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aespicysstuff · 1 year ago

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Scream

Jenna Ortega x Fem!Reader

Description: "When Jenna can't help but fall in love with her coworker, but she's too much of a coward to confess believing you don't feel the same, however, the girl is wrong you would kneel for her."

Words: 18.1k

Saju: "ENJOY IT LOVE"

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Jenna Ortega is a well-known name. She is an authentic woman with unreal beauty, creativity, cuteness, education, intelligence, and more. I could spend days complimenting her without getting tired. Like many people, I know Jenna from her works. Watching her performances on screen is already something gratifying and magnificent, but nothing compares to witnessing her talent in person.

How do I know this? Well, perhaps because, thanks to my job, I had the opportunity to work alongside one of the people I admire. Since a very young age, I have always been interested in parkour, martial arts, and boxing. Recognizing my potential in these areas, my father ensured I learned everything. Thankfully to him, I have the most enjoyable job – being a stunt double.

---

You logically started with small films and series, sometimes even commercials and a few games. You had begun to gain popularity among directors, especially after being the stunt double for Zoë Kravitz in "The Batman" and being the motion and body model for a new character in the Resident Evil game franchise. The director of "Scream VI" was looking for a stunt double for Melissa Barreram, the actress playing Sam Carpenter. Like other stunt doubles, you submitted a video showcasing your skills. After seeing your performance and how adept you were at both agile and heavy movements, they hired you for the role. You've been enjoying the experiences to the fullest.

At this moment, you were heading to the set and also meeting with the cast. During the filming, you had gotten close to almost all the actors, especially Jenna and Melissa. As you arrived, you spotted Jasmine and Mason from a distance, quickening your pace to reach them. "GOOD MORNING, BEAUTIES!" You kissed both of them on the cheek. "Good morning, lovely! You woke up in high spirits today," Jasmine said after you sat beside her. "I also noticed. Does it have something to do with a 5'1" Latina who loves playing characters with no sanity?" Mason teased while ruffling your hair.

You weakly slapped his arms, scoffing as they both broke into laughter. But when you were about to say something, a familiar scream interrupted. "MELISSA, STOP!" In minutes, you saw a small figure running towards you and hiding behind you. "Y/n, protect me, plea—" Jenna was interrupted by a furious Melissa chasing her. They ran around the table, making everyone laugh at the actresses' cuteness.

You decided it would be better to stop them before someone got hurt. You got up, caught Melissa in your arms, and held her tight. She struggled a little, but your grip was firm. Though she might be taller, you were stronger. You placed her beside Mason and sat back down, chuckling. Jenna sat beside you, and you offered her a water bottle. After she thanked you and turned to the group, you couldn't help but laugh at the situation.

Your eyes roamed every detail of her face, from her freckles to her dimple, her button nose, and the lips you wanted to feel so badly. Jenna felt her heart jumping in her chest, as if she would pass out from how intensely you were looking at her. She started leaning her face towards yours, interlinking her gaze between your eyes and your lips. Hypnotized, both of you were so entranced by each other that you didn't notice when you were called, "LOVE BIRDS!! WE HAVE SCENES TO SHOOT!! STOP EATING EACH OTHER AND GO TO THE SET!!" Jasmine, always the sweetheart, got your attention, making both of you jump a little and put some distance between yourselves.

The staff and some actors had already entered; only you and Jenna were missing. You remained in silence, trying to tame your heartbeats and your blush. You heard Jenna clearing her throat, "Uh... I-I think it's better if we go inside too." Jenna said while getting up and walking to the set, not giving you time to reply. You stayed for a bit longer, trying to absorb what just happened. Would you guys really have kissed if you weren't interrupted? You put your hands on your head, sighing, and started your way to the set.

You had started the recordings, and now you found yourself restless and apprehensive. At the moment, you were shooting the theater scene, and seeing Jenna hanging there wasn't pleasant. You couldn't believe how many times this girl faced danger without fear. She had mentioned loving to do her own stunts, and you couldn't blame her. You felt incredible after your own acrobatics. Still, you feared that one day she might get seriously injured. You couldn't help but worry about her.

You almost ran towards her when the director gave the order for her to fall, but you held back and sat down again. Her character and Jack's had a brief dialogue, and following the script, Tara thrust the knife into Ethan's mouth. You couldn't deny that seeing her smile of relief after her action and the blood on her face made you more infatuated with her than you already were.

Just as it was said, you knew Jenna from other works, and since then, you admired her. Just like her fans, you couldn't resist the charms of this Latina. Since the first day of filming, you've been falling more and more in love with her. She doesn't help much in easing these feelings since, from the first day, she hasn't let go of you. Not that you're complaining, but trying to stop liking her is almost an impossible mission.

You would really like to confess your feelings to Jenna, but you feel that she deserves someone better, someone who understands her (in the work sense) and who is a beautiful woman that fits with her. You're just the stunt double, the tomboy, as some call you, simply because you have a more sculpted body, a muscular physique, and a tomboyish style. You've always faced these kinds of unpleasant comments for these reasons. Your friends always comfort you, and your small fan community defends you as much as they can.

Jenna also always comforts you when some of these comments shake you. She always says that you're like a Doberman, always with a stern face, ready to snap at anyone who comes close. She said she feels safe with you, as if she were at home. Lost in your thoughts, you hadn't noticed that they had finished the scenes. You also didn't see a certain short girl watching you attentively.

Jenna observed every trace of your face, every bit of you. From your curly hair to your tattoos, she loves every part of you. She finds herself hopelessly in love with you, every aspect of you, habits, words—you leave her fascinated. It wasn't in her plans to fall in love, but on the day she saw you, she knew her heart wouldn't hold up. She perfectly remembers how her heart skipped a beat after seeing you. You were in simple clothes that highlighted your curves and, most importantly, your muscles. But the fatal blow was the smile you gave her after hugging her.

But Jenna is afraid of this, of these feelings. She has always been more focused on work, never paid much attention to romance. But now, after getting to know you, she daydreams about your life together.

She wants to confess, but she never manages to. She always retreats before revealing her feelings, afraid that you won't fit into her life or even that you'll distance yourself because of it. That's why she hasn't confessed yet. But the desire is there, what's lacking is courage and a bit of shame.

Jenna shook her head slightly to get rid of these thoughts and silently approached you since you were still distracted. She came close to you, laughing at your expression, and on impulse, she squeezed your shoulders and gave you a kiss on the neck, staying with her face there. "Jenna! Why did you scare me like that?" You said in a playful manner, covering your face, hearing the girl laugh at the situation. "Sorry, mi corazón, it wasn't my intention, but you looked so beautifully distracted, and I couldn't resist." She hugged you, and you turned a bit, pulling her onto your lap, hugging her waist and resting your head on her shoulder.

Jenna put her arms around your neck and planted a kiss on the top of your head. You didn't say anything, just enjoyed each other's presence. It was enough. The connection you two had was visible for everyone to see, and it was a beautiful thing. That's why many didn't bother you two. Unfortunately, your moment was interrupted by the director calling you to shoot some stunts. Both of you sighed; you gave Jenna a little pat on the thigh signaling her to get up. "No! I'm not leaving. I'm home..." She said in a cute, whiny voice, and your heart skipped a few beats. "I'm home," you couldn't help but smile.

You tightened your embrace. "It's okay, my love. I promise to spend the whole rest of the day with you." You cupped her face, caressing her cheek. Jenna felt butterflies having a party in her stomach. Ugh! How she wanted to kiss you until the air evaporated from her lungs, but she restrained herself, moving away a bit and raising her pinkie finger, "Do you promise with your pinkie?" You laughed at her cuteness and joined your pinkies, "I promise, mi amor." You kissed her fingers, making Jenna even more infatuated.

"Then go do those stunts quickly because I want to be cuddled up with you all day." You picked her up, making her squeal and then burst into laughter. You put her down and started walking toward the actors, but you stopped, turned back, and ran towards Jenna. However, what she had to say got stuck in her throat. You had given her a kiss on the eyebrow and whispered in her ear, "See you later, mi amor."

You ran off after the director shouted your name, leaving a paralyzed and tomato-red Jenna behind. She snapped out of her trance and ran to her trailer, laughing like a love-struck teenager.

---

The sun had already set when everyone was released from the recordings. The sky was partially orange, and its dim light guided you to your trailer. You knocked on the door, and it didn't take long for Jenna to open it. "You took your time!" She pulled you into a hug. "Mi amor, you were the one who got released early, haha!" You squeezed her in your arms, resting your chin on her head. You stayed like that for a few more minutes.

"Let's go inside; you must be tired." She led you in, closing the door once you entered. "Can I take a quick shower, princess?" You asked, seeing a cute pout forming on her face. "But... I wanted to cuddle with you now." She pouted, and you couldn't resist the cuteness, pinching her cheeks, making her pout intensify.

"My love, this will only take me a few minutes, and then you can have me all to yourself." Jenna looked at you with those bambi eyes and agreed, going to sit on the couch while you prepared. As you had said, after a few minutes, you were already by her side, watching none other than "Puss in Boots 2" haha. You were lying on the couch, and Jenna was lying on top of you.

There was a pleasant silence between you two, only the sounds of the movie were heard. You lowered your gaze to Jenna, observing every detail of her, from eyebrows to lips. You became (once again) hypnotized. Jenna felt your burning gaze on her head and turned her face, resting her chin between your breasts, "What's wrong?" She asked, giving you a small smile. You just shook your head, watching her, seeing how every part of her reacted. God, you were hopelessly in love and didn't know what to do.

You wanted to shout at the top of your lungs about how much you love her, wanted to kiss her, love her, take care of her, wanted to be with her. But you are a coward who can't take action and is afraid of losing her in every way. You ran your hand over Jenna's face, gently caressing her with your thumb, watching her close her eyes and practically melt into your embrace.

