you’re Leverage!

John: You’ve got the little camera movements here, is that, you tried to track those or do you just assume that Camp and—?

Chris: Yeah, you’re making sure as you move in one direction on one, you move in the other direction on the other?

Marc: Uh, a little bit. We always wanna keep the sliders going, just pushing in at the appropriate moments especially when Ire- I mean she just did such a great performance, and did it in one take.

Amy: One take; it was one take.

Chris: And didn’t you say to her, ‘Save a little bit ‘cause you may need to do this again’?

Marc: Yeah. I said, I said, ‘Don’t let it all out so fast.’ And Luke was so great with her. Knowing that... He’s seen her pulling cable, and all of a sudden she’s in front and having to break down.

John: He was great with her. Now here’s the thing, most people don’t know what sliders are, why don’t you explain what sliders are? Most people know cameras move left and right but they, you know-

Marc: Sliders are what we have on our dollies and tripods that allow the camera head to move, I guess laterally, left and right, in a fluid movement. Just drifting, so always- the background’s moving just ever so slightly, so it never looks too stale or stagnant. There’s my Warrior shot!

John: And I notice you punched in, like closer, closer, til you land on it. It’s very nice. Also, I like the fact that the name of the National Transportation Safety Board—is that, that’s the name of Parker’s friend from… Peggy Milbank, is like the name that’s coming up, that’s Parker’s friend from the first season.

Amy: Yeah, it’s sort of like a little inside joke.

John: And Hardison, ‘Get the hell out of my way.’ It’s interesting, this is a big, kind of, Nate as guardian episode, and he’s not driving it. It’s one of the great episode examples of where Tim Hutton and Nate kind of just ground it, is kind of the center of it. There’s Wade.

Amy: Wade Williams, awesome actor. Perfect for this role.

John: I was wondering how he would play this reaction, because she’s, you know, he’s giving her a line of bullshit, and he’s gotta, he’s in front of everyone.

Amy: Yeah, he knows he’s on camera.

John: That reminds me of that guy who proposed to his girlfriend at the basketball game and she turned him down.

Everyone: Oh yeah!

Marc: Then the mascot walks him off.

John: Just put a- just end it. No, Wade was fantastic, he’d just come off Prison Break? Wasn’t he a guard on that?

Chris: And we had a long search for that part, too.

John: Yeah, we read a lot of guys. Well, because the original dialogue was somewhat baroque. [Laugh]

Amy: It was! It wasn’t exactly an easy thing to pull off, which is why we ended up casting it out of LA. It was just a really meaty part.

John: Nice fight coming up here, by the way. They actually banged the hell out of that van. You had to hammer a dent out, didn’t you?

Marc: Oh yeah. Yes we did.

John: Just every now and then you bounce a stuntie off a van. Jeri mixing it up. Jeri was in there, yeah. Good hit!

Marc: Our local stunt actors and Kevin Jackson choreographed this.

Amy: The moment where he, sort of, notes the tattoo on the guy’s hand.

John: It’s a nice beat. It’s interesting, the Portland stunt guys really dug in. Because we did a lot more stunts and a lot more fights than four or five movies that have shot up there combined, and they really rallied. They were fantastic. And this was the—

Chris: But here’s where he has to synthesize everything. I mean, now, you know, is where he really steps forward.

John: Well this is really where he digs in on the mastermind thing. This is a good, ‘Let me get this straight’ scene. This is a nice- the ‘let me get this straight’ scene is where you just reset for the audience, you know, just reset the stakes, reset the plot.

Amy: Also known as ‘So you’re telling me.’

Chris: It’s a general rule of writing to show, not tell, and the exception to that rule is when the situation is either so absurd or entertaining that you get a second laugh on the retelling of it.

Amy: Just commenting on it.

John: ‘I wanna get this straight,’ yeah. And you can also hide it in planning, or when the characters don’t have enough information. But no, because the episode at this point—

Chris: There it is, I think she just said ‘so let me get this straight.’

[All Laugh]

John: ‘Cause this is the point where the episode becomes an entirely different episode, because the first con worked. Again, because that’s always the trick on these, like, in theory you don’t want something to just fall out of the sky and be wrong.

Amy: Well they basically had Dalton Rand in the bag, and then, a totally unexpected-

Everyone: It worked too well.

John: This was a lovely shot. Marc?

Chris: Oh, I love this.

Marc: This was, I wanted to try and get this in one steadicam shot and just show the energy and movement throughout. I mean we spent so much time in this apartment that it’s fun to try and mix it up again.

Chris: Oh here we go, and up the stairs!

John: Nice, how many takes was that?

Marc: I think we did it in about three or four takes.

Amy: That’s crazy.

Chris: That was it? Now that was planned as a one- or, or was that just the end of the day, we gotta get this shot?

Marc: No, that was planned. That was one shot I wanted to try and do that had a little more energy and fun to it.

John: Marc’s lived at that set for a lot of shots, he wants to vary it up a little.

Amy: Time to mix it up.

Marc: And this, this was an idea that Connell had. When he saw the location and the time we’re shooting at, he said, ‘Let’s establish their faces,’ and then just, she’s walking into darkness.

John: Just bump into silhouette.

Chris: And she’s in boots, so let’s pan out from them, so, let’s be honest.

Amy: That’s what boots are for.

Marc: This happened to be in the paper factory.

John: Is this the The Bottle Job paper factory?

Marc: Yes, it’s just the area that didn’t have paper.

[All Laugh]

John: Now, yes, now we’re basically—yeah, there you go. He’s really digging in on this. ‘Come, come join me!’

Marc: And that was his idea, he said, ‘Get the lady a chair!’

John: This entire speech, I think I did drunk.

Amy: This was me taking notes on a notepad when you were drunk in the writer’s room, reeling off this speech.

Chris: It was a big debate about the- about what we- this guy, what was called in the writer’s room the evil scary guy.

John: Evil scary guy.

Chris: The appearance of evil scary guy. We typically don’t have dangerous villains appear late in episodes. Usually we’ve established them and so this was the idea that we were gonna have evil scary guy come at this point in the episode and you know, put everyone in mortal danger. And you went off in a very oddly baroque manner.

John: Yeah. I really—‘cause what I was doing was actually making fun of the idea. Because I was like, ‘Seriously guys, we’re gonna do this? Some guy’s gonna show up and go ‘Gentlemen, I have a problem!’’ And I basically did this speech with, like, a fistful of scotch, and Berg and Chris sat on the same side of the table and they both looked at me and went, ‘Yeah.’

Chris: ‘Yeah, yeah if you like that. That’s great.’

John: ‘Pretty much. Exactly like that. Thanks gentlemen. Debate’s over.’

Chris: ‘Debate’s done.’

John: ‘Debate’s done. That was entertaining, we all enjoyed it, therefore it is in the episode.’

Marc: This was fun to shoot; we had a circle track with, you know, two cameras and two separate dollies.

John: Wait, at the same time?

Marc: Yes.

Chris: Wow.

John: Oh, Jesus Murphy. So where is the circle track laid down, it’s on the outside of this beam?

Marc: On the outside of the beam, and yeah, just around everybody.

John: Two sizes.

Marc: Yeah, two sizes. And then at one point towards the end we, you know, change direction, just to mix it up a bit. But it was fun to have this type of villain. In the beginning we’re dealing with someone who’s smart, looking at bank statements, and now we’re dealing with a guy with a gun and thugs, who spent time in upstate New York.

John: Yeah, and he really sold it. And also it- the rule is: the villain has to suffer. And interestingly enough, we started Darlton Rand’s suffering really early in this episode. His loss of power here is really, he has just a bad back two acts. And Luke played it very nicely. Like right here, where he’s trying to keep control.

Marc: Yeah, when he’s trying to keep control, and he’s still trying to sell the idea that he’s the psychic.

John: Wade is terrifying. That was nice, picking up around here as she was dropping into it; that was very nicely done.

Marc: Yes, Gary Camp and Dave Connell.

Chris: Now how long did this take? Do you remember how many takes you did with this, with the circle track?

Marc: I think this scene, we… I believe we did it in just over an hour. Yeah, but it’s a lot of dialogue, and Wade did such a great job because, you know, he had to do it so many different times.

John: And there’s a lot of looks in this. There’s a lot of angles in this.

Amy: He just cracks me up.

John: Yeah, he does. He’s so happy. Yeah, you gotta bang them up from both sides, you’ve gotta pick him up talking to them. There’s no good way except a circle track to shoot that.

Marc: Yeah. I think that Jeri sells this really well in this scene.

John: She does. A little distressed, a little—

Marc: Yeah he’s walking in one direction, no, it’s not, this way. And it’s nice seeing, shooting over, oops, too early.

John: It’s always a little too early. A little too early. Timing is a big part of the show. And yeah, fainting damsel never, never fails.

Amy: Best stall ever.

John: Where was this? Was this, like, the storage unit place? Or this was on the road outside?

Marc: Uh, this wasn’t far from our sound stage.

John: Really? Really, we shot near the sound stage?

Chris: We got a lot of mileage within a couple hundred yards of our sound stage.

Amy: Clackamas.

John: Beautiful scenic Clackamas. And this actually, the fake registration idea came from Darwyn Cooke’s comic book adaptation of Parker. The Donald Westlake novel. In the opening of it, remember, he has the thing with Parker and—it’s one of my favorite starts to a novel, Parker’s walking into New York on the Brooklyn Bridge, like, but on the street? And people are—So what happens is, in the 1960s, he goes and gets his replacement driver’s license, and then he ages it. Because… and we spent a little time in the room like, what doesn’t have your picture on it? What can we age believably that, and, yeah that was where the idea came from. And then constructing this backwards to get the series of clues was- was a long afternoon.

Amy: Yeah, that was a tough—but then we broke this episode in one day, so it wasn’t that tough.

Marc: But I wasn’t allowed to break the window.

Amy: Oh that’s right, I remember that. Yeah, we had to, she had to jimmy it open.

Chris: ‘Cause that glass is expensive.

John: Breakaway glass is not cheap. Uh, there’s something creepily sexual about this exchange.

Chris: ‘Can I have your overalls?’

Amy: Yeah, and the look on Tim’s face, too.

John: Yeah, well I think that might not be the matching dialogue with that take, ‘cause I think it got a little dirty in that shot. Now this is a great location. I think we actually broke into a couple of storage units for this. People don’t mind, it’s Portland, they’re totally cool with us doing that. Good stall, and then we finally get Nate into a costume for the stall. Storage units, the anonymity of modern life is the key to Leverage. Storage units, cell phones, instant messaging, email, you know, I don’t think you could do this show in the 50s. And there you go, yeah.

Chris: Here he is.

Marc: Uh-oh. Gun, danger.

John: And, is that Dashiel Hammett or Raymond Chandler’s rule?

Amy: Yeah, Dashiel Hammett’s.

John: Dashiel Hammett. When in doubt, have a guy enter with a gun. And we actually have on the board in the writers room, ‘Man entering with gun > man exiting with gun.’ You have to understand, dude coming in… And Tim has an enormous amount of fun.

Chris: And this is his fumfering bureaucrat.

Marc: This was a fun shot to do. Craning up just to see, and then that’s the CG building that we added in the background.

Chris: That’s right, to set up the ending.

John: Yeah, in the original ending it was all done through remote camera, and then Dean suggested that we actually put it, attached it to it, and since cable access shows are shot in the middle of fricking nowhere, it actually worked out fine. And whenever- Oh, there you go.

Amy: Well I think Dean’s idea of that was just, sort of, to give our villain a bigger comeuppance, if he had to, sort of, face his victims...

John: Face-to-face. And that’s interesting ‘cause we always go like, you need the gloat, but you also need the suffering. And in the non-him-showing-up version, we had—

Amy: It was basically just the gloat, yeah. I mean he still ends in jail, but.

John: We have the people upset, but you know, you don’t get him looking them right in the eye.

Marc: Small spaces to work in.

[All Laugh]

Chris: How was it like, shooting the storage locker?

Marc: It was a little tough.

Amy: I remember this day.

Marc: You know, it was a double, but we just made it look like one, so we had room to always just have the camera on one side.

Amy: Yeah, there was actually another storage locker that opened up right next to this, to the left, so we could have somewhere to switch the cameras.

John: So did you throw up like a half-wall over on that side, or is it just, stack some boxes to feel like-

Marc: We just stack some boxes and just move the camera, but you’ll notice the camera’s usually on that side, looking that direction.

Chris: And here’s where he’s really starting to lose it, ‘cause he does have an arc, from inexplicably baroque, to just completely losing it.

John: No, he totally sold this. There’s no doubt about it whatsoever. And you guys took what was a joke pitch and turned it into a real character. That was just me on a long drunken rant. I’m inexplicably baroque, in the room, often!

Amy: This is, by the way, true.

John: Yeah. And Luke, losing it. Really the whole confession, the whole begging; he really sold it.

Marc: And of course, you know, time constraints. His stuff was shot all at night, hers was all in the daytime.

Amy: Of course. That’s how it works.

John: Really? So looking at Luke, you were looking, you had night behind you looking out?

Marc: It was night.

Chris: Here we go.

John and Chris: Det cord.

[All Laugh]

Amy: Det cord is great.

Marc: Our friend for the back half of season uh—

Amy: Thank you MythBusters for det cord.

John: Thank you MythBusters for showing us how det cord worked and how effectively—

Amy: I think I pulled that from a YouTube video.

John: Yeah, well we started with Thermite, remember? ‘Cause I remember how it melted through the car and you were like, ‘No, that’s too huge’, and you found us some det cord.

Marc: Here I just wanted to have a shot of Eliot’s arms.

John: So here’s a little something for the ladies, as my wife says. And now, this is very flashback heavy, but it’s all in continuity. You did a nice job of making sure we’ve seen just enough of these that we never floated. ‘Cause sometimes it’s like, ‘Oh god, do we know exactly where we are in this flashback?’

Chris: I think we compressed a little of it in editing too. I think there was a little bit more and we kind of just moved it all.

Amy: Yeah, there’s a lot more here than…

John: Ah, the network is unhappy; they’re gonna go get one of these real psychics now, not a fake psychic like this.

Chris: And then we get to see our victim again, and our other victim.

John: The proxy victim.

Amy: And the camera lady’s like, ‘I don’t wanna be part of this,’ backing out of the scene.

John: And the begging and the pleading. There you go. And there’s all the people who’ve been hurt.

Chris: The man from Michigan.

John: Did he stay in a hotel? Why is he still there? He got his reading yesterday. I don’t remember why he…

Chris: He wanted to come back; he had more to find out.

John: I guess so, I guess so.

Marc: This is always fun when you shoot things on two different days, that end, and that end.

Chris: Is Tim looking at a tennis ball, what do you do?

John: Is that like Jurassic Park? Or it’s like this tennis ball on a hockey stick is Chris’ hair. ‘Just track this.’

Chris: You just make sure your script supervisor takes good notes of uh...

John: Look at that, you’re shooting past the car! He’s in the car.

Chris: Nice, I never would have known that.

John: Nicely done. And this is actually, you know what? The president of the network the other day mentioned how much he loves the scenes where they’re all there. Where the guy actually, like, sees the whole- the whole con.

Amy: The family gloat, as opposed to just the singular gloat.

Marc: That’s the way we pull off this show in seven days - cheating.

Amy: Cheating very cinematically.

John: I prefer to call it cable awareness.

Amy: Cable awareness? Nice.

Marc: Now I think this next scene in the bar is, I think, one of my favorite wrap-up scenes that I’ve got to direct.

Amy: It’s one of my favorite, too.

Marc: It was one of these days where it was- there were so many tears on set.

John: We were coming to the end, too; we were getting there. Everyone was kind of rung up and spun up.

Marc: But everyone just, you know, Tim and Jeri and Beth and everybody, our guest actors, everybody just came in so strong and it was great.

John: This speech, by the way, you can really tell Tim’s a dad. That’s really how he lands this speech, it’s like, yeah.

Chris: Well the story, it’s an interesting story because the little peanut butter bit, a very good friend, a writer friend, Steve O’Donnell, who is a long time Letterman writer, and he has a twin brother Mark O’Donnell—also a writer, wrote the book to Hairspray. And I remember talking to him one time about the closeness of the two of them, and he said that they’re so close, that if you laid out peanut butter, that somebody spread on different pieces of bread, he could pick out his brother’s peanut butter. And it always stuck with me that that is something that, when I was writing this scene, that there’s just things that you see in your child that you just recognize from yourself or your father, and it has nothing to do with what you did, it’s all biological. And that was really, it did a beautiful job with it.

John: Nice landing on that. And Jeri there, by the way, she’s got a little glisten going there; she got a little moist.

Chris: And here’s this moment that was not scripted at all. Well, not intended in the script, but just through the acting.

