#Berry Reviews

[chalkrub]

art trade stuff for @sharkflan ! love these thangs

[lipstickboyboy]

Saltburn 2023 Movie Posters

[thesirenisles]

10 girly comfort movie ideas🌸

fashion, aesthetic, & a bit of fun

Monte Carlo (2011)

Sex & The City 1 & 2 (2008) (R)

Catwoman (2004)

Twitches 1&2 (2005)

The Devil Wears Prada (2006)

John Tucker Must Die (2006)

Perfect Stranger (2007) (R)

Burlesque (2010)

The Sweetest Thing (2002) (R)

Bring It On 1-3 & 5 (2000)

Bonus:

Life Size (2000)🌸

Confessions of a Shopaholic (2009)🌸

[librarisxng]

ATEEZ SMALL PERFUME REVIEW: LUSH — THE COMFORTER

disclaimer: this is not meant to be a serious perfume review, this is something fun for me to do as I love perfume. each and every one of us have different tastes and preferences when it comes to fragrances. what works for me might not work for you, vice versa. I’ll try my best to describe the scents but I will always suggest for you to go and smell them yourself before purchase. if you want to try these perfumes, please test or get a sample before committing to the bottle. picture credits to all owners.

ateez member: seonghwa

fragrance family: aromatic fruity

notes:

cassis, cypress, bergamot

my scent experience:

juicy, sweet and berry-like. if you don’t know what cassis is, it’s french for blackcurrant and blackcurrants in perfume are so good. I love that blackcurrants are sweet but not too sweet of a scent that it doesn’t make you feel sick. I love how juicy and delicious this smells and the bergamot makes it bright and fun. this is the body spray version of their best-selling bubble bar so if you are familiar with that product, you would like this.

the projection for this body spray is so intense, you only need two sprays to smell good. any more than that, it’s overpowering and can give you a migraine — thankfully I’ve learnt this the easy way from a Lush employee. the longevity however isn’t that great, it would last approximately 2 hours on me but considering it’s a body spray, I wasn’t expecting it to last forever.

additional notes from me:

the way Seonghwa and I have the same taste in perfume? did not expect that but that means he’s got excellent taste in fragrances at least in my opinion. I bought this in store right before the pandemic so this was the scent I was wearing during lockdown lmao. it’s been quite a while since I’ve finished my bottle but I still think about it from time to time. I’ll probably buy a bottle when I visit Lush as I’ve heard stories of the body sprays leaking in transit. I just checked online and they also sell this scent as a soap bar so that’s pretty cool.

who would I recommend this to?

anyone who loves the scent of blackcurrants and/or enjoys the comforter bubble bar.

those who love fruity scents.

anyone who wants to try out Lush body sprays.

if you made it to the end, thank you for reading this review! writing small reviews for fragrances that Seonghwa uses was a breeze. the real challenge is writing for the rest of the members especially Wooyoung he has too many. hopefully this doesn’t flop and I’ll try my best to write more reviews soon.

review written by librarisxng 2024

[mywifeleftme]

363: R.E.M. // Murmur

Murmur R.E.M. 1983, IRS

Some Short, Disconnected Statements on the Matter of Murmur

1. Insert the following into Waring blender

The Velvet Underground, Pylon, the Byrds, Gang of Four, Patti Smith, the Feelies, Joy Division, the Method Actors, Big Star, the dB’s, the Monkees. Press “Blend” button. (I’ve never owned a blender; I don’t know what the buttons say.)

2. Easy formula for a great band

Having one temperamental genius songwriter guy sounds kind of hard to maintain. Have you considered simply getting four people who are really excellent and distinctive at the respective things they do (at least three of them great singers), who all write well, get along, lack substance abuse issues, have good taste, and modest egos? Why don’t more bands do this?

3. Notes on the early discourse

A lot of the things people wrote back in the early ‘80s to champion this band were dumb as hell. R.E.M. weren’t good because they didn’t use keyboards or synths; pop music didn’t need to be returned to its "honest" folk-rock roots; giving them a thumbs up for not wearing flashy clothes and makeup is dork behaviour.

They were good because they made weird music that derived organically from their time (early ‘80s), place (a college town in the South), and selves (bright, independent, adventurous, sincere, ¼ gay).

