#Escapist Fare

[linearao3]

Anyway so the thing about the next chapter/what was supposed to be the end of the last chapter of Publish or Perish is: it’s focused on Inej’s status as an immigrant worker, and it does not end on an upbeat note. In light of recent events I thought this might not be great escapist fare for some readers.

[yuurei20]

Riddle Info Compilation part 2: Upbringing (pt2)

At the beginning of Book 4 we see a very subdued Riddle (Grim describes him as “kinda defeated”) in the Hall of Mirrors.

Ace explains that Riddle is not enthusiastic about going home due to “an extreme case of helicopter parenting waiting for him.”

Trey reminds Riddle that he is not allowed in Riddle’s house and thus cannot bring him any cakes, but encourages him to visit his parents’ bakery, assuring him that Chenya will probably be visiting as well.

Riddle says, “I think…I’m going to try talking with Mother some. I don’t know if she’ll listen, but even so.”

In Book 5 it is revealed that Riddle was ultimately not able to escape his home to Trey’s family’s bakery during the vacation.

We learn a little bit more about Riddle’s upbringing during Spectral Soiree when he tells Ruggie and Ortho that he has had “no exposure to the comic books and video games the rest of you enjoy.”

Riddle says that his opinion is “entirely grounded in reality” as a result, and that he has “never had much interest in watching or reading escapist fare. Ah, but I have read a great many autobiographies. By the time I was your age, Ortho, I was already reading medical dictionaries.”

Ortho comments that “there are studies that show consuming entertainment media is essential for well-rounded emotional development,” and Ruggie points out that Ortho—a robot—is worried about Riddle’s emotional growth.

Riddle accuses them of ganging up on him, saying it is none of their business.

Riddle insists that while he is not up to date on popular culture he has “read all the classics that are foundational for a literary education. Treasure hunting? Adventure? There’s no point in bothering with stories that have no lesson to learn.”

Ruggie reacts with surprise, as treasure hunting “is like solving a puzzle,” but Riddle seems confused.

We learn during Book 6 that Riddle didn’t have a TV in his home growing up, and he first tries to opt out of the video game that Ortho encourages him to play on the grounds that his mother has told him that “video games are addictive and can hurt academic performance.”

Idia mocks him for blaming games for his own lack of self control, leaving Riddle momentarily speechless.

Riddle takes offense, insisting that his grades would never drop just because he happened to play a video game, and Idia successfully provokes him into playing the game in order to prove it.

Vil comments that Riddle playing right into Idia’s hands is “embarrassing to watch” and Azul says, “Riddle’s very bright, but has zero resistance to trolling.”

Later, Riddle says that he has spent most of his time learning magic ever since he was born, receiving specialized magical training lessons at three years old.

Azul says he must have been quite the prodigy but Riddle explains that he can’t be certain if he ever had any special talent to begin with since his mother “apparently went to every possible length to ensure I’d be an exceptional mage, starting from when I was in the womb.”

Riddle says that grade skipping isn’t really done in the Queendom of Roses, and the private school he attended prior to NRC didn’t allow it,1 which is why he never did so.

He explains, “Besides, you have to be at least 24 to get a medical license in the Queendom of Roses. So I doubt my parents saw much point in me skipping a grade or two.”

Riddle’s education also included dance:

He explains that “social dancing is part of gentlemanly etiquette” and that he has “mastered it, of course.”

He offers to lead Ortho and Ruggie in a dance to thank them for what they taught him during Spectral Soiree, but Ruggie turns him down in favor of the buffet.

We also see Riddle waltzing with a ghost, and then with Vil.

Riddle explains, “I’ve had an interest in social dancing since I was a child. I learned it from my mother, as part of my rigorous education.”

Riddle says he knows how to behave in formal situations and will occasionally call out other characters for poor etiquette, such as when Silver falls asleep during a party and when he scolds Heartlsabyul students for holding conversations in the entrance to the dorm.

[seafoamreadings]

week of march 5th 2023

aries: let's be honest, there's a lot going on this week. all MONTH really. but for you the end of the week's featured jove/chiron/vesta pileup is the highlight. it is big huge devotional angst, but it can be channeled into really good actions.

taurus: while it is ok to stay home and do the luxurious languishing thing, it's not really auspicious; there is so much going on that you should really be out there in it. watch the transits especially for venusian activity, and prepare for a little fun romance. if you don't see it easily, just romanticize every little thing.

gemini: some of you may be wondering if mars is ever going to leeeeeave. yes actually, fairly soon. first this week he visits his lover venus in a cute little sextile, just after saturn vacates your 9th house and brings some discipline to your career and some good cheekbones to your look.

cancerians: others will need to steel themselves for a week of feelings and psychic turbulence but for you its very much home/friendly terrain. what to them is turbulence is to you simply the way you might putter about the home at the end of the day to put everything in its right place.

