#But understand that this film has been in development since 2021. I don’t think they will change release dates but I understand that they d

[welcome-to-green-hills]

I'm honestly feeling kind of concerned for the CG animators on this film. In general, CGI studios are notorious for overworking their employees and giving extremely tight deadlines, but the fact that the film's release date hasn't changed despite much of production being pushed back during the strike makes it look like they'll be really rushing to finish. I know they've already worked on some of the CGI, but there's definitely a lot more left to do with filming still underway, so that leaves about nine months to complete a project they would originally have had a lot more time for.

I completely understand where you’re coming from with this, my dear. It’s a valid thought and concern. And I’m so sorry that I don’t have the proper words to give you for encouragement. I wish that I did.

All that I can say is that we should be supportive. When the SAG-AFTRA strike occurred last year we were supportive of the team. That shouldn’t change today. It’s our job, as wide-range of fans no matter the spectrum we’re in, to be compassionate and understanding.

[the-rewatch-rewind]

This movie is very weird, but I love it so much.

Script below the break

Hello and welcome back to The Rewatch Rewind! My name is Jane and this is the podcast where I count down my top 40 most frequently rewatched movies in a 20-year period. Today I will be discussing number 23 on my list: Paramount Pictures’ 1942 comedy The Major and the Minor, directed by Billy Wilder, written by Charles Brackett and Billy Wilder, suggested by a play by Edward Childs Carpenter from a story by Fanny Kilbourne, and starring Ginger Rogers and Ray Milland.

Fed up after a year in New York, approximately 30-year-old Susan Applegate (Ginger Rogers) decides to return home to Stevenson, Iowa. Unfortunately, train fare has increased significantly since she arrived in New York, and she doesn’t have enough saved for a ticket home. Desperate, she disguises herself as a child (turning 12 next week) so she can get a half-fare ticket. After she’s on the train, the conductors get suspicious, so she hides in the drawing room of military academy instructor Major Phillip Kirby (Ray Milland), who completely believes that she’s a child in trouble and lets her stay in his compartment overnight. In the morning, the train has been stopped due to flooding near Phillip’s station, so his fiancée Pamela Hill (Rita Johnson) drives to the train to pick him up. Finding a woman in his compartment, Pamela assumes that Phillip has cheated on her and storms away before he has a chance to explain. So Susan (or “Sue-Sue” as she decides it would be more childlike to go by) accompanies Phillip to his school to clear up the misunderstanding, and gets caught up in more drama there.

This was the very first movie I wrote down in 2003 when I decided to start keeping track of the movies I watched. I’m pretty sure I had seen it before because I remember getting it from the library very early in my foray into Old Hollywood, and it had quickly become one of my favorites. I saw it 3 times in 2003, once in 2004, twice in 2005, once in 2006, once in each year from 2008 through 2011, twice in 2012, then once each in 2013, 2014, 2018, 2020, 2021, and 2022. Given that I was around Sue-Sue’s age the first time I watched it, and I’m now older than Ginger Rogers was when she filmed it, my perception of this movie has understandably evolved. As an actual 12-year-old, I mostly watched it just to make fun of the adults who clearly had no memory of what it was like to be 12, and to remind myself to stay in touch with my child self so I would never get to that point. I’m pretty sure I’ve succeeded in that. As I got slightly older, I started recognizing and appreciating how well-developed the characters are for such a silly movie. I remember as an older teen really wanting a sequel or a series or some other way to just keep hanging out with these characters. And as an adult, I’m still discovering new layers to the story and message. So I don’t think I will ever get tired of rewatching it.

As I’m sure you’ve already concluded from my synopsis, this movie has one of the most bizarre plots ever, and absolutely would not be made today. I promise it is way better than it sounds, but parts of it are very disturbing if you think about them too hard. In particular, there’s a scene when Phillip walks into a faculty meeting (which Pamela is also attending, along with her father who is the head of the academy) as he’s about to be fired in disgrace and reveals that the “woman” that Pamela found in his compartment is a 12-year-old girl. Everybody is so relieved because clearly that implies that nothing improper happened, which is very much what should be implied, and is accurate in this case. Still, I feel like hearing, “Yes, darling, I spent the night with another woman, but don’t worry, it’s okay because she’s only 12” would not actually be very reassuring. It's also incredibly strange that not a single adult in this film – with the possible exception of the conductors – has any concept of what 12-year-olds act like. When she’s playing Sue-Sue, Susan tends to adopt the voice and vocabulary of a toddler or kindergartener, and most other people just kind of accept that as normal. When Phillip first meets her, he asks if she knows the alphabet – like, come on! She’s 12, not 2! The movie itself does address this, though, through the character of Lucy Hill (played by Diana Lynn), Pamela’s younger sister who is actually around 12 (the actress was really 15 but close enough) and sees through “Sue-Sue” instantly. When they’re alone together for the first time, Susan tries to keep up her charade by admiring Lucy’s goldfish: “Lookit the ones with the flopsy-wopsy tails, and the one sticking his nose up, he wants his din-din” until Lucy can’t take it anymore and says, “Stop your baby talk. You’re not 12 just because you’re acting like 6” and it’s like THANK YOU! FINALLY someone said it. It kind of feels to me like this movie is trying to show how quickly many adults forget what it’s really like to be young, and that it’s supposed to be ridiculous that anybody believes that Susan is a child. I’m not sure if that was the actual intention of the filmmakers, but if you watch it through that lens the movie makes a lot more sense.

Even though she doesn’t look or act anything like an almost-12-year-old, Ginger Rogers’s performance is hands-down my favorite aspect of this movie. As I’ve mentioned before, she’s one of my faves, so I’ve seen and loved her in a ton of movies, and this is, in my opinion, her best performance. In some ways, it’s similar to her role in Monkey Business in that she pretends to be younger than she is part of the time, but the difference is her Monkey Business character is under the influence of a formula that makes her truly believe she is young, whereas Susan Applegate knows she’s pretending. As ridiculous as she seems to us, we can tell that she feels even more ridiculous. Susan doesn’t want to act like a child; she just wants to get home, and Rogers conveys Susan’s exasperation through Sue-Sue’s smiles so well. Part of why she wanted to make this film, and perhaps part of why she’s so convincing in this role, was because before she had become rich and famous, she had in fact lied about her age when traveling by train with her mother because they could only afford half fare. She probably wasn’t quite as silly about it in real life, but it seems like her experience helped her find the truth amid the silliness. There’s also the romantic aspect, which overall I don’t think works particularly well – more on that in a bit – but I do think Ginger Rogers does an excellent job of portraying how much Susan cares for Phillip and also how conflicted she feels about it, both because he’s engaged to someone else and because she needs him to believe that she’s way too young for him. The plot may be absurd, but the character of Susan is surprisingly layered and complex, and Ginger brings her to life in the best possible way, nailing every moment of her performance and making this movie far more enjoyable than it has any right to be.

Of course, this was greatly aided by the script and directing, but that’s partly thanks to Ginger Rogers as well. Billy Wilder had previously co-directed one film in France and had written quite a few screenplays – several in collaboration with Charles Brackett – but he had never directed a Hollywood film before. Rogers was a huge star at the time, and had just won an Oscar, so she had the power to choose her directors, and after meeting with Wilder and hearing the pitch she agreed that he was the right director for this project, and thus began his extremely successful Hollywood directorial career. This is obviously one of his lesser-known films, but I feel like both the directing and writing are just as good as one would expect from a Billy Wilder film. While some of the storylines are very odd, most of the dialogue is excellent. Wilder and Brackett wrote the script with my main fave Cary Grant in mind for the role of Phillip Kirby, but one evening Billy Wilder found himself stopped at a red light next to Ray Milland and asked him if he’d like to be in the new picture he was making, and Milland said, “Sure,” so Wilder sent him the script and he liked it, so he was cast instead. I would of course have loved to see Cary Grant in this film, but Milland did a great job, for the most part. There’s a scene between him and Rogers when Phillip is trying to explain the birds and the bees – or the lightbulbs and the moths – to Sue-Sue, and it is incredibly awkward, and based on the words they’re saying should be painful to watch, but both actors absolutely sell that cringe comedy and it’s one of my favorite scenes.

But although the leads have excellent comedic chemistry, their romantic chemistry is basically non-existent. It kind of has to be, since for most of the movie he thinks she’s a child and it would be really creepy if he showed romantic interest in her. I know that as an aromantic I’m unusual in that I would like most movies better if they had less romance, but for this one in particular, I feel like it’s reasonable to not want Phillip and Susan to end up together that way. I do appreciate that his fiancée Pamela is a villain not merely because she stands in the way of the main characters getting together, as so often happens with love triangles, but because she’s actively trying to sabotage Phillip’s military career behind his back. Notably, this movie takes place in May of 1941, so after the start of World War II, but before Pearl Harbor, so there’s lots of debate amongst the characters about whether the US is going to enter the war. (Of course, by the time it was filmed in early 1942, everybody knew the answer.) Major Kirby wants to be part of the action if that happens, and the reason he’s on the train when Susan meets him is because he’s gone to Washington to try to get transferred away from the school to active duty. But Pamela doesn’t want her man to go off to war, which is reasonable, but instead of talking to him about it, she writes letters behind his back to people in high places telling them how valuable he is in the job he doesn’t like. So clearly it’s not a very healthy relationship. Pamela’s sister Lucy enlists Susan to help thwart Pamela’s plans, which she does, and Phillip gets the transfer he was hoping for. And that’s great and all, but Susan didn’t have to be in love with him to help him out. But apparently she is, and Pamela figures that out before she gets a chance to tell Phillip, so Pamela forces Susan to leave, threatening to ruin Phillip if she doesn’t. The confrontation scene between the two woman is pretty great – both Ginger Rogers and Rita Johnson give excellent performances, and they seem like actual rational humans instead of breaking down into hysterical cattiness as too many movies would have forced them to do. At that point I guess we do want Susan to end up with Phillip if only to spite Pamela. And I do love the scene when Phillip shows up in Iowa on his way to report for duty on the west coast. After trying and failing to explain the situation to her mother (played by Ginger Rogers’s actual mother Lela Rogers), Susan decides to pretend to be Sue-Sue’s mother herself. It’s a very funny scene, especially when Phillip remarks on the astonishing resemblance between her and her daughter, and she earnestly states, “Sue-Sue has her father’s nose.” Then Phillip reveals that Pamela has married someone else, which prompts Susan to show up on the train platform, dressed in age-appropriate clothes and using her normal voice, and let him know without using so many words that Sue-Sue was her the whole time. And then they go off to elope to Nevada. So like…I guess that’s okay, but it’s still very weird.

It's also very weird how all the cadets at the school are constantly hitting on Sue-Sue. Most of them seem to be around 14-16 years old, so if she was actually 12 that would be incredibly inappropriate, although I guess nobody ever announces how old she’s supposed to be, and she very much looks older than 12, so it’s not entirely unreasonable for them to assume that she’s about their age. But of course she’s actually around 30, and finds it highly unpleasant to be hit on by teenagers. So calling this aspect weird is not a criticism of the movie; it’s definitely aware of the weirdness. And to a certain extent, it feels like this movie is deliberately calling out male entitlement. The reason Susan decides to leave New York is because in the opening scene, she’s trying to give a man a scalp massage and he will not stop hitting on her until she literally spreads raw egg all over his face. And then he’s going to report her for being unprofessional, after he was literally trying to sleep with her. Later when she’s pretending to be a child at the train station, she offers a man 50 cents to pretend to be her father and buy her ticket, but he takes $3 from her and also tries to hit on her (she kicks him in the shin). Once she’s at the academy, as she’s eating lunch she learns that the boys at her table have made a schedule so they each get to spend an hour with her, without giving her any say in the matter. Then the first one tricks her into a position so he can kiss her without her consent. The other boys are upset that she knows better than to let them do the same, and later the one who kissed her even has the audacity to be mad at her for running away without letting him kiss her again. Then there’s a school dance when several of the students cross boundaries that she has to push back against. And even when she gets home to Stevenson, the man who wants to marry her throws a tantrum because she’s clearly not into him anymore. When Phillip calls to say he’s in town, she assumes it’s that guy, and as she goes to answer the phone she’s practicing apologizing, even though he was the one who threw a rock to break her porch light. It’s like, no wonder she’s interested in Phillip; he’s literally the only man who has ever respected her! Although in the awkward sex talk scene, Phillip does say that attractive girls are like lightbulbs and boys are like moths drawn to them, implying that they just can’t help themselves and this is the way things are, which is rather irritating. So the sexual harassment could definitely have been more explicitly condemned, but for a movie written by men in 1942, The Major and the Minor does a remarkable job of portraying the crap that so many women are forced to regularly deal with because men think they’re entitled to their bodies.

This movie also does a surprisingly good job of portraying female friendship. Despite their significant age gap, Susan and Lucy quickly develop a very sweet bond. Lucy is a great character to begin with – she’s observant and feisty and obsessed with biology, and I feel like she would make an excellent protagonist in some sort of junior mystery series. She’s also quite jaded for someone so young – perhaps from growing up surrounded by teenaged boys – and hates her sister, so she gets along perfectly with Susan. Since Lucy immediately sees through Sue-Sue, Susan has one person she can be herself around, which is helpful both to her and to the audience. They also make an excellent team when they come up with a plan to help Phillip get his transfer. And then when Susan is forced to leave, Lucy tries desperately to find a way to help, saying “You’re much more my sister than Pamela.” Later, the reason Phillip visits Susan in Stevenson is because Lucy made him promise to drop off a present from her to Sue-Sue, so she does find a way to help after all. I like to think that Lucy and Susan stay in touch after the events of the movie, and maybe Lucy even goes to live with Susan (and Phillip, assuming he survives the war) to get away from her toxic sister.

This movie is particularly fun to watch for Ginger Rogers fans not only because she gives such an excellent performance, and because we get to see her mother’s only on-screen appearance, but also because there are several jokes in the script that are only funny because Ginger Rogers is playing Susan. At this point, Rogers had made nine movies in which she danced with Fred Astaire, and although she had made many other films and had just won an Oscar for a non-dancing drama, dancing was, is, and shall always be what she’s best known for. Which makes it very funny when Phillip asks Sue-Sue if she can dance and she responds with “a little”, and when she’s showing off dance steps to a cadet and he replies with, “Adequate.” These jokes remind me of my first introduction to Ginger Rogers, as a child watching the 1965 Rodgers and Hammerstein Cinderella, in which she plays the queen, on VHS at my grandparents’ house. I distinctly remember one of the many times I watched it, when the king asked, “May I have this dance?” and the queen replied, “I was wondering when you were ever going to ask me,” my mom explained that that actress was a famous dancer and that’s why she said that. I didn’t fully understand at the time, but now that I’ve seen all of her films with Fred, I get it. As fun as these jokes are, however, it is a little sad to me that even when she got to play a kickass protagonist like Susan Applegate, she knew she’d always be thought of as “Fred Astaire’s partner”. At least now people acknowledge that “she did everything he did but backwards and in high heels” – thanks to a frequently-quoted Frank and Ernest cartoon from 1982.

Anyway, I’ll talk more about Fred and Ginger in a future episode. As for The Major and the Minor, if you can get past the strangeness of the premise, it’s an incredibly entertaining watch, with some decent and unfortunately still relevant commentary on how frustrating it can be to just exist with a female body in a patriarchal society.

Thank you for listening to me discuss another of my most-rewatched movies, and also Happy Pride Month! Remember to follow or subscribe for more episodes, and also remember that people on the aromantic and/or asexual spectrum belong at Pride; the A does not stand for Ally. I’ve got some fun guests lined up for the podcast later this month, but first I’ll be talking on my own about another old film that isn’t nearly as obscure as this one. As always, I will leave you with a quote from that next movie: “I was born on the side of a hill.”

[chainofclovers]

Grace and Frankie 7x1 - 7x4 thoughts

Meh? Like...I love them so much, but...meh?

(I did enjoy this line about brunch.)

I really loved season 6 of Grace and Frankie. I thought it was well-paced, largely very well-acted, generally well-written, and it culminated in a massive moment of character development for the title characters, who, having spent years growing closer and being there for each other when others could not or would not be, finally articulate to each other that they are the primary person in each other’s lives. Platonic gal pal soulmate BFF emotional support witches 4 lyfe!

I know progress isn’t always linear, and in fact is very rarely linear, but after a moment that significant, you’d think the writers on this show would maybe come up with some more interesting things for these characters to do than spin in circles?

@bristler and I watched on Friday night, and just this morning over breakfast had a good conversation about the first four episodes of the new season now that they have settled in our brains a bit. We concluded that the writing (often noticeably clunky, like the dialogue is responsible for more narration than usual) and the tone (aggressively wacky) feel really off, especially compared to the prior season. I think we diagnosed the big issue, which is that Lily Tomlin and Jane Fonda are by far the most talented actors on this show (if you disagree, fight me in the parking lot) and it feels surprisingly unfortunate that their characters have, to this point in the new season, pretty much figured out their perspectives on each other. No matter how people feel about Grace and Frankie’s sexualities, the whole show has been about them finding each other and getting in deeper and deeper, and it’s less interesting to watch other characters have realizations about that than it is to watch Grace and Frankie having realizations about themselves. If the title characters are now limited to reacting to other people’s actions, and the title characters are played by the best actors on the show, the whole show’s gonna suffer. And is suffering, very much so, at least for these first four episodes. I’m definitely still excited for the final twelve in 2022 (twelve! I cannot believe this season will have sixteen eps!), but I’m pretty disappointed so far.

Stuff I Loved:

The family brunch. These families have been entwined for so long, and the backstory for this particular brunch was so fun (even though I didn’t care for the effects they did to depict Grace and Robert 25 years ago; there was no need for a visual flashback in the scene). I love that Grace hit Frankie with a wiffle ball bat. I love that the two couples realized some of the emotional reasons behind their decisions to lie to each other about Bud’s Bunny and about M’Challah. I love the way Jane Fonda sounds uttering the phrase “Bud’s Bunny” with little to no irony. I love that Grace is able to recognize and articulate just how deep and miserable her anger issues were, albeit with the continued help of her omnipresent martini, and that Frankie told her she’d now make up a holiday in order to spend more time with Grace. I really, really hope Frankie does exactly this at some point in the remaining episodes of the season. I love that Grace is generally a pretty good person now, with aspirations of being a delightful person. I love that she and Frankie don’t have it in them to stay angry with each other, and I love all the evidence that they really, really talk to each other about everything now.