Anyone who listened to Chronic Town or Murmur, with their post-punky murk and lyrical references to Laocoön and Marat, and thought to themselves, “As yes, the second coming of Roger McGuinn, this will put those effete new wavers to flight,” was an idiot.

4. Veteran of the psychic war

Somewhere around age 22, R.E.M. took over the mantle Metallica had held as My Favourite Band in the World Forever and Ever, and I proceeded to be almost as annoying about them as I had been Hetfield and the boys. I posted a lot about them; rigged “best music” polls on random message boards I didn’t even post on in their favour; cornered people at parties; crowbarred them into playlists; grumpily chose to dislike bands I saw as stealing their shine; etc. etc. Some (some) of this is maybe cute in retrospect, but really: don’t be like this about music. If you love a band this much, learn how to play their songs on an instrument; write a few poems; paint something. Worst case: review them.

5. Learning nothing, 2024

6. Athens: Lyrics & Enunciation

The matter of what exactly Stipe was singing on the early R.E.M. records was a subject of intense speculation, and eventually, parody. Some of the mystery’s in the mixing, some’s in his Georgian accent, and some’s in his enunciation (never quite as mushy as people claimed, but not exactly Ella Fitzgerald either). But most of it’s in the arbitrary decisions he makes with regard to syntax that cause even accurate transcriptions to seem implausible. Stipe is probably a little bit autistic, which goes some way to explaining the impressionistic intuitiveness of his words, and also went to art school, which fetishizes that sort of thing, but he was always shy of people seeing the words to something like “Sitting Still” on the page because he thought he might be exposed as a nincompoop. “Up to par and Katie bars / The kitchen side, but not me in / Sitting top of the big hill / Waste of time sitting still,” goes the chorus, according to at least one gnostic sect, but the important passage is the one everyone agrees on, when the stream of impassioned babble releases into a howled “I can hear you / Can you hear me?”

Later on, when he would sing more clearly over airy arrangements, with the lyrics neatly printed in the booklet, he’d occasionally try one of those old sound-over-sense moves and embarrass himself (“Leaving New York was never my proud” still rankles). But Murmur’s eternal elusiveness is in the way fragments of sense catch your ear from out of its sleeptalk glossolalia:

“The pilgrimage has gained momentum” “Conversation fear” “Lighted, lighted / Laughing in tune” “Hear the howl of the rope / A question” “A perfect circle of acquaintances and friends / Drink another, coin a phrase” “Shaking through / Opportune” “Take oasis” “Heaven assumes / Shoulders high in the room” “Did we miss anything?”

7. Permission to be arbitrary

I remember sitting in the basement of my college house with my old hometown buddy Brad (mostly a metal/classic rock guy), playing him “Shaking Through” and explaining one of the things I love about old R.E.M. is that it’s great music to yell to. I don’t know how much he really got it, but we were drunk and it’s a catchy song, so we howled and made keening, wordless, Stipean noises along with it and the next few until one of my roommates came and asked us to keep it down.

Also: one theory for why cats purr when they’re injured is that the vibrations somehow reduce pain and encourage healing. From many experiences humming these songs while wrapped up in headphones and bedsheets in the middle of a day that’s passing like a kidney stone, I can confirm.

8. Note on the modern discourse: Influence?

Black Francis, Kurt Cobain, Bob Mould, Steve Malkmus, Bob Pollard, and Thom Yorke loved R.E.M. So did, to his own apparent consternation, Metallica’s Cliff Burton. Still, you sit down with someone and listen to those musicians with the goal of showing them the R.E.M. influence (don’t do this, why would you do this?) and it’s honestly pretty oblique. Most of the bands who directly aped aspects of R.E.M.'s early sound were at best pleasantly minor (see Captured Tracks’ Strum & Thrum comp), and the ones who seemed to be listening most closely to their ‘90s efforts were not who you want.

Their ultimate influence was probably simply showing what an art-first, indie-adjacent rock band could accomplish by sticking to their guns and bending the system to their desires instead of being bent by it. They were like a Velvet Underground for the college rock era, except everyone talented who heard them was inspired to start a band that didn’t sound much like them. They always used their spotlight to introduce people to other bands and, when they really got huge, they modeled how to deal with success. There don’t seem to be many R.E.M. stories, Peter Buck’s airplane incident aside, about them being anything other than kind. That’s a fundamentally less exciting type of influence than most other “great” bands have. But I do think it’s kinda cool they were the wise old heads for an entire national movement of alternative music.