John: But that was nice. Jeri landed the arc. She kind of completed Tara’s arc through there.

Chris: Yeah, she got it.

John: She had gone through all six episodes and she, you know, a lot of actors would come in and take up the space and say thanks for the job, but she really put in the work from [unintelligible].

Chris: There it is. I mean, that’s like...

John: I mean, she’s breaking your heart there.

Chris: She’s hugging her brother.

Marc: And I just gotta make sure that she makes that eye contact with Nate.

Chris: And it was all because that part about her brother was added after that scene was written, but she brought it together in this moment.

John: It’s a lovely beat. We have very, very good actors.

Marc: Then we release the valve and let you chuckle here.

Chris: Yes. We call it, in the comedy business, a treacle cutter.

John: A treacle cutter, yeah. And also Kane really lands these beats. He really- it goes from a smile, all the way to annoyed. He hits both of the crucial Eliot beats here. It’s the grin, and then, ‘I’m gonna kick your ass.’ He really hits all the bases on that one.

Chris: And we kind of end on her surrogate brother here.

John: Yeah. Who she may sleep with. Still haven’t decided that.

Amy: It’s a little incestual.

John: Yeah, you know, all television’s a little incestual.

Chris: Oh they’re all...

John: What, they’re all sleeping together, is that what you meant? What’s going on up there?

Chris: No, that’s—Come on. It’s like Star Wars.

John: Oh there you go, that’s perfectly legit. Anything you want to say to the nice folks?

Amy: Thanks everybody.

Marc: Thank you. It was a great episode to work on.

Chris: Thank you guys.

John: And actually thanks for David Wechsler, ‘cause he came in late and really helped us out on that. Really good job. And hopefully Luke Perry will be back. Less evil.

Chris: As his twin brother.

John: There you go.

Chris: Why not?

#Leverage #Leverage TNT #Leverage Audio Commentary Transcripts #Audio Commentary #Transcripts #Parker #Alec Hardison #Elliot Spencer #Nate Ford #Sophie Deveraux #Season 2 #Episode 13 #Season 2 Episode 13 #The Future Job

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medea10 · 3 years ago

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My Review of Flowers of Evil

How did I get into this anime? Because Flowers of Evil is something no one says, “Oh I want to see that, this looks like a masterpiece”! Oh, I was well familiar with the rotoscope nightmare stories from this and hoped to God my randomizer wouldn’t curse me with watching Flowers of Evil. I was however intrigued to learn that there was a yandere in this anime that’s on Yuno Gasai AND Shion Sonozaki levels. But intrigue can only get me so far when you spend 13 episodes watching…

THIS!

No this is not an exaggeration. Everyone has this kind of cringe face throughout the entire anime series. Be afraid children.

So the story is about this guy named Takao Kasuga. He loves to read and he loves the class smarty-pants Nanako Saeki. He doesn’t just love her, he sees her as his muse and his Venus and all that bullshit. But this is an admiration from afar. Pretty sure Saeki doesn’t even know he exists! One day, Kasuga forgets his book in his classroom. And on the ground, he notices a gym bag that belongs to Saeki. Oh come on, he’s not gonna go down the perverted route and steal a girl’s gym…

So he steals Saeki’s gym uniform. And surprise, one person knew what happened. The class loner, Nakamura! She forces Kasuga to form a contract with her. It wasn’t written or anything, just verbal. However, that doesn’t stop Nakamura from forcing Kasuga to do whatever she wants. But does Nakamura really like Kasuga or is she just into torturing this shit-faced pervert?

BETWEEN THE SUB AND THE DUB: You know, I’m too thrown off by the animation here that it has temporarily paralyzed me from catching voices or even giving a damn. I’m familiar with only two of the cast mates and the rest is literally my first time hearing it. Okay, I have one comment here. I often forget Mariya Ise could do some damn-ass scary characters like Nakamura. And when she does those murderous screams, forget about it! Here’s what you might recognize these folks from.

*Kasuga is played by Shinichirou Ueda

*Saeki is played by Yoko Hikasa (known for Bea on Pokemon Journeys, Rias on High School DxD, Mio on K-ON!, Hina on Domestic Girlfriend, Kirigiri on Danganronpa, Frieda on Attack on Titan, and Diana on Little Witch Academia)

*Nakamura is played by Mariya Ise (known for Bonnie on Pokemon XY, Levy on Fairy Tail, Ray on The Promised Neverland, Stocking on Panty & Stocking, Mika on Durarara, Dorothy on Black Clover, and Yuuko on Yuri on Ice)

SHIPPING: Oh please, anime Gods, do not turn this into another School Days fiasco. I find myself praying for this a lot these days. But in this anime’s case, please do not go down that route!

So, it was clear from episode one that Kasuga had a crush on Saeki. But this got very perverted very fast when he stole her gym clothes and that lead to the contract with Nakamura. Now is Nakamura romantically invested in Kasuga or is she just a crazy bitch. Let’s chalk this up to a 50-50 split here.

It wasn’t until the fourth episode where Kasuga and Saeki actually spoke to each other. And one episode later, they go on a date and end up in a relationship. One has to wonder if Kasuga would have one day acted on his own and ask Saeki out. All of this happened because he was being forced by that psychopath Nakamura. She tortured this kid and forced him to do so many unethical things. Stripping him naked and putting Saeki’s uniform on him for one! Who does that? So would Kasuga have done these sporadic actions if Nakamura wasn’t in the picture? After he stole that uniform, anything is possible. Now here’s the crazy shit here, Saeki loves Kasuga and she doesn’t care that he stole her gym uniform and did fuck-knows-what with it. She’s mad that Kasuga hid it, but still loves him.

Girl, the fuck is wrong with you?! You must be some special kind of crazy!

By the end of this series, you do see a shift in Kasuga and who he wants to chase after. Saeki or Nakamura?! Let’s just say that during a running away scene, Kasuga was going to go home with Saeki until he saw Nakamura and he chases after her. That’s a pretty good sign that Kasuga has switched gears on who he likes. I won’t delve any further than that as the anime only gives us so much and the rest of this love turmoil between these three characters is covered only in the manga. Probably a sign I should read the manga!

LOOOOOONG NO DIALOGUE MOMENTS: Dude, I know you’re trying to set the mood for certain moments, but I think you can dial it back a bit. This complaint isn’t just what happened at the beginning of episode 9; it took forever to get the main gist of this story in the very first episode. I had no idea what the main premise of the story was until the last five minutes of the first episode when Kasuga stole Saeki’s gym uniform.

Now I’m not knocking serious moments where there is no dialogue between characters for a long period of time and we just watch the animation of them walking or doing something. Hell, Neon Genesis Evangelion had famous scenes like that. But the elevator scene didn’t last six fucking minutes. Neither did the scene where Shinji kills Kaowru. In episode 9, we watch Nakamura and Kasuga walking from the school to home and watch the whole walk after destroying the classroom. I guarantee you, you could leave this episode running, fix yourself a bowl of cereal and toast, eat it up, go to the bathroom to have a good yank, then finish it off with watching a Che Guevara documentary…and Nakamura and Kasuga would still be walking home! I’m exaggerating and I don’t care. I feel like being an asshole here.

OH DEAR GOD, WHAT THE FUCK IS THAT?!: Very rarely will I ever look at an opening or ending theme song in literal fear. In fact, the last one to be so morbid was with Attack on Titan’s second season ending. I mean, the imagery alone should tell you that this is full of spoilers and possessed by the devil itself. Now that I think about it, that’s still undefeated. But Flowers of Evil’s ending theme is a close fucking second. Have you heard this thing? It sounds like Bjork singing in Japanese, synthesized, while a cat walks on a keyboard and having a seizure at the same time. Thank God there are no actual visuals for this other than the flower featured on Kasuga’s book. I don’t think we can handle anymore animation from this nightmare fuel.

ENDING: The writing is on the wall!

And the floor, the ceiling…that classroom is just a fucking mess!

Kasuga’s one bad deed led to another and another in a domino effect. And instead of a little devil on his shoulder, he has a classmate that’s a sociopath. Kasuga has guilt about hiding so much from Saeki in this relationship and he wants to tell her everything he did. Nakamura says, “Nah, you’re going to write it all over the classroom and let the whole world know what a piece of shit you are”. Let’s just say Nakamura and Kasuga went overboard and completely destroyed their classroom. Kasuga gets a bit of a lucky break as the other vandalism covered up his name on the chalkboard confession. But two people have caught onto Kasuga’s crime, Saeki and Kasuga’s mother.

Saeki put two and two together when she noticed the ink smearing on the ground resembled the flower art work on Kasuga’s book “Flowers of Evil” and her stolen gym uniform was placed right there. As for Kasuga’s mother, she put two and two together when she heard what happened to his classroom and noticed Kasuga’s behavior and dirty clothes from the night of the crime. Won’t be long before everyone knows what Kasuga did.

What now, shit-face?

Run away with Nakamura to the next town. Yeah, why the fuck not?! Saeki ends up tracking them down and tried to convince them to come back and for Kasuga to be truthful. Saeki wants Kasuga and I almost want to say the same, except hanging around this psycho-bitch for a while has caused him to try to stop Nakamura from leaving. Having Saeki see Kasuga go after Nakamura isn’t really a good look! At this point, it really feels like his love for Saeki was nothing more than lust.

Dude, isn’t there a rule about not messing with crazy…like, don’t stick your dick in crazy?! This dude has got one crazy bitch on psycho-yandere levels and the other that’s about to turn into Kotonoha from School Days in about five seconds. Well, no one left town today as the police were called to look for Saeki because her parents are overprotective types and they take the other kids in.

We get a small time-leap of one month after the night in the police station. Nakamura’s been ignoring Kasuga and Kasuga ends his relationship with Saeki. Dude, stop trying to stick your dick in crazy! Kasuga tries to speak to Nakamura again and it fails. So he visits her at home and meets Nakamura’s father and grandmother. Then, he sneaks into her room and reads her private journal that talks about Kasuga a lot. Dude, you are stepping in uncharted territory! Drop the journal and get the fuck out before Nakamura comes home. So Nakamura comes in her room and finds shit-face reading her journal.

*sighs*

First, I would like to acknowledge that Mariya Ise has one hell of a throat to scream as much as this crazy bitch does. Second, the fuck did I just say, ya dumbass?! Here we get another chase scene between Kasuga and Nakamura. What follows is…I can’t place my thoughts on this. Weird imagery, out of place dialogue, and possible scenes of future stuff to happen! A rape scene involving Saeki, a festival, a hideout, a knife, and fire! Thanks for the cryptic message guys, really appreciate it! Either the anime ran out of money or they’re fucking with the audience. Kasuga says he wants to form a contract with Nakamura and that’s the end!

Hmm, this anime came out in 2013 and it is now 2021. All the buildup and no word on a sequel! We all know that sequel ain’t ever coming. You have a better chance of a continuation to Haruhi Suzumiya than you do with this hunk of shit.

Okay, maybe ‘hunk of shit’ is too mean. This wasn’t a terrible anime. It was weird as fuck, the animation leaves a bad impression, but overall it wasn’t that bad. Now the manga to Flowers of Evil is a favorite to many. Probably because the characters don’t look like a cringey meme and there aren’t so many awkward pauses with no dialogue. Unless there’s a whole volume of Flowers of Evil out there where we just look at pictures of Nakamura and Kasuga walking home where they don’t say a fucking thing! I am not letting that go! Charlie Brown movies didn’t go to that level you guys did!

I was interested with each passing episode to see what Nakamura was going to do next and what she was capable of. I couldn’t make out if she was going to be homicidal or suicidal or just impact psychological warfare on her prey. It was the latter for this series, but I heard of some attempted seppuku going down in the manga. I’d like to think maybe one day a different studio would pick up this series, but I seriously doubt it with the rotten reception this adaptation received. It was said that the director to the anime saw this more as a live-action series than an anime and that’s why we have the rotoscope animation. It wasn’t until 2019 that we got a live-action adaptation to Flowers of Evil. Not sure how people felt about that adaptation, but even I have a feeling that it was much better than the anime. Hell, a Netflix adaptation probably would have turned out a better product. It would be nice for this to get a reboot, different studio, different director, and smash everything that has the word ‘rotoscope’ on it

Yeah, if you can get over watching the animation, give it a watch. Episode one drags, but it picks up the second Nakamura confronts Kasuga.

If you would like to watch Flowers of Evil, Crunchyroll and Hidive have all 13 episodes available for streaming.

Okay, now that I’m finished with that sociopathic nightmare let’s pick another Sentai Filmworks anime.

HELL NO! I am not reviewing, “My Teacher Accidentally Made Me Horny”. That’s what I’m calling it and you should all do the same. NEXT!

Okay…I have no idea what the hell this anime is, but it looks harmless enough.

#anime review #flowers of evil #aku no hana #takao kasuga #nanako saeki #sawa nakamura

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jebazzled · 4 years ago

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should you open a site?

Hi there! If you've been around the block a time or two in rp, you've probably thought about opening a site of your own - or maybe you've already given it a go. How did it go?

Mixed reviews, yeah?

Here's the thing: the Venn Diagram of people who want to staff a site & people who are well-suited to staffing a site actually has very little overlap. You probably should not open a site, or if you are going to, you should make sure you're doing it in a way you can sustain and for the right reasons.

In today's tutorial, we're going to unpack the reasons people are drawn to staffing - both good reasons and bad reasons - as well as the things that most frequently close sites. Hopefully, this will give you some good shit to think about next time you get that itch. You know the one.

Before we launch into some troubleshooting, I'd like to talk about staffing more broadly, and why it should matter to you whether you are doing a good job.

Of course, it's important to do a good job managing your site so that it has some longevity, builds a positive community, and becomes a place that people enjoy spending time.

But it is also important to remember that

when you staff a site, the site becomes part of your reputation.

The roleplay community is both very large and very small - there are always people you've never met before, but there are also always people around who you recognize. Stick around long enough, and you start to see people who always seem to be buzzing a project that doesn't open. You see people who are always staff searching. You see people who habitually buzz, open, and ghost two or three or more projects a year.

Maybe you are one of those people.

Folks notice, dude. There are a number of folks in the rp community who I am sure are perfectly nice, but whose sites I will never join, because I know from observation that they will ghost or formally close the site within three months.

No one will straight up tell you, "hey, you have a reputation for being super flaky." But it might be why you have a hard time filling a staff search. It might be why a buzz or opening is lackluster. It might be why none of your members seem to be super committed to your site: they assume you, too, are not very committed to your site.

It is in your best interests for future projects that your current projects go well. So you should consider carefully, before asking a dozen or more people to invest their time and creative energy towards your site, whether you will be able to sustain the project.

A lot of people treat staffing a site as the inevitable next step when you've been in rp a long time, and that is simply not the case. Staffing isn't about having ideas or talent. Staffing is about project management.

Staff don't need plot and lore ideas: you can crowdsource these from members.

Staff don't need coding or graphics skills: you can commission these from creators in resource communities.

Staff don't even need to be excellent writers.

Staff need to be able to set goals and achieve them, delegate and accomplish tasks, mediate conflict, and manage and recalibrate expectations. This is, of course, very unsexy, and often is tedious: updating claims, monitoring activity, engineering and executing events. I think a lot of people remember what a fucking pain it is to do ads all the time and it's the first thing they stop doing, which then means they don't have new blood to replace the folks who joined and ghosted after the buzz, and then the site dies. None of it is open heart surgery, but all of it is at least somewhat important.

If you don't want to do the boring day-to-day work of staffing, you shouldn't staff! Members on site don't have to do that shit, and also get to opt out on the emotionally exhausting work of conflict mediation, app review, etc. You can be a longtime roleplayer who never staffs. It's allowed.

But you want to open a site. Or you have opened sites and it's been underwhelming. For whatever reason, you're here. So sure. Let's talk about opening sites.

Reasons to open a site

There are lots of reasons why someone might want to open a site. Some reasons are better than others, with the broad distinction that writing-centric reasons are generally much stronger reasons to open a site than psychology-driven reasons.

GOOD REASON: Control

If the pro of not running a site yourself is the lack of responsibility, the con is the lack of control. Being a member means you're dependent on admins to keep the site open - and we've all been in situations where the staff of a site lost interest before we did. Being a member also means being at the mercy of the staff for plot, lore, and etc, depending on your community. On a "member-driven" site you might feel more empowered to have a hand in the worldbuilding - but if the staff decides to double down on the one subplot you thought was stupid and boring, you're left navigating having a good time by yourself.

Opening a site because you want to be able to rely on the site's availability and attractiveness to you for your own writing needs isn't a bad reason to open a site. After all, we build the community and the environment we want to see. So if you don't like something in a writing community, and it's not something you can work with staff to fix - it might make sense to build a community that does fill those needs.