Jenna turned her face, depositing a kiss in the palm of your hand, still with her eyes closed. She felt the temperature of her body increase with each touch of yours; to feel you so close is a blessing and a curse at the same time. She wanted to have you like this but as her girlfriend, as the love of her life and not as "friends"; she hated that term. She wants to have the freedom to kiss you, love you, but fear and insecurities consume her, and gradually she gets closer to possibly losing you.

You were in your bubble; no one spoke anything, just felt the touches of your bodies and souls. Jenna opened her eyes, seeing your eyes fixed on her, and you realized you’d been caught. So, you sent her a crooked smile with your cheeks reddish. You realized how close your faces were, and with courage taken from your ass, you gradually started to close the distance between you two.

Jenna also started to close the distance; she felt her body tremble in anticipation. She put her hands on your shoulders, grabbing your shirt. "Kiss me… Kiss me please Y/N." Jenna grabbed your face, putting her forehead on yours. She slightly dragged her lips across your face, whispering, "kiss me mi amor."

"F*ck it," you pulled her neck and kissed her. The kiss was hurried, but firm. In it, love and desire stored for so long were transmitted. Sighs were released, hearts accelerated and synchronized, bodies hot like the embers of a bonfire, hands exploring every part of the bodies, every curve, caressing the skin like a brush caresses.

The air became scarce, and both, reluctantly, separated. Jenna had opened her eyes slowly, trying to reason if what just happened was true or just another one of her dreams. She lay on your chest, still panting, and looked at you, waiting for you to open your eyes and snap out of the trance.

You felt like you were in the clouds, more alive. You opened your eyes, seeing the woman of your dreams watching you. "Are you real? Like... did this really just happen, or am I delirious?" You asked her while caressing her hair. Jenna smiled, showing her dimple, and hid her face in your neck.

You both were euphoric, finally! You had fulfilled one of the wishes, but the doubt still lingers. Even though you had just kissed each other with all of you, with your hearts, you can't help but question, "Does she really like me?"

You cleared your throat, bringing Jenna's attention back to you. "Uh... I know we just kissed as if the world were ending, but... uh... what are we now? Like, do you really like me? Because I like— No! I... I love you, Jenna." You confessed, watching Jenna react with disbelief. "I've loved you since the day I met you, with your more reserved way, your somewhat eccentric humor, your sarcasm, your freckles." You said everything with a smile on your face and a special sparkle in your eyes. "You can't imagine all the times I held back from kissing you, telling you how much I love you. All the tears I shed for you, feeling insufficient for you." You let out a shaky sigh; getting all of this off your chest is a relief.

Jenna couldn't explain what she felt at this moment. Relief? Happiness? Sadness? She couldn't believe that you were really saying all this; her heart felt like it was going to explode with so much happiness. But she felt sad hearing your last words, "How dare you feel that way?!? Y/n, I've never felt so happy, safe, and comfortable with anyone like I feel with you. It's like my heart already knew that you would take care of it with your life." She passed her hand over your face, wiping away the tears that you didn't even realize were falling.

"You make me feel so many things at once, but none of them is something bad. You always take care of me, make me feel beautiful, make me feel like I can conquer the world and the universe. You are my star; you are more than enough for me, mi amor. And answering you, I love you too, and I want this to turn into something more. I want you as my partner for the rest of my life." She chuckled lightly; her soul felt light after confessing, after knowing that you also love her.

You hugged each other with big smiles on your faces. Both have a lot to learn, but now, they won't do it alone. You have each other, and this union will be hard to break. Your love is special, like the love of the sun for the moon.

#jenna ortega x reader #tara carpenter x reader #i love this woman soo much #black reader #fem reader

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maxwell-grant · 1 month ago

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I think it’s interesting, considering how most live-action superhero adaptations kill off the villains after their debut, that both The Batman and The Penguin end with the villains not just living, but set up to return and somehow cause Even Bigger Problems down the line. Is this just because it’s the first Batman film adaptation that’s a capital-F Franchise, so the writers need the villains to stick around long-term, or is something else going on?

Almost entirely comes down to the fact that The Batman was not meant to be Batman's origin story - by Reeves' own admission, it was the origin story of the Rogues Gallery. They got the Cloverfield and Dawn of the Planet of the Apes guy and he did a story about the boots-on-the-ground gritty perspective on larger-than-life terrors emerging from the ruins and failings of human civilization, taking the struggles and wars and laborious processes that others shy away from and putting them front in center. It's just this time, instead of kaijus and parasites attacking and destroying the city, instead of apes emerging as the Mad Max warlords rising from the ashes to fight over the world, we have Batman villains in that role instead.

To me, that was actually the conception - if we weren't going to do a Batman origin story, but we were going to do it in the early years, I thought well, in the comics, the rogues gallery characters often are creating their alter egos in response to the fact that a masked vigilante shows up in Gotham called the Batman.

And so I thought, oh well, what we could do is see all of the rogue's gallery characters in their origins, like Selina Kyle before she's Catwoman, and that we could go into, as we're looking for a suspect, we could go to a nightclub, a nightclub could be the Iceberg Lounge and we could see a pre-kingpin Oz, and we could see, you know, a Riddler who is declaring himself the Riddler sort of because there's a Batman. And so all of that was sort of built into the conception. - Matt Reeves

It's far from the first Batman film adaptation to be a capital-F Franchise, even if that aspect was there - Reeves initially pitched the movie as an HBO series, and throughout production pitched additional show ideas such as an Arkham show or a Gotham PD show, The Penguin being the only one that survived as far as we know. This pulls off an origin from the Rogues Gallery better than every other Batman media ever made, and there's a couple of reasons why it does so and why the villains get to take center stage here:

Part of the difference between the way Nolan tackled realistic Batman, and the way Reeves tackles realistic Batman, is that Nolan needs realism to explain Batman, and Reeves needs realism entirely in the service of making Batman weirder. Pattison Batman is the weirdest Bruce ever put on film almost entirely because he lives in our world while still being Batman in every way that counts - Keaton Bats slept upside down in a cave, but he lived in a Tim Burton world. Adam West Bats is weird, but everybody is like that or even weirder than he is, he is the comedic straightman to everyone else. And where as Nolan needs Batman to be the thing that makes sense, Reeves needs Batman to be the thing that doesn’t make sense.

Nolan wanted weird difficult irreducible villains opposite a logical pragmatically sensible Batman, and Reeves wants exactly the opposite. For Nolan, even besides the Joker who was defined entirely around the lack of a real explanation for him, you have his take on Two-Face, Bane, the Al Ghuls, characters that don't demand that much reasoning or explanation because they can act and exist in ways that defy logic, while Batman's the guy who has to hold the center of logic and reason. Where as here, Pattison Batman is the most interesting and complicated and larger-than-life figure this world is dealing with in much the same way that Ledger Joker was for his movie, and everyone else is in the position of starting out and having to deal with Batman and the paradigm shift he brings - nobody else in the movie is quite the character they were supposed to be, that's something they're all growing into in response to their nightmare city and what this titanic freak in armor represents to them.

Even The Riddler is ultimately explainable, human, reducible to his tantrums and vulnerabilities, even without you knowing in-depth his character and backstory that would be elaborated for Dano's Year One. Even The Penguin - he may be larger-than-life, he may be unexplainable on some level, but we know all too well all of his failings and feelings and life story and all the cracks in his persona that he killed Victor to try and bury. But Batman? Next to everyone else, he is still an anomaly, he is just Like That, even to his own detriment and that of the city, and he learns that he must apply being Like That to something better.

Reeves is not interested in doing "Batman vs [X]" movies, the movies are going to be focused on Batman's arc first and foremost, which means the villains will never really take them over the way they've usually done - this is a world where it's the villains who react to Batman, not the other way around. This frees them from the burden of having to exist in direct relation to how much they can directly menace Batman, and it makes it so that these are characters that can carry their own spin-offs, which is probably a lot easier for WB to work with because these are spin-offs that they don't really have to get Pattison to show up for, but they can construct in ways that don't even need Batman to be physically there. Even after The Penguin, they might not have to do that Smallville/Gotham song-and-dance of teasing a main character who'll never get to be here, there are a lot of other things happening in Reeves' Gotham besides the existence of Batman, even if the existence of Batman has changed all of them. So structurally speaking this series has a ton of room for reocurring villains, and building it has been one of their top priorities. In fact, this ONLY gets to do so because the movie already laid out the entire groundwork for them and how it all ties together.

See, the way Batman stories do the rise of a Rogues Gallery and how it affects the city and therefore Batman always follows a sort of a 7-step program:

Gotham City is ruled by crime, crime that takes away the Waynes (Falcone / Carl Grissom (89) / Falcone backed by the League (Nolan) / the Falcone-Hill-Wayne triumvirate (Telltale) / Gotham S1 and first-half of S2)

Crime begats Batman, who beats Crime

Crime + Batman = Weird Crime (Jack Napier becomes Joker after an encounter with Batman (89) / "we still haven't picked up Crane and those other Arkham inmates btw check out this weird card" (Nolan) / Black Mask and the international assassins + Joker's rise (Arkham) / Children of Arkham (Telltale) / the Indian Hill experiments and patients (Gotham)

Weird Crime Replaces Crime (The Long Halloween / Joker takes over the mob (89) / the mob is so impressed by the pencil trick they give Joker all the money (Nolan) / Joker literally replaces Black Mask in the process of becoming Batman's main enemy (Arkham) / Penguin assassinates Mayor Hill and the Children enter a war with Mayor Dent (Telltale) / Indian Hill breakout and Maniax cult and etc (Gotham)

Weird Crime is a Rogues Gallery now (Penguin and Catwoman and Max Shreck in the sequel (Burton) / Joker and Two-Face become separate problems, Bane + Talia + Crane + Catwoman in the sequel (Nolan) / after Origins a whole asylum full of them (Arkham) / Riddler + The Pact and John becoming Joker proper (Telltale) / Gotham S3 with Tetch and Riddler and the Legion of Horribles

The city is changed by the new paradigm

Batman responds / expands or retracts in response to this change

(4 and 5 don't necessarily always happen one before the other, mind you, frequently you do have a Weird Crime Rogues Gallery before Weird Crime replaces Crime at the head of the table)

And you can apply this to most other Batman stories that don't automatically start and stay at level 5. But where as all of these have to stretch the process across sequels and continuations, The Batman is the first Batman work that gets to do all 7 of them in one row. It gets 1 and 2 done offscreen before the opening act and shown to us how they happened throughout the movie's reveals, 3-4-5-6 comprise the Riddler's plot + the other United Underworld members roped into it, and it ends with 7. Even the Batmanless spin-offs follow the process: The Riddler: Year One covers Eddie's perspective on 1-2 as he enters stage 3 and prepares it for the movie, and The Penguin covers 4-5-6, leaving us waiting for Bruce's response back to stage 7 where The Batman ended.