8b.

Of course, it still bugs me people don’t think they’re cool. Murmur at least, should be considered cool. And Reckoning, mostly. Chronic Town for sure. Some of Fables. Am I crazy for saying some of Monster and New Adventures even? I’ll stop. I’ll go on.

9(-9). The music

They were a pop band, they were an art band; they sounded like children, and like craggy old men buried in kudzu weed; natural and pretentious; date-stamped and timeless. Decide yourself. Happy 41st birthday Murmur.

363/365

[royalhenoil]

My daily berry harvest this time of year.

I highly, highly recommend growing berries if your climate is suited to it. They are cheaper, tastier, and more nutritious than supermarket berries, and they are not that hard to grow. They are easier than most vegetables.

I thought I would give a review of the four berry varieties shown here:

• Blueberry 'Sunshine Blue': This is an ornamental blueberry. It stays small, has very pretty leaves and flowers, is mostly evergreen, and is self-fertile (most blueberry varieties are not). However, it is not as productive or as tasty as non-ornamental blueberry bushes, though it will still taste much better than anything you buy in the supermarket.

• White alpine strawberry: Alpine strawberries are fun to grow. They are very tidy, pretty plants and do not send runners everywhere. There are many different varieties, all of which make very small, cute fruit. They are famously very sweet and tasty. However, I think white alpine strawberries (which have a slight pineapple-like flavor) are not as tasty as the red ones. The big benefit of the white berries is that birds don't seem to notice them, so you don't have to use any bird deterrents to get lots of berries.

• Blackberry 'Chester': This is a thornless blackberry. I highly recommend only growing thornless or near-thornless caneberries (blackberries, raspberries, youngberries, loganberries, etc.) because they make picking fruit and garden maintenance so much easier. 'Chester' is an extremely vigorous and productive plant, and the fruit tastes better than both supermarket blackberries and wild blackberries.

• Strawberry 'Cambridge Rival': This is the yummiest strawberry I have ever tasted! It is not as productive as some strawberry varieties, and the fruit is on the small side, but it easily more than makes up for it in flavor. (Warning: If you try one, it may ruin other strawberries for you.)

[noemyreads]

the berry pickers - amanda peters [⭐⭐⭐⭐⭐]

“Anger is exhausting. Holding on to it will drain the life out of you.”

pt-br review: substack

[moviereviewsector]

Never Let Go (2024) Official Trailer – Halle Berry

This movie is about a mother (Halle Berry) and her two sons, Samuel (Anthony B. Jenkins) & Nolan (Percy Daggs IV)who are living in the woods. The mother has instructed the two sons to never let go of the rope that is attached to the house, insinuating that the woods are filled with "The Evil."

I found it hard to know what exactly is real in this movie. It seemed to me that Halle Berry's character was mentally ill until certain events happen. She was absolutely out of her mind from the beginning of the movie until certain events took place.

I like when halle berry plays crazy people for some reason. She does a very good job of it. Looking like a woman fully in distressed. She is very believable. Halle's county accent adds a creepiness to the movie.

Why would she kill herself to protect her kids? You have one brother who believes and the other brother who doesn't. One brother keeps hope, and the brother doesn't.

I think that this movie is we'll go down as a horrific classic. I would give this movie a strong eight.

Cast

Halle Berry (Momma)

Anthony B. Jenkins (Samuel)

Stephanie Lavigne (The Evil)

William Catlett (Father)

Percy Daggs IV (Nolan)

Matthew Kevin Anderson (The Stranger)

Christin Park (Paramedic)

Mila Morgan (Young Girl)

Georges Gracieuse (Old Man)

Cadence Compton (Young Girl)

[chasingshadowsblog]

Review: Aisha - A Place of Greater Safety

Title: Aisha Directed by: Frank Berry Written by: Frank Berry Starring: Letitia Wright, Josh O'Connor Year: 2022

To say that Aisha is a quiet film might lead some people to understate its power. It is in silences, supressed anger and self-control that both Aisha the film and Aisha the woman exude the strength and fire of their character.