Frankie talking to the man at the office (I don’t remember who he was supposed to be? A toilet manufacturer? I didn’t mention this before, but I actually got pretty high while watching?!? Believe it or not, this was the first time I smoked pot and watched Grace and Frankie at the same time despite having enjoyed both activities on their own for quite some time. I would recommend the combo! And I think I still pretty much got what was happening) about paying for the toilet parts with candy. This whole subplot with the money laundering was absurd and not that interesting, but I loved this particular scene because it was finally evidence of some really thoughtful writing. The concepts aren’t enough! You have to write them into good dialogue! And the whole cash/candy thing was a moment of dialogue that only someone as hilarious as Lily Tomlin could pull off. Which she did, IMO.

In a show about super messy people, Coyote has stayed sober this entire time. He is sober, employed, in love, and preparing to buy a full-sized house with his partner. He hasn’t murdered anyone in his family. Hasn’t even attempted murder once.

In 2017 or whatever, Grace Hanson would have been furious about Frankie using obscure Beatles references like a treasure map when hiding the cash. But here in 2021, she cooperates and even gets in on the fun. The writing is very unsubtle this season, but that did feel like a reasonably subtle moment that shows how good of a partner she is for Frankie. (Platonic, of course! So platonic. Female friendship, amirite?)

Stuff I Did NOT Love and Felt Incredibly Negative About:

Brianna. I can only conclude that June Diane Raphael has decided she’s happy with playing a character whose primary role in life is to be hot and mean. She succeeds at being hot and mean, but I have reached my limit with this character. I realize we’re only a quarter of the way into the season, but I don’t think I can take another arc about her learning to compromise only to reveal to Barry that she never intended to compromise at all. At this point, it’s both abusive and boring. How?! The Grace/Brianna parallels aren’t interesting anymore, because one character has grown and the other is stagnant. I get that Brianna was raised in an emotionally stilted environment by two unhealthy people. But I think it would be very cool if she could learn something from her mother at this point. Grace has put a ton of effort into dealing with her “rabbit-killing, mad-at-the-world anger.” She’s put a ton of effort into figuring out what makes her happy, what she wants her life to look like. She’s even started accepting her age and abilities without shame. And that growth is believable; Grace is still short-tempered and she still slugs back way too many martinis and she struggles to articulate certain things, but she’s grown into a truly lovely human. And while, as a daughter with a mother, I can absolutely attest to the fact that it can be difficult and uncomfortable to learn lessons from one’s mother, Brianna really, really should. Grace spent decades letting anger and shame trap her in a small, miserable life. Brianna—and even Mallory, who just seems like a vapid idiot this season—are traveling that same path, but there’s someone right there who could really help, maybe even more than Frankie helped when the Hanson girls were first growing up.

The arraignment. The scene might’ve been salvageable if it was filmed from Grace’s perspective, and filmed to reflect how surreal and improbable it all was. But speaking of non-linear progress, this scene erased everything Nick Skolka has done to put himself in my good graces (LOL) over the past couple seasons. I mean, I tried, man. I even wrote fic about Nick, Grace, and Frankie making a genuine effort at polyamory. But the arraignment is so emotionally manipulative, such a slap in the face of everything Grace has worked for, and while we’re certainly “supposed” to feel the weight of the moment, I mean, it’s not like we’re supposed to be like, “Oh, cool, we’re in a rom com now! This is adorable!” it still felt bad and unearned and slapdash.

And I want Frankie to process these things with her! Frankie seems so happy to have all this information about Grace and how Grace feels, but I want to see scenes in which we can gain an understanding of how Frankie actually feels. Hearing Frankie talk to other people about how Grace feels is interesting, but it’s like there’s no room in these episodes for us to learn anything new about Frankie herself.

Grace’s transitional wig. Is so. Bad. It is. Such a. Bad wig. Oof. I mean, I like what they’re doing with Grace’s hair from a plot perspective, although (see one bullet up) I would really like to get more of an understanding of what’s happening in Grace’s head, not just on top of her head. And gosh, Frankie would be a really good person to talk to about this in a conversation that lasts longer than 30 seconds. But the wig! She’s in a wig in all four episodes, of course, since Jane Fonda went grey and cut her hair short before they started filming this season. The wig for episodes 1 and 2 is fine; it’s a good approximation of Grace’s typical hair, and of course we know that canonically Grace’s hair isn’t 100% her own hair anyway. But the wig with grey roots looks so weird. The part that’s growing out doesn’t look the same as the hair on the wig from 1 and 2. And the grey roots look like a yarmulke. I cannot wait to get to the point in the season when Grace goes all the way grey.

(One more thing about the hair. I can’t let it go. I paused the show while we were watching to rant, but I’m not done.) I had the great privilege of seeing Jane Fonda in person at a protest in 2019. She is an insanely beautiful human. She was growing her hair out and it was partially dyed blonde and partially grey. It looked really cool. I am not ashamed to say I spent that day learning many things about the climate crisis and about Jane Fonda’s hair. Having seen her in real life with her real hair looking that fucking great, I just have a an extra-large grudge against everyone involved in that horrible wig. The wig is necessary, but it didn’t have to be this bad.

What Do I Care About Now?

I am pretty intrigued by the way Grace threw out her real age in a conversation with Nick and Elena. She has nothing to fear anymore! She’s so chill about aging! What could go wrong? I assume that Nick and Elena maneuvering for Nick to be on house arrest in Grace's house specifically has to do with the fact that Grace is 82. She’s gonna find out that Nick is allowed to be with her because she’s ancient and helpless and the court took pity. Or something like that. She’s going to feel betrayed on top of feeling stifled and overwhelmed by Nick’s presence. I want to see where this goes for sure.

Other than that, and other than the fact that I really do continue to believe this show is moving in a direction in which Grace and Frankie will choose each other, I feel very whatever about this whole thing. I love this show and I will always appreciate this show for giving me some incredible characters to spend years of my life writing about, and for bringing me some pretty amazing friendships. Speaking of those friendships, yesterday @ellydash and @telanu and I were talking about some of the incredible TV we’ve watched recently, like Ted Lasso and Hacks and Fleabag and Killing Eve, and how great it feels to watch beautifully written TV crafted by writers who are profoundly—organically yet intentionally—attuned to even the most minor character’s rhythm. The disappointment of these first few episodes of the new G&F season feels like a mild disappointment rather than a sharp heartbreak, and that has a lot to do with being deeply invested in other shows that could also go in all kinds of different directions but with writing I fundamentally trust.

Also Jane Fonda and Lily Tomlin are my forever faves and my appreciation for their performances and general awesomeness onscreen and in life is undiminished. So that’s pretty cool.

[beccanoodles]

Spike and Faye Pairing Analysis

March 2021

Ah the hit or miss pairing of the century! If you don’t love it, you probably hate it lol. I’m a very analytical person so I love analyzing works of art and overall enjoy deep discussions about them too. I have SO much to say when it comes to Cowboy Bebop (and oh I plan to), but I have decided to start with my very own OTP. Here, I am not really going to discuss Spike and Faye’s feelings for each other, but rather why I think people are drawn to this pairing and why I think they're totally valid. Get ready for a long read!😁

⚠️SPOILER WARNING!!! [Major Cowboy Bebop and the movie Out of the Past spoilers]⚠️

First off, let’s clear something up. I am confident most of us can agree that Spike was in love with Julia. Some people assume Spike and Faye fans are deranged and disregard Spike and Julia’s romantic relationship to try and make something of Spike and Faye that never was. While some people may have their various theories and opinions on this, generally, I don’t think anyone denies Spike’s love for Julia. As we will see, this pairing is not really driven by who loves who...let’s first look on the surface.

I don’t know your experiences with the series, but in mine, every time I show this to people it never fails for someone to say something along the lines of,

“Wait, they don’t end up together?”

“Why didn’t he kiss her!?”

“He should have stayed with her...”

and so fourth. 

Naturally, this pairing catches many eyes. 

Think about it, you are given two really cool, really hot and really deep characters that are really fun to see together! There are so many parallels between the two and they are arguably the strongest characters of the bunch. Granted, you can agree with this and still not ship them, but these aspects are part of what opens up the door for many fans of the pairing.

However, there is certainly more to this pairing than them simply looking good together right? As the years pass and I’ve now seen the show multiple times, my understanding of it has evolved in many areas, Spike and Faye included. 

Spike and Faye really couldn’t have ended up together. Sure, it’s a nice thought, but It would have been an entirely different show if they had. I don’t feel that the show should have happened any other way and I don’t think many other fans would either. 

So, what am I saying here?

What’s the point of this paring if I don’t think they should have ended up together? 

It is what's so frustrating about them, yet keeps you coming back and what honestly validates this pairing in my opinion. Spike and Faye are not driven by what is, but rather, what could be.  

I personally feel the themes of classic film Noir are not discussed enough when it comes to Cowboy Bebop! This is one of the show's major influences, especially when it comes to the plot and characters.

One of the common tropes of a film noir is that of a protagonist who is drawn back into his past and ultimate doom, usually by the “seduction” of a femme fatale. In these movies, the women are either a femme fatale [devious, dangerous, mysterious, greedy, troubled, or unreliable] or a woman of virtue [reliable, dutiful, trustworthy, conventional and loving]. 

I am going to use the 1947 classic, Out of the Past to make my comparisons from here on out.

In Out of the Past, Jeff is a former detective who gets caught up in a love triangle between a gangster and his girlfriend Kathie, sound familiar? He attempts to run away with her, but is betrayed and runs off to start a new life in a new town. Here, he meets Ann and falls in love with her, but of course, his past catches up to him and he is drawn back into the world of criminals (largely by Kathie’s involvement). This ultimately results in his and Kathie’s deaths and Ann’s heartbreak. 

Even though Kathie is the femme fatale in this movie, I found myself comparing her more to Julia’s role in the show, than to Faye’s and I found that Faye actually fit best in Ann’s role (this is a bit unusual considering Faye is typically seen as the femme fatale of this show).

Does that mean I think Julia was as ill intentioned as Kathie or that Spike fell in love with Faye? Well, not exactly, let’s look at it a bit further.

“The kind of beautiful, dangerous ordinary that you just can’t leave alone...Like an angel from the underworld or a devil from paradise.”

Most of what we get about Julia is from Spike’s point of view. From this, we learn she is at the center of Vicious and Spike’s conflict, but aside from that she is basically depicted as “The Virtuous Woman” of a noir. The colors around her are warm and she is shown caring for Spike. There is an innocence and modestly about her as well.

Yet, when we finally do meet Julia, we get a different image. We know she is tied up with dangerous men, but is she herself a dangerous woman?

She is certainly capable of betrayal. 

Suddenly she is a bad-ass-gun-toting woman in leather and black, surrounded by hues of grey and dark blue. Intentional or not, Julia is a major part of what lures Spike back into the past and ultimately to his death. In this case, Julia is the femme fatale of Spike’s story and thus, their relationship is doomed from the start.

Faye, on the other hand, is portrayed in somewhat of a contrast. When we first meet her, she is the clear cut femme fatale, appearing cunning, strong willed and seductive. However, we soon find that she has quite a bit of kindness and naivety hidden behind her facade. She uses the former tactics as a way of emotional (and probably physical) protection. Gren points this out in his conversation with her. 

Gren, 

“You’re just afraid they’d abandon you so you abandoned them. You distanced yourself from the whole thing.”

As the show progresses, we start to see less of her “femme fatale nature” and something more genuine. Think about it, between Hard Luck Woman and RFB Part 2 we don’t see much of Faye as her typical conniving or unreliable self, aside from changing the course of the Bebop maybe. Sure she takes off, but it isn’t at all for the same reasons she did in Jupiter Jazz or Speak Like a Child, for example. 

I would argue we actually see her more trustworthy and caring than ever. Since I don’t want to spend too much time talking about Faye’s character development (not here at least) I’ll give one example of this. 

When she returns to the Bebop after her encounter with Julia in RFB Part 1, she gives Spike the message, even though the outcome might hurt her (i.e. he leaves and/or dies). While she does first say “It’s gonna cost you,” she doesn’t really mean it because she tells him without hesitation only moments later.

This isn’t to say Faye good, Julia bad. Both women have their layers and even though we know way more about Faye, I don’t get the impression that Julia is selfish and cunning like Kathie was. But I do get the feeling she was enclosed in a world of crime and betrayal the way Kathie was. We really only know the basics of Spike and Julia’s situation. Who knows the details like motive or how long it lasted etc. etc. We can only speculate...

There is a scene towards the end of Out Of The Past, where Kathie tells Jeff to go away with her. This time it is her asking him, just like Julia asks Spike. During this she mentions,

“I never told you I was anything but what I am, you just wanted to imagine I was. That’s why I left you.”

This got me thinking...did Spike imagine Julia as something she wasn’t? Or something he wanted her to be that she just couldn’t be? 

It could explain why we get such contrasted images of her.

There are themes of this “dreamlike” relationship between Jeff and Kathie, similar to Spike and Julia’s “It was all a dream.”

The two of them were going to “live and be free,” probably something neither of them knew how to do and most likely wouldn’t have been able to get away with.

When Jet asks Spike if he can just forget the past, this is his answer.

Spike,

“There was a woman. For the first time in my life I saw a woman that was truly alive. At least that’s what I thought. She was the part of me I had lost, that part that was missing, that I had been longing for.”

I always wondered about this, because Spike is clearly talking about Julia, but right after is when Faye shows up. To me, that spoke volumes...

Faye is a woman who is terribly human and terribly alive.

Going back to Faye and Ann, I find their similarities shine not so much in the “Virtuous Woman,” concept, but rather in Ann’s dedication to Jeff and her optimism for the future. She is also the last person to talk to Jeff before he leaves for the final time, as if he were being presented with one last alternative. Spike spends his last moments with Faye as well, in which she basically begs him not to go and keep him in the present that she has now discovered for herself. She may be stuck, but she is definitely someone that yearns for human connection, love, and life.

The problem is, Spike and Faye are both set in opposite directions. Her’s leads to a future and Spike knows this because he points it out early on (My Funny Valentine). He also knows, his most likely does not. He has already dug himself too deep into this hole, if you will, that there is really no turning back. 

But let’s say none of that was an issue? What could be?

I sat and watched this movie (Out of the Past) with my mom. She didn’t know anything about it and didn’t know why I was watching it. I wanted her genuine reaction. The whole time she was getting mad at Jeff until the very end. I asked her why and she said that she wanted him to be able to live happily with Ann. I explained to her why he had to do what he did. She understood this, but still couldn’t help but be sad at how things turned out for him, when they could have been good.

Even though Kathie and Jeff are the “lovers,” of this movie, you don’t really want them to end up together. Forget that Kathie has a devious nature, regardless, you know where it has to end and you don’t want to see your hero die.

Like Kathie, Julia symbolizes Spike’s inevitable doom and Like Ann, Faye symbolizes his possible future. 

“I’ll be with you till the end”

                           “You’re the one still tied to the past Spike!”

                                                               “Why do you have to go? Where are you going? What are you gonna do, just throw your life away like it was nothing?!”

It’s two sides of a sad coin...

We want Spike to have a future and because we love the characters of the show, it would be really great if he could have it with them, but that is where the tragedy is. It's only an idea we can think about, a possibility presented to us as it was to Jeff and Spike before their deaths.

The bottom line is, when it comes to Spike and Faye you are really only given a taste. You are not given what you expect to see, which is why I say this ship is driven by what could be. As it is with most of the character relationships in the show, no major breakthroughs are made until the very end, when it's too late. Then it just feels like such wasted potential, but sometimes in life, that's how it is. And thus, we have been given a very classic noir here ladies and gentlemen!

So no, I don’t think people miss the mark when they ship Spike and Faye, nor do I find they invalidate the show by any means. I kind of like that Watanabe switched it up and didn’t do the expected, but left us those subtle hints. He didn’t outright give Spike another lover, but he gave us someone that represents what he could have. Kind of does that with the crew as a whole too!

UGH. I love-hate this show and I love this pairing! Thank you for reading my thoughts and I know this may not be the case or reasoning for everyone, but just based on what I have seen around the community and where this show draws inspiration, this is what I have concluded. I didn’t get into Spike and Faye’s feelings for each other because it gets a little more theoretical there, but I would like to do a post on my thoughts on that as well sometime. I also didn’t touch too much on Spike’s reasoning for choosing to face Vicious in the end, just because I know that will only lead into a whole other analysis lol. But you know I have my thoughts on that and certainly plan to share them 😎 Also, I know I basically spoiled it, but Out of the Past is such a great movie!! I think if you’re a fan of this show it's definitely worth a watch! There are so many more parallels to Cowboy Bebop that I didn’t even mention. Anyways, thanks again and talk to you soon!

[postmodernmulticoloredcloak]

And now I’ve watched episode 3 of Walker because of reasons. (You guys asked, that’s reasons.) #1

My review of episode 1 got a lot of positive feedback and a lot of you asked me to cover more episodes! But my review of episode 2 didn’t get much feedback at all. Possibly because episode 2 was boring and you can only make so many funny jokes about the glowy wife before it gets stale, so I get it, it’s fine. It was boring for me too. Hopefully this gets funnier! I actually have high expectations for this episode, since apparently it introduces NotDean. You know, the childhood friend who Walker loves like a brother and is the Han Solo to Walker’s Luke Skywalker. Like, what. Stop comparing Jared Padalecki characters to Like Skywalker 2021 challenge. *insert you keep using that word...*

Anyway, in case you missed it - here are all my reviews of Walker episodes, in chronological order.

EDIT: *screeching* GUYS YOU ABSOLUTELY HAVE TO KNOW WHAT HAPPENS IN THIS. YOU CANNOT IMAGINE WHAT HAPPENS IN THIS. Read to the end, don’t stop at the padalacting. I’m begging you asdfghjkl

Alright. Let’s start this. Actually I have a thought before we start. You know, I was thinking that episode 3 of Supernatural is when Dean gets genuinely introduced as a person. Sera Gamble and Raelle Tucker were the first to give Dean the personality that stuck and developed into the character that we love. Dead In The Water is, not coincidetally, the episode that sold Supernatural to me. The first couple of episodes were weirdly compelling, without which I wouldn’t have continued watching, but you must understand that I’d never watched horror before. It really wasn’t my genre. I was just watching on the assumption that it would get better at some point, and if it didn’t I’d stop. But Dead In The Water got me. Because that’s when we’re really shown Dean for the first time. The rest is history and now we’re here.