And up until The Batman, the process behind the creation of a Rogues Gallery had never really been much of a process - comics that go into the transition like Long Halloween/Dark Victory just show the fall of Carmine Falcone -> the freaks waiting in the wings causing it or happening immediately after. Gotham tries to work that escalation gradually and it starts relatively "normal", but it's always dancing around the premise and the central black hole and the building blocks don't have anything to do with each other - the gang wars and Penguin have nothing to do with Bruce investigating a conspiracy, which has little to do with Gordon and Bullock investigating weird serial killers who keep escalating, and then eventually we get that Hugo Strange was building freaks in his basement at the orders of the Court/Ra's the whole time until they all just escape. You can piece together how Batman works that aren't about this transition ultimately touch on most of those 7 stages and have their own version of it as soon as they introduce Gotham City in a pre-Batman/pre-villain state, but the connections are always rather tenuous and not necessarily connected to each other (and it's fine, y'know, not everything in a story always has to come from the same source).

But everything in The Batman follows a long chain of dominos that had to happen for this system to become the way it needs to be for Batman villains to emerge. Everything started in that one night Thomas Waynes saved Carmine Falcone, everything started from that ensuing connection and Thomas' failures leading to a city ruled by mobsters for 20 years and the sheer level of rot and corruption and human misery that creates and justifies the existence of Batman, and thus The Riddler in his example. Everything we get in The Penguin is the result of this paradigm shift and total civic collapse, showing the destruction of Carmine's empire as well as his legacies torched and mutated by Sofia and Oz respectively. Everything is still connected. The United Underworld guys featured in the movie live and dwell in entirely separate spaces and represent entirely different things, and they're still all connected in the same chain of dominoes, which allows them to expand and cover entirely separate narrative real estate while still giving it all cohesion.

The movie never has to specifically establish a system full of supervillains or made for them, it has to establish a system so utterly fucked and dominated by Falcone, so utterly failed by every institution and body of government and system imaginable, that it creates Batman, and the minute Batman arrives and survives long enough to be a third power / a fifth state, people in his wake trying to respond to him or do the same things he does, as a response to the same afflictions he faced and to his example or influence, are the only logical thing. Without needing to literally show the other rogues waiting in the wings, The Batman established an entire world of possibility just by very smartly using the 4 big ones + Carmine and showing why and how this regular American city becomes a place where supervillains bombing city blocks and running for political office can become a facet of daily life. Joker, Penguin, Catwoman and Riddler - positioned as separate from each other as possible to show the ways in which this is, and maybe always has been, spreading fast out of Batman's control.

And now with The Penguin, reinforcing the chokehold of crime in the city in it's old ways as well as the corrupt mutated new ones brought on by our boy, as well as a new Batman Villain (possibly two, if Eve Karlo ever gets her hands on suspicious make-up) arriving from Penguin's side of things so that it's not just Batman who has a Rogues Gallery to deal with, not just Batman who has terrific enemies waiting in the wings for a chance to enact their own forms of justice and revenge, no, that's just what life is like in Gotham now, forever.

#replies tag #dc comics #batman #the penguin #the penguin hbo #matt reeves #lauren lefranc #the batman

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rapturously · 17 days ago

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✠⠀༷ ゜𝐏𝐎𝐑𝐓𝐑𝐀𝐘𝐀𝐋𝐒 & 𝐌𝐔𝐒𝐄𝐒.

regarding character muses and fandoms.

⠀˹ 𝐩𝐨𝐫𝐭𝐫𝐚𝐲𝐚𝐥𝐬 & 𝐦𝐮𝐬𝐞𝐬 ⠀ཾ༵࿇ ˼

all characters listed here are able to be requested for one-shots & drabbles. all are grouped according to that specific fandom.

✠⠀༷ ゜ 𝐚 𝐛𝐥𝐨𝐨𝐝𝐭𝐡𝐢𝐫𝐬𝐭𝐲 𝐚𝐬𝐬𝐨𝐫𝐭𝐦𝐞𝐧𝐭.

michael myers — (rob zombie & 2018)

jason voorhees

thomas b. hewitt — (tcm remake)

brahms heelshire

eric newlon / john carver — (thanksgiving)

the sinclair brothers — (bo, vincent, & lester)

billy loomis

stu macher

mickey altieri

richie kirsch

ethan landry

amber freeman

tiffany valentine

brendan kemp / steve — (fresh 2022)

jackson rippner — (red eye)

─┄┄┄┄┄┄┄┄┄─ ─┄┄┄┄┄┄┄┄┄─

✠⠀༷ ゜ 𝐭𝐡𝐞 𝐦𝐨𝐧𝐬𝐭𝐞𝐫𝐬 𝐠𝐚𝐥𝐥𝐞𝐫𝐲.

hellboy — (all movies)

abe sapien — (del toro verse)

prince nuada — (hellboy films)

the lost boys (david, dwayne, marko, paul & michael)

the yautja — (predator)

count dracula — (van helsing 2004)

gabriel van helsing — (van helsing 2004)

pyramid head — (silent hill)

─┄┄┄┄┄┄┄┄┄─ ─┄┄┄┄┄┄┄┄┄─

✠⠀༷ ゜ 𝐭𝐡𝐞 𝐬𝐭𝐫𝐞𝐞𝐭𝐬 𝐨𝐟 𝐠𝐨𝐭𝐡𝐚𝐦.

bruce wayne — (the batman 2022)

edward nash / the riddler — (the batman 2022)

oswald cobb / penguin — (the batman 2022)

julian rush / the scarecrow — (the batman 2022)

selina kyle / catwoman — (the batman 2022)

sofia falcone — (the batman 2022)

jonathan crane / scarecrow — (bale batman verse)

─┄┄┄┄┄┄┄┄┄─ ─┄┄┄┄┄┄┄┄┄─

✠⠀༷ ゜ 𝐭𝐡𝐞 𝐮𝐩𝐬𝐢𝐝𝐞-𝐝𝐨𝐰𝐧.

jim hopper

steve harrington

edward ‘eddie’ munson

henry creel / vecna

jonathan byers

─┄┄┄┄┄┄┄┄┄─ ─┄┄┄┄┄┄┄┄┄─

✠⠀༷ ゜ 𝐡𝐞𝐚𝐯𝐞𝐧, 𝐡𝐞𝐥𝐥, 𝐚𝐧𝐝 𝐢𝐧-𝐛𝐞𝐭𝐰𝐞𝐞𝐧.

dean winchester

sam winchester

castiel

lucifer

gabriel

gadreel

─┄┄┄┄┄┄┄┄┄─ ─┄┄┄┄┄┄┄┄┄─

✠⠀༷ ゜ 𝐦𝐚𝐜𝐚𝐛𝐫𝐞 𝐚𝐦𝐚𝐥𝐠𝐚𝐦𝐚𝐭𝐢𝐨𝐧.

father paul hill — (midnight mass)

arvin eugene russell — (the devil all the time)

v — (v for vendetta)

eric draven — (the crow)

jesse pinkman — (breaking bad)

ellen ripley — (alien franchise)

david 8 — (alien franchise)

william afton — (fnaf movie)

michael schmidt — (fnaf movie)

eddie gluskin — (outlast)

leon kennedy — (resident evil)

lady alcina dimitrescu — (resident evil)

karl heisenberg — (resident evil)

joel miller — (the last of us)

rick grimes — (the walking dead)

daryl dixon — (the walking dead)

joshua washington — (until dawn)

mike munroe — (until dawn)

jim — (28 days later)

─┄┄┄┄┄┄┄┄┄─ ─┄┄┄┄┄┄┄┄┄─

#slasher x reader #slasher x you #slasher x y/n #ghostface x reader #billy loomis x reader #bo sinclair x reader #house of wax #the lost boys x reader #thomas hewitt x reader #michael myers x reader #jason voorhees x reader #slasher fanfiction #slasher fanfic #slasher smut

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synergysilhouette · 5 months ago

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"Batman: Caped Crusader" review

Binge-watched this show, and I wanted to be one of many people to share my thoughts on this--plus I was spurred on by getting a wish of mine granted from the show. Make sure to check out the show if you can!

The animation is beautiful--I know this is a weird comparison, but soemthing about the animation reminds me of 2010s Scooby Doo animated films, and I kind of adore that.

The voice acting was...fine--I can't tell if it was poor performances or poor direction; Hamish's Bruce Wayne sounds too raspy/rugged some of the time, like he's still playing Batman, and many of the other actors felt like they were just reading lines rather than performing lines, not enough emotion. IDK if they're more used to live-action work, but voice-acting is a different ballgame, since your voice is all you have to convey the character. A lot of performances fell flat for me, but it wasn't 100% unbearable, just underwhelming. I have some people I'd recommend instead (both familiar to the role and otherwise), but I don't wanna start anything.

LOVED Harley (but not her costume)--Jamie Chung had one of the better performances in the group, and I really LOVED the angle they did for Harley; I feel like the media often flanderizes her as the goofy crazy chick, so seeing her actually utilize her psychology skills (like I've been asking for!) is so satisfying. That said, the outfit has GOT TO GO. Gold and black is gorgeous, but it ples in comparison to her black and red look. And a weird nit-pick; when I first saw the stills, I was under the impression she was wearing a carnival-esque mask rather than face paint, and I find that idea a lot creepier. I wish we'd gotten more of Harley's antics--and even seeing her get close to Bruce in the way she did with Barbara and Renee--before revealing her as a big bad to the public. And I appreciate that she isn't 100% evil; she is doing what she believes is a noble cause, just doing it in an illegal and unethical way. I needed a backstory!