GOOD REASON: Ideas

"Having ideas" is, in my opinion, the least important thing when it comes to staffing. But it can be a reason to open a site of your own! If you have a fictional world you can't find elsewhere, or a really specific overarching plot idea, or a rich vision of lore, it might be easier for you to develop your own playground for these ideas than to bend them to fit an existing site.

BAD REASON: Control

"JB, JB, how can it be two things at once?" Because! Haven't we all been on sites where the admin staff were on a major power trip? When admins start making decisions for members and against a member's wishes, whether it be for character progression or plot development, admins are being unreasonable and demanding. Remember: this is a collaborative hobby. If you can't handle the idea of a member writing something without your eyes on it, you are likely getting too invested in having power over what other people write, and you need to back way off.

BAD REASON: Influence/Importance

Writing is such a personal and intimate thing, and it becomes so easy to get too emotionally invested in how people write or don't write with you. We all know people in the rp community who base their sense of self around rp (I go in on it at length in my troubleshooting tutorial here). These are the people who will have 5 characters accepted within a week of joining, with 20 threads written with 2/3 of the site's members, and who will leave in a tearful hurry within a month saying they feel excluded.

Do you feel Seen?

If you are relying on rp to tame your insecurities, it is never going to work. Staffing a site, claiming the most important canons, and having your hands in every subplot won't automatically make you the most popular person on the site. And even if it did? You would still be insecure, because that is some shit you have to work through offline, dude.

Do not open a site because you think being the admin will make you feel important/popular/beloved. It is not about whether or not you actually are included or excluded in a community - until you unpack your insecurity and your sense of constantly being overlooked or excluded, you could plot with literally every character combination possible and you wouldn't be happy.

If you are wanting to staff because you like to feel special/important/etc, the problem is not the site. It is you. You are never going to get that fulfillment from staffing a site.

You need to work through this without the pressure of running a site.

Why do you want to open a site? Is it for a good reason, or a bad reason? Is it just because you feel like you should? I shouldn't have to tell you that that is a stupid reason.

Opening a site for the wrong reason is a losing proposition.

If you open a site because you want tight creative control, you are going to frustrate your writers, who will likely go elsewhere to write more freely. If you open a site because you want to feel important, you're going to take it very personally when people get mad at you for admin things like denying their apps, handling their interpersonal conflicts with impartiality, or turning down their proposition to turn your Harry Potter site into a Harry Potter/Doctor Who crossover.

If people feel driven out by your power-hungry attitude and rigidity, your site's activity will die, and it will get harder to recruit new people, and it will fizzle out until you either ghost or tell your four remaining members that you're throwing in the towel.

If you feel personally attacked by the thankless work of staffing, you will emotionally burn out, and likely either ghost your own site, or close it. If you are a person prone to lashing out, you might first encounter massive interpersonal drama.

If you are going to open a site, do it for the right reason.

Reasons to close a site

Let's also talk a little about those of us who have opened sites before. Most of us - if not every single one of us - have also closed a site. Sites close for a lot of reasons, and they aren't all admin's fault: a site is, after all, a community. Sometimes the community loses interest, grows apart, or otherwise dissipates. But it is true that staff sets the tone, and that ultimately, staff are who decide to put the board offline.

So maybe you've closed a site. Maybe you're one of the people I mentioned earlier who buzzes, opens, and closes three sites a year. Let's take a good, hard look at why your site closed. It might be a good reason not to open a site again - at least not until you figure out your root issue.

Time

One of the most common reasons why admins will close a site is a lack of time. Real life gets too busy, and the grind of keeping the site up is just too much. It happens! RP is no one's real job. Everyone has a real life.

Not having time to staff won't necessarily be a nail in your reputation's coffin. But it is a reason that you should take into account next time you have the itch to staff.

Some situations are more understandable than others, as far as scheduling goes. For example, if you open a site the summer after graduation when you have a lot of time, and then realize how time-consuming job-hunting is, you might close your site to make time. If you open a site while sitting comfortably at a low-stress job and then you switch to a fast-paced, customer-facing position, you might have less energy and less downtime for the site. If you opened a site when your kid went to grade school, and now you're homeschooling them during the pandemic, you simply might not have time anymore.

The commonality here? A circumstance changed, and the person living the circumstance didn't expect the change. It was a surprise.

By contrast, if you're a tax accountant, you know when your busy season is, and it would be stupid and irresponsible for you to open a site in December knowing that you're about to be bogged down in tax season until April. If you're a school teacher, you know that the start of the year is a whirlwind, and it would be stupid and irresponsible to open a site on the first day of school. If you know that normally your workload doesn't even allow you time to participate on a site as a member, it would be ridiculous for you to open a site during a two-week slow period.

You can close a site because you're too busy for it. You can do it again, a couple of years later. But if you make a habit of doing it - and doing it often - people are going to notice that you just don't have time for the sites you want to open.

I remember being on a site several years ago that closed seemingly without warning. The staff said they didn't have time to run the site anymore, a claim I took at face value - until a month later, when they opened a new project.

I remember being deeply annoyed: either they had been dishonest about the reason for the site's closure, or they were stupid enough to think that a month-long lull was reason enough to expect to be able to maintain a site. If you are too busy to keep your site open, that is fine - but you then shouldn't open another site until you have been distinctly not-busy for a while.

You can take steps to mitigate time constraints, on your next project: you might build out your site's world and administrative process around what tasks you can automate with scripts and etc, to minimize the amount of administrative tasks you need to do. You might go no-app to skip another task. If you're a person who experiences time-blindness, and you have no idea how long you spend on any task, you will need to deliberately select your staff based on their ability to execute tasks on time and efficiently in ways that you cannot.

Staffing may also just not be for you! And there is nothing wrong with that.

Burnout

You might find yourself worn down with the grind of staffing: the ads, the claims, the app review, the mediating conflict, the way your own writing can often come last. The concessions you might make to plots you'd like to do in the interest of pleasing the greater site community. Etc. It's a lot, and it's a thankless job.

And it's always going to be like that. You can counter some of the things that suck up your time - automate claims, go no-app, narrow down your advertising to a tiny list of blogs and servers rather than a dozen directories - but staffing is always going to be, at times, exhausting and thankless. If it's too exhausting and thankless to be worth sticking around - that's fine! But you can't keep being surprised that staffing is like this. It isn't really a realization you can have more than maybe twice, and it's not a realization you can keep having at two months in and expect it not to be a sticking point.

Premature Death Calls

Listen: your site is not dying two weeks after the site buzz. The swarm of activity when you opened was an artificial high caused by bottlenecking your membership intake. Keep posting your ad after your site opens to keep new members coming in so even when your site buzz population moves on to the next buzz, you've got members there. Don't throw in the towel too early, Denise!

Boredom

Unlike the above, where site buzz members move on to the next buzz because they're always chasing the next big thing, you being bored with your site is a potential reason to close. After all, you're the one putting in the time and energy. If you're not vibing with it, it's not like the community is entitled to you keeping the site open as charity work.

But similarly to the time reasoning: this is a rationale you can only use sparingly.

If you have a habit of losing interest on an idea, you should not be opening sites. It is one thing to misjudge your interest and its longevity once. But if you do it two or three times a year - it's a pattern, and you shouldn't ask a dozen or more people to invest their creative energy into something if you know there's a strong possibility you'll lose interest within a few months.

(It will not be different this time, dude. It is never different.)

Drama

Any community of people is not without conflict. Sometimes, the conflict gets to be too much, and whether your members scatter to avoid it or you close to be done with it - it's worth evaluating if it happens more than once. If site drama keeps closing your site, the call might be coming from inside the house.

If you came on staff because you wanted to feel special and important: you are likely causing some of the drama. When you take it so personally whether or not people write with you, how much they write with you, etc, you are setting up for your expectations to 1) be unreasonable 2) to not be met.

If you came on staff because you like control, you might be too rigid, and your controlling and unyielding approach to your site may be driving your members away.

If every site you run closes due to drama, you might look at their common denominator. What behavior do you exhibit that might be unwelcoming, abrasive, or toxic?

(Linkin Park voice) Breaking the habit

People notice, if you are constantly opening sites that die after two months. RP is a weird atmosphere where two things are constant:

Sites often have a shelf life of 2-4 months before they die either due to admin neglect, lack of new membership, or infighting with the existing members

Sites are often being launched by the same people over and over again

Which is to say, I think some of us in the resource/admin chat space tend to think of early site death as a problem of member attention - people being drawn away from existing sites by new and shiny buzzes. This is true to an extent - but I think we latch onto it because it absolves us of the truth that some admins are not just bad admins, but habitual bad admins.

To be clear, I don't mean that they are nasty people - just that they have a track record of not being great at keeping a site open. But just as some people are perennial site hoppers - some admins are perennial site starters, and that doesn't seem to be something talked about with as much depth as site hoppers. And perennial site starters feed the site hopper problem: if the perennial site starter wasn't opening a new buzz every two months, the site hopper wouldn't have a new flashy thing to get instant gratification on, would they? They would need to do some more long term plotting and character development.

I've staffed my site for two and a half years now, and the relief of having a space with such longevity is incredible. Because my community trusts that the site isn't going to close on a whim, people invest in long-term plots - for example, when we polled members in March asking if they wanted a specific event to happen in the spring or in the fall, an overwhelming majority opted for fall. Six months out, six months to plot and thread and worldbuild - on so many other sites, it would feel risky to count on anything that far in advance.

Wouldn't it be nice to have more stability in the rp world? More opportunity for deeper plotting and character development, slow burn plots that are legitimately slow to burn, the satisfaction of executing a plot years in the making. We can have that, if we focus less on having a vast number of short-lived sites and more on building sustainable, welcoming communities that allow for ebb and flow without going straight to closure any time there's a slow or difficult period. We can have that, if we're more thoughtful in our staffing - even if it means not staffing at all.

I hope this tutorial was helpful to you! As always, feel free to drop your requests for future tutorials in my askbox. In the meantime, all best, and happy writing!

#rp guides #resources

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dawniebb · 5 years ago

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Thoughts about Renegades

ALRIGHT FOLKS, TAKE A SEAT BC I’M ABOUT TO KICK MYSELF OUT OF THIS FANDOM :’)

Not really

But I’m going to rant for a while so perhaps you can go grab a snack or something :’)

So…I LOVE Renegades and I always will but I’ve been thinking about some of the things that seem…off to me. Not that they’re a big deal ofc (because I love Renegades in a really dumb and blind way) but some of them are quite unpopular opinions among the fandom, so I’m finally going to share them in case someone out there feels the same way X’DDDDD

They’re not in any particular order. Here we go:

- I completely stan the idea of Nova and Oscar and Nova and Callum being brotp material, but I stan Nova and Callum way more, not because I don’t like Nova and Oscar, but because I think it was genuinely good (and healthy) for Nova to have a friend out of Adrian’s circle. I mean, she’s been isolated most of her life now, and when I realized she finally had someone of her own… like, a person she met with whom she connected without Adrian introducing them to her, was a HUGE step. Callum is one of my favorite characters in the whole series, and when the t h i n g happened I was devastated for MYSELF *sobs* but also because MM took him away from Nova. She opened to him more than she ever opened to Oscar throughout the three books. Sorry not sorry :’).

- AS A YOUNG ADULT (I’LL BE 20 IN MAY, YOU GUYS) let me tell you that all these dumbasses act like completely normal teenagers and all their shitty decisions sound like something I would’ve done when I was their age. Actually, the Team Sketch really reminds me of my own circle of friends. I’ve seen you guys complain about Adrian acting extremely dumb for his age but GUYS HE’S FUCKING 17. WHEN I WAS 17 I WAS AS CLUELESS AS HIM. ALL MY FRIENDS WERE. AND IT WAS SO STUPID IT HURT BUT SHIT BE LIKE THAT SOMETIMES. I was the Nova among them. That is: I joined their group hella late and one of the guys became my crush. I was so dumb I told him he was my crush when I was defeated on the floor with a dislocated knee because I was having a breakdown and I legit thought I was D Y I N G. Teenagers.Are.Like.That.

- HOWEVER, EVEN IF I JUST SAID ALL OF THAT….And I want to believe all of you agree with me: I don’t justify Oscar. It’s okay being a dumb teenager, but you can’t just ask your crush to be your girlfriend during a PUBLIC EXECUTION. That wasn’t romantic. At all. If I were Ruby I would’ve been really offended, no joke. (AT LEAST WHEN I TOLD *MY* CRUSH WHILE I THOUGHT MY LEG WAS GOING TO BE AMPUTATED, WE WERE IN CHORUS CLASS. ALL THE GUYS WERE SINGING TO ME BC THEY THOUGHT THAT WOULD CALM ME DOWN. IT WAS A GROSS AND ODDLY SWEET MOMENT, YOU KNOW?).

- I feel like Ruby is…I’m not going to say mistreated, but…Idk. I feel like she’s trying her best and she’s kind to everyone in the group and in some parts of the books they just…forget about her :’). (This may be Marissa’s fault, though). Which makes me really sad, because she’s genuinely sweet and I felt like she was the most welcoming to Nova since the very beginning (Apart from Adrian, of course).

- I’m part of the “Leroy switched sides at some point” squad, but at the same time I believe he’s just very, VERY chaotic neutral and (I’m never giving up on this) since he loved Nova, he would just stick to the side where they promised to keep her safe, even if that meant being jumping back and forth between the Renegades and the Anarchists.

- I ALSO BELIEVE WINSTON MAH BOI SAW A LOT OF HIMSELF IN NOVA. To my particular point of view, his mental state was the most stable when she moved with them. He unconsciously tried to stop her from becoming what he’d become and the Anarchists realized that, so when they found Ace’s little human weapon being threatened, they just teared her away from Winston, which caused his mental health to go downhill again until he ended up all psychotic (which is how we got to meet him during Renegades).

- Honey had way more complicated issues than just being “evil”. Yes. She’s dead. And me defending her won’t make her less dead. And I know she got what she deserved because she was…completely out of control and Marissa tends to kill those who are too far gone (take Levana as an example). But I think that if she hadn’t neglected her own mental health so much she would’ve had a chance; Honey had good in her :’) maybe, before meeting Ace, she was a different person. Like, it’s mentioned she grew up in a small farm. I think she fell in love with him at some point and, by the way he talks to her sometimes, I’m *almost* sure he knew that, so he tried to take advantage of the situation to keep her in line, even though he had no intention to reciprocate her feelings. Sure, Honey is a manipulative brat, but she’s a hundred times worse when she knows Ace is around or when she knows she has a chance to get him back (she goes batshit crazy in the cathedral, you know?). Ace was a power-hungry sociopath/psychopath and she was a depressed, also power-hungry woman who was in love with him. And that’s a BAD combination. Honey Harper was hopeless… and I think she even showed some signs of Stockholm Syndrome.

- Still, Honey and Nova’s relationship reminds me a lot of my relationship with my dad. Theirs was a toxic relationship, but since I’ve been through that (still going through that), I refuse to believe it will be easy for Nova to overcome her death *that* easily. They loved each other in a…violent, weird way, but Honey was Nova’s mother more than Tala ever got the chance to be (because Ace took that opportunity away from her) and if Honey hadn’t been so –like I mentioned before- hopeless, they could’ve fixed their relationship until it was normal and healthy, because Honey showed signs of loving Nova, and Nova showed signs of loving her.

- Every death in Supernova had a very specific narrative purpose but, even if I hate Evander as much as y’all do, I think his death was done for the sake of the shock factor afgshja like, he died in such a sudden, meaningless way :’).

- Tamaya is nothing but wasted potential. You have a savage, feral, badass woman with w i n g s and the only thing she does is getting her fucking face burned and throwing fists with entitled teenagers.

- I LIVE for Simon and Hugh as couple, but (gosh, saying this makes me feel really guilty) the fact that they didn’t share not even ONE kiss throughout the trilogy made me feel really queerbaited :’). Same thing happened with Danna and Narcissa, but I think that was PLAIN half-assed.