leo: money on your mind? go ahead and focus on that. there's a lot of astrology this week so to have a narrower focus might serve you well. as other things come up of course you can attend to them, but your personal values and wealth, and your pursuit of knowledge, are especially at the forefront for now.

virgo: don't get too distracted from whatever news is brought to you by the full moon in your sign and saturn into pisces. probably it involves some form of partnership. are your goals that important or did you make them to satisfy someone else?

libra: electricity just zaps like an ozone voltage arc out of someone around you. or maybe it's you? it's fine, ozone smells clean and crisp and lovely and that's really your whole thing anyway. enjoy the tingly sensations.

scorpio: those of you who resent being frequently referred to as "intense" may also resent me for saying this, but the intensity of this week quite suits you. nothing is shallow at this time. you can penetrate any depths you want with most anyone at this time, especially if you're willing to have a good conversation.

sagittarius: your 5th house is hyper-blessed these days. whatever happens you can find ways to make it fun, romantic, and glowy. don't let that go to waste! if you do the fun stuff you bring about healing. devote yourself to pleasure (just not at the expense of someone else).

capricorn: i won't sugar coat matters, this is not an easy time for your sign. you can definitely make this a positive experience with some effort, and i don't mean to incite any panic, it is just that many changes are rumbling in the earth. unsteady foundations will not survive.

aquarius: heavy soggy saturn vibes leave your sign this week, although you actually fare quite well under saturnine atmospheres. you then have only a brief period of such lightness, however; before the month is out pluto comes to call. get to doing your due diligence before he arrives.

pisces: saturn into your sign beginning this week does bring you back to reality pretty fast. as long as your escapist habits have not become full blown addictions, this is not too bad. neptune still in your sign can provide a protective and enjoyable buffer. but, you do have to act like you live in consensus reality and not like you've taken up permanent residence in the astral realms, even if you have.

[artiegenius]

The Aesthetics and Appreciation of Indian Parallel Cinema

Indian Parallel Cinema, often referred to as the New Wave or Art Cinema, emerged as a distinct movement in Indian filmmaking during the late 1940s and 1950s. Unlike mainstream Bollywood, which is characterized by its song-and-dance routines, melodrama, and formulaic narratives, Parallel Cinema aims to portray realistic stories with a focus on social and political issues. It draws heavily on the traditions of Italian Neorealism, French New Wave, and Japanese Cinema.

Historical Context

The origins of Indian Parallel Cinema can be traced back to the works of pioneering filmmakers like Satyajit Ray, Ritwik Ghatak, and Mrinal Sen. Satyajit Ray's "Pather Panchali" (1955) is often credited with setting the tone for this movement. The film's emphasis on realism, its nuanced portrayal of rural Bengal, and its departure from the escapist fare of Bollywood, marked a significant shift in Indian cinema.

Aesthetics of Indian Parallel Cinema

Realism

At the heart of Parallel Cinema is a commitment to realism. This is reflected in various aspects:

Narrative Style: The narratives are often straightforward and slow-paced, allowing the audience to engage deeply with the characters and their environments.

Character Development: Characters are complex and multi-dimensional, often grappling with socio-economic issues, personal dilemmas, and moral conflicts.

Setting: Films are frequently shot on location, capturing the authentic atmosphere of rural villages, urban slums, or middle-class households.

Visual Style

Parallel Cinema employs a distinctive visual style that enhances its realistic portrayal:

Natural Lighting: Filmmakers often use natural light to achieve a more organic and less polished look.

Minimalistic Art Direction: Sets and costumes are kept simple and true to the setting of the story.

*Cinematography: There is an emphasis on long takes, handheld camera work, and static shots, which contribute to the immersive experience.

Themes

The themes explored in Parallel Cinema are typically more serious and socially relevant compared to mainstream films:

Social Inequality: Many films address issues of poverty, caste discrimination, and gender inequality.

Political Issues: Films often critique governmental policies and societal structures.

Human Relationships: The complexities of human emotions and relationships are a central focus.

Key Films and Directors

Satyajit Ray

Pather Panchali (1955): A poignant depiction of a poor family's struggle in rural Bengal.

Charulata (1964): A sensitive portrayal of a lonely housewife and her emotional journey.

Ritwik Ghatak

Meghe Dhaka Tara (1960): A powerful narrative about the partition of Bengal and its impact on a refugee family.

Subarnarekha (1962): Addresses the issues of displacement and survival post-Partition.

Mrinal Sen

Bhuvan Shome (1969): A satire on the Indian bureaucracy, marking the arrival of the New Wave.

Ek Din Achanak (1989): Explores the mystery and turmoil following a man's sudden disappearance.

Shyam Benegal

Ankur (1974): Highlights the class struggle in rural India.

Nishant (1975): A grim tale of feudal oppression and the fight for justice.

Appreciation of Indian Parallel Cinema

Critical Acclaim

Parallel Cinema has garnered significant critical acclaim both nationally and internationally. It has been recognized at major film festivals like Cannes, Berlin, and Venice, helping to elevate Indian cinema on the global stage.