Aisha is a film about a Nigerian woman living under direct provision in Ireland, a state of living that offers little in the way of personal autonomy or civil rights. Under these conditions Aisha is constantly forced to jump through bureaucratic hoops in order to be recognised as someone who legitimately needs the state's protection and, on one occasion, to simply get her post in the morning. Aisha, along with the other asylum seekers, is treated at times like a prisoner with allotted visiting hours and at other times like a petulant child whose rights around the house are revoked for bad behaviour. Obstacles appear in less blatant ways as well, as Aisha must talk to a reviewer with a translator in the room, perhaps not understanding or being understood as clearly as she needs to be, and is later reluctant to recount her trauma for a board of reviewers, making her seem reticent and unsure of herself and surely affecting the outcome of her application. Through it all, Letitia Wright gives a commanding and intensely restrained performance, always allowing the viewer to see the rage, frustration and sadness simmering underneath her veneer of self-control.

Matching Aisha's silence with his own quiet earnestness is Conor, a new security guard at Aisha's accommodation centre and an unlikely new friend. Talks with Conor on the bus into town or silences kept with him in the canteen at night over dinner offer Aisha some much-needed respite from her reality. Reality, however, is never too far from her mind and stops her fully embracing the relationship they would like with each other. As Aisha is flung from one obstacle to the next, the film is grounded in this relationship, as Conor becomes the only person Aisha can express her exhaustion to, if not her life's story. O'Connor gives a beautifully quiet and tender performance in the role, but, Conor himself is wanting in the depth Aisha has. Outside of some snippets of his past, there is little we know about Conor and while their interest in each other is sweet and understandable, his willingness to be with Aisha at the drop of a hat is almost too good to be true, especially when her living circumstances grow less and less accessible. This is a minor quibble in an all-around powerful film and, at the end of the day, the story is about Aisha and its final scene, short and ambiguous, let's us clearly know that no matter what happens she won't stop moving forwards at a powerful pace.

Other bits:

Letitia Wright and Josh O'Connor are really fantastic in this film, their performances are both so quiet but stick with you days and weeks after the film is over

I don't know if the scene in which Aisha is doing the women's make-up is unscripted but, either way, it was beautiful and brilliantly executed by all of the women

with everything going on in Aisha's life it felt strange to root for her romance with Conor, but then it becomes just one more basic right that is being denied Aisha by her circumstances - the ability to fall in love or even just go out with someone isn't something she can have in her life right now

I love the scene where Aisha teaches Conor some phrases while they're waiting for the bus, it's so charming and lovely

Shout out to director of photography Tom Comerford and costume designer Kathy Strachan, between both the film had a very neat, simple and streamlined look that I found very pleasing to watch

anyway, go watch Aisha it's beautiful

[theaddictedwatcher]

Hello everyone!

I'm here today to introduce you to the series chosen by the winner of the last bonus article (on Instagram, @theaddictedwatcherreviews). Created by Matt Groening (The Simpsons, Futurama, The Tracy Ullman Show) and Josh Weinstein (The Simpsons, Futurama, Gravity Falls), this animated series for adults was released on Netflix in 2018 and will run until its conclusion in 2023. Made up of 50 episodes spread over three seasons, the series and its dark humour have won the hearts of audiences and critics alike. I'm talking about Disenchantment, of course!

First, as always, a short synopsis: Set in the fictional medieval kingdom of Dreamland, the series follows the story of the adventurous, rebellious and alcoholic Princess Bean, her "personal demon" Luci and her elf companion Elfo. The three of them explore Dreamland and other neighbouring lands, discovering a mythical conspiracy to which Bean is the key… And a little technical presentation: - Created by Matt Groening and Josh Weinstein - Music by Mark Mothersbaugh - Starring : Abbi Jacobson, Eric André, Nat Faxon, John DiMaggio, Tress MacNeille, Matt Berry, Maurice LaMarche, Sharon Horgan

This review is going to be a little shorter than usual, not because I didn't enjoy the show, I really did, but because I don't have that much to say about it.

GENRE

With Disenchantment, Matt Groening wanted to create an adventure in a medieval fantasy world that would allow him to move away from the very distinctive universes he had previously created with The Simpsons - set in our current world, but more centred on the United States in the 1990s - and Futurama - set in a futuristic world. So he mixed several genres in his writing, creating a unique blend that differentiates it from other animated series:

Fantasy: The main setting of the series is a medieval fantasy world called Dreamland, which includes magical creatures (elves, demons, mermaids), spells and mythical elements. The fantasy aspects allow for a creative construction of the world and the plot.