-Why doesn’t Adrian has Simon’s last name as well? :’)

- ADRIAN NEEDS THERAPY AS MUCH AS NOVA DOES. LET’S BREAK THIS DOWN, HERE WE GO:

*So, we know that Marissa Meyer’s male characters are always really sweet and kind and wholesome and omg :’)…and then there’s fucking Jacin (whom I love, but that doesn’t minimize the fact he shall burn in hell X’DDDD) . I mean, he’s kind…to Winter and Winter only…and Cress…sometimes. When it comes to Winter, he’s capable of a lot, A LOT of things. He comes off as rude many times (especially to Cinder, during Cress) and…yeah. He looks like he could kill you and he could ACTUALLY kill you; I feel like the fandom moves Adrian to …whatever category Kai’s in….but I’m not sure that’s the case. Let’s analyze Cinder’s equivalent to Nova’s bracelet: Peony’s chip; Kai was mad at Cinder, FUCKING mad. But once he kinda figured out Cinder was grieving his sister and keeping the only thing she had left from her for emotional reasons, he didn’t, under any circumstance, no matter how much he hated Cinder at the moment, want that chip to be taken away from her. Kai had lost his father. He KNEW what it felt like and he didn’t want anyone to feel the same way, because he SAW Cinder suffer her little sister’s death. Adrian had lost his mother and he knew Nova had lost both her mother and her father AND her little sister; she had opened up enough to tell him that bracelet was the only thing she had left from her father…and when he learned Nova was Nightmare, instead of interrogating her, taking a sample of her blood or things like that, he straight took her bracelet. Because Adrian was hurt and he wanted her to be hurt too, so he took away the one thing that mattered the most to her and THAT WASN’T VERY KAI OF HIM IF YOU ASK ME. My point is, sadly: Adrian is ABSOLUTELY traumatized due to his mother’s death (who wouldn’t?) and now that he knows he indirectly killed her he will only get WORSE. He hated Nova for being Nightmare just because he thought she had something to do with Georgia’s death, so when things went to shit, he did her in the dirtiest way he could, making her feel hated and unwanted, which were Nova’s delicate spots afgshja…like, Adrian’s capable of a lot of things(just like Jacin). He NEEDS therapy. Now.

- The heated kiss scene during Archenemies is both heartbreaking and beautiful at the same time (besides…you know, heated). Nova’s so touch-starved she gets overwhelmed when Adrian suddenly gives her all the physical affection she didn’t have during her childhood. And…I feel it was a very intimate moment between both of them, because they were physically and emotionally invested and omg. This only makes my previous point (about the bracelet) more horrible, because I can’t imagine how she must’ve felt when he took away her bracelet with so.much.hatred.

-WE DESERVED TO KNOW THE CHANGES THAT WERE MADE TO THE SYSTEM BC TBH THE RENEGADES SYSTEM WAS SHITTY AF… It’s like…they claimed to be against what the Anarchists did but then suddenly they were doing the same things themselves. And I don’t think that’s fair. The Renegades acted as messed up as the Anarchists during Supernova. They wanted to EXECUTE a MINOR who committed MINOR CRIMES. I mean, what did Nightmare even do? Right, she tried to assassinate Hugh but she FAILED, and she neutralized Team Frostbite in SELF-DEFENSE and in Max’s defense.

- Besides, the way Anarchists were treated was...really inhuman. As far as I understand, they didn’t have access to public services or anything like that. What if they needed meds? Where did they get their food from? Did they have, like, fucking running water? Electricity? There are also three women among them and they get *periods*, people, and *period stuff* is expensive as fuck. Like, did they have to steal tampons? And if they did…were they chased because of it? Even though they had no way to get income in a legal way because they were Anarchists and being out there like normal people was against the rules for them? Lol?

- JESUS THAT SYSTEM REALLY NEEDED TO BE CHANGED LMAO AFGSHJA

-Also, Cragmoor? Wtf.

- AND, LAST BUT NOT LEAST, NOT BECAUSE I DON’T HAVE ANYTHING ELSE TO SAY BUT BECAUSE THIS IS TOO LONG ALREADY: It think Nova and Evie have been apart for too long and it’s going to be hard for them to create a bond. They’ll have to get used to it, because it’s going to be confusing for Nova and, given the fact Evie’s personality is…like that, I think she’ll go as far to blame Nova like “But you were SUPPOSED to look for me.”

I rest my case.

#salty lmao #renegades trilogy #marissa meyer #nova artino #nightmare #adrian everhart #the sentinel #sketch #honey harper #leroy flinn #winston pratt #alec artino #hugh everhart #simon westwood #mostly unpopular opinions

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wardogxicarus · 4 years ago

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THE POSITIVE & NEGATIVE: MUN & MUSE

Fill out and repost ♥ This meme definitely favors canons more, but I hope OCs still can make it somehow work with their own lore, and lil’ fandom of friends & mutuals. Multimuses pick the muse you are the most invested in at the moment.

MY MUSE IS. canon / oc / au / canon-divergent / fandomless

is your character popular in the fandom? YES / NO / N/A / Not sure???

is your character considered hot™ in the fandom? YES / NO / N/A / Depends who you ask

is your character considered strong in the fandom? YES / NO / N/A

are they underrated? YES / NO / N/A

were they relevant to the main story? YES / NO / N/A

were they relevant to the main character? YES / NO / THEY’RE THE ‘PROTAG’ / N/A / Kinda

are they widely known in their world? YES / NO / N/A / Kinda

how’s their reputation? GOOD / BAD / NEUTRAL / N/A

HOW STRICTLY DO YOU FOLLOW CANON?

I try to use canon as a baseline for what I do. In terms of the world and lore, I do my best to adhere to it while also putting in personal interpretation where there are gaps. In terms of Silas’ character, I use his canon as a loose baseline and went nuts from there.

SELL YOUR MUSE! (aka try to list everything, which makes your muse interesting in your opinion to make them spicy for your mutual.)

Brilliant tactician, mathematician and engineer- if you can think it, he can likely find a way to make it reality. When it comes to his plans, he always has something in the works to assure things progress.

Intense loyalty- When he’s not off the walls insane, Silas has a way of making sure the loyal to him is repaid in kind, if not moreso. And you manage to gain his trust, you are set for life.

Has a soft spot for cats. He makes sure cat colonies on the MECH bases are taken care of. He also has a pet cat that he rescued as a kitten off the street.

Despite having mellowed a bit after losing a limb, it is still entirely plausible for Silas to be pushed back into madness and obsession again.

NOW THE OPPOSITE! (list everything why your muse could not be so interesting (even if you may not agree, what does the fandom perhaps think?)

Cliche “tough on the outside, mush on the inside”.

Tragic history to make a villain trope.

He is an asshole. If he doesn’t like another muse, he doesn’t like them and will not pull his verbal or physical punches.

His personality is slightly softened for the purpose of being able to actually have engagement with others.

WHAT INSPIRED YOU TO RP YOUR MUSE?

I was honestly so pissed with how Silas was written off in the show that I decided to make a canon-divergent interpretation of him.

WHAT KEEPS YOUR INSPIRATION GOING?

STEPHEN LANG. Rewatching episodes with him in it. Chatting with buddies about our muses together.

SOME MORE PERSONAL QUESTIONS, FOR THE MUN

do you think you give your character justice? YES / NO / I like to think so, but I don’t know.

do you frequently write head canons? YES / NO

do you sometimes write drabbles? YES / NO

do you think a lot about your muse during the day? YES / NO

are you confident in your portrayal? YES / NO

are you confident in your writing? YES / NO / Mostly

are you a sensitive person? YES / NO

DO YOU ACCEPT CRITICISM WELL ABOUT YOUR PORTRAYAL?

I am always open to constructive criticism and suggestions. But I will ignore things like “lol, ur muse sucks”.

DO YOU LIKE QUESTIONS, WHICH HELP YOU EXPLORE YOUR CHARACTER?

ABSOLUTELY

IF SOMEONE DISAGREES TO A HEAD CANON OF YOURS, DO YOU WANT TO KNOW WHY?

I’m also curious to know- I like learning about others’ perspectives.

IF SOMEONE DISAGREES WITH YOUR PORTRAYAL, HOW WOULD YOU TAKE IT?

It is what it is. As long as everyone is having fun and no harm is being done, I don’t get too bothered by it.

IF SOMEONE REALLY HATES YOUR CHARACTER, HOW DO YOU TAKE IT?

It’s their opinion. I’d be slightly bummed for a bit, but then shrug it off.

ARE YOU OKAY WITH PEOPLE POINTING OUT YOUR GRAMMATICAL ERRORS?

In a constructive way. I’m not the best at going grammar checks.

DO YOU THINK YOU ARE EASY GOING AS A MUN?

I like to think so. I know that I can be very anxious when talking to new folks, but once I get to know peeps, I’m really mellow and goofy.

#| dash games |

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ailuronymy · 5 years ago

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Book Club: Tallstar’s Revenge, chpt. 28-36 overview.

A definitive diagnosis, courtesy of two famed armchair psychiatrists:

“Basically, this cat needs CBT.” -- S.

“YEP.” -- K.

This week we’re discussing this chapter through these nine questions. Please feel welcome to do the same and @ailuronymy + use the tag #ailuronymy writing challenge. Don’t forget: next time is the last section, but it’s never too late to jump on board if you want to! Happy reading and I’m looking forward to seeing your feelings about this book.

1. First impressions?

K. Exhausting to read - like, genuinely, it was a slog. Jake is the only light in all of this badness, and even then. S. Bad! We've hit Bluestar's Prophecy level and I don't see things turning around. Regrettable.

2. How did you feel reading this section?

S. Hm. I would say one-part anger, to two-parts bored, with a dash of Love Jake. K. I'd say betrayed if I didn't fully expect this kind of pedantic shit from the Erins already. But like... yeah. I somehow didn't think it could get worse, and yet.

3. What chapter did you find most interesting/moving/effective, and why?

S. The one with Jake and Talltail inside the house as Jake tries to explain things to Talltail and convince him that to get what he wants he has to not be a jerk. K. Chapter Thirty-One was fun just to see Jake/Talltail hijinks in play. Everything else was mind-numbing.

4. What chapter did you find least interesting/effective/most frustrating, and why?

S. Uhhh, all of them but especially the huge chunks of description while he was travelling and running around doing whatever the hell. In every way but physically, I was asleep. K. Yeah, same. The first chapter of this section has everything I hate: swaths of dry, meaningless descriptions, Shadowclan being vaguely mean, and Sandgorse Coming Back To Menace Me Personally. All bad.

5. Is there a passage that stuck in your mind–for good, or not-so-good reasons? What is it, and why did it stand out? Try breaking it down and analysing what this passage does and how.

S. For me, it was a specific line: “I just say yes to everything, he likes that” -- I LOVE Jake. S. It was so cute, and it captured such a nice relationship between Jake and his person. It also reminded me a lot of talking with the old boy, because probably we're just saying, "that's really interesting" to each other back and forth.

K. I agree. The line just before that is: “He is like kin,” Jake snapped back. “I’ve known him my whole life. He makes sure I’m warm and fed. And I sit with him and keep him company when he’s alone. We talk to each other.” K. It's just? Sweet?? K. Like, there's SO MUCH hate on Twolegs in Warriors for some level of understandable reasoning, but it felt so good to see Jake actively defending his owner's role in his life.

S. Yeah, I was like, okay Erin Hunter, so sometimes you get it. And then they turn around and go straight back to self-wedgietown and I'm like, really. S. On that note: S. I guess for not-good reasons, it has to be the kitty litter scene. S. Erin Hunter wins the gold in the "what the fuck are you doing" event, yet again.

6. The story has taken a major shift in setting and location. Do you like this new space more, or do you miss the clan? Why do you think you feel this way?

K. Bad! I want to be back with the Clans, please! It was terrible there but at least it wasn't whatever the fuck is happening here! K. That said, I did enjoy the house scenes. Just as a treat.

S. I was very curious to see how they were going to explore the outer world, but it was a huge let down. They either drowned it in empty, boring description, or just kind of overlooked it. They didn't go for the nice medium of interesting vignettes the way I (foolishly) had hoped for. S. More for me, I guess.

7. Last week we talked about what lessons we could learn from the text. This week, think about what lesson you would most want to teach Talltail at this junction in his life. What advice does he most need to hear?

K. PLEASE STOP BEING THE WORST K. But for real: hm. I guess like. You need to learn to let go of shit, my man. Sometimes bad things happen and you have to put them aside or else those feelings take over your life.

S. Yeah, I'm thinking along the same lines. I think Talltail really needs to learn how to separate his thoughts from his self, because he's clearly very invested in the narrative he's telling himself. He's had a history of negative self-view (encouraged by his environment) and it's going to be really beneficial for him to practice genuine mindfulness and recognise that a feeling is a feeling, not a command to be followed. A thought isn't you, it's a thought. You're allowed to have both--in fact, can't stop yourself from having both--but you don't have to believe in them or be controlled by them. S. What's motivating him is guilt, which often comes from shame and feelings of powerlessness. He's trying to take control and he feels this narrative he's telling himself is the solution. S. So my advice would be basically that: you're not your thoughts or your feelings. Those just happen to you. Imagine them like weather, always changing, coming and going. S. And when you practice that enough, you'll become aware of how constructed it all is. You'll realise when you're acting through your emotions without being aware of them. For example, like this whole quest.

K. Oh, also as an add-on: obviously a lot of self-care and putting yourself on the path towards bettering yourself comes from choices only you can make, but listening to your support system and truly hearing what they have to say is also important! K. Talltail has had a lot of people around him trying to vouch for better options he could take to better himself, offering to listen and support him, and he's been too in his emotions or too angry to listen to them.

S. Basically, this cat needs CBT.

K. YEP.

S. I'd also like to offer advice to Jake. S. I want to tell him that he's right to stand up for himself. I want him to know that if someone he likes denigrates him or mocks him or views him as inferior, they are not being a good friend or partner and he deserves to have someone who builds him up, supports him, and respects him. S. That feels important to me, given how fast he seems to have fallen for someone behaving so poorly towards him. S. Like, not to be meta, but that's a Big issue in queer community in the real world.

K. It's true! K. People get so desparate for connection that it's easy to let a lot of red flags go unnoticed for the sake of keeping something going.

S. Queer folk believing that they're unlovable, so they settle for anyone who gives them attention or insinuates that maybe they're okay. Queer folk feels so desperately, deeply isolated and lonely, that they decide to get with someone inappropriate or even toxic because they're terrified that they'll never find anyone else, that it's their only chance at finding a romantic partner. S. Exactly. I want Jake to know that he's loveable and valuable, and that having high standards and expectations and healthy boundaries for a partner and romantic relationship is good and important for finding the right relationship and achieving the kind of happiness he's looking for.

8. Think back over the book so far (including this section). Out of all the characters, who do you relate to the most? Is this because the character is similar to you in personality, or because their experiences are familiar to you–or a bit of both?

K. In its own way, I think I can find aspects of Tallpaw relatable. Wanting to direct your anger at people over things you can't change or take back is something that's pretty human. K. But on the flipside: I would like to think that I could relate to someone like Dawnstripe, too? In being able to look back on those moments with an adult's perspective and be able to go "Hey, listen, I've got your back, but also: have some advice that you really need to hear."

S. Same hat! S. I was also going to say Dawnstripe. Out of all the characters, I relate most to her--probably because she's a teacher! I also got wildly mad at that stunt Sandgorse pulled with the tunnel, and Shrewpaw in that fight, so I feel like Dawnstripe is definitely a character that speaks to my experience of this book. S. We can make our first Book Club merch: we are all Dawnstripe.

K. YES. I’m okay with this. K. The back of the shirt says "heatherstar please call me back" in tiny font.

S. GOD. Iconic.

9. We’re on the second last section of this novel. Next week, we read the end! But before we get there, what do you think will happen? If you’ve already read this novel before, use this space to write what you remember feeling at the end last time–did you feel happy, sad, disappointed, angry? Do you think you’ll feel differently this time?

K. Sandgorse is going to personally come into my home and destroy me on the spot with bad characterization, and that's a threat from Erin Hunter herself.

S. Yeah, you were very right when you predicted that he'd be giving Tallstar one of his lives, I think.

K. Talltail hasn't even had an apprentice yet! We're just gonna fast-track his entire warrior-hood and go straight to leadership once he gets back to Windclan, I think.

S. Yep! Just like they did for Bluestar. S. Everyone knows being a deputy is a boring, worthless job and the only thing that matters is being leader.

K. Sigh.

S. Obviously, Talltail isn't going to kill Sparrow, and Jake and Talltail will have some kind of sad goodbye, and then Talltail will go back to Windclan like, "sorry I left, I had a crisis."

K. Yeah, and they'll all go "Oh hey dude, thanks for showing back up, we weren't too worried"

S. "We barely noticed you were gone." [zoom in to Talltail's dead eyes as he looks at the camera] S. Also, what's the bet that they're going to manifest some drama over Talltail with Reena and Jake?

K. Oh, I'd say the chances of that are relatively high. K. It'll happen for like 1.5 chapters. K. And then be ignored.

S. Like, what's the bet they're going to try to shove a heterosexual plot in there and have Reena be all over him and mad that Jake's even there?

K. Yep yep yep. K. And then Talltail will snap out of it to brood more.

S. Which is going to be wild given that the last time Reena saw Talltail, he was a huge prick. S. But she's a woman, he's a man, can Erin Hunter make it any more obvious?