So I wonder what will happen in episode 3 of Walker. Is it going to magically pull a Dean out of the hat and get me?

Let’s start. The Texan countryside. The yellow, glowy light tells us this is a flashback. Closeups of Jared and Gen. He is somewhat concerned. He’s at the wheel of a car, still on the street - a red Mustang. Unlike the red Mustang of the horseman War, it is a convertible. Fun fact: a Mustang was Kripke’s original idea for the Winchesters’ car, but then switched to the Impala for body-in-the-trunk reasons. I am the 😬 emoji.

Actually guys I need to show you a couple Jared faces. I think they’re supposed to be purposely comedic faces, but honestly this is just how he acts normally. I promise I am not coming in this with a bias towards Jared’s acting. I just observe, with my eyes. He was actually good in many Supernatural episodes.

I just can’t see Cordell Walker. I’m just seeing Jared and Gen Padalecki delivering what is a somewhat padalecki acting in front of my eyes and I swear I had to close the video in the middle of this scene and start over because of a sudden attack of second-hand embarrassment.

Let’s continue

Basically, Walker is trying to drive the Mustang, but he is not good at it and the car stops after two meters. He feels exactly how I feel when I watch Walker.

“Damn it!” Jared exclaims, jaredly. I think that this scene is supposed to be set Many Years Ago, because Walker is wearing a backwards cap and Emily has her hair styled like Bad Janet but straighter, which actually says a lot about this show somehow.

God, I wish I could gif the entire scene to show you guys the padalacting. I mean, I could, but ain’t nobody got time for that. Have a bit of the scene.

For some reason she puts this thing on the dashboard, because he “puts your mind at ease”.

He makes more Jared faces, which we’ll skip because I don’t want to spend 7 hours on this.

Wait look at this shot of the car (with some bonus Jared face).

Why does this look filmed by your dad with a videocamera on Christmas afternoon after you received a toy car as a present? I suddenly have a newfound admiration for the directors who did Impala shots on Supernatural because it would seem car shots are not that easy to make. Maybe this is why Supernatural always filmed at night with a black car.

Guys I am telling you, if you need to watch one scene of Walker in your life, watch this scene. It’s so embarrassing. I almost decided to gif the moment of the car going and commenting “nyoom” but the Impala does not deserve this.

Anyway.

Listen, if I have to see thing thing over and over, you have to see it too.

He’s brought the damn thing onto a new cop truck while on a stakeout with Ramirez, who is just as happy about it as any normal person would.

I think they’re outside a strip club, judging from the posters outside.

He keeps quoting lines from the scene with his wife, which is sort of weird since Ramirez is not his love interest. Yet. Oh no. Don’t. Don’t do that. Don’t even thinking of doing that. Ramirez has a perfectly fine boyfriend.

Walker says that since they’re sitting there just waiting for the suspect’s movements or whatever, they should use that time to get to know each other, like “favorite movies, the teams you root for, middle names”.

Ramirez is me.

He’s like ~let’s bond~ and Ramirez goes immediately for the jugular and asks how Stella (his daughter) is doing. “Wow” he says. He says he and Stella are “in a good place, I think”. You’re not and we’re definitely not. This is the bad place.

Basically, they’re trying to live in a bubble of ignoring her upcoming court date for the marijuana thing. Ramirez says that the easy route is not a good idea. He’s like, are you speaking from experience? Basically they keep implying Ramirez also has a ~bad girl past, which I can absolutely live without.

Aaand now we see the inside of the strip club. The suspect is there, a lady with a Latinoamerican name, apparently bisexual because she’s surrounded by a woman and a man in underwear, the woman is touching her, it leaves no doubt about it. 😬 Enter the stripper on stage, who captures the lady’s attention.

The stripper is a man. Dressed as a slutty cowboy. There’s glitter.

Yeah, you read it right.

Oh no. No I absolutely change my mind. If you have to watch one scene of Walter, it must be the slutty glitter cowboy stripper.

There’s. There’s a. There’s a slutty glitter cowboy stripper.

The CW could do slutty glitter cowboy strippers and Dean Winchester is not there?!

I repeat, they killed Dean Winchester and then did slutty glitter cowboy strippers in Walker?!

This is a travesty. This is an outrage.

Crime. Pure crime.

Listen, I’m not optimizing these gifs, take these super quick gifs, I can’t possibly spend my night optimizing glitter cowboy stripper gifs. But you need to see.

What’s the target demographic of this show? Texan housewives? The gays? Are they trying to test all the waters and see what happens? Is Walker going to become about gay people and Jared’s character a secondary character in his own show?

Wait

*sweats* Are they really trying to replicate Supernatural in everything after all?

The bisexual lighting is there and all.

The guy in skimpy underwear is distracting. I can’t believe yesterday I saw a Jared interview where he said he couldn’t watch Supernatural with his kids because of all the violence but Walker is a show you can watch with kids. I mean, aside from this scene, Walker is definitely more kid-friendly than Supernatural for obvious reasons. But hey, since Supernatural already was non-kid-friendly, they could have at least put more dudes in skimpy underwear.

You know what, I think they’re just aiming for Texan housewives.

“You’re hotter than Austin asphalt” suspect lady tells the stripper. You know. Something normal people say.

(If Texan people actually speak like this, do NOT tell me.)

Guys, we’re only four minutes in. It’s midnight. I will continue tomorrow...

*screams into the void* These have been the four wildest minutes of my life.

[laf-outloud]

Do you think the pilot for Jensen’s prequel has been ordered? With the way Jared was talking, it seems like his has already been ordered and Jensen wouldn’t know until January (basically now) Also I don’t see why it’s weird that Jensen did a birthday post for dean. Is it because he never made one before? I haven’t been in the fandom that long, so I don’t really know, but I saw a couple saying it could allude to where his prequel is right now. Then again people are saying this podcast was shot sometime last year, not sure when, maybe December, so his prequel could’ve already had been ordered for a pilot. But I’m kinda confused on how his prequel was supposed to be farther along, according to AAs, but Jared’s prequel had been in the works since January 2021 and the Ackles had been sitting on their prequel since 2020, so how come Jared’s is actually farther than theirs. I get they have to do major retconning to even make their prequel work and pray for a miracle to actually get people interested in it, but still, they had this idea months before Jared’s prequel started developing.

Good questions anon! I think there's a lot of confusion out there regarding the timelines of the different projects, (which is understandable because with the pandemic, it seems like the last 2 1/2 years are all just jumbled together), so I hope you'll bear with me as I put together what we know about both prequels!

SPN Prequel: The Winchesters

Oct. 2020 - The Ackles form a new production company, Chaos Machine Productions.

Mar. 2021 - During the SPN Creation Entertainment Virtual Panel Jensen mentions having a project in the works with a writer from SPN.

June 2021 - Chaos Machine Productions announces The Winchesters. A prequel featuring John and Mary, with Dean narrating their lives. A script commitment is listed (meaning they have a writer, Robbie Thompson, who's promised to write a script for the prequel).

Sept. 2021 - Jensen records the Inside of You podcast with Michael Rosenbaum and mentions that the network and studio had signed off on the prequel back in June 2021, hence the announcement.

Dec. 2021 - The SPN Then and Now podcast is recorded at Nashcon where Jensen mentions the script is with the studio and he's waiting for more information in Jan. 2022.

Jan. 2022 - The SPN Then and Now podcast airs.

Walker Prequel: Independence

Jan. 2021 - Walker airs it's first episode.

Feb. 2021 - Walker obtains a second season renewal.

Dec. 2021 - The SPN Then and Now podcast is recorded at Nashcon where Jared mentions the Walker: Independence prequel had been in the works since before Walker aired (so around Jan. 2021). He indicates that they hope to start filming in Jan. 2022.

Dec. 2021 - It's announced that the CW has ordered a prequel spin-off series for Walker called Walker: Independence. (Executive Produced by Jared).

Jan. 2022 - The SPN Then and Now podcast airs.

Both Prequels I'm going to refer you to lol-jackles post regarding the future of these prequels: x

So... to answer your question anon, there's no indication that the Ackles had the Winchesters idea before the Walker: Independence idea. They could have, but there was no work on it until around June and the time of the announcement. And yes, they'll either have to walk a very fine line between canon, or start doing ret-cons.

[geekgemsspooksandtoons]

The Mask 1994

*I finally wrote the whole thing. I finally watched the movie that involved something I’ve been talking about A LOT. I think this took about an hour since I finished the movie. Forgot to mention Charlie.*

I wanna make this clear, even before I watched movie or ever writing this. I am legitimately a stupid and lazy person. Because my mom told me about this, and last week, my dad rented A Quiet Place Part 2. When I was trying to go to sleep but was looking up movies...I literally forgot my tv can do that too...and that I can rent or buy a movie...I rented the movie this morning, and deleted it afterwards...after all that talk...I could’ve done that...wow. I should do that more considering some movies I wanna see or like. Not too much though. My tv has DirecTV. Just a heads up.

But a few or couple of minutes ago, I finally watched The Mask film from 1994. This post is gonna be filled with spoilers and it’s gonna get long. Gonna be kind of a review. My overall thoughts on it. This was my first reaction to the whole movie.

I’d just wanna talk about this too. I like comic books, I like comic book movies. Mainly my favorites are ones like all of Zack Snyder’s DCEU movies, Spider-Man 1 & 2, The Suicide Squad 2021, Wonder Woman 2017, The Dark Knight(Despite whatever issues I have with it), and Joker 2019. Yeah, those are mainly DC films and two Marvel related ones. I don’t even mind Spider-Man 3 as well. I also forgot Dredd 2012 is another one of my favorites. Along with Batman 1989.

I was hoping The Mask could make that list of favorites. Because I read the comics first. I don’t think I ever watch the movie fully as a kid MAYBE. I’m a fan of the comics, I know this movie was gonna be a lighter take on the series. 

In a nutshell...I liked it. It’s possible it will be on that list of favorite CBM’s...but I want to talk about it. I’ll also admit I think what got me interested in seeing this film and this series was me liking Jim Carrey as Ace Ventura...now, let’s get to the point.

Yeah, I liked it. I thought the movie was genuinely entertaining. Despite seeing some clips before. But also Ryan Hollinger’s video about it. Revealing the ending, the twist, and other stuff. But I didn’t wanna watch more more that I haven’t seen yet.

I will be honest, it still made me laugh. Even some scenes I already have seen. I will admit, the Cuban Pete scene is actually one of my favorites. XD But what also surprised me is that at times, despite being a funny film. It can genuinely be touching in a way. And I am mainly talking about the developing relationship between Stanley and Tina.

I just wanna talk about the characters right now. I’ll just admit unless I haven’t already. I’m a Jim Carrey fan. Mainly because of his more goofier roles. Particularly his roles from the Ace Ventura movies, Liar Liar, and especially Sonic The Hedgehog. I also will admit this, Jim Carry nails playing Big Head or who they call...The Mask in this movie...I’ll nitpick about that later.

But yeah, Jim’s entertaining as Big Head in this film. He does make me laugh. But I think another role he does well despite there are some sillier moments, which is fine. I feel like in a way, Stanley Ipkiss in this version, is maybe one of his more normal roles. But I know I’m wrong considering whatever other roles he’s in. He portrays a likable good guy who’s sadly mainly pushed around. Which is quite the difference from the comics, except being pushed around. But that’s another topic. Yet for this story, even if maybe Stanley’s name could be changed. But him being a genuinely kind guy works for this story.

Even before I saw the movie, learning more about this version about the character. I can relate to Stanley in some ways honestly. Which is something that I like. He basically shines as a protagonist. 

He portrays both sides well. Despite at times...honestly, this Stanley is wacky. I shouldn’t be judging. Jim does a good stuff with what he played, and he’s the highlight of this movie. He also delivers possibly my favorite Jim Carrey line of all time now. Sorry if I get this wrong. I was looking for a clip of it to help me.

“Daddy’s gonna go kick some ass”. A literal line from Jim Carrey in this movie and I love it. He even brings a pistol with him.

I also wanna admit Peter Greene as Dorian is pretty good as a villain. The dude can be threatening and he works with what he is given. And he’s effective as an antagonist. I just wanna admit that I swear, one of these guys. One of them could’ve Walter in a way and I just think that could’ve been possible. But I’m not sure. Just one of Dorian’s henchmen looked like a huge guy. It just got me thinking about Walter from the comics.

Will admit, I think Kellaway is fine. And I just found out Christopher Reeve was one of the actors considered for the role...damn. But again, Kellaway was fine. He’s more like a supporting character and again, this is like an origin story. I do feel bothered Lionel Ray wasn’t added but replaced with this Doyle character. I will admit that Doyle is silly, which is the point of his character. I guess the writers and director didn’t want two sensible cops or something. I like Kellaway alright, but I’ll always dig Lionel too.

I really wanted to get this point. I thought Cameron Diaz was good as Tina Carlyle and Amy Yasbeck as Peggy Brandt. I will admit, I do strangely like the subversion with Peggy in a way with it’s twist. I get the idea if that it was going for that theme of, “We all wear mask” and Peggy turning Stanley into the mob said a lot about her character. While Tina was genuinely the one that truly supported Stanley.

I think was surprised me more was the fact despite Peggy turned in Stanley for selfish purposes such as paying for her condo. Yet what surprised me more was she was actually concerned for Stanley being killed, and didn’t want him hurt...which explains even more why she stuck around in the cartoon. And honestly, it makes me glad the director took out that deleted scene of her getting killed. So she wasn’t that heartless.

Also...it made me think that...my ideas and changes towards her character...maybe hold some weight.

I’ll just put this out there too. Milo is great, one of my favorite fictional dogs maybe. Good dog.

Trying to think what else, the score was fine. But the licensed music was good or something. Overall, I think my negatives could be just...nitpicks. Such as the Big Head part I wanted to talk about. Listen, I understand this is a different version. I just feel it’s weird to call him, “The Mask” instead of Big Head. I know other characters mask in their name or something. But...some reasons, the name Big Head is there. I guess it’s because of the title or something.

Honestly, I think my negatives are more that it feels short. And maybe Stanley becoming Big Head a bit too early. I sound kind of stupid, I know. But this was the 90′s and whatever else. This was a different take on the comics. But I did genuinely like it. Maybe I’m just a bit attached to those comics. Despite knowing the changes they did.

But I will admit, considering the development for this film. And learning that it was meant to be a horror film. But the director Charles Russell found the violence in the source material to be off putting. So he made it less grim, and more fun. I’ve also read somewhere that trying to make comedy with that violence was difficult.

Back to the point, to be honest. I feel like for that time and age. A more light Mask film was maybe the best choice to go. And we wouldn’t have Jim Carrey in it. I do also wanna say, I feel like The Mask series, you can do a lot of it. You can have something dark with it, or maybe more lighter.

There are still some of those darker elements. Mainly considering the moments with the gangsters and all that. But I will admit, learning that Charles mostly directed horror films. I think it’s impressive he made a more family friendly film and it worked. 

I liked it, despite my love for the comics. I thought when writing this, maybe some folks reading this may think I sound like fans who read the comics who first experienced this movie. But the film isn’t bad, it’s just a different take and a pretty nice one at that.

And to be honest, as much as I would of loved to see an actual sequel. And not that bad film known as Son Of The Mask. I understand why Jim Carrey dropped out, and I would’ve loved to see Peggy back because the director planned to bring her back reformed. But I feel like this film works as a one off in a way. And there’s also the cartoon, which works fine as a sequel despite some differences. Yet...I’ll admit, I would’ve loved The Mask 2 if we got Jim Carrey as Stanley again fighting against maybe someone like Walter.

The Mask 1994 is a good film. Despite changes from the source material, but the changes for this vision work. It’s cool this film has a cult following, and the fact I have used elements and story beats from it for The Mask Rebirth stuff I’ve been talking about. Even before watched this whole movie.

It’s a genuine fun flick. But I’m hoping down the line, if Warner Bros stops being fucking stupid with how they run things. Maybe we’ll get a reboot or how about an animated film that seems more true to the source material. 

I know The Mask/Big Head doesn’t have a big legacy such as the likes of Superman, Batman, and Spider-Man. But I do think this series could be reimagined and expanded upon. Using elements not only from the original comics, but even the movie and cartoon. 

And...despite it was because of Ace Ventura...I would like to thank @kaijuguy19 for being such a supportive dude, and talking about this franchise with me. Including wanting to talk about this movie long ago when I haven’t seen it. But I want to say...no...he’s one of the big reasons why I’m a fan. Because he’s one of the only guys I know who’s a fan. It started with Ace Ventura, but it was because of talking with Kaijuguy that I guess things started to escalate. So thanks man for talking about this stuff with me.

Also, Charlie was silly and he was fine as a character. I forgot about that dude despite wanting to talk about him. Gonna tag him too in case. Charlie schumaker

[fyeah-bangtan7]

j-hope: “I’m not the kind of person to settle for their life as it is”

j-hope himself hasn’t changed since the days before his debut. The way he treats others, the way he feels about BTS, his passion for dancing—they haven’t gone anywhere; only their breadth has changed, along with the breadth of his deeply-held beliefs, his will, and his dreams.

“Butter” has been a huge sensation in the United States. j-hope: I did work hard preparing for it, but whenever I try to embrace an unintended success, in my mind I’m always like … It’s like half happiness, half a feeling that makes me think seriously about what I accomplished. There’s a sense of responsibility that comes along with such an honorable achievement. ARMY’s done so much to keep us at number one, and I’m incredibly thankful for that. At the same time, I also realized that our names are becoming known to more people in the world of American pop music.

It seems like the bigger the success is, the more things you end up thinking about. j-hope: In the past I would just humbly accept it, and it was something I worked hard for so I was happy to accept it—and that was somewhat immature, I guess, but now it’s different. I’ve been working constantly for over eight years, and it hasn’t been easy to achieve so much in that time. So from now on I’m tacking a question mark onto how I should carry on and maintain things the way they are and what attitude and stance I should have right now. It’s homework I haven’t been able to figure out yet, basically.