Influence

The movement has influenced a generation of filmmakers who continue to draw inspiration from its aesthetics and thematic concerns. Directors like Mani Kaul, Kumar Shahani, and more recently, Anurag Kashyap and Dibakar Banerjee, owe a debt to the legacy of Parallel Cinema.

Cultural Impact

Parallel Cinema has played a crucial role in shaping the discourse on social and political issues in India. It has provided a platform for marginalized voices and brought attention to the struggles of everyday life.

Conclusion

Indian Parallel Cinema remains a vital and influential part of the country's cinematic landscape. Its commitment to realism, its exploration of pertinent social issues, and its unique aesthetic continue to inspire filmmakers and captivate audiences. As we look towards the future, the legacy of Parallel Cinema will undoubtedly endure, reminding us of the power of film to reflect and shape society.The Aesthetics and Appreciation of Indian Parallel Cinema

[candont]

The Mortal Immortal

I kind of want there to be more to this story than there is.  It’s just kind of light considering it comes from the author of Frankenstein and that the opening is so reference heavy.  (Wiki-wormhole did cause me to uncover that Lefanu’s Great Grandmother wrote weird/fantastic fiction.  See: The History of Nourjahad ).

Still the ending tension between wanting to and not wanting too die does raise it above just escapist fare.

Am left with two questions though:

When does the it would be terrible to live foreveer thing first emerge as a trope?

And what kind of a name in Winzy?

[jymico]

Fighter Bollywood Movie (2024) Review and Download

Director: Siddharth Anand

Writers: Siddharth AnandRamon ChibbAbbas Dalal

Stars: Hrithik RoshanDeepika PadukoneAnil Kapoor

Download Now

Fighter Movie Review: A High-Flying Action Spectacle with Familiar Turbulence

Siddharth Anand, best known for his work on blockbusters like War and Pathaan, takes to the skies with Fighter, a high-octane, big-budget aerial action thriller that aims to launch a new franchise. Starring Hrithik Roshan, Deepika Padukone, and Anil Kapoor, the film blends intense action, patriotic fervor, and a simmering romance, making it a quintessential Bollywood entertainer. While Fighter soars in its thrilling set pieces and charismatic performances, its reliance on clichés and underwhelming antagonists slightly grounds the overall experience.

Plot Overview

Set against the backdrop of the disputed region of Kashmir, Fighter revolves around a hand-picked team of Indian Air Force aviators tasked with neutralizing a looming threat. Commanding Officer Rakesh "Rocky" Jai Singh (Anil Kapoor) leads this elite squad, which includes the hotheaded yet skilled Shamsher “Patty” Pathania (Hrithik Roshan) and the determined helicopter pilot Minal “Minni” Rathore (Deepika Padukone).

While the team undergoes rigorous training, tensions escalate as terrorist Azhar Akhtar (Rishabh Sawhney) orchestrates attacks to destabilize the region. Politics, personal stakes, and romance intertwine as the aviators prepare for a showdown that puts their skills and lives to the ultimate test.

What Works

1. Star Power and Performances

Hrithik Roshan and Deepika Padukone are the film's undeniable anchors. Roshan embodies the reckless yet endearing "flyboy" archetype, delivering an emotionally charged performance. Padukone shines as the resilient and intelligent Minal, holding her own in action sequences and emotional beats. Their on-screen chemistry is electric, adding depth to their characters' relationship.

Anil Kapoor provides gravitas as the seasoned leader, blending authority with warmth. The supporting cast, including Karan Singh Grover and Akshay Oberoi, add layers to the team dynamic, even if their roles remain somewhat peripheral.

2. Thrilling Action Sequences

The aerial combat scenes are the film's heart, blending practical effects with CGI to deliver visually arresting dogfights. While some sequences stretch believability, the sheer scale and intensity of the action keep audiences riveted.

3. Entertainment Value

From energetic musical numbers to lighthearted camaraderie among the aviators, Fighter never loses its sense of fun. The film balances its romance, drama, and action well, ensuring there’s something for everyone.

What Doesn’t Work

1. Generic Villain and Plot

Rishabh Sawhney’s Azhar Akhtar looks like a menacing antagonist, but his character lacks depth. His motivations and plans are underdeveloped, reducing him to a generic foil rather than a compelling nemesis. The geopolitical backdrop, while intriguing, is glossed over, leaving the narrative feeling shallow.

2. Overindulgence in Bollywood Tropes

While Fighter embraces its escapist nature, it sometimes leans too heavily on slow-motion shots, melodramatic dialogues, and hyper-patriotic montages. These elements, while expected in a masala entertainer, occasionally detract from the film's pacing and impact.

3. Predictable Narrative

The film follows a well-trodden path, with familiar character arcs and predictable twists. While the execution is polished, the story lacks the originality needed to elevate it beyond standard action fare.