Final notes:

K. Please. Unleash thy rage. S. From my notes: S. "Erin Hunter is fucking wild, we don’t NEED the level of realism “taking a dump in front of my soon-to-be boyfriend,” holy fuck, great first date, you fucking crazy people" K. IT'S BAD!!!!!!!! IT'S SO BAD!!!!!!!!!! S. I literally had to stop reading to laugh for a full minute. S. I was like, you've got to be kidding me, you've got to be kidding me. Just a desperate chant. S. But they were not kidding me! S. And what makes it so egregious is that it's in such fucking detail. S. If this was Watership Down, a scene would not be ruined by: "He passed hraka by some ragwort before hopping over to him. "All right," said Pine. "What do you need?"" Like, it's not disruptive and doesn't ping to change the tone or like, emotional calibre of the story. S. Jake giving Talltail step-by-step instructions on how to relieve himself while watching was absolutely way off.

K. I am taking a fucking screenshot because look at this. Look at how horrendous this looks. This is the visual, writing equivalent of staring at a desert wasteland full of nothing. K. [screenshot of several pages of description] K. Pictured above: NOTHING IS FUCKING HAPPENING S. I KNOW S. It was just barren expanses of running around that did nothing, achieved nothing, moved the story forward no amount. K. It is just. So monotonous. It's dry, and boring, and it feels so lifeless. K. It's the equivalent of fucking... fourth grade bullshit. "Talltail walked to the log. He jumped on it and used it to cross the river. He leaped off and continued on through the grass. Then he saw a moth." S. But yeah, it was unbearable. My eyes glazed over and I skimmed just about all of it. S. Other notes: S. “I’m just skimming all this description, I don’t care, I’ve got teacher-brain on and all I’m thinking is, this could have been summary [...] and there’s so much description again, it’s just not interesting! I don’t know why people think “action” is interesting. It’s barely interesting for more than two minutes in an action FILM, why do you think a book is going to be somehow more successful at being an impressive spectacle than a film, my god, learn your goddamn medium”

K. SANDGORSE STAY DEAD 2K20 S. Note: "I fucking hate this bullshit ghost of Sandgorse thing. I can’t believe they killed off the character I loathed just to bring him back for reasons of cryptic bullshit" K. The fact that his ghost keeps fucking showing up is killing ME K. ESPECIALLY because he's gonna come back like "Son...... this is not the way...... Im proud of you.........." K. And Talltail will go "oh shit oh fuck you're right" S. "Daddy loved me all along. It's my fault for not realising that.” S. Literally all I can think about when Sandgorse shows up in these chapters is that bit in Twilight where Edward Cullen's force ghost or whatever is like, lie.

S. Because of how Talltail's behaving, I actually really do not vibe Jake and Talltail's relationship at all. K. Oh?? Go off, my good bitch. S. It pings badly for me that Jake meets this guy, who's an arsehole, and then he helps this guy, who's still being a racist dick. Then he gets feelings about this guy in a really short period of time, despite minimal changes in his behaviour towards him. K. Oh boy, yeah, that's all true. S. Not to be like Twilight again about it but like: this is not a great start to a relationship. This is actually a red flag. Someone who doesn't respect you and is just a prick and is using you as a means to an end, is not someone you should be attracted to. The fact that Jake is says something about how he's doing emotionally, and it really conflicts for me that someone with such a certain sense of self and value would find Talltail even remotely attractive. I don't believe it.

K. Jake’s superpower is just Being Kind & Having Reasonable Thoughts. “Aren’t you tired of going ape shit, Talltail? Don’t you just wanna be nice?” S. God, you're so right. S. I am super looking forward to writing Jake and Talltail's Hot Girl Summer, though. K. Which like, if Talltail had better things to be frustrated about, I would love Jake to fill his role of like... the complimentary half to Talltail, in that regard. K. Talltail is just SO in his head about EVERYTHING and Jake is just living in the moment! S. He’s vibing! K. Lmao also from the notes: Jake shifted his paws. “I know I’m a kittypet. I’m happy with that.” He began to head down the slope that led into the valley. “It doesn’t mean I can’t walk a different path for a while.” — Talltail, recently shoved back into the closet, randomly befriending a comfortably out bisexual otter… who’d have thought S. Canon Talltail is a hot mess and that's Erin's fault, but these two are good. K. more highlights: The hunting scene… sharing together… “Only if it’s offered.” “I’m offering.” How the fuck did the Erins stumble into speaking in tongues and the translation coming out as Gay Rights S. "It's rotten work." "Not if I'M OFFERING." K. Talltail’s mew trailed away. He didn’t want Jake to go. He searched the kittypet’s green gaze. “You don’t have to come.” “I want to!” Jake shifted his paws, adding quietly, “If you don’t mind, that is.” Talltail glanced at the ground, feeling hot. “I don’t mind,” he murmured. “It’s good to have company.” — LIKE THEY REALLY ARE JUST LIKE THIS K. Oh man I have some other good notes: I can’t believe that Talltail is SO edgy and in his feelings that he can’t even stomach simulated affection to this random human. “Pretend it’s a tree” DUDE just let yourself GO, release your inhibitions K. God can you just imagine K. Talltail finding Jake who gets him to calm down by getting so fucking cat high S. Just like, "here dude fucking chew this plant and maybe you’ll calm down." K. Talltail: I want revenge :'( Jake: bro. shut up and eat this leaf

K. “Please can I go outside?” he mewed in his most plaintive voice.” — Talltail just sounds like a sad little Victorian orphan. I can’t believe all the Miette goofs are canon and real. You kick Talltail like the football? Oh! Oh! Jail for Starclan! Jail for Starclan for one-thousand years! S. I know. I was losing it that we basically predicted the whole scene with Jake and his person. S. "I taught him how to say food but he's very bad at it." S. That was probably the most enjoyable moment in the entire section for me. S. Makes you really wonder why the fuck pet cats have human-given names, though. K. FUCK IT DIDN'T EVEN HIT ME THAT UHHH K. THAT'S WACK HUH ISNT IT S. It's so wack.

K. I want us to just break something down for a hot moment S. I love to break it down with you. K. Talltail's plan is... bad S. Oh, it's dumb as hell. K. Like I'm imagining all of this from Sparrow's perspective K. Like it's one of those podcast horror stories S. I have that note too: this dude has no idea. K. "So one summer I accidentally got into a bad accident, and the guy I was with didn't make it out. His kid is really broken up about it and is pretty pissed at me, and straight up ignores me or glares at me the rest of the summer. Fast forward a few months and suddenly he shows up again out of the blue, and now says he wants to stay with me and my family. Says he's changed and that he wants to spend more time with us. THEN HE PLANS MY MURDER" S. It's really funny to imagine Talltail staring into the distance like, "my nemesis, you killed my father, prepare to die." And then smash cut to a completely oblivious Sparrow like, taking a nap. Having a snack with his friends. Smelling a flower.

S. Note: "I’m so unbelievably bored of Talltail having the same three stupid thoughts over and over and over" S. “The heartless rogue was going to pay for destroying his life” GOD SKIP S. “Twolegs are rabbit-brains.” get some new material for fuck’s sake S. His internal monologue is now entirely on par with Bluefur's I feel like? K. it is!!!! it is!!!!!! K. It's the same quality! It's just so disappointing that a book that started off like. K. SOMEHOW better than BP. K. Just swiftly dunked us back in the can. S. They just beat you to death over and over with the same inane conversations, the same unconvincing internal monologue. You could have a better book by literally just cutting this one in half. Just edit out all the repetitive bullshit. S. But they need to reach word count, so they don't. They shove more in, because there has to be 45 chapters, because it's a super edition. K. It's disgusting. I know y'all have a business to run but also If It Weren't For The Laws Of This Land, S. It really reframes for me all the people who were like, "it's the best super edition!" doesn’t it? K. YEAH S. Like, yikes. K. Like it's better than a lot of super editions and by a lot I mean Surprise, They're All The Same Fucking Book, K. How do you write the same book like forty times and never get it right, like, once.

#ailuronymy book club #hope you're all having a good time reading along and/or reading our overviews!

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crazy-talk · 6 years ago

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As promised, here’s a little large compilation sort of thing of little moments and memories from SBFP that you folks have submitted. I really appreciate everything that you’ve all submitted, it’s pretty clear that SBFP helped and entertained a whole lot of people - in equal amounts.

Here’s some SBFP moments:

Grand Wizard Wakka

The Shitstorm VII Woolie haunting plan

“What a mysterious game.”

MY HOUSE

“Wait, what’s my objectives?” “You don’t haaave any objectives!”

Qui Gon Chi

“Whah happuh?” “das whah happuh!”

“No, shut up though.”

The Baby

“Shut the fuck up about Face/Off!”

“Bleetzboll...”

The Sadness Trilogy

“KIDS LOVE THE FOCKIN’ DEVIL!”

Pat thinking he’s dying because he sat on a chocolate bar

Kenpachi Ramasama

Shit-kids

“Whut deh fuhk? Is he using duh bät room?”

Mr. Shakedown/Kenny/Quint/Eric Sparrow

TAR-KUS! TAR-KUS! TAR-KUS!

“Love is just chemicals.”

Pat eating candy alone in a closet

Matt throwing the fire axe

“Oh no, I make’da bad game!”

“Hey, is that the script?”

“JAAASON!”

“It’s fine.”

The RE2 valve noise

“Yeyeyeye!”

Woolie’s atomic purple Gameboy

“Eyy, what’s goin’ on, man? You ready to play?”

And some SBFP memories. Some of these may be a bit emotionally heavy so feel free to skip this part:

the sbfp lp of yakuza 0 got me and my best friend into the yakuza series. we watched it together and we still laugh about matt falling to pieces over "never-before-seen results" - Anon

the best friends have had such an influence on my speech patterns that i've infected people who've never watched them before. half of my friend group says super big [x] and porked up now - Anon

SBFP introduced me to so many games that ended up becoming personal favorites of mine, like Deadly Premonition and the Silent Hill series. Their videos became a way for me to spend time with some of my own best friends as well! - captainofthestars

theres one particular moment that will always resonate with me - in their devil may cry lets play, i cant remember if it was 1 or 3, they talk about someone in the comments who mentioned that they had to beat devil may cry with items due to having a physical disability of some kind, i cant remember which. they talked about how it was awesome that he managed to even beat the game like that, and, personally, as someone who struggles with motorskills issues this made me very happy, as a devil may cry fan. theres a lot of other great moments from the tbfp, both funny and genuine that made me happy, but this one in particular stuck with me a lot. - krillfingers

I'll never stop making "pull out king" jokes thanks to sbfp - venerabledreadnought

I remember the first Shitstorm that made me actually have to get up and sit in a brightly lit room with other people in it, Anatomy. It's become a Halloween tradition to watch it every year since, though watching a whole bunch of Shitstorm also became one. As someone who started watching at their second machinma ep, it's not a lie to say that they made up the entirety of my teenage years. I will miss the channel dearly, but I look forward to the future. - duke-nitro

My friends and I have been watching The Zaibatsu for so long that we have accidentally adopted a bunch of their phrases like going “yeahyeahyeahyeahyeah” or saying someone “go down.” Also, despite us not knowing each other when we became fans, we all somehow began with their Man vs Wild let’s play and I even made friends with one of them because I quoted something from it at work. Favorite moment probably has to be the entire Omikron playthrough, I can’t pick a single moment. It was a beautiful trainwreck start to finish and I still put on the playlist from time to time while I’m doing other things. I swear I could gently fall asleep to the sounds of Pat screaming about the shooter segments. shogun-ceanataur

Persona 4 and Kenpachi Ramasama were my favourite. I found the name itself hilarious, but how they kept on referring to him as the full name in different little bits and tones never failed to make me laugh. That “See you later, fuckers!” part from when you see Yosuke was also hilarious. I’m not sure if that video is the oeigin, but it’s why I’ve integrated that phrase into my everyday life. Goddamn what a fun, memorable episode. - whatthehellisthisevenfor

tbfp got me through being homeless in my car twice. every time that I wanted to give up, to just stop trying, i'd turn on whatever new video they had out and it brightened up my life. my mom, who was with me, came to love them to, she used to wait to hear them to relax. i have so many memories of that time, and i don't fully relax or even eat on long days until I've turned their videos on. my favorite quote is still "mistakes into miracles". its a rly motivating quote imo. - c0l0c4k3s

I always loved the Silent Hill 2 LP. I never played it when it came out - all I knew was that it was a horror game, and I hated horror at the time. But when the LP came around, I knew a bit more about the game and I was intrigued. Seeing the game, meeting the characters, hearing Pat disect the story and themes for Matt, I loved it all. I was fascinated, and still am. I will still watch the LP every few months, and I call SH2 one of my favorite games, even though I still haven’t played it.Thanks, SBFP, for all the great moments and the great memories. I wish you all well. - iamthewanderingbard

The best friends are what got me so invested in the Dark souls games, and what motivated me to get through DS2. Even if I say 'You see what i mean' unironically a lot, and go 'You. Did it.' - awkwardmuses

I got into Super Best Friends from a post on the Twin Perfect forum, that linked to the Silent Hill Downpour lp, and never looked back. Their let's plays brought me so much joy back when I wasn't in the best living or health situation, and continue to do so. My favourite let's plays have to be Eternal Darkness and the Shitstorms; I always go back to those when depression hits, or for any reasons. I'll miss them together, but I'll always have those delicious delicious memories. - mrjaffesxeldritchtwin

The Best Friends Play are the reason I end so many sentences with "though". I first found them when a friend recommended the Best Sisters Play MLP animations, and I've loved them ever since. I know it's used as a joke, but I really believe they've earned the title of HYPEST GAMEPLAY ON YOUTUBE. I love all of their David Cage playthroughs, and I adore how many plot-points they guess during Beyond: Two Souls. I love how, when they play a game they really love, they show so much knowledge and care. - mads-in-zero

It was incredibly amusing and oddly touching that the Zaibatsu created this hate circle of David Cage and his godawful games. Even before Detroit’s release, the best friends AND the fanbase were ready to hate it because as a collective, we just latched onto that one thing to hate/make fun of. And we go all out on it together like some fucked up family, and I love it. - missinghmmingbird

I can’t help but shrug off every minor inconvenience and major issue in my life with “it’s fine” thanks to Gun Jumper Liam. Thanks to Matt and Woolie supporting Skullgirls like no one else on the internet, I really got into it and fighting games as a whole. I’m not good at them, but oh boy do I love them.And if it wasn’t for Pat, I don’t think I’d ever have touched a Yakuza or Persona game.These guys affected my life more than any other individual or group on the internet ever really has. - dklordg

The first Best Friends video I ever watched was Portal 2. That short LP had me in stitches. I'd never laughed so hard. I've been a huge fan since then. These guys where the ones that introduced me to LPs and made me realize that you can have fun watching other people bumble through games. TheSw1tcher has been one of my favorite channels on YouTube since I began watching. It gave me something to look forward to. I got through high school, and essentially grew up, watching these videos. There are so many catchphrases and memes I will never forget and will always make me smile. I absolutely say stuff like “whah happun?” and “shit-kids” all the time. The Deadly Premonition and Detroit: Become Human playthroughs are wonderful gems in my eyes. It’s amazing how a group of guys can get so many people to collectively love and bash certain games. We’re all on the same page, having a blast like a huge group of friends at a slumber party. Matt, Pat, Woolie, Liam, Billy, and everyone who involved themselves with the Super Best Friends are the absolute best. They gave me a chance to relax and laugh along with some familiar voices. Although it's sad they are going their separate ways, I totally respect that fact. They have my love and support. I wish them nothing but success and happiness moving forward. I'll be watching! And a note to my fellow fans: This has been a wild ride. I'm glad I got to enjoy it with you. You are all fantastic people. - fablesamongus

#Text post #Comp post #super best friends play #SBFP #Two Best Friends Play #TBFP

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winterisfinallyhere · 5 years ago

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I'm Still Upset About Season 8

So I just realized I’m still upset about season 8. I mean, it’s been like 7 months and pretty much as soon as it was over I went “well okay, that sucked, now let’s just repress the last 2 season” and haven’t really reflected on it that much. Other than to just tell anyone that asked: “I hated it.”

As it is Christmas and the New Year will soon be upon us I’ve been thinking a lot about 2019 and the ups and downs. This brought me to ponder GoT again after all this time, and what went wrong.

I think I just kind of realized why pretty much anyone who is more than a casual fan of the show hated the end.

It’s not because it gave no one what they wanted. I mean this is, of course, part of it. (Seriously, mention one person who was rooting for Bran on the throne at the end! Who wanted Jon to kill Dany after promising her he was on her side? Bronn as the Master of Coin?)

My theory is simple: We all hate it because not only do we not get what we wanted (be that Jonsa, Dany on the throne, Braimie or Theon alive) but what we did get wasn’t anything.

Simply, we hate it, because nothing mattered.

Maybe that’s not so revolutionary to the rest of you. Maybe you all figured out why you felt so empty, why all fans, no matter who they were rooting for or hoping to die, did.