Not enough Batman--Maybe it's just me, but it definitely felt like there were some episodes where Bruce and Batman were supporting characters and more focus was on the GCPD. While I don't mind it too much, I enjoy superhero shows for the superheroes, not the heroes; this is why I had a love/hate relationship with "Gotham."

Batman (and Bruce) isn't quite likeable enough--In earlier incarnations, Batman was more kind and caring before becoming more emotionally closed off with time, but here he's that way from the get-go. Not to mention that Bruce Wayne puts on a facade around everyone, even people he trusts (he probably did that anyway; I can't remember), and his session with Harleen really frustrated me because I don't expect his walls to come down immediately, I don't expect them to be this high this early. I wanted him to be a bit warmer and transparent, rather than curt and cold like he's usually seen in the show. I feel like this is an issue often seen in comics, too; people prioritize Batman's "coolness" and thus push his feelings to the wayside.

Using underrated and familiar villains--I'm sure the real experts are gonna chew me out for this one, but as someone who got into comics in the 2010s and didn't catch up on the acclaimed 90s series, it was fun to see villains I loved and villains I didn't know; one of the best things a popular property can do is use underrated characters, since it helps the show feel original and fresh (thus why "Teen Titans" is so enjoyable; the whole franchise is underrated).

Too modern for the 1940s--I can't put my fingers on it exactly, but the vibes feel too modern; I assume the 1940s was for aesthetics, but since everything else feels updated (from the way people talk to Harley and Renee seemingly being open about their feelings for each other), I don't think it was a wise choice to have it both ways. I see no reason not to have it in modern-day, but I suppose you'd have to get more creative with technology.

Barbara and the Robins--First off, I should've gambled with someone that Jason would be a redhead; I'd have made SO MUCH money. Secondly, I'm not crazy about how all four kids are orphans; If I recall correctly, both Carrie and Stephanie's parents were alive when they joined the Batfamily. In any case, I'm confused on why Barbara is significantly older than them when they're all supposed to be within the same age bracket (I think; someone has told me otherwise since posting this, so I could be wrong). Not to mention, a part of me worries that because of the quartet's young ages and Barbara getting so much screentime as a lawyer, we won't get any of them as Robins or Batgirls unless something drastic happens, and/or we get a time jump.

Overall, I think my biggest gripes are the voice acting and how Batman/Bruce Wayne is written. That said, I enjoyed the show overall. IDK why HBO Max dropped it. Hopefully season 2 will introduce Poison Ivy, Catman, Tim Drake, Ghostmaker, and Gardener, since the finale already showed us a certain someone who IS coming to Gotham.

#batman #bruce wayne #batman caped crusader #caped crusader #harley quinn #catwoman #barbara gordon #dick grayson #stephanie brown #jason todd #carrie kelly #two face #dc comics

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traceytonight · 2 months ago

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Tracey rambles about Tron Ares again

Tron Ares fills me with so much dread, each passing day is like a countdown to the death of a franchise I care so much about.

The producer, title & main character, is literally Joker Morbius alleged pedophile since the early 2000s himself Jared Leto. That alone ruins the movie for me, and yet every following bullet point makes everything about and around it so much worse.

-Premise is explicitly "What if the Grid came to the real world".

NO, the interesting part of the series is THE GRID, where all of the deeply meditative commentary about our world and visually interesting splendor is supposed to be! Yes we had the lingering plot thread of Quorra coming to our world, however;

-Nothing directly tied to Tron Legacy is specifically being followed up

So no seeing where Sam Flynn could have taken Encom, no Quorra adjusting to our world, No Edward Dillinger Jr scheming with the resurrected MCP; But most disrespectfully of all, they didn't even bother to get Bruce Boxleitnter back, THE GUY WHO PLAYS TRON (and Alan Bradly & Rinzler). The one guy who actively loved this series and campaigned for a Third Tron film for over a decade, and previously Tron Legacy for even longer. But you know who they are bringing back?

-Kevin Flynn is back

THE GUY WHO FUCKING DIED IN THE LAST MOVIE. Undermining the noble sacrifice that was integral to the core themes of the film.

And just today we got this:

This is so far from an advancement design wise of the Light Cycle from either film. None of the simple shape language of the original. None of the sleek visual melding of human & technology of Legacy. While the light cycle was always cool for being a futuristic video game-ass motorcycle, its was just one of the multitude of visual elements that served the thematic purposes of Tron flawlessly.

Meanwhile, this not only physically separates the driver from the cycle, they further emphasize it through all the little gaps where there were none on either prior design. They so easily could've had the red line on Ares connect into the obviously aligned part of the bike.

Even if this is meant to show the separation of the programs from the grid for some thematic element we're unaware of at the moment, we're already going to be getting a lot of that considering the movie takes place in an average ass city.

Also, to be truly nitpicky, it looks really uncomfortable to sit in & I don't like all the added greebles.

To circle back around, what I really hate about the cast, besides the obvious one, is that there are a lot of actors who I think will work extremely well in the world of Tron. Greta Lee, Gillian Anderson, Evan Peters? Inspired casting choices.

Meanwhile production wise we're literally taking David Fincher's collaborator trifecta. Jeff Cronenweth (Cinematographer), Tyler Nelson (Editor), and Trent Reznor (Composer, backed up by Nine Inch Nails) all worked on The Social Network, another one of my favorite films. Jeff is literally the son of Blade Runner's cinematographer, Nelson was co-editor on The Batman, a film with incredible pacing thanks to their hardwork, and while I'm not the most familiar with Reznor's full body of work, I've sincerely liked everything I've heard and think in conjunction with Jeff & Tyler he will make something fantastic and fitting for the tone of this film.

However, the screenplay is done by the writer of Harry Potter & the Cursed Child, and is being handled by the director of Pirates of the Caribbean 5. Choices that feel at odds with the prestige praise I was just handing out a paragraph ago.

Theres so many good elements that are eclipsed by its central glaring protagonist, seeming lack of the interesting setting/designs or integral thematic elements that I look for in Tron, and lack of expectation regarding the choice of director & writers.

Because my two greatest fears are not about if the movie is awful and destroys the franchise as I'm expecting it could, it's either:

What if the movie is genuinely good? Well acted and performed, somehow actually has the same level of philosophical inquiry that Legacy & Identity have? How am I gonna face that reality with the enormous horrific issue starring in it?

What if the movie is bad in everyway that I think it will be, but does financially and/or critically better than the first two? The franchise is not killed again, but revives and bases everything going forward around this awful outlier in the series?

Unless this movie fails so horrifically that Disney wants to scrub it from existence, as they tend to do, the future of any Tron media will undeniably be forced to cohere itself to the existence of Ares.

If you want something that actually expands on the musings and universe of Tron, play Tron Identity. A game so lovingly crafted for fans of those elements of Tron as a connected series. And I know this factually, as the writer of the game itself (who also created Thomas Was Alone) watched my twitch stream of it and confirmed my ramblings about the deep seeded lore and intent of design of the TREES that appear in the game. Only one example of the incredible attention to detail the game delivers on. Plus its also getting a sequel that unlike Ares, I'm awaiting with bated breath.

#Tron #Tron legacy #Tron Ares #Tron Identity #Im so sorry I needed to get this out of my head lol

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velvetvexations · 11 days ago

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The big issue with "Batman should kill" and "Batman shouldn't kill" is that Batman not killing is obviously reasonable and makes a lot of sense from the perspective of a grounded, realistic world, but falls apart and becomes logically impossible in a franchise steeped in continuity running nearly a century now and intended to continue running for as long as possible. Superhero films tend to almost always have more definitive endings to their villains one way or another because they're not going to be needed again before the next reboot. It's only when Joker kills a bunch of people and this is supposed to be canon with all those other separate incidents in which he killed a bunch of people that "no killing" starts to buckle.

#batman #dc comics

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ariainstars · 1 month ago

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Why Can’t the Star Wars Franchise Renew Itself?

„Shame is a soul eating emotion.“ (Carl Gustav Jung)

Warning: longer post.

Growing up with Japanese anime I learned that being a hero is not about being perfect. The heroes I knew looked cool, were smart and brave and anything you could wish for, but also human: they were tormented, traumatized, struggling, they often doubted themselves and they sometimes cried (yes, the guys too). When I was first confronted with the Western idea of heroism I was appalled; to this day, I can’t fathom what is even supposed to be heroic about a guy like James Bond. Western heroes are usually just as terrible as the villains, except that for some reason they happen to be on the right side. The way they appear is more important than what they do. Franchises like Terminator, Mission Impossible, Batman etc. always portray the “hero” as untouchable, seemingly unbeatable even in the most dangerous situations and, most of all: impassive.

These days, new stories are being told. With new heroes. Except that said heroes are still quite the same as above, only now they’re more often female.

Is it an improvement when heroes are portrayed as being complete a**holes, with an aura of perfection and untouchability? No.

It always was ridiculous. It always was awful. It always was immoral.

But hardly anyone seemed to care as long as it was the guys being tough. Now that females are often portrayed doing and appearing the same, being a cool a**hole has become a caricature. Most people hate it. But the problem is that portraying alleged “heroes” like that was wrong in the first place.

The Fandom Menace

To Star Wars viewers who see stories as simply black and white and who are there mostly for the action and the superior-looking heroes, the Jedi are untouchable. Solitary and aloof, the Jedi have shiny sabres and can make things float, they travel the galaxy to kill the villains according to their own judgement. What could be more masculine than that? You try to tell an action film fan, or a Jedi fan, in particular, how messed up that is: they will never accept it. No wonder they get so upset and embarrassed when Jedi show their vulnerable, human side. Luke’s green milk in The Last Jedi must have caused a million of meltdowns among Jedi stans, mostly male ones, who felt that their hero had been character-assassinated and totally missing the point. Fans who are used to admire “heroes” like Batman, James Bond, Rambo etc. believe that the main characteristics of a male hero is a stoic appearance. A man who actually questions and doubts himself and feels guilty when he did wrong is automatically branded a loser.