Humour: The humorous tone of the series is a key element, ranging from slapstick to dark comedy and satire. It often parodies fantasy tropes and medieval settings, using both puns and visual gags.

Adventure: Characters often embark on quests and journeys, exploring new lands and facing various challenges. These adventures drive the plot and character development.

Drama: As the series progresses, it incorporates more dramatic elements, exploring deeper themes and emotional intrigue. The relationships between the characters and their personal development become increasingly important and, by giving them depth, help to move the plot forward.

Satire: The show often satirises modern issues through its fantasy lens, criticising social norms, politics and human nature.

Science Fiction: While primarily a fantasy series, the show sometimes incorporates science fiction elements, especially in later seasons, with time travel and advanced technology in a medieval setting.

Mystery: Revelations about characters' pasts add an element of mystery to the show and help move the plot forward. Conspiracy theories and hidden truths are ubiquitous in the story.

Coming of age: Bean's journey of self-discovery and growth gives the show a very human dimension that viewers can relate to. This aspect becomes more important as the show progresses.

Adult Animation: While not as explicit as other adult animated series, Disenchantment deals with mature themes and contains mature content, both in its humour and in the themes of the story.

The mix of these genres allows Disenchantment to appeal to a wide range of viewers and to explore different storytelling styles. It differs from Matt Groening's previous work in that it relies more heavily on serialised storytelling, running throughout the series rather than episodically. It also relies more heavily on fantasy elements, while still retaining its signature humorous style.

While the balance between comedy and more serious elements is sometimes uneven, the show's ability to move from light comedy to more dramatic moments has often been seen as both a strength and a challenge in maintaining a consistent tone.

HUMOR

The humour in Disenchantment is multi-faceted, drawing on a variety of comedic styles. It uses sarcasm and wit, particularly in Luci's dialogue and Bean's quips, which are often used to subvert expectations or comment on absurd situations. Comedy derived from the personality traits and quirks of the main characters is also very present. Elfo's naivety, Luci's cynicism and Bean's rebelliousness are frequent sources of humour. Anachronisms refer to modern sensibilities and, when used in a medieval fantasy setting, allow humour to be created through the contrast between contemporary ideas and the period in which the series is set. The background jokes and visual gags are reminiscent of Matt Groening's other work and help to break up a dramatic situation. There are also small rewards for the attentive viewer in the form of hidden jokes and Easter eggs from Matt Groening's other works, as well as other pop culture creations. While the pop culture references are present, some viewers felt that they were not as clever or numerous as in Futurama, which had set the bar very high for this type of humour in animated series.

Dark humour, when used wisely, often allows morbid subjects or unfortunate events to be dealt with in a lighter way. It helps to create a balance between fantastical elements and a more adult tone, to counterbalance the tragic side of certain events, but also the very absurd touch of certain jokes. Indeed, the series exploits the bizarre and illogical aspects of its fantasy setting for comedic purposes, exaggerating the absurdity of these aspects and often taking situations to extreme or unexpected conclusions in order to make people laugh. However, the combination of dark humour and lighter jokes is sometimes awkward and creates moments of imbalance that can disrupt the viewer's appreciation.

The show sometimes breaks the fourth wall or makes self-referential jokes about the conventions of storytelling to remind the viewer of their status as witnesses and the show of its status as entertainment. Matt Groening does not hesitate to poke fun at fantasy tropes and medieval settings. It is often a social commentary on contemporary issues - such as LGBT acceptance or feminism - through the prism of fantasy. Its clever use of language and puns, particularly on proper names, are among the many devices used to construct the show's humour. It often incorporates multi-layered jokes and running gags that develop over the course of episodes or seasons. These help to create a sense of continuity and reward long-time viewers. Finally, the show also uses slapstick, which is a style of humour that goes beyond the boundaries of normal physical comedy, often involving the misfortune or clumsiness of the characters.

Overall, Disenchantment's humour is more mature and complex than typical animated films and series, while still maintaining broad appeal through its blend of comedy and humour. The series has been praised for its clever writing and ability to blend different comedic styles. However, other critics have noted that the humour is very different from that of Futurama and The Simpsons and did not appeal to them. The balance between humour and more serious, plot-driven elements has also been debated, with some feeling that the comedy has sometimes taken a back seat to the storytelling in later seasons.