Final Thoughts

Fighter is an exhilarating spectacle that thrives on its star-studded cast, dynamic action, and Siddharth Anand’s signature style. While it doesn’t break new ground in terms of storytelling, its mix of high-flying thrills and charismatic performances ensures an entertaining ride. Fans of Hrithik Roshan, Deepika Padukone, and Bollywood’s larger-than-life action dramas will find plenty to enjoy, even if the film occasionally feels derivative.

Rating: 3.5/5 A visually stunning and entertaining action-drama that takes flight but struggles to soar above its formulaic roots.

FIGHTER Trailer | Hrithik Roshan, Deepika Padukone, Anil Kapoor | Siddharth Anand | 25th Jan 2024

Fighter movie review, Hrithik Roshan Fighter review, Siddharth Anand Fighter film, Fighter Bollywood action movie, Fighter film aerial combat, Deepika Padukone and Hrithik Roshan chemistry,

[dietplanssite]

The best Broadway shows of 2024

With the world always on fire, audiences can sometimes gravitate more toward escapist Broadway entertainment than the kind of fare that more faithfully reflects our bleak reality. But this year, in preparation for what ended up being a disappointing presidential election result, “The Great White Way” offered a slew of stories that reflected our deepest fears and ills and confronted our most…

[bakafox]

More Veilguard Rambling As I Inch Closer To Endgame

Veilguard has so much light-hearted and silly companion banter. It's so generally friendly, or at least understanding- Taash says inappropriate things or does them, but they're basically 18 and were raised by mercenaries and a demanding mother, and the other companions don't get super pissed. Other pairings of companions may snipe a little at each other and get each others' goats, especially at first, depending on personalities, but there's still the friendliness to it, or at least a tolerance?

Any real distrust type stuff is saved for the conversations you might steer a little.

It's really funny considering how 'polarizing' the game is and how it's led to so many people being absolute jerks towards other people online- but this banter type, the fact people aren't overstepping or being punished for not saying the best or right things is ABSOLUTELY what my soul needs right now in a videogame where I'm teaming up with some group.

I play on the 2 lowest difficulty settings because I don't really want to be challenged in the combat, I just want a fun escapist game that soothes my soul and Veilguard is delivering this so hard to me right now.

Which isn't to say the story and lore doesn't have grim elements, a lot of the main story and bits of lore you find are grim and/or tragic, as grim and tragic as in any other game, but it's far more my style in delivery than some kind of fixed grimdark level.

And admittedly, I have memory problems, and I don't perpetually replay previous games, I played each of them once all the way through and then maybe 4-5 games that got to varying degrees in, but the vibe to me is still so very Dragon Age. Even the new lore about elves and qunari and wardens or the like that apparently so many people hate- I do like it just fine, and I don't think it clashes badly with what DAO and 2 and then Inquisition set up.

Maybe the companions don't have some complexities that make them difficult for me to have my Rook talk to them, and I can see some people missing that sort of thing, but I like having the conversation scripts with them without even once wishing I could poke them about some belief or opinion they have, or try to get them to change their minds about things the game will never actually let you change their minds or even get more dialogue about where I felt absolutely required to write fanfic. I'm too tired to write fanfic right now. But I also still see where if I wanted to I could write fanfic and where they're all still inspiring enough, just- not in a frustrating way for me.

No game can please everyone. I really can see some of what some people might be calling overly-simplistic at times, though I still absolutely can't fathom the bitter bile levels that were stirred up. The creators of Veilguard clearly did love Dragon Age. They clearly knew and cared about what came before it.

Sometimes maybe it's a bit the 'they're a little confused, but they've got the spirit!' in how the dialogue or story treats a few things, but that's really the worst I find myself saying right now still, as I finish up a mess of companion quests before tackling a new story bit.

And while elves and the Dalish still were given a hard road to hoe- I think it feels a lot less unbalanced in Veilguard? Like, they have wins, they are dealing with discovering what was lost or taken from them, and the game doesn't have anyone acting like it's THEIR fault as the survivors that history was ripped away from them or they're just ignorant, and they're not treated as silly in Arlathan for trying to recover past info- and it feels like the Arlathan area elves did fare better than the southern Dalish in general, with no stupid motherfucking southern chantry, or at least less of it.

I. Do. Not. Miss. The. Chantry. Storylines.

I do not miss the 'must mages be controlled?' thing. Like, I wouldn't mind going back to the south if there's ever any future DA games with how this one's been received, but this is a nice vacation. Yes, there's the Tevinter nonsense, and the Qun stuff is still... hm. But it is really bloody nice to learn Thedas History without the 'big moral question' being whether or not mages deserve freedom or are inherently too dangerous to be allowed to roam.

Tevinter Slavery Bad. Venatori Human Mage Superiority And Lust For Empire And Power At All Cost Bad. And I don't have to explain any of that to any of my companions or allies in game or in fiction.

Unless it goes with some of the choices I did not make in the game saves I have going, there's no 'sins of the past generations should be taken out on the current'.