Star Wars is mostly followed by action fans. But since it’s not a typical action franchise but an epic fairy tale and a metacommentary rich in symbolism, philosophy and psychology, there are also many intellectuals who love it, or hopelessly romantic souls like me. Except that fans who can actually enjoy Star Wars even when it’s not about the alleged Jedi superheroes, will most probably not send death threats to the studios and believe that “everything will be better once these producers are gone.”

The Prequels

The prequels were so disputed that Goerge Lucas himself confessed that he had sold the rights to the saga because he didn’t want to be exposed to that pressure any more. Ahmed Best, who played Jar Jar, was mobbed to the point where he considered suicide. Jake Lloyd, who portrayed little Anakin, suffers from schizophrenia to this day.

Were the films really that bad? No. But for the first time after having spent the years since 1977 believing that the Jedi were the wisest and strongest men of their time, fans were let down being confronted with their many mistakes. Anakin Skywalker was all too human as well, and quickly got apostrophized as a “whiny brat.” The very idea that the iconic villain Darth Vader once was a kind-hearted little boy and then an ardent young man was considered shocking to say the least.

The Classics

Luke is a simple farmboy when the saga starts, young, hot-headed and naïve. He is hardly aware of his powers. In the second film he’s more mature, but still impulsive and reckless. It’s only in the third instalment that he’s calm and collected: he’s a Jedi now, as the title says.

Let me ask a bold question.

Would there have been the vicious uproar we have witnessed, had The Last Jedi picked Luke up where he was in the first two films, before he became a Jedi?

I daresay, no.

Because to the Jedi stans Luke is first and foremost a Jedi. And that is what they get wrong.

Luke’s strength was exactly that he did not act like the other Jedi, that he followed his heart instead of their maxims. Had he acted like a Jedi, like Obi-Wan and Yoda expected him to, he would have killed his own father and spent the rest of his life hating himself. Luke is a team player, it’s one of his greatest strengths ever since the first film. He’s the one who brings people together and reunites his family. No Jedi is like that, on the contrary, in the prequels we learn that they’re discouraged from bonding with other people.

Jedi stans love Luke the Jedi, not Luke the person, who was wiser and stronger and better than any of the old-school Jedi, who strictly followed the rules instead of following their hearts the way he did.

Luke is the central character of the classic films because he’s so likeable. All three classic films have a scene towards the end where he’s about to die, and someone rushes to the rescue - Han in the first film, Leia in the second, Vader in the third. Do they save him because they are interested in his Jedi-like qualities? No. They do because they care for him; because, each in his own way, are his family. The Skywalker saga is a hymn to the power of love.

Hardcore fans still haven’t understood that the core story of Star Wars is the Skywalker saga, the story of a family. That’s the actual beauty and fascination of the Star Wars saga. And yet Jedi stans can pick apart any and every photogram of The Last Jedi and rant about how awful it is, never getting one inch closer to what is actually irking them too much: their own, misguided conviction that The Jedi Are the Good Guys and that their detached, collected attitude is not hypocritical.

Pride, male pride in particular can be oversensitive, and apparently many don’t grow beyond the mental stage of adolescents, who are particularly vulnerable. Listening to Jedi stans one would think that the Disney studios are producing new Star Wars content with the deliberate intention of hurting their feelings and laughing into the face of their ideals.

The Sequels

In Return of the Jedi (the only film where for all intents and purposes Luke looks and acts like a Jedi, and the title says it), on the Death Star he lashes out towards Vader when he threatens to corrupt Leia if he won’t succeed with him; and when he realizes that Vader can feel him in his mind, he says “I shouldn’t have come, I’m endangering the whole mission”. This fits perfectly to a Luke who debates killing his nephew - and that time he didn’t even strike - and who, once the damage is done, closes himself off the Force and retires to a deserted island before he can do any more harm. But ever since The Last Jedi, Jedi stans rave that “their hero” Luke Skywalker would never have behaved like that and that the film was a slap in the face of everything he ever stood for. Why?

Jedi stans expected Luke to be the hero and central figure of the sequel: he was supposed to be adult at last, wise, self-controlled, powerful, in other words the perfect Jedi. After the events on the second Death Star, Luke was not celebrated; no one even knew that Vader had saved him. In the final scene he had a vision of his father, now looking healed and serene, together with Yoda and Obi-Wan. No one else saw that, not even his sister. So, a lot of fans were waiting for Luke to have his big moment at last.

Instead, they saw a disillusioned hermit who at one point had to admit that he pushed his own nephew, albeit not on purpose, to the Dark Side. Luke was portrayed as a man who still had hope and strength even when he had seen his whole life’s work literally go up in smoke; who admitted his faults, apologized, and in the end gave his life to still make the best of the situation. That is what true heroism looks like. But it’s not what an average action moviegoer wants to see: to them, a hero looks cool, kills whoever gets in his way, maybe says some wise-sound words, and that’s it. Bonus if he gets the girl.

Jedi stans felt that Rey was taking the shine from Luke, pushing him aside. Far from usurping his place, Rey said to Luke “I need someone to show me my place in all this”. She clearly didn’t want to fill in his place. But Jedi stans felt like they were watching a James Bond film where Bond is suddenly not convinced of his mission, doubts himself and steps aside to make way for someone who normally would only be a Bond girl.

Rey is one of the most controversial characters of the sequels, allegedly because she’s a Mary Sue or a feminist fantasy who didn’t earn all that she achieved. But in the classics Luke was also good at things we never or hardly had seen him training or learning before. In The Empire Strikes Back, he pulled his sabre into his hand only by the force of his will, and called out to Leia in his mind. He acted on instinct; he assuredly hadn’t trained at a Jedi temple for decades.

The sequels were the story of the third generation of the Skywalker family, and one of its main mistakes, the way I see it today, is that they focus too much on Rey. She is Ben’s other half in the Force, as we learn later on, but still: the scion of the Skywalker family is he, he is the one who changes deeply, while she doesn’t.

I like Kylo Ren / Ben Solo because he’s a complex character, well-written and interpreted, but not only for that. I understood him so well on a personal level. I know what it means to be so isolated and abused that the moment someone shows you only a glimpse of kindness you fall in love to the point you would do anything for that person. The actual problem was that Rey did not know what she wanted, or what the Force wanted her to do. She only told Ben “not to go this way”. He saved her life twice, once as Kylo (when he killed Snoke) and once as Ben (when he gave her his remaining life force). If she had known what she wanted apart from staying alive, or if she had known the will of the Force, I do not doubt that he would have done anything she wanted. But she didn’t.

Star Wars stories only develop and the heroes only have success when they know what they want, not what they want to avoid. Fair enough. But the Force’s will remains mysterious. Even the alleged Chosen One didn’t know it. After The Last Jedi, I naively assumed that the better times when the Jedi actually did the will of the Force and the galaxy was at peace was during the time when the temple of Ahch-To was built; that we would learn more about it and that new Force users would find back to these better times. Seven years after having seen the Force Balance mosaic on the floor of the Jedi temple, I’m still waiting in vain for one or more Force users to actually discover and share said balance.

Obi-Wan Kenobi (2022)

The miniseries Obi-Wan Kenobi was the first and only time that I actually liked a character who I had until then felt to be narrow-minded, haughty and largely responsible for Anakin’s damnation and the downfall of the republic.

“From my point of view, the Jedi are evil!” Anakin Skywalker in Revenge of the Sith

Obi-Wan proved that Anakin was right a few minutes later: he ended the duel with Anakin cutting off his legs and leaving him to burn in the lava - a Jedi does not soil his hands through a coup de grace. Obi-Wan did not manage to save Anakin in the moment of his greatest need, and he did not have mercy. Padme was about to take Anakin with her, which would at least have spared the galaxy the worst. Being the perfect Jedi, of course Obi-Wan had to interfere, setting the seal on Anakin’s fate. At the beginning of the same film Anakin killed Count Dooku who was kneeling handless in front of him; and it was also said that Anakin had saved Obi-Wans’s life ten times over. But he did not learn from his mistakes: twenty years later he tried to push the naïve Luke to patricide, so that is own hands would, again, not get dirty. Obi-Wan recurrently appeared to Luke as a Jedi spirit; but in The Empire Strikes Back when the traumatized young man, having learned the truth, repeated over and over, „Ben, why didn’t you tell me?” he was silent. When they did meet again, he shirked his responsibility with wise-sounding words.

Was Obi-Wan a good Jedi? From their perspective, undoubtedly. But I would not call him a compassionate human being. Obi-Wan was afraid not so much of Anakin but of the Jedi’s judgement: he knew that if Anakin tripped over a line, he as his master would be responsible. And Yoda had his fair share of responsibility - he refused to help Obi-Wan with the training of the powerful boy, he feared him although he was the one who clearly said that fear is the way to the Dark Side, and in Revenge of the Sith he practically ordered Obi-Wan to kill him.

Obi-Wan was always the first to draw the weapon. In A New Hope, he cut off the arm of a guy at a bar who was merely annoying him. In Revenge of the Sith, he attacked General Grievous showing up behind him, challenging to an uncalled-for fight. He had neither himself nor anyone else to protect right then. During his duel with Anakin / Vader in Obi-Wan Kenobi, he also was the first to draw his weapons.

Obi-Wan never questioned himself, his choices and actions. He never took his responsibilities: even when dead, he justified his blatant lie to Luke saying that the truth is only a point of view. He never felt guilty or admitted defeat and wrong choices.