What effect do such thoughts have on the way you express yourself as an artist? j-hope: I’m also a performer, and I don’t think I take any performance lightly. Ever since we did “Dynamite,” the number of times I go over my performances after they’re done has gone way up. I felt like I’m responsible for making the dances stand out, so I thought I have to try my very best for that aspect. You don’t want to underdeliver on a performance when that many people are sending out their love to you. Each and every one of the members thinks so, and I think we’ve created an atmosphere for our practices where we are able to see how important these things are. After all, even if we don’t show it to one another, we all know how important it is to practice our performances.

It seems like there must be an atmosphere of understanding in the practice studio. j-hope: We used to have to practice for a long time, again and again, to sync up with each other. We’d practice for around 10 hours, review our performances, take a break and then get right back into it, rest some more and do it again. That was then, but now, after all that experience, each member knows where they need to focus, so we coordinate our dispositions and make intense breakthroughs and do what we need to until it’s just right, and then we take a break we really take a break. Now we don’t even really have to think about it. So it’s like, All right, let’s do everything we have to do quickly so we can hurry up and get some rest. This part doesn’t seem right though? Let’s get through this quickly. That’s how we do it. We’re more efficient about work and practice now.

Did that have an effect on you individually as well? As you think more about your performances, the parts you concentrate on might change. j-hope: The dancing is important, but I think I came to realize just how important the visual aspect is. The reason I change my hairstyle or whatnot so often these days is because I want my appearance to blend naturally with the song. Since I’ve always been a dancer I just kept working hard at the things I could do best. But obviously it’s important not to go overboard with the visuals, so I kept an eye on it and adjusted it for each performance. That’s the most important part.

Your dancing in “Butter” is one thing, but it’s also a performance where you need to demonstrate your character. What were you hoping to show off? j-hope: I wanted to show how much I’ve grown in “Butter.” The style is bold and revolved around well-tailored suits and the whole thing felt sexy. I tried to get that across as much as I could. And I learned a lot from watching the members who are good at expressing that. I took all the different ways I thought of that I could try out and melted them all down together, smooth like butter. (laughs)

What’s going through your mind when you’re performing, especially when the spotlight’s on you? Like when you do that attention-grabbing dance break full of slow movements in “Butter,” or the solo disco dancing you did for the “Dynamite” dance break at MMA 2020. j-hope: My mindset doesn’t change. When the spotlight’s on me, that’s an opportunity for me, in a way. It’s a chance for me to shine among our team and its seven amazing members, so I’m always on the lookout to make good use of such opportunities by doing my best. I shouldn’t turn down what I’ve got coming to me, and show off everything I’ve got to show. ARMY and the general public will be the judges, and if they have something to say about it, I have to accept and correct it, I think. I want to say that I developed my own type of growth for myself by repeatedly correcting and practicing and correcting and practicing. I’ve been dancing a long time, but I always feel like I could be doing more, so I put in the effort and I take pleasure in when I make something that turns out really well.

But, if you look at your “Butter” fancam, you continuously react along with the other members dancing even when you’re not the focus of the main camera. j-hope: I’m not consciously doing it. But these days when I watch overseas awards ceremonies or pop artists’ performances that they’ve shot on video, I feel like they don’t really have any heavily edited parts or quick cuts. They capture the artists’ energy while showing the whole scene, so I’m always thinking about how I never know where or how I’m going to be captured on film. So even when the camera is mainly focusing on Jin, in some cases you can still see me in the back, and so I think setting the mood in the background in order not to interfere with his part is an extremely important part of a good performance.

I thought you were very consistent. When SUGA comes forward to rap toward the end of the song, you keep tossing out little shouts to boost up the mood. j-hope: It’s fun, you know? Doing that. (laughs)

That sounds like a good balance insofar as you can continue to express yourself individually while staying devoted to the group. j-hope: I agree. I think that’s something I always had in the back of my head. But as I’m performing within this big group structure, making sure not to interfere with that comes before anything else.

The “Permission to Dance” performance has a different flavor than “Butter” in that sense. While “Butter” gives each member their moment to shine, “Permission to Dance” seems to place importance on the overall mood of the entire group. I feel like it brings out your personal trait of being bright and hopeful. j-hope: When we got the song, it occurred to me that I could just be myself in this one. There’s no need to act; I can just use the real feeling I get when I’m on stage. That’s also the message the song is aiming for, so I think it came across naturally. Like I’m happy, but also on the verge of tears?

Your dance makes use of sign language. Although it is a dance, it also conveys language, so I imagine there were a lot of things to consider. j-hope: Yes, there were. We’re conveying language even though we don’t use a lot of sign language in our dance moves. So although the song is nice and light overall, even when we were practicing we were saying how we have to make sure the moves are perfectly accurate. We thought we should understand the importance behind sign language to properly convey its significance. So we thought we should do our best to do the moves correctly while at the same time trying to fill the song with enjoyment and positive emotions. We spent quite a lot of time integrating the moves into the dance routine, and so I think we were able to show off our attitude about the performance pretty naturally.

I think your vocals and facial expressions at the start of the second verse of “Permission to Dance” help people intuitively grasp what kind of song it is. It makes me think of what you said in the “ARMY Corner Store” video uploaded to YouTube for your 2021 FESTA celebration of the group’s eighth anniversary—that you’re the “vitamins” for the group. j-hope: And I am. I used that expression because I feel like I consistently, and unchangingly (laughs) give the team good energy. I don’t know if I’m actually the vitamins or not. Looking back, I’ve always tried to give them good energy and keep them in a good mood, and I think it’s safe to say now that I’m one of those people who try hard to keep their group’s energy up. I still get a little embarrassed, though. (laughs) I wouldn’t say that I don’t feel any pressure at all about the label. All seven of us have to act as one for BTS to work, and that’s always on my mind, so it forces me to be careful that I’m not standing out from the rest of them. Because the team functions well when everyone has their own role. And because I always keep that in mind whenever I think, I should do whatever I can do, I’m able to contribute to the team and I think I ended up feeling a little more confident about the things that I found difficult to express in the past.

Was there a push behind that change? j-hope: I felt, and realized, exactly what I needed to do with my own personal identity and energy right after I released my first mixtape. From that point on, I thought that I should express my musical views and things like my energy regularly, but not in any intense way. Before, as time went by and the group really blew up, I think I had let go of a lot of the pressure to express myself. Then I started to feel like I wanted to try expressing myself in my own way, even as the team did well.

When you revealed your depressive side directly in the time from when you put out “Dis-ease” during the pandemic period to “Blue Side” from your mixtape, was that a reflection of that influence as well? j-hope: People’s emotions change every day and so do their feelings and the things they can accept throughout their lives, right? So I think the changing emotions I felt and came to accept as the group grew in popularity is also expressed by the way my songs changed. It’s also something I always spend time thinking about, but I’m just another young person living his life on this planet. I’m not really different from anybody else, which means I can’t always be as bright as I was on Hope World. So that’s why I tried a different approach to the things I could express.

What did you find out after trying that? j-hope: I ended up thinking about the shadows inside me. I didn’t realize it when we were promoting, but with the whole world suddenly at a standstill, we have all this time where we can’t do anything and I can see all the shadows underneath—sitting spaced out in the studio, thinking about what kind of life I’ve lived, seeing BTS’s performances on TV, I think, That’s who I was. The amount of willpower I found during this time has been tremendous. I figured I’d better use all those feelings entirely and all at once, that those are emotions and songs that could probably only ever be written at this time anyway, so I put all those emotions down like a diary, and “Dis-ease” was born. With “Dis-ease” as a starting point, I thought I could include stuff like my inner darkness, and that’s why I was able to release “Blue Side.

”What did you see when you looked inward? j-hope: I ended up seeing a side to the real Jeong Hoseok’s life that I couldn’t perceive before. I kept thinking about what life would be best for j-hope while we were working, so I wondered what Jeong Hoseok’s life would look like as a whole. While that was happening I realized I’m not just some always-cheery person—I experience hardship, too. So I thought I could grow closer with listeners by sharing little parts of me that I had been hiding away, and that it would be interesting to show people a side of me that’s different from their idea of who j-hope is. Most importantly, I don’t feel any resistance about who I am right now. As a person who makes music and releases songs about his personal life, I think this is all part of the process.

There’s a line in “Blue Side” where you sing, “Now I just want to burn blue to death.” It seems here, too, something of your shadow was revealed. j-hope: If you’re burning to death, it’d be very hot. But the parts I called blue are a place I consciously escape to to avoid things. It’s a place I escape to that I could safely live in and be swallowed up by, but I don’t want to do that. So I think I tried to show that I want to stir up my passion for the things I wanted to do even if I’m burning blue to death. To be honest with you, I don’t know how I came up with those lyrics exactly. I wrote that part a really long time ago when we were on tour overseas. I’m not a big drinker, but those were the first lyrics I ever released that I wrote while drinking. (laughs) When I write lyrics when I’m drinking I often regret them when I see them in the morning, but when I take a look at them again after some time, I can tell they’re lyrics that I could only ever write with the feelings I get at that time. When I release that kind of song, I get some kind of feeling. And when I give myself feedback about my own music, a version of myself who’s different from the way I was before I made the music emerges.

Is there anything else you’ve learned about yourself lately? j-hope: Um … I’m—what should I say—not the kind of person to settle for their life as it is. I could just keep living like I am and do whatever I want with my life, but I don’t know, honestly. I’ve already had so many amazing things happen but I want to take things one step further, as an individual and as a member of BTS. A thought came to me one day: Have I been challenging myself at all lately? Outside of making songs or dancing? But the answer was no. So I decided I would challenge myself and give some things a try, one of which was studying English. It’s still hard and I have a long way to go, but I’m trying my best given our current schedule.

What are you getting out of studying English, do you think? j-hope: If I can speak in English then I can give and take directions with English-speaking artists myself when I’m working on music. My thinking is that this is one channel of communication I can open that will open up more possibilities in my life. But it could end up being hard to keep studying with our current schedule (laughs) so even though I say I’ll do it, I might not be able to. Your mind could change at any minute and you could come to different decisions any time, depending on how you want to live your life. Right now I’m trying to do music for music’s sake, challenge myself with performances for performance’s sake, and try hard personally for BTS. And I’m working hard to figure out what I need to do for my next steps.

What do you imagine your next step will be? j-hope: I think my next step personally is to grow our music globally. I’ve been doing some self-reflection lately and there’s plenty that I want to do. I have a lot of dreams, too. Making it this far with the group, seeing the other pop artists we’ve been vying with on the Billboard chart, really left an impression on me, and now I’m more serious about wanting to express something. So for example, I’m dreaming of growing our music globally since the environment to have good synergy with foreign artists has already been built.

You, and BTS too, have worked your way up step by step and now you’re able to dream up new steps. In the 2021 FESTA “ARMY Corner Store” video, you said the present is possible only because BTS followed the path that it did since its debut song, so you didn’t want to alter any of your past. (laughs) Still, is there anything you’d want to say to your past self if you could say just one thing? j-hope: As a joke, I’d say, Hey, listen to this melody: “smooth like butter”—write that. If you do that, you’ll be number one on Billboard. I could do it that way, right? (laughs) But for me, even the parts of my life that weren’t good became opportunities for growth. So rather than telling my past self to fix something, I’d just tell him to believe in himself and move on with his life however he feels like, and keep working hard, keeping things the way they are. Other than that, I’d have nothing to say to him.

So how do you feel about ARMY now that they’ve climbed all those steps with BTS? j-hope: ARMY is absolutely … I feel like they’ve become an icon themselves. I’m so proud of them. They’re amazing. ARMY is like an artist in itself now, too. Sort of like they’re one big symbol of the era? ARMY is as famous as BTS now. I think we give each other good energy, and helped each other to make something good. It might sound obvious coming from a member of BTS, but if I were ARMY, I’d never be ashamed to call myself a fan of BTS. Anyway, I’m seriously … I want them to always know I’m really, really grateful for them.

© source

[jocia92]

When Alma, an archaeologist who spends her days studying ancient worlds, agrees to test a humanoid robot designed to be the perfect mate, she does it unenthusiastically, mostly to appease her boss and help fund her studies. Played by Maren Eggert in the new film “I’m Your Man,” Alma is resistant to the charms of Tom, even though he is programmed to match her needs and desires. Also, he looks like Dan Stevens.   

Stevens, the British actor who rose to fame in “Downton Abbey” and has since starred in “Legion,” manages to capture Tom’s precise, programmed manner and his gradual transformation into someone more human that the audience can root for — even as we might worry that specimens like this might one day replace us.The German-language film, directed by Maria Schrader (“Unorthodox”) and released on Sept. 24, is set in Berlin. Stevens, who also speaks fluent German and French, was adopted as a baby, and he says he has always seen himself as something of an outsider, which has often informed the roles he has chosen.

Stevens spoke recently via Zoom about the character, artificial intelligence and dancing the rhumba. This interview has been edited for length and clarity.

Q. Looking at your roles in “The Guest,” “Beauty and the Beast,” “Legion,” “Night at the Museum” and now this, one wonders, are you, in fact, human? Seriously, though, is there something about these roles that draws you in or is there something about you that makes directors want you for these roles?

It’s funny how people start to see patterns in things not deliberate on my part. I’m certainly an odd human being, maybe that helps. They’re outsiders and outsiders make for very interesting roles.

Q. How do you try to get inside your character’s mind when he’s a constructed humanoid?

You’re still trying to get inside the process of the mind, looking at what Tom is thinking about. He’s a very mission-oriented character. It’s all programming, where he thinks, ‘This isn’t working, how can I change this behavior to make it function better.’ Tom tries traditional romantic routes with Alma, then realizes that’s not the way to go and takes another path.

Q. When he reorganizes her apartment, it’s so perfect and neat, which makes sense to a machine but her way was better for her, and a symbol of the messiness of our lives.

His version looked good for Instagram. But it’s not for Alma. He had learned according to a different set of rules. That’s common in human relationships. By making Tom a robot, we get to see those beats in any relationship — there’s an evolution in how we behave, how we think, how we learn from our other half. Charting that with Maria was great.

Q. You talk with your hands, but Tom is much more constrained. You also changed the way you carried your body, like the posture of your head and shoulders. How important was that?

Physical preparation is a big part of character discovery for me. There was constant discussion in pre-production about how much of a machine do we want to see in Tom at any given point and how much do we want to see him evolve, learning human mannerisms and characteristics.

The first time we see Tom he’s moving more robotically — he’s dancing the rhumba, which, I discovered while learning it, is a very precise dance. It feels almost robotic.

But Tom evolves. So we wanted to show that he started with pre-programmed mannerisms: He’d come into a room and put his hands on his hips because that’s what a guy does or sit on a sofa and just [Stevens demonstrates manspreading]. Why do we do these things? Why do we put our hand on our chin when we’re thinking, it makes no sense; it has zero contribution to the thought process but it’s what we do.

I think about those things anyway, so I was lucky to find a job that focused on that. The film is gently, or not so gently, suggesting how weird humans are.

Q. There are the things we know or understand and then the things we desire, sometimes despite what we know and understand. Alma really doesn’t want to fall for Tom. Are we all just suckers, but in the best way possible?

That’s definitely true where love is concerned — against your better judgment and all of your intellect, you’ll still fall for this person and there’s no logic behind that. What’s funny about the dynamic is that Tom’s the ultimate logician yet it’s a totally illogical relationship.  

Q. Unlike a movie like “Ex Machina,” “I’m Your Man” has a benevolent, almost humane view of these creations… even as it never lets us forget what makes our humanity so vital through Alma’s concerns and behavior. What’s your take on our future with humanoids?

That question has been around since we had any technology and taps into people’s fears about the future.

Technology is only as benevolent as the people who develop it make it, whether it’s an app or a humanoid. Usually, the things we’re afraid of turn out not to be the things we should have been worried about. When Twitter started, many people said, ‘This is a wonderful new democratic thing.’ There were some concerns, but I don’t think anyone dreamed of the problems it would cause.

There’s a scene in the movie with an angry guy in a crosswalk that reminds us that while we have this fear that humanoid robots will on us, we’re already doing that to ourselves just fine.

[lizziestudieshistory]

Books of 2021: The Way of Kings - Brandon Sanderson

I have a few things to acknowledge here before we get into the proper review - this is REALLY LONG and VERY CRITICAL. I promise you I do genuinely love The Stormlight Archive, but if you are someone who doesn’t like to see criticism of Sanderson or Stormlight, then please don’t read this.

This review has spoilers for The Stormlight Archive - you have been warned.

I’ve made no secret of my love for the Stormlight Archive - it’s my favourite ongoing fantasy series. I’ve also avoided reviewing it, and I’ve been putting it off since I first read it back in 2016 (could be 2017? It was a while ago.) How could I review something I love so much? How do I approach reviewing a 1,100 page epic fantasy novel? I just didn’t know. To be honest, I still don’t. I adore this series, it’s become part of my identity - if you asked any of my friends what’s Lizzie’s favourite book they would probably say Stormlight. Maybe Lord of the Rings but that’s a different kettle of fish.

I’ve reread The Stormlight Archive annually for the last five years. I promise myself I won’t reread it and let myself come back in anticipation for the next book. I’ve failed miserably every year. And these aren’t small undertakings - they’re each 1,000 pages and there’s four of them now! For context I usually only read 2,500 pages a month. 

So, I’ve finally decided to review these doorstoppers dressed up as fantasy novels. These reviews are mainly for myself, they’re going to be self indulgent, long, and focus on what I want to discuss like characters, structure, and prose - rather than reviewing the things I should probably talk about (like the actual plot…) I want to work through all the things I love about this behemoth of the modern fantasy genre, but also focus on its flaws. The praise for Sanderson is everywhere, so I want to work through my honest opinion of these books, work out why I love them, and I’ll invite you on this journey of self discovery with me. 

Structure

I’m yet to work out why I’m starting with structure but we are, I guess it helps with the framing. In case you’re reading this having not read The Way of Kings, each book in the Stormlight Archive is made up of 5 main parts that follow major viewpoint characters, and the parts are split up with small interludes that expand the worldbuilding, follow important secondary characters, or foreshadow future moments. Everybook is centred on a key character - in The Way of Kings it’s Kaladin - who we follow in the present day as a major viewpoint character and explore their backstory through a flashback sequence. Each book also has a prologue which retells the assassination of the Alethi king, Gavilar Kholin, and an epilogue from Wit. 