And right now, with how the world is, I like that. Honestly, also after surviving discourse about previous games to where I absolutely no longer interact with the fandom other than my circle of mutuals other than a rare tag dive for fanart alone- I still really like that.

[xtruss]

200 New Words and Definitions Added to Merriam-Webster.com

Including Beach Read, Street Corn, Touch Grass, and Nepo Baby

We’ve added 200 new words and definitions to our iconic dictionary – maybe not a beach read, but worthy of a For You page and nearly as irresistible as street corn. All the additions have demonstrated widespread use over time, and offer a window into the world today.

Here’s a Selection:

From arts and entertainment we get freestyle, “an improvised performance especially of a rap,” and the jazzlike sounds of a jam band. More bookish diversions include true crime, a genre “that depicts and examines real crime cases,” and beach read, “a usually light work of escapist fiction (such as a thriller or romance.)” You can also lose yourself in a dungeon crawler, a video game "primarily focused on defeating enemies while exploring a usually randomly generated labyrinthine or dungeon-like environment.”

Foodies who avoid ultra-processed fare can instead enjoy burrata, “mozzarella formed into a ball-shaped casing that contains curds and cream”; capicola, “a seasoned Italian pork that is cut from the neck and top shoulder”; and street corn, a grilled variation “coated with a creamy spread (such as mayonnaise, sour cream, or crema) and garnished with toppings (such as lime juice, cotija cheese, and chili powder).” While washing it down, consider the International Bitterness Unit, “used to assess the concentration of a bitter compound found in hops in order to provide information about how bitter a beer is.”

From science and nature comes heat index, a value “derived from a calculation using air temperature and relative humidity,” and – now invading the dictionary – the dreaded spotted lanternfly.

Social media fuels shadow ban and touch grass, “to participate in normal activities in the real world especially as opposed to online experiences and interactions,” and For You page (or FYP), “a social media feed that contains personalized content based on the user's interests.”

Informal words and slang entering the lexicon include the British term snog, and the colorful acronym IDGAF (not defined here, because politeness exceeds badassery).

Other notable additions include nepo baby, “a person who gains success or opportunities through familial connections,” cash grab, creepy-crawly, and the political terms MAGA, far left, far right, classical liberalism, and late capitalism.

“Our lexicographers monitor a huge range of sources to select which words and definitions to add,” says Peter Sokolowski, Editor at Large for Merriam-Webster. “From academic journals to social media, these give us a very thorough view of the English language.”

“The one constant of a vibrant living language is change,” explains Gregory Barlow, President of Merriam-Webster. “We continuously encounter new ways of describing the world around us, and the dictionary is a record of those changes.”

[primetimesnow]

Anurag Kashyap: The Maverick Filmmaker Redefining Indian Cinema

In the realm of Indian cinema, few names evoke as much respect and admiration as Anurag Kashyap. Known for his gritty storytelling, unflinching realism, and penchant for pushing boundaries, Kashyap has carved a niche for himself as a maverick filmmaker. His work, often marked by its raw and unpolished narrative style, challenges conventional Bollywood norms and offers a refreshing alternative to mainstream Indian cinema.

Early Life and Struggles

Anurag Kashyap was born on September 10, 1972, in Gorakhpur, Uttar Pradesh. His early life was far from the glitz and glamour of the film industry. Growing up in a middle-class family, Kashyap's initial aspirations lay far from filmmaking. It wasn't until he encountered Vittorio De Sica’s neorealism in "Bicycle Thieves" that he developed a passion for cinema. His journey to Bollywood was fraught with challenges. Moving to Mumbai in the early 1990s, Kashyap faced numerous rejections and financial hardships. Despite these struggles, his determination and unique vision for storytelling eventually caught the eye of the industry.

Breakthrough with "Satya"

Kashyap’s breakthrough came as a co-writer for Ram Gopal Varma's critically acclaimed film "Satya" (1998). The film, a gritty portrayal of Mumbai's underworld, was a stark departure from the escapist fare typical of Bollywood at the time. "Satya" not only established Kashyap as a formidable writer but also set the tone for his future directorial ventures.

Directorial Debut and Rise to Prominence

Anurag Kashyap’s directorial debut, "Paanch," though mired in censorship controversies, showcased his bold narrative style. However, it was "Black Friday" (2004), based on the 1993 Bombay bombings, that truly established him as a director to watch. The film’s raw depiction of real events was both lauded and criticized, further solidifying Kashyap's reputation for fearless filmmaking.

His subsequent films, "Dev.D" (2009) and "Gulaal" (2009), continued to challenge traditional Bollywood storytelling. "Dev.D," a modern retelling of Sarat Chandra Chattopadhyay's classic novel "Devdas," was particularly notable for its innovative approach and complex characters.

The Gangs of Wasseypur Saga

The two-part epic "Gangs of Wasseypur" (2012) is perhaps Kashyap’s magnum opus. Spanning several decades, the saga of crime, politics, and family feuds in the coal mafia of Dhanbad is a testament to his storytelling prowess. The films were praised for their authentic portrayal of rural India and intricate plotlines, earning Kashyap international acclaim.