Not until Obi-Wan Kenobi, where was alone, traumatized, regretful, bonding with little Leia. Owen said clearly him that he did not want him to train Luke because of the way he had trained his father. Human at last! The last thing Jedi stans want him to be like. He even did what a Jedi actually ought to do, giving Reva spiritual advice. Of course, another Star Wars character who was accused of having been “character assassinated”.

Was Moses Ingram attacked for her portrayal of Reva because she’s a woman of colour? No, it was because Obi-Wan was not portrayed as Jedi stans wanted to see him. The actress was mobbed because they needed someone to project their hatred on. It’s true that her character was not written well, but any fool must have known that it wasn’t the actresses’ fault.

The Acolyte (2024)

“The Jedi live in a dream. A dream they believe everyone shares. If you attack a Jedi with a weapon you will fail… But an acolyte kills without a weapon. An acolyte kills the dream.” (The Stranger)

„The majority of my colleagues can’t imagine a galaxy without the Jedi. And I can understand why. When you’re looking up to heroes, you don’t have to face what’s right in front of you.“

„I think the Jedi are a massive system of unchecked power posing as a religion. A delusional cult that claims to control the uncontrollable. You project an image of goodness and restraint. But it’s only a matter of time before one of you snaps. And when, not if that happens, who will be strong enough to stop him?”

(Senator Rayencourt to Master Vernestra)

Did anyone at Disney Lucasfilm honestly think that this kind of show would be accepted and even loved by Jedi stans, who make up the majority of the fans - or at least a group that is very loud in their disapproval? If it “simply” was a bad tv show, fans would be disappointed, shrug it off and move on. I haven’t met such an amount of online vitriol since The Last Jedi, and it’s not difficult to see why: because the precious Jedi were shown as arrogant fools who believe they mean well but are too narrow-minded and stuck-up to see the errors in their ways.

„The Force does not belong to the Jedi.” (Luke Skywalker in The Last Jedi)

Some in the galaxy far, far away call it The Thread. And use it their own way. Both ways might be wrong. Osha is raised by two very different mentalities and finds both don’t suit her, so she joins The Stranger who is also looking to find his own path. Whether they will or not we won’t know unfortunately, since the show’s second season was cancelled. (At least for now.)

Is Master Sol a bad person? No. He’s fallible and believes that the lies he told Osha are justified. So are the other Jedi that travel to Brendok with him. What makes Jedi stans hate them is that they don’t defeat the Stranger; and that Sol and Torbin actually feel guilty for what they did to Mae, Osha and their family. Vernestra on the other hand lied to the Jedi Council to make sure they won’t find out what happened.

Sol took Osha away from everything she had known by destroying, in the process, her home, her past and her family, and letting her live in a lie for the next sixteen years. Sol knew that she was already too old to be trained, and taking her as his padawan he set her up for failure. Even when she left the Jedi order, failing the tests, he didn’t tell her the truth. Osha was condemned to loneliness, her only friend being Pip, a mechanical device. She could go back neither to Brendok nor to the Jedi, and being Force sensitive, she belonged nowhere until she met the Stranger.

Sol certainly was kind to her while he trained her, but for all the wrong reasons. He said that he “felt that Osha was meant to be his padawan”. What does that mean? Osha failed the tests and Sol knew she was already too old for training. He even said he loved her at one point. My take is that Sol felt lonely and wanted to raise her as his daughter, he did not care that much about Osha becoming a Jedi nor not. Osha was right confronting him about what he had done to her, her sister and her entire coven, allegedly knowing what was best for her. She didn’t have to go as far as to kill him, I found that it did a lot to make her character unlikeable. Osha effectively “killed the past”, the way Ben Solo had wanted to. However: if it’s immoral to kill your father figure, it is equally immoral, if not much worse, of said father figure to wipe out your family and its entire civilization with it just to get a hold on you because you have the same power as he.

Impossible!! A Real Jedi would never do that! That’s why Jedi stans hate on the show and will pick on every small detail where they believe they find a flaw. The actual flaw is their headcanon that the Jedi can’t be the problem. Watching the saga, you see that they were very much a problem. But woe if you speak up; your will get your head ripped off.

The Acolyte also isn’t a female fantasy, as his haters claim. The strongest and most impressive character is the Stranger. Mae is his first pupil, but she doesn’t connect with him on a personal level, she only learns fighting from him; in the end, this makes her regress to childhood (the Stranger deleting her memory and she finding herself helpless in the Jedi order the way her sister had been sixteen years earlier). So? It appears that just wanting to be a strong female character and to do what a guy shows you is the wrong way, which is certainly not feministic.

The Stranger, despite his black clothes and mask, is not a real villain: when you watch him fight you see that he defends himself, he never attacks first. Despite their Code, again we see Jedi draw their weapons first, attack from behind or eight against one. He rightly points out to Osha that Yord had arrested her for a crime she did not commit and that both Jecki and Sol, whom she saw as her friends, would never commit fully to her.

Another popular criticism is that the Stranger allegedly has seduced Osha to the Dark Side with his male charms. But the Stranger is a mixed creature the way Osha is, neither good nor evil; he kills in defence or self-defence, and when he criticizes the ways of the Jedi he has a point. Osha is neither good nor evil herself, and I liked that they were starting on a new way together, all the more because I had been so disappointed that the sequels didn’t show us the much-needed and already announced Balance in the Force. When both Anakin and his grandson Ben came back to the Light side, it swallowed them whole, causing their death.

The Acolyte is a metaphor for growing up. Osha learned two ways of using the Force - first with (mother) Aniseya, then with Sol (father figure). The Stranger understands her doubts because he’s been through the same. Osha understands him better after putting on his helmet. In the end, they join their lives to find a new way together and in the final scene, both turn their backs to the past.

The Broom Boy: a Metaphor for the Future

The final scene of The Last Jedi with the Force-sensitive slave boy sweeping a floor before an open space which looks very much like a theatre stage, and who then looks up to the stars dreaming of being a Jedi, was clear: “Free the stage, now it’s time for us, the children.” There has hardly been a Star Wars show until now where there wasn’t a child in a central role.

Since the prequels, Star Wars made a point of showing that the Jedi are very bad at dealing with children. Anakin was taken away from his mother at age nine, shouldered with the prediction “You are the Chosen One”, and his emotional development was stunted because he was not allowed to go through the stages of being a normal child and teenager. Remember Attack of the Clones, where we see children playing around with light sabres - deadly weapons - like they were toys? Or Revenge of the Sith, where we see even smaller children, all with their light sabre tucked into their belts? It looks tragic. The scene where Anakin kills the children is a painful metacommentary on how a good person with a gun is no match against a bad person with a gun.

Sol: „She was just a child.” The Stranger: „You brought her here.”

In The Acolyte, Torbin and Jecki are heartbreaking examples of two Jedi padawans not allowed to be the teenagers they actually are. Jedi stans call Torbin “whiny”, but they overlook that his behaviour is normal for any teenager forced to be away from home for weeks on end on a trip he didn’t choose to make. Jecki has more self-control, but it doesn’t help her: she gets killed. The Stranger rightly points out that they both should never have come along on a risky mission to a planet with wholly unknown dangers. Jedi stans of course despise Torbin, because he’s supposed to be proud to be part of the Jedi since it gives him the possibility to look cool and fight all the bad guys in sight. Ironically, Torbin is the only member of the group of Jedi on Brendok who feels that something dreadful is about to happen and wants to go away. And years later, he is the only Jedi who admits to Mae that he feels guilty for what they did to Osha and her covert believing “they were doing the right thing”. That’s simply not what Jedi stans want to see. It’s an aberration to them, a slap in the face of everything they believe in.

Luke did not learn his ideals from the Jedi, he learned them at home with two simple farmers who neither were Force-sensitive nor knew the ways of the Jedi. Had he been raised like his father, all his power wouldn’t have helped him. Why do the Jedi insist that at a certain age you’re too old to be trained? I daresay because you have to start with brainwashing very early, before a person’s character is formed and its ideals in place.

The Mandalorian always allows Grogu to be a child. He keeps him close because that’s where’s he’s safest; he does look for safer places where he could leave him and is ready to make the sacrifice to give him up, but Sorgan proves not to be safe and later on Ossus, Grogu chooses to leave Luke on his own accord. And as soon as he is with Mando, he shows his playful side again. Grogu needs that! It’s healthy, because a child needs to be a child, no matter how powerful it is. But Jedi stans only think that it must be a great honour to be trained to be a hero from childhood on, never considering that it’s unfulfilling and frustrating at best, and traumatizing at worst.

It’s not a coincidence that family is the core theme of the Skywalker saga. Children who grow up feeling loved and protected develop well. That’s a wise message, and The Bad Batch, Obi-Wan Kenobi or The Mandalorian made a good point of it. But still: until now it didn’t lead anywhere. None of the Force-sensitive children we saw until now pointed to a new and better new Jedi Order, or anything else of that sort.

Star Wars Bigotry: Jedi and Jedi stans

If the Force wants Balance, as is said in the prequels, then the Jedi must be just as wrong as the Sith, because the Force does not want to be used either way.

I don’t mind a good villain. But if a viewer needs to compartmentalize characters into black and white or else he believes it can’t work, then that’s his problem, not the author’s. The sequels were unclear as to who the villain was, so was The Acolyte, so Jedi stans rave about how they suck. In my opinion they’re interesting exactly because the good guys sometimes do wrong and the bad guys sometimes are right. Of course, anyone who’s adamant that a good story, in particular a good Star Wars story, has to be Good Guys against Bad Guys with the Jedi being the good guys will never accept that.

The Jedi worshippers are many, and they are the most vicious among the SW fandom. Woe if you dare to criticize their Flawless Heroes with shiny light sabres who make things float. They will pretend that „wokeism“, feminism, blackwashing etc. are the problem. But that’s not true. Most of them wouldn’t mind strong female characters, queer or black characters whatsoever as long as the show they appear in would actually focus on showing off the Jedi as heroes. They do not mind stories like The Mandalorian, Rogue One, Andor, or The Bad Batch, they usually like them: because the Jedi hardly appear there. Or if they do, like in The Mandalorian season 2, The Book of Boba Fett or Ahsoka, they kick ass. In The Force Awakens Han Solo, also a very popular character, got killed, and no one hated on that film, on the contrary, most fans loved it. But hey, Han is not a Jedi. He can die a seemingly senseless death.