Nothing mattered.

And I wish it would have. Me, as a Jonsa and anti-Targ-restoration, would rather have had Dany on the throne married to Jon with boat-baby on the way if there could have been some sort of “the wheel can never be broken” everything just keeps on going and nothing really ever changes as the “message”.

And I think even the most hardcore Dany-stans would have preferred well-executed (political) Jonsa to the mess we got with Dany going Mad-Queen in two minutes, with maybe the message ending up being “the pack survives” or “Ned really did play the long game, huh” or something.

I would even have preferred Cerise as the End Boss Queen, somehow beating Dany, to what actually happened. Imagined that! Instead of Dany burning the city down, her dragons get shot down, the Golden Company kills the Unsullied and the episode ends with Dany being executed by the Mountain on Cercies orders.

Last episode is Tyrion, Sansa, Jon and the reaming folks rallying folks to once more to fight Cersei and maybe the show ends with the start of “the last battle” with Cercsie which we don’t get to see the outcome of, once more giving us the message of “nothing ever changes, the wars just keep going.”

Everyone dying at Winterfell as the Night King comes would be something too. Or everyone retreating to King’s Landing and then everyone dying there. Maybe killed by the NK, maybe killed by each other. That would have been an interesting ending.

I mean what we got was just a mess. A mess without meaning. A meaningless mess we all spent so many hours on.

And I’m not sure who to be angry with about it. DxD is an obvious one. GRMM too, because if he hadn’t told them “the ending” then DxD would have had to wrap it up in a way that fit the TV show. And as terrible as DxD are, that would have been better than two seasons trying to get everything to fit into GRMM ending. An ending to a very different and longer story than the show.

But the person, I’ve been the maddest at though, I’ve realized is probably myself.

Because I invested too much. I dedicated so many hours, read so many fan-theories, had my own, woke up at ungodly early hours to watch the episodes before work. I geeked out like I hadn’t in a decade during the year leading up to and during season 8. I went into the season with such high hopes, bright-eyed and bushy-tailed, waiting for a brilliant conclusion to a brilliant show. And by the last episode, I had no feelings at all.

But as part of my new year's resolution I’ve decided I’m going to stop blaming myself for things that aren’t my fault. And it’s not my fault season 8 was a disappointment. It’s not my fault I decided to care about something, even if it was a TV, and it disappointed me.

It wasn’t my fault Game of Thrones’ ending sucked. And no matter how much I want to, I can’t change it. So like a bad relationship I’m now going to attempt to let go, heal and move on from the bad parts and remember the good parts.

Because one of my favorite things about Game of Thrones has actually been the community, the fandom. The messy often fractioned (and sometimes right out hostile) people that loved and invested in this show for years and years, just like me. We were all disappointed, betrayed in a sense, but we were still part of this thing. And we were part of it together. So you know...

I for one, can’t quite make myself fully regret getting into GoT. I wish at times I hadn’t but for all the bad, there has been a lot of good. I found a new OTS that never got a chance to show how great it could be (but those longing looks and the subtext will be forever in my heart), read so many smart metas on so many different things from movie lighting, to beauty and beast tropes, to power and story structure, found amazing fan art and talked and argued with people with so different opinions on so many different topics.

I also realized that it’s okay that my best friend and so many people love Dany because “the dragons are cool” and don’t like the Starks because they’re “boring” and that not everyone will invest as much into a TV show as I did. And that doesn't make me a wacky nerd (or maybe it does, but that’s not necessarily a bad thing). It just means we have different interests and one of mine is caring about theories about fictional worlds and characters that (inevitably) end up disappointing me. And that’s good. The world is full of people who love, hate, do, different things and that’s pretty neat.

So that’s what I’ve decided to take away from Game of Thrones. Maybe the show’s end was meaningless. But the community, the fans (and the amazing actors and crew that worked on the show) were, are, not meaningless.

We might, in fact, be the actual meaning of Game of Thrones.

Thinking about it like that makes things a little easier for me. It gives me hope and makes me feel like I didn’t waste time but rather invested it wisely, into something. That I contributed to something important. And I hope that all of you out there that have maybe despaired and felt something similar to me, will try to look at it this way too. Because the more we do that, the more meaning we will give it, and after all, isn’t that what we all want most? For it to have meant something?

(Also, If you felt this resonated with you, please reblog, to maybe help a disparaging GoT fan start the New Year off right).

#Game of thrones #game of thrones ending #what went wrong with game of thrones?#i figured it out #game of thrones had no meaning #or did it?#i might be drunk #a little late to the party

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legionofpotatoes · 5 years ago

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Okay then, since both of y’all are just delving in I’ll try to keep things (relatively) spoiler-free and stick to story sense and semiotics! Few caveats:

Have not had prior experience with Kojima’s body of work and if that’s a prerequisite in how I “should feel” about it then yike on a bike (just getting this out of the way based on what I’ve had talked at me)

My read excludes the entire context of moment-to-moment gameplay; I basically watched chronological story cutscenes stitched together with NPC interaction vignettes sprinkled in-between. 9 or so hours in total.

I did this because the gameplay does not interest me at all - and not in protest of chill social games (I adore both No Man’s Sky and thatgamecompany stuff, for example, and try to champion anything without Gun in it), but because the setting and length did not align with my expectations for something to invest so much time into. Still, I was super intrigued by the story, and, to a lesser extent, the plot.

also I have a hard time writing in condensed English, so this may run quite long. I’ll put the rest under a break. Second language, sorry!

I’m trying to think of a good way to start this. Like I said, the story, or what the thing was ABOUT, was infinitely more interesting to me than whatever wacko packaging Kojima thought up for the narrative. Which was a complicated, thought-out piece of fiction shattered into many disparate pieces and fed to us in a mystery-box-filmmaker kind of way, making us reverse-engineer what essentially was a rather simple interpersonal uhh. family tragedy, I guess.

But to its credit the lore is visibly built solely to support whatever thematic messaging Kojima would want to weave in there - something I can respect. Meaning it gets as wacky and as nonsensical as it needs to be in order to reflect the high-concept allegories at play, aaand then it does so to a fault. I adore works of fiction that don’t give a shit about “tone” - I hate that word more than anything in modern media - but effective symbolism in storytelling, IN MY OPINION, requires a deft hand, nuance, strong authorial position, and a good grasp of social context.

I want to like, go through these four points individually and nitpick my problems with the game in their lens, because I think they cover pretty much everything I feel like saying:

1. A deft hand - to me means to selectively dramatize correct themes and plot points as you go so that shit makes sense in the end. I felt this was incredibly lacking here. It was like a symphony going for hours without a crescendo. The absolute wrong bits of soulless exposition would be reiterated THRICE within a single cutscene while necessary context of, hell, character motives or even plot geography would be left vague. Intentionally vague, some would argue, but their later function would never arrive. Other times, what would visibly be conceived as wink-and-you’ll-miss-it foreshadowing could overstay its welcome to the point of inadvertently spoiling a later plot point. My girlfriend sniped the (arguably) most important reveal of the game, which is left for the tail end of the final epilogue (!), in the first hours of watching. The symbolics and allusions were just too plentiful where they should have been more subdued. I am DYING to provide examples here but I’m keeping it spoiler-free. Again, if this is a Kojima-ism, too bad; but it’s not a catastrophic failure of storytelling by any means. There are very few masters of this thing working today. But what can be easier to navigate, I think, is...

2. Nuance - this kinda goes hand-in-hand with the upper point but is a bit more important to me and applies to what SPECIFICALLY you decide to heighten in order to slap us across the face with your deeper meanings. Certain characters - not all of them - feel like caricatures. The silly names and overt metaphors (wearing a mask means hiding something! connected cities all have ‘knot’ in their name!) are honestly, genuinely FINE as long as their function isn’t betrayed, but the lean into metaphor worship can sometimes wade into SERIOUSLY shitty territory as contemporary implications are ignored altogether, and that ties into my fourth point, which I’ll address before looping back to the third; needless to say, approaching sensitive subjects with broad strokes is not exactly the way to go. But broad strokes is almost exclusively what this game does, forgetting to incorporate...

3. Social context - and I feel like avoiding examples here will be difficult lest I end up sounding like a dogmatic asshole; but there is a right thing and a wrong thing to do when co-opting IRL concepts to fit fictional messaging/storytelling. I feel that a character “curing” themselves of a phobia by experiencing emotional growth that vaguely corresponds to what the disorder could have symbolized is a wrong thing. And I don’t even want to get into all the wacky revisionism the lore ended up twisting into, which was mostly honestly entertaining (the ammonite will be a good hint to those who’ve played it), until it decided to, again, lean a bit too hard into painting today’s reality as a crisis of human connection and imply some questionable things about why, uh, asexual people exist, for example. Yes it makes some sense within the context of the lore and what’s happening in the plot, but it’s completely lacking in social know-how of the here and now. In other words: a Bad Look. To me, this type of wayward ignorance is a much more serious issue that can historically snowball any piece of writing into a witless disaster. I don’t know if it quite does it here, but it’s not really my place to say. Still, you can have wacky worldbuilding that has no sense of dramatic tension, nuance, or awareness towards the audience, and yet containing one last vital glue holding it all together, and that would be...

4. Strong authorial position - or intent I guess, to speak in literary terms - and I still have trouble pinpointing how and where this exists in this game. A bullshit stance you say, and I hear ya; cause this here is a video game very pronounced in its pro-human-connection messaging, painting the opposite outcome as an apocalyptic end to our species. And as I understand the gameplay is all about connections too - leaning into that theme so hard it even renders itself unapproachable to most capital-g Gamers. I honestly respect the balls of that. But really, as an author who headlined the creation of this thing, what was it really about? What were you trying to say?

And beyond “human connection is real important to beat apathy” I got nothing, and I think that’s because of points 1 and 2 failing in succession, and then point 3 souring the taste. It just had to be apparent the moment the curtain fell, is what I find. You just have to “get” it immediately, get what it was trying to say, but that will happen only if it’s been articulated incredibly well up to that point. Maybe the entire punch of that message REALLY depends on you spending dozens of hours ruminating on the crushing cost of loneliness as you haul cargo across countries on foot and connect people to your weird not-internet? If so, I’ve missed a vital piece of context, and with this being a videogame and all, it’s honestly a fair assumption. But otherwise.. it felt like a hell of a lot of twisting and turning and plot affectations that only led to more plot affectations and sometimes character growth (which had its own bag of issues from point 3) and not a hell of a lot to say about human connection beyond the fact that it is. good and useful. It felt like a repeated statement instead of being an argument. Does that make sense? I understand the story optics here are zoomed waay out and set on targeting the human condition as a whole, but like.. if you’re committing to a message, you have to stand by it.

Why is connection good? it’s a dumb question without a DOUBT but since the game has set out to answer it then it.. should? Did I miss the answer? I may have, I honestly can’t exclude the possibility. My lens was warped and my framework of consuming storytelling is a bit rigid in its requirements (the four points I mentioned), so maybe I’m just too grouchy and old to understand.

I just think Pacific Rim did it better and took about 7 hours less to do it! And yet, it, too, involved Guillermo Del Toro. Curious.

If you made it this far and are interested in my thoughts on the technical execution of it all as well, uhm, it’s pretty much spotless? Decima is utilized beautifully, the Hideo vanity squad of celebrities all do their very best with the often clunky dialogue, the music is great, the aesthetic and visual design is immediately arresting, and it certainly does an all-around great job at standing out from the rest of the flock. I fell in love with the BB a little bit. It is also a game that is incredibly horny for Mads Mikkelsen, which almost fully supplants the expected real estate for run-of-the-mill male gaze bullshit. It is. A change.

That’s all I got folks

#death stranding spoilers #reference

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comicbookuniversity · 5 years ago

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Joker: A Review

TL;DR: Hated it.

Art, regardless of medium, is the sharing of a dream from one person or group to a wider audience, and a dream by its nature is an emotional experience of reality where the predictable and unforgiving laws of reality bends to the reactionary subjectivity of the heart. When it comes to narrative art, the goal of any narrative is show a transition from one emotional state to another of at least the protagonist, if not a larger number of characters. There is a conflict between wants and needs, and a rise and fall in emotional status until a final state is achieved. And the audience should have a parallel emotional transition as they experience the narrative. Whether we're talking about a beloved children's book or an Oscar Best Picture winner, they will all follow the same basic patterns of arcs. Now, you might be asking what does this 101 definition have to do with anything? I bring it up because the Joker fails as a story in the most basic of understanding of what a story is supposed to accomplish.

Let me be clear: I wanted to like this film and I tried not to create too many expectations about what it would say or do. I am, as many who know me, a massive superhero fan. I have encyclopedic knowledge of the multiverses that compose superhero worlds and of the lives of dozens of writers and artists who have worked within the relative niche industry that now serves as an IP farm for movie studios. I've read and watched plenty of teams tell stories with the same sets of characters with different tones and ideas, and I've enjoyed plenty of them. So the idea of a dark, gritty origin story for the Joker, perhaps the most famous supervillain of them all, was one I was interested in, if it could be pulled off by the team doing it. After all, the Joker has famously been without a true origin story for decades and this air of mystery has been a part of his gimmick from the start. And I'm all for a compelling villain; I don't have to agree with the moral choices or philosophies of "evil" characters in order to find them entertaining within the narrative. So bring it on, if it can be brought.

But, it was not brought, and I sat through a two hour slog pretending to be art that made me mad, because it was a waste of talent, time, money, and was frankly insulting to their character it was supposed to be about.

To be fair, Joaquin Phoenix clearly tried his best to bring his A game to this role that was so squarely centered around him, and he nearly carries the film to being in the territory of OK instead of bad on his performance alone. But the script fails him so hard that even his performance can't overcome it's shortcomings. And to continue to give praise where it is due, the production crew did a great job creating that NYC in the '70s on the brink of collapse look, and Phillips actually does a good job creating a Martin Scorsese direction facsimile. The problem is that the story fails so hard that anything where there was any talent put in was undone because it's all wasted in a story that goes nowhere.

I don't want to spoil the plot, if it can be called a plot, but the emotional journey of Arthur Fleck, who will become the Joker, basically starts as a sad, angry man on medicine, gets shafted every chance the director can create, and ends with a sad angry man not on medication who is now violent. That's not a journey or even a mental breakdown. That's a man on medication to a man not being on medication who's grievances or needs never change, and who lashes out violently in a manner that's far too predictable and boring as hell. And the only noticeable difference between medication and the lack of it is a minor uptick in violent tendencies. He kills five people in the film, and three of them were while he was medicated. So there's no cathartic release for the audience, because there's no pay off to speak of from watching him go from employed Arthur Fleck to incarcerated Joker.

The film wants us to feel for Arthur- to make you understand why he becomes the Joker, but fails to create any real reason for us to feel for him. They just keep presenting us with one indignity and injustice after another as if that were simply enough, but that’s not how stories work. Stories are about people in situations, so if you have a common/mundane situation, then you’re characters must be interesting/entertaining to compensate. Conversely, the reverse is true, so if your characters aren’t particularly interesting/entertaining, then the situation and the ideas embedded within the situation must be compelling or experimental. Arthur simply is not interesting, relatable, or entertaining; nor is his situation intrinsically exciting or uncommon. He’s sad, angry, and violent; and the greatest change is that he puts on makeup not related to his job, which could be representative of a dramatic psychological shift towards this larger than life persona, but it isn’t representative of any real internal change and merely a change in circumstances.

There are villains who are compelling and entertaining, despite their moral choices, and their origins make them relatable. Look at Hannibal Lecter, Tyler Durden, Darth Vader, Erik Killmonger, and Michael Coreleone among a few select examples of villains with similar star power who are complex, sympathetic, and fascinating for their own reasons. They all serve as proof of villains as being central to good stories. Arthur is perhaps most similar to Tyler Durden, but Tyler had conflict with his desires and his desires had larger sociopolitical implications. Arthur has no conflict and his desires are not political. Basically, had he been given a little respect and found a job, then he’d have never become the Joker. That could be interpreted as the film showing the universal quality of the Joker identity; that it only takes one bad day to push us over the edge. But that’s insulting to the character and myth of the Joker. The Joker is not anybody who snaps after a series of bad events. He’s the clown prince of crime, and a monster so sadistic and feared that mobsters and supervillains alike tell stories about him as if he were a Boogeyman. Arthur Fleck is not as scary as some real life killers- let alone a tenth as scary as the reputation of the Joker built up over decades of stories. And then when you compare Phoenix’s Joker to all the previous Jokers who have come before him, not only does his Joker seem mild, he comes across as incompotent. It’s not as if comparisons can be ignored or are unwarranted; the Joker is an iconic figure.