Beyond Directing: Producer and Mentor

In addition to his directorial ventures, Kashyap has played a significant role as a producer and mentor. Through his production company, Phantom Films, he has supported various independent filmmakers, fostering new talent in the industry. Films like "Udaan" (2010), "Lootera" (2013), and "Queen" (2014) owe part of their success to Kashyap's backing.

A Controversial Figure

Kashyap’s career has not been without controversy. His outspoken nature and willingness to tackle contentious subjects have often put him at odds with the establishment. Films like "Ugly" (2013) and "Raman Raghav 2.0" (2016) further cemented his reputation as a provocateur, unafraid to delve into the darker aspects of human nature.

Legacy and Impact

Anurag Kashyap's influence on Indian cinema is undeniable. He has paved the way for a new generation of filmmakers who are not afraid to experiment with form and content. His contribution to the Indian film industry extends beyond his filmography, inspiring a wave of realistic and narrative-driven cinema.

In a landscape dominated by formulaic blockbusters, Anurag Kashyap stands out as a beacon of creativity and originality. His films, often characterized by their depth, complexity, and socio-political relevance, continue to resonate with audiences both in India and globally. As he continues to break new ground, Kashyap remains a seminal figure in the evolution of contemporary Indian cinema.

[emilydaisymasters]

Researching into existing Studies / Media Representation

As I find my topic to be quite a niche one, or at least quite a refined and limited question, I don't expect to find a huge amount of conducted research that already exists, but I will attempt to find any research or representation that I feel links to my idea as best as I can. Below are my findings, with descriptions of how exactly I have related them to my own personal studies and thoughts, as well as how they may be of use to me:

Media Representation:

Adult Animation, Family Guy and The Simpsons

My first and initial thought about current existing media

representation of young girls took me to adult animated shows, in particular two of the biggest moguls in the category, being Family Guy and The Simpsons. Straight off the bat, I have so many thoughts about how these shows portray women as a WHOLE in such a demeaning and unhealthy way, on top of the representation of younger girls being just as damaging. Admittedly, shows of this caliber mainly create stereotypes in order to provoke a cheap laugh out of the audience, and every type of person is at risk of being marginalized in such a way, young or old, male or female. However, one thing I have come to really resent about these shows, is that their portrayals of women and girls always seems far more demeaning and damaging than that of their main, male characters. Taking Family Guy as a prime example here, any of the main and supporting female cast of characters fall into one of three categories; they got their starts in life via the sex industry, they are boring/nag a lot, or they are mentally ill. Of course this is a generalization in itself, and some characters are far more nuanced, but I really struggled to find an example that didn't fall into these categories. The male characters are far, far more varied and have personalities unique to themselves; even this slight difference in representation and narrative storytelling is enough for me to say shows as such have such a disrespect for women, far more than their male counterparts. And the younger female characters don't fare much better. Both Meg Griffin and Lisa Simpson are routinely characterized as outcasts, loners, girls who struggle with their emotions, making friends and things of the sort. These aren't inaccurate portrayals per say, as some girls indeed do struggle with that sort of thing, but they are often ridiculed for it, which is where the issue comes into play. Adults should of course, be able to differentiate between a joke and a serious portrayal of character, but the hoards of children and young teenagers watching these shows unsupervised, myself included, can have the lines blurred, believing the tropes to be true to reality. I personally think these points already form a brilliant basis to my argument about young girls and women struggling in society and with the way they are represented, giving merit to the idea that taking solace in an escapist outlet is sometimes, all they have.

Modern Disney

My next point is perhaps looser and more broad than the last, but equally falls into the category of representing young teenagers in a very narrow way. One trend I have come to notice over the last few years, up until about a decade ago, is the template Disney as a company use to write their young female leads, and its a template that I see in use more and more as their feature films are released. Essentially, their female characters, often teenagers, seems to consistently be personality clones of one another, being the awkward, quirky girls who get overly excited and always seem to come to some miraculous discovery and conclusion about themselves by the end of the film. Aside from that simply being a facet of storytelling, and a narrative needing a conclusion, I find this representation to be getting quite stale by this point. Whilst I initially welcomed the introduction of females in Disney animation who actually think for themselves, experience conflict and turmoil, and figure themselves out at their own pace, it's not directly representative of nearly as many young girls as the company seems to presume it is. I feel its important to not only give young girls the diligence they are due, but to not treat them as clones of one another, to create characters with completely different personalities, issues and resolutions.

Existing Studies

The Duality of Escapism - Matthew Ugolini, Northeastern Illinois University

Representations of girls in Japanese Magical Girl TV animation programmes from 1966 to 2003 and Japanese female audiences' understanding of them - Shimada, Akiko S. (2011), PhD thesis, University of Warwick.