The Book of Boba Fett was mediocre at best. But it wasn’t hated. On the contrary, a lot of fans loved episode 6 because they finally saw a young Luke as a Jedi master making frogs float (argh!). The Jedi taught their pupils to suppress their feelings and to live without attachments, an attitude that proved fatal. Yet Jedi stans love the idea, probably because of the age-old adage of the lonesome cowboy who is too cool and aloof to care for anyone. They loved seeing Luke as an adult Jedi master alone and cut off from the very people who had been his life and purpose until then. He trained Grogu but didn’t play with him, didn’t allow him to be a child. It was the contrary of everything the character ever stood for - family, friendship, team spirit, loyalty. Of course that was not seen as “character assassination”, apparently that’s exactly what they wanted to see.

Many Star Wars fans believe that Luke Skywalker and the Jedi stand in for certain values, which they claim as their own. These values are their own values; they have only chosen a person and a group to represent them. If you believe that Star Wars is about Good vs. Evil and that the Jedi are the heroes who always triumph, of course you will be disappointed by the new stories. The studios are not deliberately harming the franchise, it’s the fans who want the saga to fit their worldview. They hardly care for what the stories really tell them. Someone who e.g. is convinced that all Frenchmen are cheaters and liars will also see a Frenchman and see in him the embodiment of everything he despises; he will not care to get to know this man better, or to learn about his country and his culture. And if said Frenchman has success in his life and is popular, the worse. It’s unacceptable. And anyone who does not hate this particular man is an idiot.

Bigotry has many forms, it doesn’t only mean despising and not wanting to understand people from another race, religion, orientation etc. The Fandom Menace’s bigotry consists in worshipping the Jedi and hating anything that criticizes them. Bigotry is the firm conviction of being Good, and supporting who also is “Good”, whatever category those good people are supposed to belong to. A bigot is a stern denier of his own sins and inner darkness. Either you’re with him or against him. Bigoted people are capable of fighting tooth and nail against perceived “enemies” who threaten their ideal of the “goodness” they believe in and think they belong to. Unfortunately, Jedi stans have many channels on social media and many, many followers who would rather die than see the Jedi as anything but perfect. A perfect person does not go wrong, of course. Ever. Their perfection prevents them from questioning themselves. A lot of fans don’t even watch the pieces of media they criticize at all, but hate on them anyway because their influencers tell them they suck. Bullies do not care who they attack. They feel frustrated, they can’t handle their feeling of shame, and take it out on who is or seems most vulnerable. And the worst bullies are those who pretend they are being aggressive out of morality.

“Wokeism” is Not the Problem

After the hatred coming from the fans who disapproved hotly of The Last Jedi, the narrative of this film was tainted and instead of finishing all the narrative threads it had set up, it was plainly ignored in favour of a pure action film, flat and disappointing. The Rise of Skywalker ended not only the trilogy but the entire saga in a way that I can only call disgraceful. On both sides, hardly anyone really liked it. But was it hated? No, because the Jedi were portrayed as the heroes, with even one ridiculous scene where the ghost of Luke appears to Rey telling her how wrong he had been when he was still alive.

Just for comparison: very many fans of Joker didn’t understand the film’s point as well. Todd Philips answered with the sequel Folie à deux, which is a logical continuation of the first film and boldly asks the audience to look at themselves and their wrong interpretation. The reviews are mixed - as with The Last Jedi, apparently you can only love or hate that film -, but Folie à deux is, first of all, a good film. In time, when the controversy has calmed down, it will be remembered as an excellent piece of art. The Rise of Skywalker is just embarrassing, and there’s no way it can age well.

The saga was indeed tainted, but not by Disney. Toxic fans who flooded social media with hate after The Last Jedi and sent death threats or tearful resentment to the studios did, resulting in the production of the flattest, most low-quality and uninteresting film Star Wars has ever seen, obviously patched together as a try to “amend” for what didn’t need to be amended for in the first place.

Star Wars’ strength is constant weaving between Good and Evil, good guys showing dark sides and bad guys having a point, interacting and learning from one another instead of killing each other. It could be a dream for film studios and authors, because it offers such rich tapestry for storytelling: the possibilities seem endless. But every time anyone dares to criticize Jedi or to show that an alleged Bad Guy still has a bright spot in his heart, and that he might have his reason for turning his back on the Jedi, Jedi stans cry out to heaven as if an inconceivable blasphemy had occurred.

If you like the sequels, you’re an idiot “Reylo” who believes she can fix the bad guy. Kylo Ren alias Ben Solo was the most deep, complex and fascinating character of the sequels, who went through a deep and compelling transformation. And no, he was not fixed by a woman’s love. But if you understand his conflict and follow him hoping for him to come back to the Light, you just “don’t get it that he’s the villainTM who wants to seduce an innocent girl to become evil”.

Same thing with The Acolyte of course, because there’s a scene where we see the non-Jedi-not-quite-Sith taking off his clothes. Of course the Stranger was “evil”; he wanted an acolyte, i.e. he did not want to be alone. What kind of guy is that, who does not embrace his loneliness?! The Strager - a guy - was he coolest character of all in The Acolyte and the only “relationship” we saw there was one between man and woman. But if you like that show you’re apostrophized as woke (which is still a mild word), because the author is a lesbian and the actress portraying the protagonist identifies as non-binary. That is neither true nor does queerness have anything to do with the show’s quality.

Luke exposed himself both body and soul to the Emperor, first almost falling to the Dark Side himself and then almost dying in the process, because he wanted to “fix” the Bad Guy, aka his father. And he actually did.

In The Bad Batch, the character of Crosshair goes from belonging to the heroes to betraying them and then going back again. In the last season his relationship with Omega is evenly balanced, they break free from imprisonment together. It’s one of the show’s best parts. But they are no Jedi, so that show is not hated on.

Jedi stans expect Star Wars to “stick to its roots”, i.e. tell stories where morals are as clearly cut as in A New Hope. They don’t consider that that expectation was already beyond all hope when The Empire Strikes Back came out, with its infamous key scene and all its implications, including the failure and hypocrisy of the Jedi.

Action films have taught spectators that real heroism is defined by the “license to kill”, i.e. the good guy is recognizable from the fact that he has the right - or believes he has the right - to kill anyone who stands in his way. Jedi stans love the idea that Jedi are the good guys because, not having attachments, apparently that gives them the right and to decide who must be sacrificed by them “for the greater good”. I would like to see them in a situation where someone, maybe even someone they love, tells them “Oh well, now I’m going to sacrifice you for the greater good.” It’s absurd and unbelievably cruel to pretend that such an attitude has anything to do with good morals. If anything, it ought to be the victim who decides that they’re sacrificing their lives, not some Jedi or other hero who allegedly has the right to decide over life and death.

Luke Skywalker himself sacrificed himself over and over. He did debate to kill his nephew, but it was only a brief moment of panic on his side, he didn’t go through with it, and afterwards he felt so ashamed he exiled himself. Luke’s trademark characteristic was his compassion; whereas we never see a Jedi act out of compassion. And believing that having no attachments because it gives you the licence to sacrifice someone “for the greater good” is everything but compassionate. But even the greatest Jedi and Luke stans don’t see any contradiction there.

Do the Jedi stans really expect a white male straight character as the lead? No. Most of them for instance were fine with Jyn Erso being the protagonist of Rogue One. But in that film, there was no Jedi. When the sequels, Obi-Wan Kenobi or The Acolyte came out, they were upset because the non-white, non-male, non-straight characters seem adamant to take the place of who Star Wars allegedly ought to be all about. Jedi stans want a story where they can be on the side of the “good guys”, follow them sitting comfortably on their couch or in a theatre seat, identify with them and pump their fist in the air when “their side has won”. A lot of them do appreciate more complex stories like Andor; but their untouchable Jedi do not appear there, so there is nothing to hate on.

The classic trilogy’s topics were Hope, Love and Faith (the Force representing and tying together all three). The prequels had very little of all of that, because they’re the story of a tragedy and a massive failure; but what fans who like them apparently have learned from the prequels it’s that it must be great to be a Jedi, lonely and aloof and the master over life and death. Who wants Hope, Love and Faith instead of cool heroes killing everybody who stands in the way of what they decide is right?

Where Do We Go from Here

Star Wars will never have the chance to truly evolve and renew itself as long as there are people who will cry blasphemy any time a film or tv show dares to portray one Jedi or the Jedi as a whole as anything but perfect. Try to tell a Jedi stan that the Jedi perhaps are not the Good Guys after all (starting with Luke Skywalker after his third film): it’s as telling a staunch Catholic that Jesus was not the Son of God. They will fight you literally like their soul depended on it.

The unpardonable fault, in the eyes of Jedi stans, is not diversity the way it’s often mistakenly interpreted; it’s the Disney studios portraying the Jedi Order, Luke, Boba, Obi-Wan etc. as humans instead of Good or Evil cardboard cut-outs. To them, that’s simply bad writing, and they sternly refuse to see any other angle; they identify with the allegedly Good Guys and now believe it’s up to them to put up a fight against the Bad Guys who make their heroes allegedly look like fools, i.e. who dare to take them from their pedestal by criticizing or at least humanizing them. It was the Jedi stans who built said pedestal. It wasn’t George Lucas or the Disney studios.

Most Jedi stans would not mind strong female characters, black, diverse characters, homosexuality etc.; as long as everyone stays in sidelines while the Jedi take the shine. Heated Star Wars discussions usually start with one side accusing the other of being misogynistic, homophobic etc. and the other side claiming that the responsible people at the studios are using the franchise to shove their “woke” agenda down their throats.