In addition, some have felt that many of the jokes are too obvious or rely on tired tropes, especially when compared to the innovative humour of Futurama or the early seasons of The Simpsons. Although anachronistic humour is a staple of the show, some felt that it was overused or not always executed effectively.

After that, it should be noted that humour is subjective, and that the qualities and flaws listed above are only what I have been able to notice, but also feedback I have been able to get from people who have seen the series, and of course everyone is free to have a different opinion on any of the points mentioned.

THE ANIMATION STYLE

The animation style of Disenchantment is very recognisable and shares some similarities with Matt Groening's other works, while also having its own elements. Indeed, as in Futurama or The Simpsons, the characters have some similar physical characteristics, such as bulging eyes or a prominent upper jaw. However, the characters are more detailed and varied, with a greater variety of body types and characteristics. The characters' facial expressions are also more varied and nuanced than in The Simpsons and Futurama. This allows for more complex emotions to be conveyed through smoother animation, and also favours the show's most dramatic moments. Clothing and accessories are also more complex, in keeping with the fantasy setting.

Speaking of fantasy, the show uses a rich and vibrant colour palette that is more suited to the setting. It has a wider range of colours than The Simpsons, with more subtle shading and lighting effects. It also incorporates magical effects and fantasy elements not found in Matt Groening's other shows, using digital effects to enhance traditional animation techniques. The show also uses more advanced lighting techniques to create a different mood and atmosphere from Futurama and The Simpsons. The use of shadows and colour gradients helps to enhance the fantasy setting. The 16:9 widescreen backgrounds allow for very detailed visuals that also help to bring the medieval fantasy setting to life in a more elaborate and varied way than in Matt Groening's previous works. They reflect a more varied palette of locations and a better incorporation of magical elements. They also often contain jokes or hidden references.

On a more technical level, the series takes advantage of its fantasy setting to create imaginative and visually striking sequences. As with Futurama, the animation of the series was entrusted to Rough Draft Studios, and there are many similarities between the two work. It is further distinguished from The Simpsons, which is animated by various animation studios, including Rough Draft. The action scenes are more dynamic and elaborate than in Matt Groening's previous works. Although primarily in 2D, the series occasionally incorporates 3D elements for specific effects or scenes, and maintains a consistent style throughout the series, with gradual improvements over time.

The animation style of Disenchantment has been praised for its attention to detail, particularly in the background and character designs. The style effectively supports the comedic and more serious aspects of the series, allowing for expressive character performances and immersive world-building. Disenchantment's animation can also be seen as an evolution of Matt Groening's style, adapted to modern techniques and a fantastical setting.

CHARACTER DEVELOPMENT

The character development in Disenchantment is generally considered to be one of the strengths of the series, especially as it progressed.

I won't go into the development of every single character, as that would take far too long, but I will at least touch on the work done on the three central characters of the series.

[SLIGHT SPOILERS]

First, Bean - whose full name is Tiabeanie Mariabeanie de la Rochambeau Grunkwitz - begins the series as a rebellious and alcoholic princess, running away from her responsibilities and desperate for freedom. Her impulsiveness and ability to make bad choices are emphasised in order to exacerbate the character's future development. In fact, through the adventures she will have and the discoveries she will make, she will become a more responsible and self-aware character.

Her friendships with Elfo and Luci help her to develop emotionally, learn loyalty and trust, and encourage her to excel. In addition, Bean's complicated relationships with her father, King Zøg, and her mother, Queen Dagmar, are crucial points in her development. Between Zøg's expectations of his princess daughter and heir, and Dagmar's manipulations, she is led to a more nuanced understanding of family. Her romantic experiences contribute to her character development, as they also help her to understand herself better and influence her decisions. She is faced with many ethical dilemmas, and through all these experiences she shows an evolution in her values, but also in her strength of character. Still as stubborn as ever, she ends up assuming her share of responsibilities and her role as leader but always on her own terms. Her struggles with identity, relationships, and magical abilities are relatable to the audience, and the quality of the performance by Abbi Jacobson—who voices Bean—highlights the character's ambivalence, fragility, strengths, and evolution. Bean's evolution is one of the show's strong points, thanks to the depth that has been given to her character over time. Her transformation from a one-dimensional party girl to a complex, multifaceted character with real struggles and triumphs is often cited as one of the show's strong points.