Firstly, this book takes FAR too long to get going and even longer to get into as a reader. I’m not joking when I say there are FIVE introductory chapters: the prelude, a prologue, Cenn’s second prologue (technically the first chapter but it’s a prologue), Kaladin’s introduction, and Shallan’s introduction. It’s too much. We’re jumping around, nothing really makes sense, and we’re not sure how these characters are related. They could be taking place in different worlds for all you know on a first read.

When I first read this book I was a lot more patient with long introductions and multiple false starts - I had the time to dedicate to getting into the story. I could, and did, forgive the THREE false starts to this story before we get to Kaladin’s first chapter. However, the opening structure of this novel is a mistake. If someone gives up in this section I honestly don’t blame them - if I was reading this for the first time in 2021 I probably would too.

The prelude and prologue are both excellent. The prelude in particular is weird and confusing but also sets up a clear mystery and sense of the sheer scope of this story. Szeth’s prologue, the first time we see Gavilar’s assassination, is flawed but still wonderful. The fight scene needed a bit of cutting, for my tastes, and I think the introduction to the magic system is clumsy - there’s far too much obvious info dumping and it needed some serious editing, especially as the complicated use of the magic that Szeth uses is barely relevant in this book. However, I think the Herald’s giving up the Oathpact and a magical assassin is great! They’re a bit weird and you’re not sure what’s going on, but it’s engaging. 

Then there’s Cenn. Poor, innocent Cenn. I’m sorry but he’s completely unnecessary. Independently of the rest of the introduction to the Way of Kings Cenn’s chapter would be a pretty good prologue as he’s there to set up our main hero Kaladin from an outside perspective. We love Kaladin and Cenn’s chapter is fine for establishing him as a typical fantasy hero – he’s a warrior, cares about the people, and so forth.

However, Cenn’s chapter in the context bogs down the opening too much. It’s too long, not particularly relevant, and adds yet ANOTHER prologue to this already enormous book. Cenn’s chapter offers nothing to the reader that we don’t learn later on in the text when the content of Cenn’s chapter makes more sense. We even see the exact same sequence of events from Kaladin’s perspective in a flashback! Not having Cenn’s chapter would add more interest to Kaladin’s character and add more weight to the flashback sequence because we wouldn’t have met Kaladin at his peak (sort of…?) 

Kaladin’s flashbacks aren’t that engaging as it is, he’s a fairly standard fantasy hero from a small village who ends up leaving his happy family to go to war. So leaving a small mystery around him in addition to ‘how did he become a slave’ would help with my engagement. It would leave me wondering how reliable is Kaladin as a narrator, is he really as good with the spear as he claims? I wouldn’t know but Cenn’s chapter removes all the mystery apart from ‘how does Kaladin become a slave’. It needs to go to make Kaladin more interesting and cut down on some of the unnecessary page count.

While we’re at it… Just cut out ALL the interludes in this book, except for the Szeth through line. I KNOW they are here for the Cosmere connections and to foreshadow things much later in the series. However, new readers and Stormlight only readers don’t know this and, quite frankly, they SUCK. In later books the interludes make sense but here they add so much tedious, pointless crap to an already bloated book. They’re too much and add next to nothing – other than seeing Szeth lose it as he kills people, that was fun (in a disturbing, creepy way… Can you tell I like Szeth?) Either this stuff needs to be relevant to the book we’re in now, or painfully obvious that we’re coming back to this stuff in later books. I still don’t know why we got Ishikk’s interlude with the Worldhoppers, and I completely forgot Nan Balat had an interlude. I’ve read this book 5 times… THAT IS HOW POINTLESS THEY ARE! Sanderson should weave the necessary foreshadowing into the main text, intersperse the perspectives we do need for THIS story into the main sections, or cut them out. When I get to the interludes I physically sigh and sometimes put the book down - now I just skip everything but Szeth - but on a first read they’re really off putting. 

To finish up with my complaints about the structure, and this is a big one for me - why do we have huge chunks of this book without major viewpoint characters? I’m biased here but Dalinar is probably the most important POV character in the story because he introduces the real stakes of the story. He has the groundbreaking visions of the past, he is the viewpoint we get into the politics of the war, he is the character who does and continues to have the most impact on the development of the story on his own.Yet, we don’t meet him until we’re 190 pages in… 

Sanderson alternates Shallan and Dalinar’s chapters between the five different parts and that means they vanish for 400 pages at a time. Why? I ended up caring about them right as we’re about to lose their viewpoint again for the next part. We needed to see the three major POV characters interwoven together throughout the five parts, not randomly dropped and picked back up again. The structure of this book was a mistake. 

Okay, I promise I do actually like this book…

Worldbuilding

Something I do love is the worldbuilding of Roshar, and I usually don’t care that much about worldbuilding. I can really appreciate good worldbuilding, especially on the history side of things, but for most novels it’s just fine? If I roughly know what’s going on with the world then we’re good, I can just get on with the story and not worry about it. However, Roshar is genuinely beautifully built! It takes A LOT to get me to visualise a world as I’m not a visual reader. I can feel the atmosphere, get to know characters, but can I imagine a face or setting? No.

There are three fantasy worlds that have allowed me to actually see the world and it’s landscape: Middle Earth, Discworld, and Roshar. The bleak, storm weathered landscape of the Shattered Plains is so embedded in my mind it’s ridiculous, the only place I can picture more is the Shire – and Lord of the Rings has a film to help it!

Now, to be fair it’s hard for me to separate the worldbuilding in The Way of Kings from the rest of the series, so I now have 4,000 pages worth of worldbuilding in my head… However, it’s certainly strong and I distinctly remember having a vivid image of understanding this world, the atmosphere, landscape, and so forth, on my first read. Although it did take me until Oathbringer to realise that everything, except humanity, was basically a crab… (I think that was just me being dense.)

I do think Roshar needs much more of its history to be expanded on. We don’t have much between the Last Desolation (don’t ask me to spell it's in-world title!) and it shows at times. I don’t expect something on the level of The Silmarillion for Roshar, however, I do think we need to see something more substantial in the period between the Desolations and the present day. We know about the Recreance, the attempted takeover of the Vorin Church, and the Sunmaker? That’s 4000 years! To put it into context it’s the distance between us and Jesus’s birth TWICE, it’s like we know about the end of the 11th Dynasty of Egypt, the Reformation, and the British Empire in our own history... We need to find a balance, especially as we get so much development of science in the later books. More history please - but this is a personal issue and a series wide problem, not just The Way of Kings.

Magic System

Now, this is controversial for Sanderson, but I’m going to skip this for now. This review is already well over 1,000 words long and I’ve not even started on the meat of the novel yet. The magic system isn’t really fleshed out in The Way of Kings, we only really know stuff about the Windrunners (in an abstract kind of way) and the very basics of the Knights Radiant in general. So I’m going to discuss the magic when I get around to reviewing Words of Radiance, Oathbringer, and Rhythm of War, basically whenever I have the energy and more space.

Safe to say I actually really like the magic system in the Stormlight Archive. I usually dislike hard magic systems (I think I’m the only person who dislikes Mistborn’s Allomancy - while very well developed, it’s a bit silly and is far too much for my tastes...) as they often take some of the wonder, mystery, and excitement of fantasy out of the story for me. However, I think surgebinding is a fun system and there is a lot more of it for use to discover, preserving some of that mystery. Oh and, if you were wondering, I would be a Skybreaker!

Prose

Okay if you read the structure section and were wondering - why is this woman still reading these books, you’re in for another head scratcher. 

If you’ve ever talked to me about literature you’ll know that there are two things I look for in a really good book: characters and prose. Now characters are something Sanderson does phenomenally well in the Stormlight Archive, but that’s not something you can tell 100 pages into a 1,000 page tome. You have to sit with the characters for a long time and give the author some page time to familiarise you with the people you’re following. If you trust him, Sanderson pulls off some stunning character arcs, especially in the long term and I’ll talk more about characters later on (or you can just skip this section? Up to you really!).

However, prose is something you notice immediately, and Sanderson’s is…utilitarian at best. At worst it’s abysmal. These days I’m very picky about prose, a utilitarian style is fine but a book is unlikely to become a new favourite of mine without good writing. This doesn’t mean I want or expect the writing to be flowery or elaborate, but it does mean I want, and appreciate it when, the prose suits the tone of the narrative and world. I must acknowledge that I’m in a (vocal) minority here, a lot of people either don’t notice Sanderson’s style or like it - I certainly didn’t mind it when I first read ther series - so this is definitely a subjective opinion but one I’m certainly not alone in. 

Nevertheless, for me Sanderson’s prose is overly simplistic, repetitive, and very American. Okay so the American is probably only noticeable if you’re not American. However, I’m used to fantasy having a certain Britishness to the writing style, even when the author isn’t British, but to me (as a Brit and fantasy reader) the Americanisms are painful at times… There is no way in hell I’m ever going to acknowledge that aluminium is aluminum no matter how many times Sanderson uses it! 

Yet it goes beyond a spelling issue because, let's be honest, in this day and age American English is widely spoken and regularly used in fantasy literature - you can’t escape from it as much as I want to. It’s in the style of writing and construction of sentences. The entire narrative reads like an American has decided to tell me a story using their colloquial, everyday speech. It’s a deliberate choice on Sanderson’s part to make things accessible and digestible, and for some people this works. I do think he has a fantastic style to get readers in, especially readers who are getting to grips with high epic fantasy as it’s one less barrier to entry in an already difficult novel. But it does mean rereading isn’t always the best experience and sometimes the writing can jar me out of the story. 

In places it’s too simple and colloquial, so much so the writing becomes clunky, clumsy, and unrealistic to the world he’s creating, especially in descriptive passages and dialogue. It reads like Sanderson could have used more lyrical or formal writing but deliberately chose not to - at the detriment of the prose. This is particularly noticeable with characters like Jasnah Kholin. Jasnah is a princess, brilliant scholar, and political mastermind, she’s known for her poise, elegance, and intelligence. Yet she often speaks like an everyday 21st century American and other characters who haven’t had the same education or training as she has? I can’t believe this for a moment, her dialogue is so egregious in places that it’s like I’ve been hit over the head with my own book! I physically cringe when she says things like ‘“scoot over here”’ (chapter 70, p.1083). WHY is Jasnah talking like this?! It doesn’t make sense to me – Shallan maybe, but Jasnah? No. It doesn’t fit with what we’ve been told about her character.

(Just as an aside, I loathe the word ‘scoot’ – it should be burnt from the English language as an abomination!)

Part of the issue with this is Sanderson usually doesn’t distinguish between the character's voices, both in the dialogue and prose. Most of the time if you dropped me into a random section of the Stormlight Archive with no context I honestly couldn’t tell you who’s speaking or narrating without the signposts Sanderson gives us. This isn’t a huge issue as he’s writing in third person limited, and with context and the chapter icons we know who we’re following. However, it does mean we don’t have any idea of character voice – in the general prose, internal narration/thought, or speech. What’s the difference between Kaladin’s dialogue and Jasnah’s? I have no idea from the sentence construction or speech patterns. Certain descriptions of how characters speak help to differentiate (Jasnah is commanding, Shallan squeaks, Kaladin grunts, etc.) but from their speech patterns I wouldn’t have a clue.

All of this comes back to Sanderson’s overly simple and Americanised style. It’s his choice and it does work for many people, but personally it doesn’t always work with the characters or story. I’m not expecting him to write like Robin Hobb or Guy Gavriel Kay, but some finesse and awareness of character would be appreciated, especially if it helped to differentiate character voices.

I’m also going to throw this out as a very personal issue because I’m not sure where else to put it… Sanderson has the worst sense of humour I’ve ever had the misfortune to read. The comedic moments are occasionally amusing… However, Shallan’s puns are worse than my Dad’s jokes. Every time she says something apparently ‘witty’ and someone else remarks how clever and funny she is I want to hit them... At best she’s mildly amusing, at worst she’s cruel. It’s never funny. (This only gets worse with Lift, I almost DNFed the entire series because of the Lift interlude in Words of Radiance. And don’t get me started on Lopen.)

Characters

At last! Something I genuinely love and the reason I read these books! Sanderson has created some of the best characters in modern fantasy in this series and they are the only reason I’m still going. I like the worldbuilding and plot, but I adore the character work in this book and the series as a whole. The characters are generally so good that, even when I dislike them, it's because I dislike them personally, not that they’re badly written characters! Usually I love Sanderson’s characters though, even when they’re incredibly flawed (looking at you Dalinar!) because he’s particularly good at complex character arcs. 

Szeth – I love Szeth, slightly irrationally for how much he’s in both this book and the series as a whole, but he’s one of my favourite “secondary” characters in the series! Szeth is actually the character who made me fall in love with the series in the first place, which feels weird to say because he only has five or six chapters in the entire novel. However, a magical assassin with a strong, if morally dubious, sense of duty and obligations? Sign me up! The opening prologue from Szeth’s perspective is wonderful - it’s far too info-dumpy but it’s highly engaging and one hell of a way to open the series. 

What really intrigued me about Szeth was his role as the interlude throughline character for The Way of Kings. His internal conflict between his obligation to follow the Truthless’ laws and his personal morality is fascinating. Szeth’s character development has been one of the highlights of the entire series for me, especially as we explore his personal morality, questioning of power, and commitment to law and justice. This conflict is one of the reasons I love the Skybreakers in general and I sincerely hope we get to see more of this (and their conflict with the theoretically similar, although realistically very different, Windrunners) in book 5. However, Szeth is a promise that Sanderson hasn’t kept yet. So much has been built up around his character and we haven’t explored him properly (as of Rhythm of War) and I’m mad about it! He’s an incredibly interesting character, morally and thematically, and I hope Sanderson can live up to the hype he’s built up around him in the first four books of the series. 

Kaladin – Okay the real reason we’re all here, the shining beacon of the Stormlight Archive, everyone’s favourite heroic bridgeman: Kaladin Stormblessed. Confession time – I didn’t love Kaladin the first time I read The Way of Kings. Don’t get me wrong I liked him but I’m generally not a massive fan of underdog superhero narratives. (I’m still not a fan of Bridge Four in general for the same reason, I would apologise but I’m not sorry…)

Kaladin spends most of this novel running bridges for Highprince Sadeas on the Shattered Plains. Unjustly enslaved by a corrupt member of the aristocracy, Kaladin is fighting to keep himself and his bridgecrew alive during one of the most pointless “wars” I've read in a fantasy novel - the pointlessness isn’t actually a criticism. He’s facing systematic oppression and disregard for human life, as well as battling his own depression and forming a bond with a spren named Syl (I absolutely adore Syl! But I want to talk about her in my review for Words of Radiance.)

So… I’ve always been frustrated with Kaladin’s fundamental drive to save people and take responsibility for people’s deaths, even when there was nothing he could have done to save them. This book is probably the worst for it out of the four currently published and I just found it a bit much because I personally struggle to relate to his attitude. This level of personal responsibility is a completely alien concept to me, at least to this level, and it’s Kaladin’s entire thing - his driving personality trait - and I just didn’t get it. Kaladin and I are very different people and for a long time I really struggled to relate to him on the same level everyone else seems to in this book. It also didn’t help that the main plot around Kaladin running bridges, struggling with his depression, and trying to keep his men alive is very repetitive… So when you’re in the midst of it and struggling to connect quite so deeply with Kaladin this book can become a slog - yet, the pay off for his struggles is so satisfying and it is very much worth it for making the end feel earned. 

However, my issues with connecting to Kaladin is definitely on me and this is by no means to say Kaladin is a badly written character, I’ve always admired how well Kaladin is drawn in this book. Within a few chapters I understood who Kaladin is, and really loved the conflict he had with his depression and role as a fantasy hero. It's beautifully painful to watch and, even when you’re a bit ambivalent about Kaladin, you really care about whether he and Bridge Four are going to survive the bridgecrews – and the climax sequence with Kaladin becoming Stormblessed again at the Tower is still one of my favourite moments in the entire series!

However, on this reread of the series I had a completely different experience to what I’ve had on previous reads, and a lot of this is down to Rhythm of War. I don’t want to say too much here because it’ll involve spoilers for Rhythm of Warm but having seen Kaladin confront his, as Ron Weasley would say, “saving people thing” and really struggle to keep functioning as Stormblessed, I was so much more on board with this book. Rhythm of War’s much more personal approach to Kaladin really helped me understand him as a person, not just the underdog hero. The struggle with his sense of self, the way his depression impacts his ability to act, and the way he’s moving forward in Rhythm of War let me appreciate the character work for Kaladin in The Way of Kings. The struggle, graft, and determination, especially given his mindset, is much more admirable when I can strip away the focus on doggedly protecting everyone no matter the personal cost. 

Kaladin and I are very different people, but that’s okay and I’ve come to appreciate him a lot more in the last 7 months. Now I can happily adore him alongside everyone else, and not just nod along with the rest of the fandom because I understand he’s objectively a well written character. Also Kaladin’s mental health rep is some of the best I’ve seen in an epic fantasy series. However, I would approach this book, and series, carefully if you’re sensitive to depression.

Shallan – confession time round two: I hate Shallan. I really loathe her on a deeply personal level. And I’m still bitter about it because I used to love her, when I first read this book she was my favourite character! This was partly due to relating to her and partly due to my frustration with Kaladin. However, as I read Words of Radiance I grew uncomfortable with her and by Oathbringer it became a full on HATED of her…and it’s never gone away.

I first met Shallan when I was a shy 18-year-old, budding historian and scholar. I got Shallan, I loved her plotline, and found Khabranth a lot more interesting than the endless bridgeruns with Kaladin (sorry Kaladin!) I connected with her because she represented (projected) a lot of what I was at the time - and still am today, just an older version of that person. She was the main character that really drew me into the story - yes I loved Szeth and thought he was brilliant, but Szeth is largely absent from this novel and Shallan is the main female lead. 

And then I got hit in the face by the infamous Words of Radiance “Boots” chapter, and I immediately got iffy vibes, then there was the Chasm sequence, and so many other moments that made me uncomfortable. I’ll avoid spoilers and, for now, just say I got hit in the face by Shallan’s innate privilege, her causal abuse of social rank, and complete lack of social and self awareness. To top it off the narrative gives her no consequences for this and even rewards her for her behaviour, rather than making Shallan work through the issues around classism (something I, as a Brit, am hyper aware of and it SHOULD NOT under ANY circumstances be ignored, especially with Kaladin’s narrative running parallel to Shallan.) However, this is later book issues and a major dropped theme that I’m fuming about, but I still found I liked Shallan in THIS book when I reread the series.