Instead of cancelling interesting character developments that were just getting started and ending entire trilogies after almost half a century on disturbingly flat notes, dear Disney Lucasfilm studios: please finally give Jedi stans what they want - a tv show or film trilogy that caters to them. Set it a few hundred years before the fall of the Republic, endow their precious Jedi with all imaginable virtues, let them make things float and have cool light sabre battles destroying some faceless, boring Bad Guy and then take off into the sunset. Tell these kinds of stories for the next decade, and maybe the Fandom Menace will finally be appeased.

Choose a diverse cast if you want: Jedi stans will hardly care. If a Star Wars show had Jedi for protagonists and these would be the infallible, all-wise superheroes their stans take them for, they won’t mind if these Jedi were black, Asian, female, lesbians or non-binary, with a few white straight people sprinkled throughout. They will swallow it hook, line and sinker.

In the meantime, please complete the stories that you enchanted us other fans with, which are actually epic and magical and centred around human connection and personal development.

Thank you.

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laughterbynight · 5 months ago

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I could be wrong of course but I think it would be beneficial to a few people’s blood pressure to consider that fans DO probably know their fanon versions of things are not always compliant with the comic canon. That’s already an unrealistic expectation because there’s a dozen different canons, but honestly if you get mad when you see fans playing with characters like paper dolls you might want to step back from fandom for a bit. That’s just what people do. We all have our preferences. I KNOW the Batfam is often chaotic and fights a lot etc. per the comics, but I don’t enjoy that so I choose other media with them that fits my tastes better. Doesn’t mean I’m unaware or that my personal views on character have less merit than someone who chooses canon. It’s ALL fiction. It just means I’m engaging in a different way, and that’s okay. My preference for BTAS style Batman for example is a drop in the bucket compared to like, Snyder creating a whole film franchise where it’s normal for Batman to kill people. It’s like carbon footprints. I can use biodegradable straws all I want but it has almost no impact when private jets are a thing. Remember, perspective. This is fandom. This is what we do. It’s PLAY.

If you really gotta get mad at someone you can look in house at DC comics and find far more examples of canon that contradicts itself yet HAS to be accepted as canon because of the source. Fandom is like the least threatening thing to the legacy of a comic character. We show up even when canon is trash because we like the possibility of what could be.

#batman #dc comics #batfamily #batfam

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maybe-boys-do-love · 4 months ago

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The Trainee, Episode 10: Direction

Take a break from the discourse around the couples to appreciate the references to directing in this episode! From the literal meanings to directions in life.

We open on Ryan's dad directing Jane's photoshoot. lol. You fix those clothes, Ryan ;) And Jane, give us a smile like your falling head over heels for someone.

2. Then we get Pah (making friends with every single person at the office, as usual) directing the front desk assistant (I haven't caught her name and she's not on the mydramalist or imdb cast and crew list) to a spot for lunch. Then we have the accounting manager come in and show us how her and Pah's relationship has grown. The scene reminds us that Pah, since early on in the show, has demonstrated incredible relationship building skills--a necessity for any director. And these relationships come to a beautiful fruition in this episode.

3. Tae, on the other hand, emerges as a directionless ghost, jump-scare appearance and all! Heartbroken and provided with downtime by his department for the first time during his internship, he has no idea what to do with himself.

4. Pi and Ryan are seemingly talking about the controversial Todd Haynes film, Joker, from 2019. If you're either knowledgeable about the Batman franchises or interested like me in trying to figure out why the writers chose this film to include as a conversation point, you'll realize that Harvey Dent was not in Joker. He was, however, in The Dark Knight in 2008, directed by Christopher Nolan. This mix-up between the movies seems intentional when we look at the theories of directing and humanity the show is exploring, which I'll expand on in number 5! In Joker, we get a depiction of a single misunderstood victim genius who takes out his suffering and any failures of his art on others and inspires other people who feel hurt and misunderstood to do the same. In Dark Knight, we have the day saved thanks to a collective group of people's refusal to harm others despite threats that others will be forced to harm them, and, as far as Harvey Dent, his reputation is preserved despite his failings because of the hope it can bring others. The comparison sets up a comparison between the individual heroes and villains versus the collective, which is a really important comparison to ideas the show explores about directors (and is just really important in general theories of direction like conversations about auteur theory, etc.). Note that Jane says in this ep that he doesn't like hero movies...

5. We then see Judy directing Ba Mhee on how to correct her typo on a document. She's checking over a draft before it goes out, like a good director ought to, but Judy's direction of Ba Mhee, of course, gets taken up as a motif and major sticking point for their dynamic in this episode as it encroaches into personal time rather than just work. We have witnessed that outside of work, Ba Mhee is actually quite capable and eager to play the directing role.

I want to point to the specific typo mistake that read "God Pick" instead of the company's name of "Good Pick," though, because it seems to refer to one view of a director's role. Alfred Hitchcock explained, "...in fiction film the director is god; he must create life. And in the process of that creation, there are lots of feelings, forms of expression, and viewpoints that have to be juxtaposed. We should have total freedom to do as we like." So this moment of direction gives us two references, for the price of one!

Even more, it presents us with the theory of auteur Directors, that the show has been actively engaging with through the whole series. Does the director have a god-like power to pick and choose what they want their work to be without any input from others? Do individuals, as directors of our lives, get to pick and choose what we create out of them without others' input? To both answers, the show has emphatically replied, no! The studio is not called God Pick, it's 'Good Pick.' The director, just like each of us, is working on communicating with a whole massive team of people to bring a certain vision of theirs' to life within quite constrained limits. From budgets to time, from client desires to our own insecurities, we do our best to be good knowing that mistakes will be made and we can pick up and keep on going.

6. Baimon, the director of the studio, instructs Pie on some of the grunt work of directing. He's been presented as so flighty in the series, so it was nice to see him getting down to business in this fashion. That business, however, was printed upon the backs of some big emotions, which I think, in addition to being a funny little gag about Jane and Ryan's hidden relationship, is a beautiful metaphor about the combination of emotional and logistic work that directors, especially, are tasked with performing. A vulnerability lies under each shot and camera angle.

7. Idk if this was intentional, but the choice to show sticky-notes as the art department's current medium for this scene reminded me of directors story-boarding with sticky notes. It's also the moment Tae is encouraged to make an attempt at directing himself and providing his direction to his relationship with BaMhee in a way that's considerate of her desires.

8. Baimon directs Jane and Ryan in another intimate scene lol. He's staging them, referencing the storyboard, checking the camera, doing all the director jobs! And, of course, instead of a perfect god, he makes a mistake with the very basics of left and right that his intern corrects for him, and this mistake is not used by the show to signal to us as the audience that he's incompetent. It's to show that the people with 'big' dreams, visions, careers, or awards are not more special than those who choose to do the small tasks in life. Directors are the first job Ryan lists to Jane when talking about adults with special talents that he feels like he's supposed to aspire towards. Jane asks Ryan "Why must people want to become something big?"

There's also a development in Ryan and Jane's performance here. They're playing and improvising in the scene. It's a nice development for them as character and a sweet commentary on directors allowing actors to perform with some flexibility. Based on what I've read about Gun and Off's development as actors and a pair, their characters' development in their different stand-in moments almost seems like a commentary on Gun and Off's growth as a performing pairing, but that's just a fun stretch. Really, I'd say it's more representative of the growing comfort of actors in film work.

9. How could I not discuss one of my favorite sequences in the show (right up there with BaMhee's chase scene)?! Pah has been amassing a crew of comrades at the studio throughout the series, and I knew it was building towards something. I stated during the first shoot when he was a part of Unit B that I could see his arc leading him to becoming a director because he was just so good at befriending and organizing people. And here's where he becomes the director! Not through his personal auteur vision, but through his communication with others!

I had been imagining this plot development in some fashion for a while. Getting it would've satisfied me. Great comedy for me, however, is about seeing a well-constructed set-up pay off for a better value than you could've expected. The Alfred Hitchcock quote above comes from a portion of an interview about plausibility in fiction and his films. He ends the quote by saying, "A critic who talks to me about plausibility is a dull fellow." The moment Pah slid off his sling, The Trainee leapt out of the realm of plausibility it had meticulously built to give us a stratospheric pay-off to the joke it had been building for 9 episodes. And it was a joke grounded in the deepest themes of the show, praising every creator and assistant working in the background of this show and all the shows we love. It made my heart so full. It presented a democratic vision of a director's role (in a country where people continue to need to fight for their democratic values). And, it did it all while making me laugh.

10. Despite all the people running this scene and Judy giving Ba Mhee so much direction in the workplace, it's Ba Mhee who finally gets to realize her direction in life here. Notably, she's let go of the big overly romantic dreams and visions. She's come to appreciate and understand the importance of the seemingly mundane aspects of her relationships, the day-to-day jobs of directing one's life, and she's directing Tae to commit to this direction, too. Directing involves paying attention to the small things, the communication, and the people who help make them meaningful.

There's a beautiful transition between Judy's conversation with BaMhee and Tae's where they fade into one another exactly, letting us know in some ways that Judy and BaMhee could've had a conversation and started growing and finding a direction together, too. The problem as BaMhee points out is not finding an exact right fit. She just still has feelings for Tae, which would make developing a relationship with Judy more challenging. It was mature and honest, and that precious little fade let us know the show saw the possibilities for BaMhee to love them both. Has a film cutting choice ever been so bisexually coded???

10. It's a cute little reversal that our final scene is one of the first steps in directing: the concept stage. We also get Jane's appreciation, not only for Ryan's ideas here, but for all the things Ryan does at his family's business that align with the same kind of work happening in a production house. It sets the two of them on equal footing, disrupting this fantasy of the film industry and the class systems that could divide them. And Ryan's other insecurity about feeling too immature and un-adult to compare to the people at the office, which is a another division that might separate Jane and Ryan (HOW OLD IS JANE!?!?!?!) also got a dressing down ;) during this episode. We're getting ever closer to Ryan feeling ready to direct his own life!!!

#the trainee #the trainee the series #gmmtv #offgun #janeryan #ba mhee #taebamhee #judybamhee

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