MILLENNIAL READERS: AN ANALYSIS OF YOUNG ADULT ESCAPISM - Marina Demetriou BA, English, Carleton University, 2016

I have been browsing various related studies to my own question, and have read some interesting deep dives into questions, theories and reasonings behind things that could in some way inform my own studies. The studies are linked above, and reference things such as the power of modern escapism and it's subsequent detriments, the representation of teenage girls in animation, and how art can be created with the idea of producing an escapist outlet for others. All of these points are their own individual things, but pose some very poignant questions I need to begin to consider and think about before conducting my practical work.

[gsmattingly]

Review "Outlander"

I watched "Outlander" a 2008 movie directed by Howard McCain. It is in no way related to the series about time travel reomance and the Scots of the same name. It stars Jim Caviezel as Kainan (the alien), Sophia Myles as Freya, Jack Huston as Wulfric, John Hurt as Rolhgar, and numerous others. From an IMDb summary, "In 709 A.D., in the Iron Age, a spacecraft crashes in the Viking kingdom of Herot, Norway, and the pilot Kainan (Jim Caviezel) survives. He turns the beacon on; learns the language and culture of the planet using a machine; and finds that the predator, Moorwen, that he was transporting, had escaped. While chasing the alien monster, he finds a village completely destroyed and is arrested by the warrior Wulfric (Jack Huston), believing that he killed the locals. Kainan is brought to Herot as a prisoner." and "Though both man and monster are seeking revenge for violence committed against them, Kainan leads the alliance to kill the Moorwen by fusing his advanced technology with the Viking's Iron Age weaponry."

I don't think this will ever be considered a classic film. it seems to be a mashup of several genres and themes coming from various films of science fiction, monster, aliens and humans, vikings, etc. I thought it had decent special effects and certainly lots of actions and tension. It had a moderately good monster and interesting interactions between various and sundry characters in the films. It was a fun movie that held my attention and had some great setting scenery and cinematography. It is certainly an escapist film and has action, love interests, monsters, and a little bit more. The plot isn't really that intricate and the actual character development is fairly generic and minimal. But, as noted in the Empire review by Kim Newman , "A film version of fish and chips � humble, honest fare that�s ludicrous, inventive, gory within limits, and has a cast having so much fun it�s hard not to be swept along with them. And besides, you can���t have nouvelle cuisine every night of the week."

Overall it received mid to bad reviews with general ratings in the 2 to 3 range out of 5.

[ahb-writes]

Comics Review: ‘Witches: The Complete Collection’

Witches: The Complete Collection by Daisuke Igarashi My rating: 3 of 5 stars A preponderance of greed that skirts the intuition of the infernal. The deliberate and tactical abuse of nature's resources and the indigenous people who nurture them. Vast logical contradictions birthed from a narrow-minded religious intelligence. In WITCHES, the fundament of observing, documenting, interpreting, and relaying natural and cosmic phenomena occurs by way of the witch. But the function or application of the knowledge or insight obtained, one quickly finds, is often at the discretion of said greedy, abusive, or hypocritical authority figures. WITCHES is about witches, absolutely; but this manga is also, unfailingly, about the vulgar disruption of the natural order of which witches seem apt to value or protect. Collected as vignettes, WITCHES focuses on a branch of witchcraft and divination conveniently overlooked most casual consumers of such fare: translating ancient messages written on pieces of firewood; manifesting fog-induced hallucinations; listening to the rhythms and vibrations of all living beings; star-gazing. That is to say, acts of intimate focus and control meant to intuit something greater (or more fearsome) than can be had on one's own. Here, witchcraft is not supernatural; witchcraft is nature itself. And any individual trained or perceptive enough to read or interpret its omens effectively is thus a very, very special individual. Not all vignettes are the same. Some are long, multi-part endeavors. Others are a short, escapist rendezvous with the hidden, the unusual, or the finnicky. "Spindle" is an expansive two-part story about a weaver, a girl from a Central Asian community of nomads, who journeys to Istanbul to deliver a message of warning (and shame) to a woman of woeful corruption and ego. "Spindle" is not a particularly engaging story, but its climax is remarkably clever: "You who think in words cannot think beyond words," the girl says. "You cannot obtain that which is greater than yourself." The short story "Petra Genitalix" is phenomenal. In terms of genre affinity, the vignette traverses speculative fiction, science fiction, and surrealist fantasy. As the tale begins, a kind but stern witch, Mira, and her apprentice and house-mate, Alicia, are summoned by the clergy to ameliorate an existential threat to humankind. "Petra Genitalix" is beautiful for its intertwining of the small and the large. Tracking fox prints in the snow. Rebuking cocky cardinals overlooking a dying metropolis. Querying the power of rebirth while studying the lifecycle of wheat. Intuiting when the danger or hardship of others is of equal or greater import than the hardship afforded a single person: "Could you return love to someone who simply shrugs when a loved one is in peril?" Mira says. "Witches don't think. Witches just know." Igarashi's style is primarily a tepid fix of illustrative line art whose warm shapes and kind movements grant the artist the opportunity to add or remove detail as scale and perspective allow. The grass between a little girl's toes. The wrinkles of an old woman's face. An extraordinary cityscape, melting under otherworldly forces. In WITCHES, readers' closeness with the manga's running themes of abandonment, uncertainty, and the many gradients of human foolishness is increasingly teased and tested by the artist's careful affection for page compositions whose function is never without purpose.