Then, the development of Luci -Lucifer- is quite interesting and unique in its kind because of its demonic nature. He is presented to us as Bean's personal demon sent to corrupt her and cause chaos and is therefore portrayed as a sarcastic and Machiavellian character regularly encouraging Bean in her worst ways.

However, as the series progresses and his relationship with Bean and Elfo develops, Luci's character begins to question his original goal and his loyalty to his demon master in order to gain his independence. This internal conflict allows us to show that the character is able to develop his moral sense beyond what he initially expected. Although he remains a demon throughout the series, it is interesting to see this ambiguity settle in him, because through his journey the viewer can see that there can be good and bad in everyone. Thanks to his sarcasm and this evolution, Luci is one of the audience's favourite characters, and Eric André's interpretation perfectly underlines this duality of comic and sentimental character. In fact, the evolution of his morals and his attachment to Bean and Elfo over the last few seasons is a perfect illustration of the journey he has taken. However, I find that in the last season the character seems more erased, more absent, and that's a shame for a character who has had one of the biggest developments in the series.

Finally, the character of Elfo! Elfo's development over the course of Disenchantment has received mixed reactions, as some viewers initially found Elfo to be one-dimensional and too naive, but his constant optimism and innocence are endearing and potentially annoying. The exploration of his origins and half-elf heritage added depth to his character and provided a context for his behaviour and outlook. Over time, Elfo has shown more complexity, dealing with issues of identity and belonging. As such, his gradual loss of innocence and assertiveness has made the character less polished and therefore more interesting. At the beginning of the series, Elfo's role was mainly to be a source of humour, but also a receptacle for Bean's doubts. But as the story progressed and he developed, his naivety gave way to more nuanced comedic moments, and while it was interesting to see him develop, the lighter side he brought was sometimes lacking. His relationship with Bean also contributed greatly to the character's maturity.

Indeed, Elfo's unrequited love for Bean was a troubling aspect of the story for me, as it came out of nowhere and seemed a little forced at first, but I am aware that some found it endearing and were able to relate to it. Personally, I found it mostly a repetitive motif and one that hindered his personal development. However, his relationships with Bean and Luci were crucial to his development and helped to highlight his growth. Overall, Elfo's journey of self-discovery, particularly regarding his heritage and place in the world, was seen as an important aspect of his arc. As he faces more complex situations, his responses to moral dilemmas add depth to his character and help to show that he has matured over the course of the series. He becomes more than just a naive sidekick, but at times his development can feel overshadowed by Bean's 'bigger' arc.

[END OF SPOILERS]

Other characters such as King Zøg, Queen Dagmar or Oona have had very interesting developments that deserve to be developed, but I don't want to say too much about them so as not to completely spoil the story for those who want to watch the series. I would just like to point out that even the secondary characters have had the right to develop their personalities and their stories, and that this has made them endearing and important characters for the development of the story.

This is a credit to the show, which has been praised for allowing characters to change and grow over time, unlike the more static characters in most of Matt Groening's work. However, there have been times during the series when character development has been sacrificed to the needs of the plot, to the detriment of certain characters' development. Nevertheless, the exploration of family dynamics, particularly Bean's relationship with her parents, is one of the show's greatest strengths.

THE END OF THE SERIES

I will not, of course, recount the events leading up to the end of the series, but I would like to briefly share my feelings.

The second part of the fourth season, released on Netflix in 2023, concludes the series. Although it attempts to wrap up most of the major plots and character arcs, I felt that some stories were rushed, trying to wrap up too many storylines in too short a time. Despite the attempts at closure, some plot points or mysteries were left unresolved or explained in a shaky way.

Nevertheless, the development of the characters and the emotional impact of the resolution of some of their plots resonated with me, particularly in relation to friendship, intra-family relationships and mental health.

The balance between humour and more serious plot elements in the finale seems rather uneven, but the fact remains that these two key elements of the series remain present throughout the story and contribute to the very specific construction of Matt Groening's works.

Although the main story has come to an end - whatever one thinks of the ending - some aspects of the ending have left room for possible future stories. As is often the case with series endings, opinions will vary greatly depending on the viewer's expectations, but for me it left me a little hungry for more, with unanswered questions and an ending that felt a little forced on the audience.