I would criticize how the subplots of the film don’t support Arthur’s journey, but there are no other subplots. Subplots would imply that there are other characters beyond Arthur the film wants to actively invest time in to create an emotional journey, but all other characters props for Arhtur. They don’t change and only exist to explore Arthur’s psyche. There’s an evolving idea of political unrest among the poor residents of Gotham and protests against the government and rich, but there’s no other character who is suffering as a direct result of the causes of the unrest or give voice to the concerns and issues. This is as close to a subplot that we are given. We primarily learn about this unrest through radio, TV broadcast, and an occasional line from a character. The film even attempts to connect Arthur’s actions to this unrest by making him an unlikely figure in it, but it never really explains why this is the case. The film simply expects the audience to accept that he has become this figure, and then despite his very public violent action, criminal confession, and public disavowment of the unrest, that he is accepted as some kind of folk hero by those who have for some reason made him into a symbol as they riot.

The film has nothing to say as a result. It’s not about anything, and then it further perpetuates the idea of the mentally ill as dangerously violent. To recap, there’s only one character who remains static throughout the film, there are no other characters because they’re basically props, and it horribly wastes time and talent trying to tackle an iconic character with a story about nothing. And to top it off, it unnecessarily tries to tie itself to Batman’s origin by showing the Waynes getting killed on film for what might have been the 800,000th time. Gross.

#the joker #joaquin phoenix #todd phillips #dc comics #joker

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itsediadmlove · 5 years ago

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Reconciliating Westerosi fandom

Alright folk, first of all I am writing this post for 2 reasons: first of all because I’ve come to like this kind of shit (I thought it to be a nuisance 1 year ago), secondly because I’ve had enough of Reading 3 kind of posts this week; post saying the episode was shitty, posts saying Daenerys is a bitch, posts saying Sansa is a slut. I’ve had enough of people being biased or judging the episode from a ship perspective. Dame of Thrones and D&D don’t give a fucking damn about wich ship we stand or our expectations, we are going to watch the whole season anyway. And them giving us the chance to come here every day every week since the beginnig of the season, being unsure about the outcome, speaking to each other, arguing with each other because we expect different things how everything should end is amazing enough. And being wrong about where the story is leading doesn’t make the deliverance any less majestic.

Episode 4 was amazing, shit is hitting the fan and the fans and we are back to what game of thrones should be: ‘bout the game of thrones. This season is being far superior to season 7, which in comparison felt plain and predictable (even Starkbowl being a fake was predictable). I have previously wrote a post about this episode in particular and I am going to take my time explaining why both Sansa and Daenerys were awsome this episode. Maybe I’ll repeat myself at some points, but I want the people to stop shitting about what other people believe to be right and take some serious insight on what those characters are doing.

The last thing I want you to keep in mind before I get started is that I’m pretty aware that I am not a native speaker, and my english can be messy. So if anyone feels like wanting some kind of deeper explanation about what I mean at some point, I invite them to talk with me whenever they want, no matter the ship they stand or whatever; this is not about ships this is about characters understanding so we can enjoy the show without biased or shitty mindsets. I am also aware that I am not a great writter and I believe there is people around far better at exposing themselves.

- Daenerys: Amazing episode, the Dragon Queen is finally playing the game herself. Personally I reconciled with her this very episode. I doubted she was able to play the game, this very episode prove me wrong. First we got the Gendry legitimation; clever, as Tyrion pointed out it provided her a loyal (at least theorically) lord of Storm’s End, but it also allowed her to send a message to Sansa Stark about her claim to Winterfell which she could at least jeopardize just by doing something as simple as that. The chamber’s stuff was another amazing display. It allows us to see her concern about Jon’s claim to the Iron Throne. Being fair to her she was right about almost everything. Jon not wanting the throne doesn’t matter at all; even if he never pushed his claim, it will always be an excuse for every single lord around to contest her right to rule over them forcing her to take action making her a tyrant. She was right on the crypts as well (ep2); Jon’s right to the IT will always be shitty, his only prooves are his brother visions and a book anyone could have written, but it doesn’t even matter if it is true. Remember Stannis people, he was right all along about being Robert’s heir, and yet no one gave a damn just because they never wanted him as King. Now we got to the controversial part, her badmouthing Sansa. Yes It is true, but well, there is a throne at stake. For me at this point Daenerys has been thinking about the parentage reveal consequences and being true, the only way to prevent all the shit to come through is having Jon murdered, because even as looking for a way out, once she doesn’t need him anymore and Cersei is done for, she would have to spend all her life out of fear that someone learned the truth. I really believe she loves Jon. During the war council she was in a rush to leave, and I believe that she is actually trying to prevent Jon to tell his family and not because she gives a fuck about her people, after all, she is the very same person that in the books had a huge amount of ill people under her protection in Meereen just because they needed it. In all she is trying to manipulate him while lying herself. Before people start splitting on her (or me) because of it, if at some point you have been invested in Pol!Jon theory it seems unfair towards Daenerys to blame her to do exactly the same thing to him. Because what she is really trying here is to keep him safe. As I said before, at this point she should have already contemplated the possibility of murdering him, but she doesn’t want this to happen. Yet, we have to admit that she has already invested to much in Westeros, she has already sacrified to many things and people in her quest, to just back off. She has a responsability to all that people who have died in order for her to get there, and if she risked just because of a hot guy, it would feel to me as a betrayal to all those people, Friends and lovers she has sacrified, she wouldn’t deserve to be a queen while killing Jon would turn her into an usurper. Maybe I don’t like her as a Queen, yet I admire the character, it would be shitty for her to turn mad just because she wants power. If I should describe Daenerys in just one Word it would be passionate; in her way to fight, to rule, to believe on herself and, finally, to love. I don’t know how it is all gonna end, but, if she had to turn Mad, I would feel very displeased if she turns so just because she is ‘’POWER HUNGRY’’, it should be because of love. At some point Daenerys has to stop lying to herself and accept she can’t protect Jon, each death she suffers should push her to the edge, not because she is too sensitive, that woman has crossed the world fighting her way out doing great and terrible things, she isn’t weak, but because she has a duty to all those who believed in her, and for a queen, let a man just take it all away, even the very risk of it happening, should be out of question. And the more she lose, the more she feels endebted to her people and the more she understands, that at the end, she will be forced to kill the man she loves, admires, trusts and considers worthy of being a King. It should be heartbreaking, unfair, saddening and Shakespearian.

- Sansa: As always since the sixth season, her character was brilliant this episode. It is true that this episode was far more focused on Daenerys and yet Sansa always get the chance to be outstanding. I loved the political dance between her and Dany this episode. I will go straight to the point; the battlement scene with Tyrion. Sansa isn’t happy there, so much is evident. For some episode now she had been shown around people that were essential in her past (Theon, Tyrion, Sandor). All of them are people that tried to protect her one way or another, the problema is that all of them are related to some piece of her past she doesn’t want to remember. The only reason why Dany made reference to her in her convo with Jon is because she has realised how important he is for her. Everyone can believe if there is any romantic feeling or not, I’m not here to talk about what you all should believe, bute ven if it is just platonical sibling love, Jon is the only male character related to all of her good memories; from her childhood in Winterfell to the present, while being innocent or unrelated about all the bad ones. This means he is very important to her, important in an extent that is even hard to understand. It is true that he asked something from her and she betrayed such trust; and so? You all antis go around speaking about how she betrayed him without giving a thought about why she did so. Right now, denying Sansa being one of the smartest characters around is just plain and simple denial and her scene with Tyrion was key this episode. There are two emotions in her in such scene: anger (for Jon to leave south) and fear. Anger was pretty easy to get, Tyrion realised, she was unhappy, now, fear shows u when Tyrion ponted out Jon not being a Stark, because this is the very reason that makes him going south dangerous. Sansa is brilliant and she has been thinking ‘bout the parentage reveal as well. And her conclusion is just the same as Daenerys: Jon is going to die because Dany needs him to die. Why she broke the promess: as I see it she has gotten the picture, Dany can’t kill Jon yet, as long as Cersei remains in the throne she needs him to keep the North and the Vale, so if she is going to do something about it, it needs to be now, so she plaid her move, not because she is power hungry, but because she wants to protect him just as much as Daenerys.

It would be nice for us to be able to stan a character without disrespecting others, or at leasst other fans. The last thing that I want to tell all of you is that I had enough of people throwing the mysoginist bullshit over other people. I really believe GOT is full of amazing females characters to putt he blame on that. Sure, the world of ASOIAF is unfair with women, welcome to middle age fuckers. If it wasn’t like this we couldn’t relate to such a period. Yet a pretty lot of people needs to defend their faves by pushing the mysoginist bullshit over others, it is pittysome and annowing, the very fact that such a large extent of our faves are females you speak against D&D being such a thing; females characters are amazingly complex here. The very same persons needing to pull such a vague and wrong reasoning over others are the very same people that go saying this or another female character is ‘’POWER HUNGRY’’. I will tell you a secret both Daenerys and Sansa are ambitious (fuck what a revelation) and I find it disgusting that is have to be a guy like me who has to tell you that women being ambitious (doesn’t matter it being Sansa or Dany) is perfectly right thing and they don’t have to love each other just for both of them being women.

#got #Sansa Stark #daenerys targaryen #jonsa #jone #jonerys

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spelviin · 6 years ago

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endgame thoughts, not because i think i have anything valuable to say abt it, more just bc i want to get my initial unsullied opinions out before various overly nitpicky or overly praisy internet thinkpieces come around

okay so. first of all, i’m tired to death of the way folks talk about the mcu. like, it’s either a godly feat of everything and the most important thing ever or the literal devil incarnate and the source of all evil in this world. i am literally so fucking bored of both these perspectives and have zero time for either of them.

yes, the mcu is emblematic of a lot of problems in the current state of the film medium as a whole. yes, it is also a really cool feat of storytelling that a whole bunch of movies spanning a whole bunch of years could all come together and culminate in a big huge blowout finale. yes, it could have been far better, but yes, it also could have been far worse.

i wasn’t a fan of thor being a punchline in this film. like, the whole “lol thor fat” thing was like, really tired and not cool. and the fact that his genuine moments of expressing grief and the significant trauma he’s been through were played off for laughs more often than not bc “lol thor supposed to be big many man but he’s crying like a wimpyboy instread.” like, fucking please. it’s 2019 and other male characters were allowed to be shown crying and processing their trauma but thor’s??? not allowed for some reason??? anyway they did him dirty in this movie and i’m not super pleased abt that.

i didn’t like that they fridged natasha. i’m not a fan of scarjo so much these days, but i did like natasha. 2012 me adored her and was 100000% behind her as the Only Woman (despite being miffed that she was the Only Woman) and i really liked her character and redemption arc through the films that she appeared in. and like, i get the justification for fridging her. like i get that she was this assassin who killed a bunch of folks and in the end, not only wiped out the red in her ledger, but saved the whole damn universe in doing so. i get that. i’m just annoyed that they literally went and fridged the Only Woman to give the boys manpain before the third act.

speaking of the ladies.... the One Scene Where Women Get To Do Things. my god. the critical feminist part of my mind greatly resented the obvious lip service of that scene, and the fact that the ladies only got the one shining moment before we got back to the sausage fest. but lord, the lesbian part of my mind hella enjoyed it. like i was legit bouncing in my seat like YESSSS FUCK EM UP LADIES i was just completely stoked.

and my god. MY GOD CAN WE TALK ABOUT CAROL’S HAIRCUT AKA A GIFT TO THE LESBIANS. THIS MOVIE HAS MANY SINS BUT WE CAN ALL THANK IT FOR THAT HAIRCUT. (and again, feminist me is like, hey, dont focus on her appearance, focus on the important shit she did in singlehandedly turning the battle around for everyone, but lesbian lizard brain is hhhhhhhhhhhhh girl hot)

anyways. 2012 me was a month out of a major jaw surgery when i saw the first avengers, puffy faced, on heavy painkillers, and unable to eat any solid foods, and just generally weak and miserable. i dragged myself to the theatre and i smiled the whole way through that movie bc even though i was feeling super shitty, that 360 shot of the team made me so excited and happy. so happy that i watched and rewatched a bootleg download over what was probably the worst summer of my life, and it made me happy and gave me hope, dumb as that may sound.

i havent watched the first avengers movie in a long time, and i’m not sure if i’d feel the same way seeing it now. remembering how it felt then still makes me happy, but seeing that same 360 shot repeated in endgame didnt stoke much emotion. tumblr fandom took a lot of my avengers joy away. the drama and character hate and constant complaining and cringe culture bullshit exhausted me. and the recent turns of the mcu also contributed to that. a lot of things contributed to it, i guess. but i dont feel as happy as i once did. so a lot of this movie rang a little bit hollow, needless to say.

that being said, though, i did feel a little flicker of that joy. for all the movie’s and the franchise’s faults, of which there are many, i can say that the moment where all those portals opened up and the revived characters stepped though, i felt that happiness again. i legit almost cried when i saw shuri’s silhouette step out of that circle. that moment when the score came in with that booming version of the avengers theme, i was 2012 me again, just for a moment, and i think that’s worth something. to me, that’s worth something. so for all its sins, i thank the movie for that.

this is rly rambly and im tired so im just gonna say 2 more things. things i’m not personally super invested in, but other people are, and so i feel i need to have an opinion on em.

first is bucky. i fucking adore him, and i am kinda miffed that he got like, no interactions with steve. i know steve/peggy is the canon ship, i knew it was always endgame (heh) and that stucky is just a fandom thing. but god damn it, even if they were never gonna have their relationship go there (which tbh i literally never even came close to expecting to happen) it still feels a little bit unfair to have steve basically ignore probably the most important person in his life. like, i know he wanted to live his happy straight life with peggy, and passing on the shield and identity of captain america to sam is super important, and i loved that moment and would never begrudge him that bc i adore sam. i was just... really sad that bucky had to get kinda shafted for that. (literally all i was saying in the last half hour was “but where’s bucky? but what about bucky?” our boy deserved better.

second is tony. tony tony tony. i know folks have a lot of strong feelings about him, both ways. i know of folks who think he’s the scum of the earth for some dumb reason, and i personally know others who think the entire mcu should revolve around him, for equally dumb reasons. i’m more neutral. i think he’s a good character who made questionable decisions in the past. i feel for him and his struggles with PTSD. i respect him as a character in-universe and also for what he and RDJ accomplished. like, if he hadn’t hit it out of the park with that first movie like a fucking decade ago, none of this would have been possible, and i think that’s pretty damn cool, regardless of feelings on the monster juggernaut the mcu has turned into. basically, i know some folks are maliciously rejoicing at his death while complaining that he got a hero’s send-off when he is a Bad And Not Morally Pure Man, which is. boring. and other people (namely one who i know personally in my family) who are mad because he is an Angel and deserved the Best Happy Ending Because No Bad Things Are Allowed To Happen To This Perfect Boy. i’m not here for either opinion. i’m okay that he died (peter crying over him did get to me in a huge way, but i think tom holland just has a power that if he’s crying, i’m crying so idk). i think it’s cool that he got to save everyone and got a heroic and well deserved send off. this isnt a revolutionary opinion i just wanted to throw it out there bc im bored with the polarization.

and... yeah? i think that’s it? sorry, im really tired and this probs doesn’t make sense but i just felt like i had to get the initial reactions and feelings down before the thinkpieces get to me lmao.

oh, also nebula deserved better 2kforever i just love her a lot and want her to be happy and not suffer, kthxbye

#og #a4 spoilers #spoilers #endgame spoilers #avengers spoilers #avengers endgame spoilers #do you think i've tagged this thoroughly enough yet?#this is legit just boring and nonsensical rambling sorry

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drunklander · 6 years ago

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Drunj!Der Yells About Outlander

Thoughts on Ep. 410

Attempting Dry January seemed like a great idea. Give my liver a break! Save the money I would have spent on beer! No hangovers! And then I realized that January was literally going to be a month of Rogergate and immediately regretted my decision.

We're at the point in the season where the plot is dumb af so like when watching the episode, it's not so much "is this good" as "is this less shitty than the complete crap the book was." Which is like a really low bar. But this is Outlander, so the bar is always low. So this recap is mostly me being like "this is dumb and bad but they did the bare minimum to make it slightly less shitty than it could have been." (Which, considering it's their job to adapt the books, doesn't make them look very good. Less bad does not equal good.)

So like this episode, is a hot mess at times, but when adjusted for Rogergate is better than I was expecting.

The fuck does the still have to do with the episode to merit being the title card? Jamie’s lie about his hand to Bree doesn’t seem important enough to justify it. But whatever.

Has Bree gotten a haircut? Because even if it’s not straightened, it’s wayyy shorter than it would be if it was just curly but at the same length it was when it was straight.

Also Jamie’s bangs are still a crime against humanity.

This concludes Der Fixates on Wigs.

Bree in breeks!