Not this time. 

There are moments in The Way of Kings where we can already see Shallan’s privilege and complete disregard of anyone who is remotely lower than her in the Vorin hierarchy. The scene with the book merchant stands out. No one in that scene is innocent, and I’m much less annoyed by it than I am at the “Boots” scene, however, it shows an early form of Shallan’s complete inability to reflect on her own behaviour towards those with less power than herself. She’s casually abusive and manipulative, but no one really calls her out on it. The few moments when someone does confront Shallan about it, and the narrative consistently forgives her because Sanderson allows her to come across as the victor in each of the arguments. This isn’t to say Shallan’s causal abuse of the Vorin social system shouldn’t be present in the book. It’s actually very realistic, in our world white people (especially white women) have behaved like Shallan for centuries. However, what does matter is the narrative framing. However, I’ll dig into this when I get to reviewing Words of Radiance because a lot of my planned review for that book is centred around this issue.

I’m also resentful that Shallan’s character in The Way of Kings is a complete lie – we don’t know her at all, but not in the same way as Dalinar? We KNOW something is off with Dalinar, we KNOW he was a terrible person and a warmonger from the way people talk about the Blackthorn – but Shallan’s reveal largely comes out of nowhere in some respects and I HATE that the person I loved so much 5 years ago was a complete lie. I’m a bitter person and I will continue to hold a grudge until Shallan dies or the series ends, whichever comes first.

Jasnah – my problematic QUEEN. Is Jasnah a shitty person? Yes. Do I love her anyway? Yes. Difference is I knew Jasnah was shitty from the start… I like problematic characters, I just hate being lied to (*cue insincere smile at Shallan*)

Jasnah is a difficult character to talk about in this book because we don’t know much about her other than her public persona, however, she’s a large part of why I love it so much. I just like brilliant women who would kill me, okay? It also helps that she's an historian, I have a soft spot for murderous historians. I’ll talk more about Jasnah when I review Oathbriner, hopefully that won’t be in another 5 years…! I just wanted to highlight that I do love a female character in this book!

Actually on the topic, Sanderson is still a shitty author for female friendships – he has included more female characters in Stormlight but why are there no female friendships that aren’t rooted in backstabbing and lies?!

Dalinar – if Jasnah is my problematic Queen then Dalinar has to be the problematic King. Dalinar is my favourite Stormlight Archive character. I could wax lyrical about what a BRILLIANT character he is. You may not like Dalinar, you may not forgive him, but you have to admit he is the best written character in ANYTHING Sanderson has written, and one of the best in modern fantasy. Nevertheless, much like Jasnah I’m going to wait until I review Oathbringer before I talk about Dalinar because I can’t do him justice without his flashbacks. However, I will tell you a story about the time I first met Dalinar Kholin.

So, I first read The Way of Kings on my commute back and forth to Worcester Cathedral because I had a work placement in the Cathedral’s archives. I’d been doing this commute for months and reached the point where I knew when to get off the train by feeling, no need to check the stations (this is relevant).

 I was on my commute home, and as I was walking to the train station I started part two. I met Adolin and he was fine. I was a bit confused because this was a whole new perspective and set of characters, but I was doing okay. (Yes I was walking and reading, no I do not recommend this arrangement for health reasons.)

And then I met Dalinar. As I got on the train we got into his own head, with the mystery of the visions just starting, the hints towards his complicated relationship with Elhokar, and the amazing fight with the Chasmfiend. Bearing in mind I was automatically doing my commute through this – I’d become so invested in Dalinar, I missed my transfer on the train. I’ve never done anything like this before in my life. I’m paranoid about it! But I was so engrossed in this aged general, who was potentially going mad, that I missed the stop on my train and didn’t even notice until we hit Birmingham New Street.

I was so in love with Dalinar Kholin that I travelled to the wrong city… And my love for him has only gotten stronger*.

Conclusion

Overall I have a complicated relationship with The Way of Kings, and The Stormlight Archive in general. I love this series, I particularly adore the characters and character work Sanderson is doing as the books continue. However, it is severely overhyped. There are a lot of flaws in this book, especially with the writing and structural aspect of this novel. It’s poorly paced, clumsily written, and lacking finesse. For me Sanderson is an okay writer but a wonderful storyteller. As a storyteller he’s made a huge contribution to the fantasy genre and I’m here for the major improvement he’s made in popularising more complex character work and the inclusion of mental health representation. We’re just seeing the start of this shift in the fantasy genre and I’m excited to see where Stormlight and fantasy are going to go with this movement. 

However, as a writer he has a long way to go in improving his craft of writing. These are big books, and I will often forgive mistakes with narrative structure in books of this size because they are so huge. However, this doesn’t mean we shouldn’t acknowledge them when reviewing the novel. Mistakes were made, especially in The Way of Kings, and are still being made but Sanderson has been slowly improving with the later books.

There’s a lot to love in The Stormlight Archive - the worldbuilding is insane, the characters are incredible, and the plots are gripping. I love them, and I will continue to eagerly await the next installments! But they’re far from perfect, and that’s okay. Sanderson has captured the imaginations of thousands of fantasy readers and I would highly recommend you give these books a go, despite my critical review. This is a fabulous time to be a fantasy reader and The Stormlight Archive is one of the most exciting reasons to be reading the genre!

*Dalinar and I are going to be on thin ice if Sanderson continues with his character as he did in Rhythm of War, but again I’ll address that when I review Rhythm of War.

[lastsonlost]

All this over the Japanese liking a game they don't like...

Ghost of Tsushima opens with a grand wide shot of samurai, adorned with impressively detailed suits of armor, sitting atop their horses. There we find Jin, the protagonist, ruminating on how he will die for his country. As he traverses Tsushima, our hero fights back the invading Mongolian army to protect his people, and wrestles with the tenets of the Bushido code. Standoffs take advantage of perspective and a wide field of view to frame both the samurai and his opponent in something that, more often than not, feels truly cinematic. The artists behind the game have an equally impeccable reference point for the visuals: the works of legendary filmmaker Akira Kurosawa

“We really wanted to pay respect to the fact that this game is so totally inspired by the work of this master,” director Nate Fox said in a recent interview with IndieWire. At Entertainment Weekly, Fox explained how his team at Sucker Punch Productions suggested that the influence ran broadly, including the playable black-and-white “Kurosawa Mode” and even in picking a title. More specifically, he noted that Seven Samurai, one of Kurosawa’s most well-known works, defined Fox’s “concept of what a samurai is.” All of this work went toward the hope that players would “experience the game in a way as close to the source material as possible.”

But in embracing “Kurosawa” as an eponymous style for samurai adventures, the creatives behind Ghost of Tsushima enter into an arena of identity and cultural understanding that they never grapple with. The conversation surrounding samurai did not begin or end with Kurosawa’s films, as Japan’s current political forces continue to reinterpret history for their own benefit.

Kurosawa earned a reputation for samurai films as he worked steadily from 1943 to 1993. Opinions of the director in Japan are largely mixed; criticism ranges from the discussion of his family background coming from generations of samurai to accusations of pandering to Western audiences. Whether intentional or not, Kurosawa became the face of Japanese film in the critical circles of the 1950s. But he wasn’t just a samurai stylist: Many of the director’s films frame themselves around a central conflict of personal ideology in the face of violence that often goes without answer — and not always through the lives of samurai. In works like Drunken Angel, The Quiet Duel, or his 1944 propaganda film The Most Beautiful, Kurosawa tackles the interpersonal struggles of characters dealing with sickness, alcoholism, and other challenges.

His films endure today, and not just through critical preservation; since breaking through to the West, his visual ideas and themes have become fodder for reinterpretation. You can see this keenly in Western cinema through films like The Magnificent Seven, whose narrative was largely inspired by Seven Samurai. Or even A Fistful of Dollars, a Western epic that cleaved so closely to Kurosawa’s Yojimbo that director Sergio Leone ended up in a lawsuit with Toho Productions over rights issues. George Lucas turned to Kurosawa’s The Hidden Fortress in preparation for Star Wars; he’d eventually repay Kurosawa by helping to produce his surreal drama Dreams.

Ghost of Tsushima is part of that lineage, packing in action and drama to echo Kurosawa’s legacy. “We will face death and defend our home,” Shimura, the Lord of Tsushima, says within the first few minutes of the game. “Tradition. Courage. Honor. These are what make us.” He rallies his men with this reminder of what comprises the belief of the samurai: They will die for their country, they will die for their people, but doing so will bring them honor. And honor, tradition, and courage, above all else, are what make the samurai.

Except that wasn’t always the belief, it wasn’t what Kurosawa bought whole cloth, and none of the message can be untangled from how center- and alt-right politicians in modern Japan talk about “the code” today.

The “modern” Bushido code — or rather, the interpretation of the Bushido code coined in the 1900s by Inazō Nitobe — was utilized in, and thus deeply ingrained into, Japanese military culture. An easy example of how the code influenced Imperial Japan’s military would be the kamikaze pilots, officially known as the Tokubetsu Kōgekitai. While these extremes (loyalty and honor until death, or capture) aren’t as present in the myth of the samurai that has ingrained itself into modern ultranationalist circles, they manifest in different yet still insidious ways.

In 2019, to celebrate the ushering in of the Reiwa Era, the conservative Liberal Democratic Party commissioned Final Fantasy artist Yoshitaka Amano to depict Japanese Prime Minister Shinzo Abe as a samurai. Though described as being center-right, various members of the LDP have engaged in or have been in full support of historical revisionism, including the editing of textbooks to either soften or completely omit the language surrounding war crimes committed by Imperial Japan. Abe himself has been linked to supporting xenophobic curriculums, with his wife donating $9,000 to set up an ultranationalist school that pushed anti-Korean and anti-Chinese rhetoric. The prime minister is also a member of Japan’s ultraconservative Nippon Kaigi, which a U.S. congressional report on Japan-U.S. relations cited as one of several organizations that believe that “Japan should be applauded for liberating much of East Asia from Western colonial powers, that the 1946-1948 Tokyo War Crimes tribunals were illegitimate, and that the killings by Imperial Japanese troops during the 1937 ‘Nanjing massacre’ were exaggerated or fabricated.” The Nippon Kaigi, like Abe, have also pushed for the revision of Japan’s constitution — specifically, Article 9 — to allow Japan to reinstate its standing military.

This has been a major goal for Abe as his time as prime minister comes to a definite close in 2021. And from 2013 onward, the politician has made yearly trips to the Yasukuni shrine to honor the memory of war criminals, a status of which his own grandfather was accused, that died with the ethos of the modern Bushido code. Abe’s exoneration of these ideals has continued to spark reactionary nationalist sentiment, as illustrated with the Nippon Kaigi and their ultranationalist ideology. These traditionalist values have encouraged xenophobic sentiment in Japan, which was seen in the 2020 Tokyo elections with 178,784 votes going to Makoto Sakurai, leader of the Japan First Party, another ultranationalist group. Sakurai has participated in numerous hate speech demonstrations in Tokyo, often targeting Korean diaspora groups.

The preservation of the Bushido code that was highly popularized and utilized by Imperial Japan lives on through promotion by history revisionists, who elevate samurai to a status similar to that of the chivalric knight seen in Western media. They are portrayed as an honor-bound and noble group of people that cared deeply for the peasantry, when that was often not the case.

The samurai as a concept, versus who the samurai actually were, has become so deeply intertwined with Japanese imperialist beliefs that it has become difficult to separate the two. This is where cultural and historical understanding are important when approaching the mythology of the samurai as replicated in the West. Kurosawa’s later body of work — like the color-saturated Ran, which was a Japanese adaptation of King Lear, and Kagemusha, the story of a lower-class criminal impersonating a feudal lord — deeply criticized the samurai and the class system they enforced. While some films were inspired by Western plays, specifically Shakespeare, these works were critical of the samurai and their role in the Sengoku Period. They dismantled the notion of samurai by showing that they were a group of people capable of the same failings as the lower class, and were not bound to arbitrary notions of honor and chivalry.

Unlike Kurosawa’s blockbusters, his late-career critical message didn’t cross over with as much ease. In Western films like 2003’s The Last Samurai, the audience is presented with the picture of a venerable and noble samurai lord who cares only for his people and wants to preserve traditionalist values and ways of living. The portrait was, again, a highly romanticized and incorrect image of who these people were in feudal Japanese society. Other such works inspired by Kurosawa’s samurai in modern pop culture include Adult Swim’s animated production Samurai Jack and reinterpretations of his work like Seven Samurai 20XX developed by Dimps and Polygon Magic, which had also received the Kurosawa Estate’s blessing but resulted in a massive failure. The narratives of the lone ronin and the sharpshooter in American Westerns, for example, almost run in parallel.

Then there’s Ghost of Tsushima. Kurosawa’s work is littered with close-ups focused on capturing the emotionality of every individual actor’s performance, and panoramic shots showcasing sprawling environments or small feudal villages. Fox and his team recreate that. But after playing through the story of Jin, Ghost of Tsushima is as much of an homage to an Akira Kurosawa film as any general black-and-white film could be. The Kurosawa Mode in the game doesn’t necessarily reflect the director’s signatures, as the narrative hook and tropes found in Kurosawa’s work — and through much of the samurai film genre — are equally as important as the framing of specific shots.

“I don’t think a lot of white Western academics have the context to talk about Japanese national identity,” Tori Huynh, a Vietnamese woman and art director in Los Angeles, said about the Western discussion of Kurosawa’s aesthetic. “Their context for Japanese nationalism will be very different from Japanese and other Asian people. My experience with Orientalism in film itself is, that there is a really weird fascination with Japanese suffering and guilt, which is focused on in academic circles … I don’t think there is anything wrong with referencing his aesthetic. But that’s a very different conversation when referencing his ideology.”

Ghost of Tsushima features beautifully framed shots before duels that illustrate the tension between Jin and whomever he’s about to face off against, usually in areas populated by floating lanterns or vibrant and colorful flowers. The shots clearly draw inspiration from Kurosawa films, but these moments are usually preceded by a misunderstanding on Jin’s part — stumbling into a situation he’d otherwise have no business participating in if it weren’t for laid-out side quests to get mythical sword techniques or armor. Issues like this undermine the visual flair; the duels are repeated over and over in tedium as more of a set-piece than something that should have a component of storytelling and add tension to the narrative.

Fox and Sucker Punch’s game lacks a script that can see the samurai as Japanese society’s violent landlords. Instead of examining the samurai’s role, Ghost of Tsushima lionizes their existence as the true protectors of feudal Japan. Jin must protect and reclaim Tsushima from the foreign invaders. He must defend the peasantry from errant bandits taking advantage of the turmoil currently engulfing the island. Even if that means that the samurai in question must discard his sense of honor, or moral righteousness, to stoop to the level of the invading forces he must defeat.

Jin’s honor and the cost of the lives he must protect are in constant battle, until this struggle no longer becomes important to the story, and his tale whittles down to an inevitable and morally murky end. To what lengths will he go to preserve his own honor, as well as that of those around him? Ghost of Tsushima asks these questions without a truly introspective look at what that entails in relation to the very concept of the samurai and their Bushido code. This manifests in flashbacks to Jin’s uncle, Shimura, reprimanding him for taking the coward’s path when doing his first assassination outside of forced stealth segments. Or in story beats where the Khan of the opposing Mongol force informs Shimura that Jin has been stabbing enemies in the back. Even if you could avoid participating in these systems, the narrative is fixated on Jin’s struggle with maintaining his honor while ultimately trying to serve his people.

I do not believe Ghost of Tsushima was designed to empower a nationalist fantasy. At a glance, and through my time playing the game, however, it feels like it was made by outsiders looking into an otherwise complex culture through the flattening lens of an old black-and-white film. The gameplay is slick and the hero moments are grand, but the game lacks the nuance and understanding of what it ultimately tries to reference. As it stands, being a cool pseudo-historical drama is, indeed, what Ghost of Tsushima’s creators seemingly aimed to accomplish. In an interview with Famitsu, Chris Zimmerman of Sucker Punch said that “if Japanese players think the game is cool, or like a historical drama, then that’s a compliment.” And if there is one thing Ghost of Tsushima did succeed in, it was creating a “cool” aesthetic — encompassed by one-on-one showdowns with a lot of cinematic framing.

In an interview with The Verge, Fox said that “our game is inspired by history, but we’re not strictly historically accurate.” That’s keenly felt throughout the story and in its portrayal of the samurai. The imagery and iconography of the samurai carry a burden that Sucker Punch perhaps did not reckon with during the creation of Ghost of Tsushima. While the game doesn’t have to remain true to the events that transpired in Tsushima, the symbol of the samurai propagates a nationalist message by presenting a glossed-over retelling of that same history. Were, at any point, Ghost of Tsushima to wrestle with the internal conflict between the various class systems that existed in Japan at the time, it might have been truer to the films that it draws deep inspiration from. However, Ghost of Tsushima is what it set out to be: a “cool” period piece that doesn’t dwell on the reasonings or intricacies of the existing period pieces it references.

A game that so heavily carries itself on the laurels of one of the most prolific Japanese filmmakers should investigate and reflect on his work in the same way that the audience engages with other pieces of media like film and literature. What is the intent of the creator versus the work’s broader meaning in relation to current events, or the history of the culture that is ultimately serving as a backdrop to yet another open-world romp? And how do these things intertwine and create something that can flirt on an edge of misunderstanding? Ghost of Tsushima is a surface-level reflection of these questions and quandaries, sporting a lens through which to experience Kurosawa, but not to understand his work. It ultimately doesn’t deal with the politics of the country it uses as a backdrop. For the makers of the game, recreating Kurosawa is just black and white.

[actiaslunaris]

Cobbled together memes for end-of-year fic navel-gazing.