MUSIC

Disenchantment's soundtrack plays an important role in establishing the atmosphere of the series and enhancing its narrative. Composed by Mark Mothersbaugh (The Rugrats, The LEGO Movie), the soundtrack blends medieval fantasy-inspired music with more contemporary elements. It uses a mix of orchestral arrangements and electronic components, reflecting the series' blend of traditional fantasy and modern humour. It also helps to bridge the gap between the show's medieval fantasy setting and humour and more contemporary themes.

The opening theme is a medieval-style instrumental that sets the tone for the fantasy setting, but also incorporates elements that evoke both the fantasy and darker aspects of the series.

Several characters are associated with musical motifs that recur throughout the series, often evolving with the characters to reflect their development.

The music shifts effectively from comical to adventurous to darker tones to match the different moods of the series. Occasionally, there is music in the world, such as minstrel songs or tavern shows, which adds to the medieval atmosphere. Although not a musical series, Disenchantment occasionally features original songs to add to the narrative or humour.

CONCLUSION

There has been no official announcement regarding the confirmation of a sequel or spin-off to Disenchantment to address the open-ended aspects of the ending. However, Matt Groening and the show's creators have not publicly ruled out the possibility of revisiting the world, without providing further information about the possibility. Netflix, which streamed the series, has also not made any statement regarding the continuation of the series or ordering a sequel, despite the demand from fans of the series.

As for me, although the unanswered questions leave me with a slightly bitter taste, I would not want to see a new season of Disenchantment see the light of day for fear that, like too many shows, it would drag out the original story and make the series lose all the effectiveness that lay in its original writing. Why not, on the other hand, a medium-length animated film to tie up the loose ends without starting new ones that would not necessarily be needed.

All in all, I really enjoyed this series, which brings a bit of madness and freshness to our everyday lives, while at the same time dealing with themes that a large part of the audience can relate to, and also using humour to talk about social issues such as feminism and ecology.

It seems to me that I have covered everything I could possibly say about Matt Groening and Josh Weinstein's Disenchantment, so I will leave you for now and return to my viewing!

For those of you who are going to try to watch it, or who have watched it, do not hesitate to tell me what you thought of it!

As always, you can follow my adventures and the next polls on Instagram (@theaddictedwatcherreviews). I am always open to feedback and suggestions, so feel free to drop me a line if you like!

Have a good week, good viewing and see you soon!

Eli

[tcmparty]

Review: Charlie Chaplin vs. America is both shocking and familiar

Watching TCM recently, I saw a clip of Gloria DeHaven reminiscing about visiting Charlie Chaplin at his home when she was quite young. At first, she couldn’t connect the handsome guy who answered the door with the Little Tramp. She concluded, “I guess I had a crush on two different men.” Certainly, this recognition of the dichotomy between Chaplin and his most famous creation resonated with me.…

[lilibetbombshell]

[milliondollarbaby87]

The Union (2024) Review

Mike McKenna is a down to earth construction worker who lives in a small town in New Jersey. One night his high school sweetheart Roxanne Hall turns up at the bar and everything is about to get rather crazy! ⭐️⭐️⭐️ Continue reading The Union (2024) Review

[ratleyland]

This is exactly what you come to expect from a 'Run-of-the-Mill' Netflix Movie.

Lots of Action

Beautiful location/scenery

Simple plot/story

[spookytuesdaypod]

tbh I think it’s brave of us to even review the trailer of Alexandre Aja’s latest horror after the way we felt about The Hills Have Eyes (2006)! but halle berry has us in a choke hold! in our latest patreon trailer reaction, we take a look at the first trailer for Never Let Go (2024)! y’all this looks SCARY!

want to check it out? head to patreon.com/spooky_tuesday and join our see you next tuesday tier!

[darrisgrove]

Berries and Bones Quotes

"Being lost forces you to slow down. If you keep on running, you're only going to get more lost than you already are. Which, I suppose, is only a problem if you don't like being lost."

"The Forest's an awfully big place, Mr. Bear. It might be hard to experience everything she has to offer if you're always wanting to go back to your den. Don't you think it would be better if you could walk out your door and never look back? You'd certainly find more adventure that way."

Old Mr. Bear frowned. "Admiring coyotes? Why?" "Because they want to be whole," Percy said. "They want to be full. That's all any creature wants at the end of the day."

"Of course I was scared! I was shaking like a leaf! But I was scared of dying. Not of being dead. Surely you understand climbing a mountain isn't anything compared to standing at the summit." The vulture shifted his weight. "You can look forward to the view while still dreading the climb."