Jamie insisting Bree be married still bugs me. All Claire’s talk about the future and how it is for women there and he’s like well clearly she should forget all of that and marry someone because I think she should. Like wtf, bro. Y’all live in the middle of fucking nowhere. No one gives a shit if she’s married or not. Say she’s a widow if you really care that much.

Seriously this episode like can’t make up its mind if handfasting counts as marriage or not. Like I thought the whole point of handfasting was that it was the same as marriage for a year. And it hasn’t been a year yet so Bree is technically married. Yet they keep referring to her as unwed both here and then again at River Run.

Bree thinking Roger won’t want her because she’s been raped and is pregnant is so fucked up, I want to hug her. But Roger is a complete asshat so at this point, it’s also probably true. (Only partly kidding there.) Because he’s the wooorst.

But Bree, girl, you did nothing wrong. You are not “damaged.” You are not less than because this happened to you.

“He doesn’t deserve ye.” Out of context Jamie Fraser speaking the truth.

Sorry not sorry but I still hate Roger. Yes, Jamie has done some fucked up things and was an asshole and never had to atone because lol why would the show make a character do that, but that’s easier for me to overlook because he had more screen time so I could headcanon out when he was shitty. Roger hasn’t had as much screen time in his relationship with Bree when he isn’t a dick to make me want to overlook the fact that he was a complete doucherocket. The show is asking me to accept that Bree has forgiven him and loves him and yada yada but like, they never did anything to get me invested in them more than he just has a crush on her and she sort of likes him when he wasn’t being a twat. So yeah, we’re stuck with Roger, but barring some unlikely groveling when he finally comes back, I’m really not here for him.

But for real though, fucked up opinions about marriage aside, I’m so here for supportive Da!Jamie.

I was kind of undecided about how I felt about the scene where Jamie shows Bree she couldn’t have fought off Bonnet in the book. But seeing it on scree, hard pass. Yes, Bree couldn’t believe her mother about time travel until she saw it with her own eyes when Geillis went through the stones. So like, sure, Bree would probs keep feeling guilty until she *knew* she couldn’t have fought off Bonnet. (Even though she has nothing to feel guilty about. But knowing something isn’t your fault and truly accepting that deep down are two completely different things.) But JFC, Jamie. There are less fucked up ways to show her that. Like tell her you can prove to her that she couldn’t have fought off Bonnet. Get her consent before doing your little demonstration. She’s not fucking She-Hulk, being angry isn’t going to give her super strength. She can try to fight you off without thinking you’re a complete fuckwad who is denying her trauma.

I really hope Claire didn’t go into too much of the gory detail about Wentworth, tbh. I know she thought Bree would never meet Jamie, but like, it’s still kind of weird to share all the disturbing details about something that personal without the say so of the person it happened to.

“Ye wilna forget, but time will let you heal.” Guys I’m feeling feelings.

But I still think it was the wrong call to include Bree’s rape.

Oh look it’s Roger. Time for a tea break.

Man, I regret deciding not to drink this month.

I got this text from @sileas84 and same, girl, same:

Also it’s really not a good look that they’re making Native Americans the antagonists. Again. Yes, I know it’s in the book. Don’t @ me.

Yo but I really wanted to hear the end of the Mohawk man’s story instead of cutting over to Roger.

TELL ME MORE ABOUT WHAT FLINT CREATED!

Give me all the Claire and Bree. Petition for the rest of the show to just be Claire and Bree going on adventures. Murtagh can come too. And Fergus and Marsali can be like their HQ when they need to stock up on more adventuring supplies.

But fuck yeah Claire giving Bree abortion as an option in a completely nonjudgmental way. (Because there is nothing to judge about having an abortion. Nothing.)

Friendly reminder that donating to Planned Parenthood is always a good idea, they provide all sorts affordable health services and are the only option for a lot of folks.

Also, fuck Roger for being like violently anti-choice. Yet another reason why I really don’t like that guy.

I hate the story choices that made this scene necessary, but dammit since they’re doing it, I love this scene.

#TeamBeauchampWomen5Eva

“Can ye no be smitten with cousins in yer time?” “No, you cousin-kissing weirdo. You’re like one step away from being siblings. It’s fucking gross and I’m judging you.”

“It’s nice to have a cousin. I apparently have a lot of cousins, but I didn’t get to meet any of them even though I was at their house because the writers decided it would be cool to spend half an episode with Laoghaire instead.”

“She’d grow roots there if she could... in her wee garden.” “My father used to say the same thing. He used to joke that she would leave us someday and go and live alone in the woods. Except he wasn’t joking because he fucking knew that she would do just that. Because he knew that she ended up on Fraser’s Ridge and he didn’t tell her. Instead, he joked with me about my mother leaving me because he was all about making sure I was very aware of my mother being slightly distant. Because he was a complete piece of shit. And I understand that now. Except I don’t because even though I kicked my shitty boyfriend to the curb for being the same kind of shitty, the writers of this show have deluded themselves into thinking Fred was a good guy. So I as a character have to not put the dots together.”

“And I came here to find you too.” Awww, too bad your Da turns out to be a rage monster.

Oh, cool, another montage. Cool cool cool. And that’s like the same shot of the sow from the other episode.

Claire and Bree playing the what do you miss from the future is fucking adorable and I love it with my whole heart.

Also Claire I-love-me-some-jazz Beauchamp being like “yeah, I’m totally hip with the youths, I would love Led Zeppelin” is my literal favorite.

Ok great that they’re showing Bree still having residual PTSD from her rape (the obligatory “fuck them for including it” should be a given), but WHAT THE ACTUAL FUCK WHY ARE THEY SHOWING ANOTHER ATTEMPTED RAPE. YOU CAN SHOW HER HAVING A BAD DREAM WITHOUT FUCKING SHOWING ANOTHER VIOLENT SEXUAL ASSAULT. WHAT THE ACTUAL FUCK IS WRONG WITH YOU, SHOW. YOU ARE THE LITERAL WORST.

I really can’t be as mad at Lizzie as I am at Jamie. Roger was a manhandling douche with Bree so like of course she thought what she thought. But she should have talked to Bree. Really I just hate Jamie for this whole mess. Fuck him for telling Lizzie not to tell Bree. Fuck him for making Ian “clean up” his fuck up. Fuck him for getting rid of Roger without talking with Bree first. Fuck Jamie, tbh.

“I thought Roger went...back.” Y’all I just need Ian to know the truth.

I am 100000000% here for Bree ripping these idiots a new one.

This whole plot line is such a fucking mess and I hate it with the passion of a thousand suns.

“You bedded him from lust?” Well she literally just said they were fucking handfast which, again, is basically like marriage. So she fucking had a wedding night you backwards fucking douchewad.

Also, she can fuck whoever she wants. As long as it’s what *she* wants. Fuck Jamie for being 100% ok with Fergus sleeping with prostitutes but not being able to wrap his head around Bree sleeping with someone she wants to sleep with. Claire’s told him enough about the future that him being a close-minded twat about this and like her bikini in the photos and shit just makes him look bad. Yes he’s from the past, but if he’s accepted fucking time travel and the fact that it’s not cool to beat your fucking wife, he can wrap his head around the fact that attitudes toward sex change in the future.

And yes, I know that line was him thinking she lied to him about being raped, but still. Ugh.

YAAAS, QUEEN. SLAP HIM AGAIN.

Yeah, Lizzie, you should feel bad.

And yeah for Claire for going straight to Bree instead of waffling about who to comfort.

“My father would never have said the things you said to *me.* He said them to my *mother.* But he was a good man. Because the writers can’t accept that they wrote him as an absolute prick.”

Seriously, if fucking one more person on this fucking show says that Fred is a good guy, I’m gonna vomit.

I know I linked to it in last week’s recap too, but I’m still fucking holding out for Claire to get to have this convo with Jamie at some point, but I honestly highly doubt they’ll include it.

Ok so here’s my thing with them not telling Jamie that it was Bonnet who raped Bree: It’s dumb af. Bree doesn’t want to tell Jamie because it will make Jamie’s #manpain worse. Fuck. That. Noise. His manpain doesn’t matter. Bonnet is someone who is known to them, which may or may not have played into Bonnet deciding to rape Bree. Fuck Jamie’s feelings. Especially since apparently the fucking backwoods of North Carolina are a small enough place that the Frasers keep running into people they know. There’s a chance they’ll run into Bonnet again (which they do, because he’s annoying and sticks around for two more books, although I seriously hope they kill him this season instead of dragging it out for two more seasons) and it’s better to have everyone know than have them be blindsided if they run into him again. Because you *know* that if he ever ran into them again, Bonnet would 100% be like yeah, I fucked your kid. (On that note, did Bonnet know that Bree was Roger’s girlfriend in the show? I can’t remember...) Even if Bree wasn’t comfortable enough talking to Jamie about it, it would have made sense for her to have Claire tell him.

I know in the past I’ve said that Claire should have just told Jamie anyway, and I still kind of think that, given the stakes of this specific situation. But I’m also working through my own shit about my mom where I really lost trust in her because she thought she was entitled to personal information about me and that it was her place to tell my dad because he “deserved” to know. So like, I’m very conflicted about this.

I do like that Bree nods her permission to Claire to tell Jamie. If Claire’s going to agree to keep Bree’s secret, she should keep it until Bree says it’s ok.

“I sold him to the Mohawk. Because clearly seeing slavery firsthand made zero impression on me and I think it’s totally ok to sell a man into slavery.”

I still blame Jamie for 99% of this, tbh. But also, fuck you, Ian.

Don’t @ me with that they thought he was a rapist so it’s ok. It’s not ok. That is not an excuse. If you want to beat him up first and ask questions later, fine, get a few punches in, tie him up and ask Bree if it’s the fucking guy. They’re taking away her agency by “handling” things without telling her. Which is so fucked up.

Also fucked up? SELLING A GUY INTO SLAVERY.

Ian 1000% deserved that punch. I know he loves Jamie, but what Jamie did was fucked up. He didn’t have to sell a fucking guy into slavery. Fergus is like a son to Jamie and he stood up to Jamie when he was being a fuckwit last year. There’s precedent for fucking not going along with Jamie’s dumbass ideas.

And Lizzie 100000% deserves that “You should be.”

All these fuckers deserve all of this. Keeping this shit from the one person who should have a say in what happens to the man who raped her is such paternalistic bullshit.

“No! No. You do not get to be more angry than me.” This is maybe my favorite line of the season, tbh. I fucking LOVE it. Preach, Bree, fucking preach. Fuck your manpain, Fraser, you fucked up. You can feel bad about it, but you are not the victim here.

Y’all I fucking love Bree.

Y’all I fucking don’t give a single flying fuck about Roger.

“It’s said that they adopt folk into their tribe... In order to replace those as are killed or die of sickness.” Gee, I wonder what’s going to happen at the end of the season. They 100% changed it from Jamie selling a dude to slavery to Ian selling a dude into slavery so in the finale or whatever they can have Ian be like “this is my penance” and decide to stay with the Mohawk and be adopted. Which I guess works better than in the book where he does it even though it’s Jamie who fucked up?

But I still blame Jamie most.

“You’re insane. You’ve done enough damage.” Understatement of two centuries, Bree.

Ian: “They’re more than a week ahead of us. If they dinna stop, we’ll be lagging behind for months.”

Bree:

I hate that we’re stuck with another “who’s the daddy” story line.

“After everything those two have done, can you look me in the eye and tell me you trust their judgement?” “Ok, yeah, that’s a fair point.”

“I’ll take her.” ALWAYS TAKE A MURTAGH!!!

Who the fuck is Tom Burley. He’s been mentioned twice. I know he’s one of those mystery settlers they apparently got at some point who we’ve never seen or met, but still. If you’re gonna keep name dropping someone, we should at least meet them at some point.

Oh don’t put this on Claire, Jamie. Yeah, Bree should have had Claire tell you, but FFS, you fucking wanted to kill a guy based off the word of a fucking random maid without consulting with your kid, who is the *only* person who should have a say in this situation. Fuck you.

“You told me you hit a tree.” Yaaaaas.

“You said that. I-I just let you believe it.” Ok, I know I seem like I’m letting Claire off lightly, and I probs am. But like, keeping something from Jamie because Bree asked her to, while a dumb choice on Bree’s part and possibly Claire’s part, is different than Jamie keeping something from Claire for literally no reason. Like why the fuck didn’t Jamie tell Claire he beat the shit out of a dude.

WHY CAN’T THESE FUCKERS JUST COMMUNICATE. EVEN IF THEY EACH ONLY TALK TO CLAIRE, CLAIRE WOULD HAVE PUT IT TOGETHER AND BEEN LIKE WTFFFFFF NOOOOOO.

ROGERGATE WILL FOREVER AND ALWAYS BE THE FUCKING WORST.

“Find Stephen Bonnet. Bring him to me in secret. I’m gonna kill him.” You fucking dumbass motherfucker. Clearly trying to take your own revenge in secret worked out so fucking well the first time.

The fucking men on this show are exhausting.

Claire trying to ease Bree’s mind about maybe having to deliver the baby without her makes me feel feelings. Basically I just want all of the Claire and Bree and none of the dudebros.

BUT OMFG, BREE CAN DRAW LIKE A SPOT ON PORTRAIT OF ROGER AND FUCKING NEVER DID THAT BEFORE WHEN SHE FIRST SHOWED UP AND WAS TELLING HER FAMILY ABOUT HER BOYFIEND?! (i know that’s a typo but it seemed strangely fitting so i’m keeping it) ARE YOU FUCKING KIDDING ME?! LITERALLY WHEN YOU’RE TELLING PEOPLE ABOUT THE PERSON YOU’RE SEEING “WHAT DO THEY LOOK LIKE” IS LIKE IN THE FIRST THREE QUESTIONS PEOPLE ASK REGARDLESS OF WHAT TIME PERIOD IT IS. YOU’RE TELLING ME THAT SHE NEVER DESCRIBED HIM OR FUCKING DREW HIS PICTURE IF SHE’S APPARENTLY NOW AN ARTIST?!

I HATE EVERYTHING.

“It’s a good likeness. If only you drew it two fucking months ago when we were all playing the getting to know you game.”

I cannot stress enough how much I hate Rogergate.

“What do you want me to say to Roger?” “Tell him everything. Like I should have had you tell Jamie. And then this whole mess could have been avoided.”

“He came back for me. And I’ve apparently not only changed my mind about marriage but also about him being a twatwaffle. So everyone should ship us even though you haven’t been given a reason to.”

Bree wanting Roger to have all the facts so he can make a decision again makes it clear just how much more emotionally mature she is than him. She deserves so much fucking better.

Gah, I knew the Ian proposing thing was coming when they did the “he’s smitten with you” bit before, but UGH. DO NOT WANT.

“For my part in this calamity, I want ye to know, if we dinna find him... It would be my honor to take your hand in the holy sacrament of marriage--” Because it’s every girl’s dream to fucking marry their fucking cousin who SOLD THEIR BOYFRIEND/HUSBAND DEPENDING ON WHAT MOOD THE SHOW IS IN INTO SLAVERY.

Why did they decide doing this story line was a good idea. Why did they fucking include this stupid proposal. Like yes, it’s better than the book because in the book it’s Jamie telling Ian to do it. But “better than the book” doesn’t equal good.

It’s so hard to take Jamie seriously in emotional scenes when his hair looks like that.

Please next week can we have a metric fuckton of Murtagh and Bree bonding? Please?

And then the episode ended with Claire riding off with tweedle dumb and tweedle dumber.

Except it didn’t and I need more tea.

I do love the detail that one of the Mohawk has an English soldier’s coat. Most likely taken from when the Mohawk allied with the English during the French and Indian War.

Ulysses being like “sorry, in this house we have hygiene standards” when Murtz and Bree show up makes me lol, but also we’re back to dealing with slavery. Because that went so well last time.

MURCASTAAAAA

Idk if I actually ship it since she’s like so aware of him along with everyone else in the Highlands being in love with Ellen. And the whole slavery thing. But I am so here for more of the two of them together.

Ok again, though, I thought handfasting was like marriage. She straight up says that she’s handfast to the guy her parents are looking for. But in the same sentence she says she’s unmarried. MAKE UP YOUR FUCKING MIND, SHOW.

I do like both of them being like “um, yeah, hi, we can speak for our damn selves,” though.

I hate cliffhangers.

Also Roger finding this standing stone doesn’t mean the cold open of the premiere was good or worth it, tbh. I still hate that.

Please just go through the stones so we don’t need to deal with you anymore, Roger.

Also, like, we know he’s not actually going to go back to the future. Because if he did, this whole back half of the season would be a waste. So like this cliffhanger is dumb on multiple levels.

Is it February yet? I need a drink.

#*#outlander starz #outlander 4x10 #drunj!der yells about outlander #rogergate

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