Rules: filter to 2021 on your AO3 stat page and answer some questions/link some fics for everyone to enjoy! How many fics did you finish this year? Seven. Total word count of 27,785. Most popular (by kudos): "the girl with charming brown eyes" (Sabrina 1995, Linus Larrabee/Sabrina Fairchild, gen) [https://archiveofourown.org/works/29901966] This has fourteen kudos. Still a very popular pairing and film, so people are usually pleased when I write stories for it. Least popular (by kudos): "Declaration" (Galileo, Utsumi Kaoru/Yukawa Manabu, gen) [https://archiveofourown.org/works/34820794] This is under drabble length, and is headcanon I'd had written for a long time and posted on Tumblr, then archived on AO3. This is fair, for what it is. I have others posted that have zero kudos, but since this has two kudos and eleven hits, I'll just accept it as is. Most enjoyable to write: "all the blood I lost with you" (Galileo, Utsumi Kaoru/Yukawa Manabu, teen) [https://archiveofourown.org/works/33160882] Most enjoyable to write in the last few months that I spent writing it. I started it off only knowing a few key parts that I wanted to include; the rest of the time was spent filling in all the blanks. After I'd filled in enough, it was easy-going. I'm also counting it because writing it lit up my imagination, to the point that it has inspired further imagination. Most out of your comfort zone to write: "thousands of fast-falling stars" (MCU, Natasha Romanoff & Tony Stark, gen) [https://archiveofourown.org/works/35627332] I don't understand how to write these characters. I'm figuring it out as I go along. It's all right and I'm happy with being able to do what I could. Fic you're most proud of: "Trace of Her" (Galileo, Yukawa Manabu/Utsumi Kaoru, gen) [https://archiveofourown.org/works/30040149] The measure of my pride is based in how it worked for readers and in how I was able to write it in one sitting. This was also a story that I based on a quote from the show that had grabbed my attention with a concept that I felt needed expanding, and I'd let it develop in my head for years until I was able to think of the first line. Best fic you wrote (or finished) this year, in your opinion: "a lonely lover's taboo" (Galileo, Utsumi Kaoru/Yukawa Manabu, explicit) [https://archiveofourown.org/works/31748602] Good for my id and others' ids as well, I gather? The hits and comments would seem to indicate so. There are some stories I spend more time on perfecting; I don't like to perfect over much because I tend to kill my own enjoyment of what it is, but I do like everything I pulled out of my head for this. It helps that it was a story I'd been wanting to write for years, so the time I spent on it was a chance for me to live inside the experience of writing it. Anything you wrote that you feel is underrated? How do I quantify underrated as a feeling? The amount of time I spend writing and editing to get to what I consider good goes unseen by my readers. That could be a metric, but it seems unfair to use that. It also seems unfair to use the metrics AO3 provides, because they are inherently biased by a number of factors that I don't have control over. Maybe the only way I could understand if something is underrated is if I was told it is, but that's still an outside biased perception, right? I don't like this question this year. I have an instinctual answer to it, I do, but I refuse to answer this question at this time. Maybe I'll answer it next year. Looking back, did you write more fic than you thought you would this year, less, or about what you'd predicted? More. Far more. I didn't stop myself because I usually write less. Since most of my stories were for Galileo, I'm allowing myself the words because longer translates to more reward for reading. This year's theme and the story that demonstrates it most: Longing and change. Demonstrated best by "all the blood I lost with you". Did you take any writing risks this year? What did you learn from them? Writing voyeurism, non-con kissing (that cut both ways because neither character wanted it in that moment), and certain characters as queer, not all in the same story. I learned that if it's necessary for the story, I get reward from writing it. I enjoy having the safe space to explore it, and I enjoy that it seems to be enjoyable for others as well. That's probably a measure of how well I wrote those moments, something a good bit valuable to me.

[ayuuria]

Yashahime Translation: Animedia January 2021 Issue

Please do not repost this translation without my consent! This includes screenshots of any type and amount. If you wish to share this translation, simply link to this post.

For more information regarding the use of my translations, click here.

I do apologize if some of the translations feel awkward. This one was slightly technical so I had to do some research on the side.

Animedia Education Lecture

You think you know but you surprisingly don’t

Working in Anime

— ­Editing Edition –

A corner where we delve into the work of anime production. This time, we ask Nii Kazuhiro of (share) IMAGICA Lab., who handles the editing for “Hanyō no Yashahime”, about editing!

The job of “editing” is vital not just in anime but also in live movies and tv dramas. People who like films may be able to vaguely imagine the burden of having the big role of organizing the scenes. However, exactly what sort of work do they do in anime production? This time, Mr. Nii Kazuhiro of (share) IMAGICA Lab., who oversees the editing of the action packed “Hanyō no Yashahime”, makes an appearance! We had him discuss editing and the special work process unique to “Hanyō no Yashahime”.

Tell us Nii-san! Let’s learn about “Editing”

Q: What kind of job is “Editing”?

It is a job that manages the flow of the whole film by connecting scenes or shots together. For example, how well a signature move in battle or sports is executed is dependent upon the tempo adjustment “editing”. Other things like scenes where shots are divided effectively by the placement of songs or music in an important work, will always have an editor’s hand (adjustment) involved. Even if the animation is created to flow exactly like the storyboard, a lot of times the timing of those scenes is fine-tuned with editing. Timing is just as important as properly moving images after all.

Q. During what phase of the anime production do you work?

Typically in anime, shots are edited at a phase where the color and sound have not yet been added and is completed as each phase in the production moves forward. Editing takes place before the audio work. Basically, it occurs twice: before voice recording and dubbing (translator’s note: Dubbing here does not mean voice over! Dubbing is the phase where they mix the voicing, sound effects, and music together to match the images). There are many works where color is added after dubbing has concluded, but in “Hanyō no Yashahime”, in order to allow for dubbing with the color, colored images are used as materials when editing. Since the images are colored, we can confirm the fine details with the director and production supervisor and then make adjustments.

Q. How does one become an “Editor”?

I entered a vocational school focused on film making and learned not just about editing but film making as a whole such as filming and lighting. There wasn’t any convenient editing software at the time, so I joined my current company that does film production thinking “Editing is something that can’t be self-taught so I want to learn on the job”. If you want to pursue editing, then you should watch as many different types of films as you can. You can’t notice things in production like direction and the camera angle of a shot if you don’t have interest in it, so I think it’s best to study it for the sake of knowledge.

Q. What abilities are needed for “Editing”?

Communication skills are an absolute must. Especially in animation which has a lot of detailed work itineraries and staff members creating it. To ensure that there are no mistakes, you must ask the director or production supervisor on anything you are unsure of. Of course, you can’t keep asking questions on every single shot so there are times where you will need to understand past productions and make decisions yourself. However, being able to muster up the courage and ask when necessary is important. You need communication skills for that purpose.

The “Hanyō no Yashahime” Production Site Packed with Fixations

— Please tell us the details on how you came to oversee the editing in “Hanyō no Yashahime”.

I had the opportunity to work with Director Satō (Teruo) on “Aikatsu Stars!” and he reached out to me. Since the story was connected to “Inuyasha”, which was broadcasted when I was a child, I felt a lot of pressure at first. While I was nervous when I heard the that main staff hadn’t changed much from “Inuyasha”, I felt “That’s all the more reason I have to work hard”.

— In regard to the editing work, did Director Satō make any demands?

I touched on this earlier in my response to “what phase we work” where I discussed how the director requested “Please have the images close to completion before the dubbing, where the music and voicing will be decided finalized, takes place. I would like to have editing done just before the dubbing as well.” This is what makes this so different from other works.

For example, in action scenes when the image is unfinished, it’s hard to understand the small movements or context. Hence, it’s difficult to take a “Maybe make the tempo like this” sort of editing approach. In typical animes, there are a lot of times where the final images solidify after the sound is completed. When that happens, there’s not much room to make edits for the most part.

However, in “Hanyō no Yashahime”, the images are mostly done before the dubbing so we can make adjustments with the director while matching the images with the voice actor’s lines. I thought it was a good idea. This is a trait unique to this work.

— Was there an aspect that you yourself focused on when editing this work?

While it’s a work with a lot of serious developments, what I focus on during those scenes is the “the interval between emotions”. In live film works, for thinking scenes, the actor’s “thinking act” is included so there’s an interval. However, in anime, the movement simply stops and there are no lines, so a lot of times you can’t measure the interval. Nevertheless, those serious scenes are important in “Hanyō no Yashahime” so I think it’s important to have “intervals” which is what I’m careful about. On the other hand, there are comical scenes, so I’m careful not to destroy the tempo. In anime, the tempo can change if it’s off by 6 frames*

*1 frame = 24 frames per second

The Feeling of Fun in Doing “Editing” Work

— In anime editing, does the work’s genre make a difference?

It does. Lately in action and sport (animes), materials included are not just from the storyboard but also from 3D CG as well, so we’re careful to make sure the connection between that and normal image (2D) scenes don’t feel out of place. When I first started, I couldn’t get the hang of it and was at a loss. The 3D CG portion is done by a different production team instead of the animation (drawing) team, so during my edits I couldn’t visualize the complete final form and fumbled as I worked.

In terms of idol anime, there’s “Aikatsu Stars!” that I worked with Director Satō on, but I was still a novice then… In work that’s geared towards children, I focused on making the tempo of the conversation scenes as steady as possible. If the tempo is too fast, it will end with everything being breezed through and a child will become unable to follow. I remember being careful of that.

— Are there times where you have to edit multiple episodes at the same time?

I mainly only work on one episode at a time. It’s just that periodically I have to confirm and make adjustments on a line-by-line basis in another episode at the same time.

— What part of “Editing” do you feel makes the jobs worthwhile?

In anime, images and CG shots that have been completed at each phase of the process are gathered individually as materials for editing. Updating those materials into one new episode and getting to see the finished product first is what “Editing” is. I think this is what makes the job of “Editing” fun the most. I get a sense of responsibility that I’m managing not only the shots but the entire work as a whole. Also, because I’ve seen the production process, I feel happy and simply moved like “That’s amazing” when all the phases are completed and the whole anime is finished. This is when I feel worthwhile as an editor. Also, I don’t think there’s much opportunity to take part in the production of the character movement and camera work in live filming, so I think this is what makes editing anime fun.

— After going through all the work, how do you feel when you watch the broadcasting of the finished version?

I end up watching it from different angles but when I watch it as a regular viewer, I become happy nonetheless. Of course, there are times where I personally think “I should’ve done this” at the little things. Now with social media, I know the viewers’ reactions in real time, so when there was a huge response to episode 1 with Inuyasha and the others, that put pressure on me going forward (laughs).

The Charm of “Hanyō no Yashahime” That You Personally Enjoy

— Of all the episodes that have been broadcasted thus far, which episode left the biggest impression on you?

Episode 3 where the three heroines (Towa, Setsuna, and Moroha) came together. I got to watch the (voice) recording for that episode and the battle scene was really cool. Also, I was able to properly draw the first conversation between the three so that left the biggest impression on me in that sense.

Then there’s episode 7. It’s the episode where you return to the scene of the three of them that at the very beginning of episode 1. The composition of back tracking up to episode 1 left an impression on me, so even as I was editing episode 7, I admired how it felt like the mystery was being revealed or rather feeling like “I see. This is where it connects”.

— By the way, who is your favorite character personally?

Moroha. She’s fundamentally an energetic character, her skills in action scenes are cool, and the way she seems to mimic the movements of her father, Inuyasha, is entertaining as well. While she behaves in a manner that makes you wonder if she had a tragic past, she’s a character whose emotions are easy to read so that’s why she’s my favorite.

— Including upcoming highlights, please give a message to our readers.

Going forward there will be more episodes regarding the three heroine’s past which I think is a highlight. As I was editing a future episode, I felt “We’re approaching the true nature of the story”. Please look forward to the cool action scenes and the episode where the three’s past will become clear.

[365days365movies]

January 19, 2021: Léon: The Professional (Epilogue)

Hey, look! An elephant in the room! We should address that, huh?

So, recently, actress and Léon star herself Natalie Portman was interviewed about acting in this movie, and she said that the movie itself was fine to act in. It was the response to that work from...y’know what, perverts - let’s not dance around that - that she wasn’t the biggest fan of. It changed the roles she was willing to accept, and her acting style in general. Which makes absolute sense for her to do.

But now, you may understand why this film is...awkward. Because let me clarify something: this is a good movie! But, especially with relatively recent revelations from Hollywood in the last few years, you know that some people enjoyed this movie in a WHOLLY UNACCEPTABLE fashion. Which is...well, again:

Because of that, this film was gotten a lot of negative attention, then and now. And, let’s also be fair here: I’m not a fan of the fact that Luc Besson put Natalie Portman in this...uncomfortable position in the first place. It’s a little squicky to be putting a 12 year-old in that context, is what I’m saying. Roger Ebert agrees, in the closing statement of his review on the movie:

But always at the back of my mind was the troubled thought that there was something wrong about placing a 12-year-old character in the middle of this action. In a more serious movie, or even in a human comedy like Cassavetes' "Gloria," the child might not have been out of place. But in what is essentially an exercise - a slick urban thriller - it seems to exploit the youth of the girl without really dealing with it.

.Yeah, I agree with that. But OK, if we take that uncomfortable aspect away from the movie (and it is possible to do so), then what did I think? Well, let’s get into that, shall we?

Recap

Cast and Acting

Strap in, this one’s gonna be long. Three parts, and a coda at the end.

OK, first I gotta talk about Léon, or rather Jean Reno as Léon. Here's the thing about these heroic bloodshed protagonists; they’re always these cold, reserved badasses with armored hearts that have been closed off by a personal tragedy, from when they were more innocent. But with Léon, we never see that tragedy; we have no idea what makes this man who or what he is. And yet, he still has dimension as a character, hidden depths within an unknown past, and also a surprising innocence injected into him. He genuinely enjoys going to see old movies, he’s teaching himself how to read, we only really see him drink milk, he cares deeply for his plant. And, before Mathilda, he’s lonely, and you actually feel for him? THis is, by the way, despite the fact that the first sequence of the film is him MURDERING A BUNCH OF PEOPLE. And despite that, I really did feel for him in the end there. And while the directing and writing take a part of this, GODDAMN does Reno do an amazing job! He perfectly portrays the nuances of this character, but puts on an incredibly badass demeanor when he needs to. Reno deserves more credit as an actor in the USA, because he’s astonishingly great in his movie, seriously.

And then...then there’s Natalie Portman. See, back in the wild, wild west of the ‘90s, child actors were ALL OVER THE GODDAMN PLACE. And the vast majority of them weren’t very good, let’s be honest. But in her turn as Mathilda, awkward preteen crush and all, Portman KNOCKS it out of the goddamn park with this portrayal. And by the way...THIS IS HER FIRST ACTING ROLE. Yeah. Holy shit. She’s brilliant, and I’m a little mad that she didn’t get an award nod AT ALL for this role. She’s fantastic, seriously, it’s insane. And yeah, her character and the dynamic with Léon definitely makes me uncomfortable...but maybe it’s because Mathilda is surprisingly believable, acting with a surprise innocence of her own. Seriously...amazing job to Nathalie Portman.

If Reno was understatedly nuanced and complex, and Portman was talented and emotional, Gary Oldman was BATSHIT INSANE. And holy shit, is he a wonderfully engaging and terrifying villain. This is Oldman dialed up to...eh, 8? You get him dialed up to 10, and I’m pretty sure you get Dracula. But he’s a HELL of a lot of fun here, honestly, if also extremely creepy and frightening. He steals every scene that he’s in, with his speeches, mannerisms, and affectations. He upstages, well...EEEEVERRRYYYYYOOOOOOONNNNNE!!!

And is everybody else in here good? Yeah, they are, but they’re completely drowned out by these three. The acting in this film is wonderful all around. 10/10. I mean that, 10/10.

Plot and Writing

If I had a single word about the writing, it’d be...French. There are some lines, ESPECIALLY Mathilda’s lines about love, that definitely sound more French than American. After all, this is a French film, and the writer is Luc Besson himself! And other than that...the writing’s fine. Plot’s fine, too, straightforward and all that. I really don’t have much to say about the plot, if I’m honest. And if I had one negative thing to say...yeah, the childhood crush thing is still super uncomfortable, honestly. Still, put in context, it’s a little bit better. And I should mention that, while it’s SUPER CONTROVERSIAL here in the good old US of A, this wasn’t nearly as big of a deal in France. And I should also mention...it’s mildly autobiographical. Yeaaaaaaaah, that blonde girl in the very beginning of the movie is actually Besson’s WIFE. You know...the 17-year-old, who’d known Besson since she was 12 and he was 29, and they started dating when she was 15, and the had a child a year later, before this movie was made. Y-yeah. Yeah. Yeah.

 7/10 here, nothing bad, nothing great. Basically average heroic bloodshed plotline, with some...other elements.

Directing and Action

Fun fact: Luc Besson’s reception in his home country is mixed, especially early in his career. This is because his directing style is focused far more on spectacle and bombast than it is on emotion. Definitely more American in style than French. And this movie definitely has some of that, although it’s definitely not as crazy as some of the other movies on this list. But some of the shots here are weird, some of them here are crazy cool, and most of them are just great. But this movie still focuses more on emotion and character buildup and revelations, than it does on action. Which is great, but this is Action January, so how was the action? This takes off of the gun-fu genre, with essentially all of it focused around gunplay. And the interesting thing is, while these aren’t the most bombastic action scenes, its the emotion around them that keep you on the edge of your seat and invested. So, weirdly, this might be the movie that’s integrated the action scenes with the movie’s overall emotional tone the most seamlessly. Well...of the English language movies, anyway. Overall, 8/10 here!

Production and Art Design

START SPREADING THE NEEEEEEEEEEWS, because it’s New York, New York! Most of this film was filmed on location, and it shows! As someone who grew up going to NYC on a regular basis, it definitely feels authentic to ‘90s New York. Which, of course, it is. Costume design, for Mathilda especially, is good, although one or two of her outfits feels a little over-complicated at times. Still, no complaints, really. I love Léon’s tiny glasses, and Stansfield’s suit (plain as it may be). Really, this movie is simply an authentic feeling New York, and there isn’t too much else to say about that. 8/10 again. 

Music and Editing

Music’s definitely good, including this song by Sting that we hear at the end. Editing is mostly OK, although there are some weird cuts here and there. And...I’m not sure I have much to say about this category. Oof. Sorry, honestly, this is probably a sign of good editing, since it wasn’t obvious. And as for the music, I remember it...but it was mostly overshadowed by the events of the film itself. So...7/10?

80%! And I’m satisfied with that, honestly!

This movie is built to make you a little uncomfortable while watching it. But, I still believe that it’s a movie to be watched. Good action, prominent emotional development, great acting. This one’s good, and give it a watch! 

Luc Besson, Luc Besson. You gave me a French English-language heroic bloodshed action movie about an older man saving a girl a generation or so younger than him, that also produced a well-known meme on the internet. More, please!

January 20, 2021: Taken (2008)

[nathanieldorsky]

Interview with Jerome Hiler and Nathaniel Dorsky, May 2021, Leeds, U.K. to accompany an outdoor screening hosted by Will Rose

WR    The screening of your work in Leeds will be outdoors in a field at Meanwood Valley Urban Farm. It will be dark of course, but the films will be set against the backdrop of the city and accompanied by the sound of the outdoor environment. I’m interested in how these local conditions might affect your work. What do you think about this, and have you ever screened your work outdoors?

ND    When Jerome and I were in our early twenties we would leave New York City for a summer evening at my parents’ house where there was a backyard bordering a forest. We would have outdoor screenings using two projectors and enjoy the superimposed images and their many chance occurrences. San Francisco does not have windless warm evenings and the summer nights are particularly cold, so the inspiration to do this type of screening does not come naturally. But this summer, with the Covid crises restricting our social and screening lives, we had two screenings for six people each on the backyard patio of filmmaker Scott Stark. We were all dressed for a winter sleigh ride and masked with distance between seating. I showed three films I had made so far during the lockdown, one of which, Temple Sleep, you will see this evening. What was particularly lovely were the swaying tree shadows on the screen from the surrounding window lights going off and on. The film felt like it was floating within a larger cinema.

JH    Of course, silent films are extremely vulnerable to ambiance, yet there are always margins, and some are larger or smaller so it’s impossible to predict what is too distracting or not. Every screening is a law unto itself. No two are alike – even when there’s an immediate repeat screening. When I send my films out to be rented, they’re like children old enough to be on their own. I wish them luck. That’s about all I can do. Back in 1964 I roomed with Gregory Markopoulos and we were always trying to find some spacious outdoor setting for a night time screening. It never came about, but I feel now that I saw the beginning of an idea that eventually led to his Temenos events in Greece.[1]

WR    You have each largely kept your personal filmmaking practice separate from your ‘day jobs’ (Jerome as a carpenter and documentary director, Nathaniel as a film editor) – to what extent did/does your daily work influence or affect the films you make, and vice versa?

ND    As an editor one has to be very strict sometimes with a client for their own good … you witness the naked self-deceptions … so when you are working on your own film you almost laugh when this dialogue takes place all within yourself … you see the importance of not deceiving yourself … you see the way you fib to yourself …

JH    It has been some time since I worked as a carpenter. The work was all-engrossing and I hardly had a chance to have my films affect that particular work. However, the money I made certainly allowed me to make films. When I was young, I admired the filmmakers who had day jobs that supported their work. I also worked on documentary films and there it was a case of my personal films influencing my documentary style.

WR    Your work is very much concerned with the act of filming in the moment – an idea which also seems to extend to the way you would like your films to be experienced. I’m curious about the role history and memory play into this presentness. When you film somewhere, is the history of that place important to you? And are your own memories of that place important to the way you respond to it in the moment with your camera?

ND    For me it is the presences and dissonances of light that guide my camera into the world. Generally I am not trying to evoke a place, but in the film Temple Sleep I shifted in that direction; in this case seeing a series of fly casting practice pools as the flooded ruin of an ancient temple of the past.

JH    I generally wander at random. Driving in my car – particularly in places that I don’t know, hoping to get lost. I will react to a location. I don’t set out to make a statement, rather I learn and am tutored by the film as it develops. My film has more to say to me in the long run than the reverse. All art works seem to be self-portraits.

WR    I understand that you often show your work to friends in private salon screenings. Until relatively recently this was the only situation that Jerome’s work would be presented in. Can you tell me more about these private screenings? And when you make your work, is it is useful to have a particular viewer (someone you know) in mind?


JH    Now that I’m shown publicly, I’m often asked why I “withheld” my work. But, as far as I was concerned, I was sharing my work as much as I could. Living in San Francisco, I was ensconced in such a vibrant and busy film scene with many visiting filmmakers coming through and showing their work. There were many impromptu screenings at different people’s homes. For my part, I would create tailor-made “films” from my camera original to suit the person or people who were attending that night. Then, I would dismantle the reel and re-purpose material for another occasion. This process of using original film resulted in much loss over the years. But, as for making a finished film, I had not found a voice and my attempts, I feared, might be pretentious. Suddenly, I was asked to be in a film show and I quickly finished a film in progress. In this way, I had found my very casual voice.

WR    You have been life-partners since the mid-1960s and make films principally for each other. Can you tell me more about how your work converges and diverges?

ND    Jerome taught me half the things that I know. His earliest filmmaking awakened me to the open glories of self-symbol montage, that a film is something in itself! Jerome is a bit more the painter and I, a bit more the poet.

WR    During the pandemic I have increasingly had the urge to be somewhere that I don’t recognise. I was fascinated to find out that your work is almost entirely filmed within a very small radius of your home in San Francisco. Why is this the case?

ND    This is an exaggeration … although it is true that many of my films are shot in walking distance from my apartment. But I would often in normal times go downtown with my camera in a car, park and walk around in a variety of neighbourhoods and environments. I could no longer shoot street or human scenes as if the Covid was not happening.            The real issue is that when you travel and shoot footage the footage is seldom as good as something you shot that you are very familiar with. When it’s familiar you have to work harder to make it touch something in the psyche … but a new place is all awe and seduction of the new but the footage one might take there is often not really so interesting as cinema. I have some travel films I’ve made on Kodachrome and have occasionally shown them in my apartment and once publicly at Anthology Film Archives. They looked gorgeous with the original camera Kodachrome going through the projector – now that is a heart stopper.

WR    You both have a close affinity to poetry and have found ways to create an equivalent sensation using the medium of film. Nathaniel, I showed your work in Leeds a few years ago in the presence of a very wonderful local poet. Without any prior knowledge, he appreciated it instantly as the filmic equivalent of a poem. Is there some intrinsic essence you can identify which makes film poetic?

ND    When film can create for the viewer feelings and intuitions, associations and discoveries, things that cannot be directly said, then it has poetic qualities. Not the false poetry of sentimental narrative, but the sharp present alert quality of light and the screen.
 JH    I think my films are more akin to music than poetry. Some musicians can tell me what tempos and dance forms my works employ. My subject matter is so truly personal that I doubt anyone else could follow a “narrative.” Though, I have heard a viewer’s re-telling of my film that was both true and sidesplittingly hilarious. You might wonder, “Do I have no regard for my viewer?” Actually, I hope that there is always something for the mind of the viewer to engage with along with the feeling that what you see and feel is, indeed, the heart of the film. The film is really yours. I remember, over so many years, tedious post-film discussions where a viewer stated their reaction and asked the filmmaker, “Was that intentional?” My answer would be: If that’s what you saw, yes, it was.

WR    The way light, weather and vegetation are measures of seasonal change is important in almost all your work.  How do the seasons play a role in structuring the way you make films?

ND    Like poets for many thousands of years, the change of seasons stirs the soul, awakening primordial feelings of birth, death and desire and the need to “sing” of such things.

WR    The pandemic has put a temporary stop to public screenings of work that necessitates film projection. This screening of your work in Leeds is a gentle re-connection with a type of art that has been in hibernation. What has been your response to the last year? Have you worried for the future of your art form?

ND    I just kept on shooting and vaguely wondering what damage the Covid crises would have on handmade films in public arenas. Luckily my film lab was allowed to stay open as an essential business … I could not agree more … and Eastman stayed open for purchasing raw stock. I found it very difficult to make a film during this crises – though I ended up making six … many quite short as the world had become smaller. I spent weeks at various places in Golden Gate park, a half block from my apartment. After three weeks or so ideas for making films in those locations took place and manifested. It was hard photographing things with this ominous lurking presence, but I found a way by relating to the oppression and trying to make films that were a purification for the impending claustrophobia.

JH    This is a very good question. The issue of impermanence has arisen most powerfully this past year. I find myself at an advanced age. I read complaints that my films are impossible to see outside of the larger venues in film capitals. My attention, as usual, has been on the making of films and not at all on their exhibition. I have never felt that video was akin to film. For me, it did not present itself as a substitute. I am considering, very seriously, transferring my films to a digital format. I do dislike the light of digital projectors, but I have to face the fact that loyalty to my first love is taking too large a toll on my work’s appearance on any screen at all.

[1]. Temenos is the name filmmaker Gregory Markopoulos gave to a remote outdoor screening site in the Peloponnese region of Greece. Markopoulos spent the last decade of his life working on Eniaios, an epic, 80-hour film cycle created exclusively for projection at this site. The next presentation screening will take place there in summer 2022. See: www.thetemenos.org

3 Films by Nathaniel Dorsky and Jerome Hiler | Outdoor Screening, Fri, 21 May 2021, Leeds, U.K.  link

[coppicefics]

Masked Omens: Week Six

[Image Description: Image 1 - A simple rendition of the Masked Singer UK logo, a golden mask with colourful fragments flying off of it. The mask has a golden halo and a golden devil tail protruding from either side. Below, gold text reads ‘Masked Omens’.

Image 2 - A page from the Entertainment section of the Capital Herald, dated Saturday, 30th January 2021. Full image description and transcript below cut. End ID.]

Read the fic here!

The Capital Herald - Saturday 30th January, 2021 Entertainment, page 13

Top story (continued from facing page): -talk filming, fans and family with 'Three Card Monte' star -finished, and hotly tipped for several major awards come the season, what does Dame Angela have in the pipeline? She's tight-lipped, but the question makes her smile. “Naturally I don't want to give too much away – an actress must maintain some mystery lest the camera fall out of love with her – but I can tell you I have several options in mind, and some of them are very exciting.” But is it a question of which project to take on, or which to take on first? “Well, of course, there are no guarantees, but... yes, I imagine some of them will wait.” It's an unusual level of power for an actor to wield, but at this stage in her career Dame Angela is more than entitled to wield it. How does she feel about winning the showbiz game so spectacularly? “Oh, I feel as though I've been playing a game of my own devising, to which even I don't know the rules.” She laughs. “No, but really, I don't think I've ever thought of it as playing a game. I go up for the parts I think are interesting or challenging, and I've been fortunate enough to get them more often than not. Then, when the part is finished, I move on to the next thing I want to do. There's no strategy, not really, not on my part. Naturally, my agent might tell you something very different!” Having the right agent can certainly be the key to success in the entertainment industry, and Dame Angela has been with Derek Mette, of MetteTalent, for many years now.“More than I care to admit,” she tells me with a laugh, “Derek has been with me since the beginning, really. We're old friends, at this point – our families exchange Christmas cards every year.” Family can be a challenge for someone who's trying to keep the momentum of their career going, and Dame Angela surprised the world when she took a year out of acting to give birth to her son, Anthony.“Yes, at that time it simply wasn't done; one could have a career, or one could have a family. Especially since I was very much on my own with it all. But I was able to get back in front of the cameras quite quickly, and I wouldn't change things for the world. Becoming a mother made me a better actress, I think, because it opened up that whole range of experiences. The highs and the lows of childrearing.” In fact, Dame Angela starred alongside young Anthony in A is for Apple when he was only eight months old. He briefly followed in her footsteps after leaving school, and seemed set for similar levels of industry acclaim. But it all came to a devastating halt when he developed an addiction that led to him being discovered unconscious in his trailer on the set of The Grasswater Affair. He'd overdosed. “I don't like to talk about it,” Dame Angela says, her mouth downturned. “I found it very hard. But now, of course, he's been in recovery for many years, and he does his little plays all around the country. It's behind us, and I'd like it to stay that way.” A change of subject, then; what does she make of the rumours that she is currently performing as a costumed character on The Masked Singer UK? “On- I'm sorry, what's that?” I show her a clip on my phone. “Good heavens, no.” But isn't that exactly what she'd say if it was her? “Well, I don't know. I'd never even seen it until just now. But it all seems a little childish for my taste. I'm far too committed to my art to do light entertainment.” Time, it seems, will tell. But if Dame Angela is indeed a participant in The Masked Singer, she hides it well.There’s time for one last question, so I try to make it a good one. What, I ask, does Dame Angela consider her proudest achievement to date? “Oh, that’s a difficult question. I simply couldn’t choose... Naturally, becoming a Dame was a great honour, and not one I expected at all, which made it all the more precious. But then, the first time I won an Oscar was a real moment of pride, and one that’s never soured with time. And, of course, every award and every round of applause is a moment of pride for any actor; it means I’ve done the job, and done it well, and that it has been appreciated by the audience in front of me. What more can any actress ask for?” MARY HODGES Dame Angela Crowley’s latest film, Three Card Monte, is in cinemas from the 12th of February.

Centre right: OWAS to host ‘magic’ event Literary society’s next gala theme announced The Oscar Wilde Appreciation Society has announced the theme for its spring social event, which is to be inspired by all things magical. Famed far beyond its actual membership for its lavish balls and banquets, the society has in the past held events held together by motifs such as 'Luck', which took place in a casino, 'Snow', which included a trip to a ski slope, and 'Flight', during which all participants had the opportunity to glide above the dancers on wires. This time, the theme is 'Magic', and while details are still being kept tightly under wraps, it seems fairly certain that Aziraphale Fell, London's most celebrated stage magician and a long-time member of the Oscar Wilde Appreciation Society, will be performing at the event. When the society throws open its doors each season, it's quite possible to go all night without seeing a single regular member of the club. While the organising committee is out in full force, soliciting donations from the wealthy patrons who attend the parties, and the society president stands up to make a toast at the beginning of dinner, it's largely outsiders who descend upon the Oscar Wilde Appreciation Society's chosen venue. In fact, the scale and opulence of these events has led some to speculate that OWAS is not a literary appreciation society at all, but rather a shadowy networking opportunity for the rich and powerful. Indeed, at the 'Flight' event, it's rumoured that two world leaders met in the queue for the wire-flying and laid the foundations for a later trade deal between their nations. The society's everyday goings-on are, I'm told, far more pedestrian and literary. But - as the current president, Edwin Pearce, often says - “what's an Oscar Wilde society without a little hedonism?” There's altruism, too, however; the society makes a substantial donation to a charity chosen by the members each year. This year's charity has yet to be determined, but last year the children of the Wessex Street Hospital enjoyed a very special Christmas thanks to a £20,000 cheque from the Oscar Wilde Appreciation Society. Much of the funds required to make such lavish events and donations possible are raised at those very events, which take place once a season. Tickets for the 'Magic' event have not yet been released, but previous events' tickets have sold for anything from £200 to £2000. A limited number of reduced price tickets are generally made available, so keep an eye on the Oscar Wilde Appreciation Society's website at oscarwas.org.uk if you're looking to get in without breaking the bank. If The Amazing Mr Fell will indeed be performing at the event, it might explain his recent reduction in performances – his show has gone down from six nights a week to just four, eliminating his Wednesday and Saturday performances. Magic fans in the capital can therefore hold out hope that once preparations for his upcoming performance are over, tickets might become easier to obtain. And, of course, the 'Magic' event itself promises to be one big avocado. CITRON DEUX-CHEVAL

Centre right: Drawing back the veil again Mystic Madame reportedly plotting TV return Two years after Drawing Back the Veil with Telepathic Tracy last aired, its old Saturday night slot is set to become vacant again – and rumours abound that the show may be set to return. For the last two years, live draws have been condensed into a fifteen-minute slot on BBC One, followed by an episode of one of the longer 45-minute drama series the BBC tend to favour these days. Much of the pageantry that used to go along with the weekly draw was shifted unceremoniously onto the National Lottery's YouTube channel or website, and the delivery of the actual results became more akin to the reading of a weather report before a return to the usual programming of the channel. Now, however, the BBC has put out a press release announcing that the National Lottery will now return to a half-hour draw show, allowing for 'a little more excitement and glamour'. This, the press release suggests, could take the form of a very brief trivia game before the draw, a return to celebrities wishing everyone luck before pressing the all-important button, a chance to showcase musical acts during the show, or some combination of the above. I'm all for a return to the showbiz nature of the nation's most mainstream gambling ring, but it's the shortening of the subsequent timeslot that has my attention. Already, just a day after the BBC's announcement, speculation is rife about what – and who – might be about to fill that second half-hour time slot. Most of the shows the BBC produces these days are designed for a 45-minute or hour-long format, and producers will be understandably reluctant to try to condense comedy, gameshows or drama into such a small space – especially given the National Lottery's occasional tendency to overrun. Pre-recorded shows have come unstuck before when the Camelot machines have jammed or some other calamity has befallen the draw, most notably in 2019 when the initial episode of Season 6 of Sherlock aired without the crucial first three minutes that explained the detective's cunning escape from the previous season's climactic scrape. It's the sort of situation that calls for a steady hand and an almost supernatural ability to adjust to disaster. Who better to take on the challenge than a woman who's had years of practice? Telepathic Tracy, the Mystic Madame, is very much still working her mysterious ways despite her departure from our TV screens – notably in The New Aquarian - and what better way to follow a disappointing lotto result than with the reassurance that this week, your luck will be better, or at the very least predictable? I, for one, predict Madame Tracy's triumphant return to television - and what's more, I welcome it. EDWARD BIGGS

Advertisement, bottom left: [Image Description: A grayscale photo of a warzone, with plumes of smoke. A smiling woman walks away from the destruction; she is in full colour and has artificially-enhanced red hair. Text is overlaid, as transcribed below. End ID.] When the news breaks, my hair doesn’t. Carmine Zugiber. Be bold. Be strong. Be Vibrant. [Image Description: The word Vibrant appears in red and is in a different font, like a logo. This is the case each time it appears. End ID.] Vibrant Flame Red Bottom right: Correction In Andy Sandalphon's column on page 15 of last Saturday's paper (23rd January), he stated that folk music made by an American is Country music. Several readers got in touch to explain that this is not, in fact, the case, and we would like to set the record straight. Country, or country and western, music is a very specific type of folk music, and while often associated with American artists, it is not simply the American version of folk. Furthermore, music must fit specific criteria to be considered country, and Anathema's does not. While country music belongs to the overarching genre of folk, not all folk music is country music, regardless of the nationality of the performer. We apologise sincerely for the mistake; while every effort is made to include only accurate information, errors do occasionally slip through. We regret the misunderstanding, and hope to do better in future. If you notice an error in any of our articles, please let us know as soon as possible by emailing editor@capitalherald.co.uk. We appreciate your help to keep our newspaper as accurate and factual as possible.

[End Transcript]