Comics Reviews || ahb writes on Good Reads

[qiu-yan]

[sometime postcanon, after wei wuxian and jiang cheng begin to reconcile.]

[lotus pier.]

wei wuxian: so i was planning on getting lan zhan a present, but then i realized i didn't actually know what he'd want at all. jiang cheng: lan zhan this, lan zhan that. all you've done since coming here is talk about him. wei wuxian: and then i thought i'd go with some food or snacks - can't go wrong with a nice treat, after all - but then i realized i don't even know what he likes to eat! back at the cloud recesses he just eats the same horrid lan fare everyone else eats, and whenever we go out he orders what i like. jiang cheng: this is literally a non-problem. just ask him. wei wuxian: that's not the issue here. i don't know what kind of food lan zhan likes. i don't know what kind of books he reads in his spare time. i don't know what kind of music he enjoys, outside of gusu lan's cultivation techniques - i don't even know what blend of tea he prefers because he only brews what i like! wei wuxian: the one time he mentioned something on his own - he brought up this rare book he'd been trying to find, regret of something or other, but i couldn't find it anywhere! wei wuxian: ....am i a bad husband? jiang cheng: jiang cheng: ugh, fine. jiang cheng: your lan-er likes herbal teas and dislikes fruit teas. he's likes innovative, almost experimental music, and dislikes music that just copies popular trends. as for food, he hates heavier, more oily cuisines, probably because everyone up on his mountain eats nothing but grass; his spice tolerance is shit, which you should know already, but there's this one wonton place here in yunmeng that he seems to like. and he's actually got a bit of a sweet tooth, considering how often he visits that one baobing stand - though it also doesn't seem like he wants anyone else to know. wei wuxian: oh. jiang cheng: as for books, it turns out that the venerable hanguang-jun actually loves trashy romance. the schlockier, the better. the more graphic, the better. and bonus points if there's an asshole ex who gets impaled at the end. wei wuxian: huh. jiang cheng: also, the book you mentioned is probably regret of chunshan. apparently the author moved to a distant land some time ago, which is why copies are so hard to come about these days. i've got three copies in the lotus pier library gathering dust, you can have one. wei wuxian: ....how do you know all this? jiang cheng, remembering all the times he not only served lan wangji nothing but fruit tea but also convinced all the minor sects in yunmeng region to do so as well: jiang cheng, remembering hiring that obnoxious hack musician to travel wherever lan wangji traveled for a full year: jiang cheng, remembering serving lan wangji the greasiest food possible every year he hosted a discussion conference: jiang cheng, remembering baiting lan qiren and lan xichen into vocally denigrating the literary merits of the escapist romance genre within earshot of lan wangji: jiang cheng, remembering telling his disciples to buy up every single copy of regret of chunshan they could find, all because he heard lan wangji was seeking a copy and didn't want him to have one: jiang cheng: uh.....no reason.

zhancheng to me is like this:

imagine a scenario in which jiang cheng actually does know quite a lot about lan wangji's tastes: his favorite and least favorite tea flavors, snacks, food, books, music, authors and artists, and so on.....except jiang cheng specifically sought out this information during the 13 year timeskip to make lan wangji miserable.

maybe lan wangji is just publicly A Bitch to him one too many times and jiang cheng finally decides he's had enough. so, for the next few months, jiang cheng spends an inordinate amount of time gradually sussing out everything he can learn about lan wangji's tastes. what kind of tea does he like? what kind of tea does he despise? which authors does he always read? what temperature does he prefer his room to be? what new trends in music does he find completely unbearable? when he passes through a region whose cuisine he hates, which restaurants does he find slightly less intolerable?

and then, the next time there's a discussion conference at lotus pier, jiang cheng weaponizes this knowledge. actually, the next time there's a public event anywhere wherein both jiang cheng and lan wangji are in attendance, jiang cheng weaponizes the fuck out of this knowledge. he makes sure that the tea lan wangji hates the most is served to everyone. he has his disciples buy all the local snacks he knows lan wangji has a preference for, just so lan wangji can't have any. he makes sure lan wangji's room and bed are heated to the exact temperature lan wangji finds just too hot to be comfortable. whenever lan wangji's favorite obscure author releases a new work that gusu lan doesn't think is cultivation-related enough to include in their library, jiang cheng has a bunch of his disciples swoop in and buy as many copies as possible, just so that it takes lan wangji a bit longer to get his hands on a volume. jiang cheng "leaks" to a few minor sect leaders the idea that lan wangji actually does like spicy food, and said minor sect leaders actually believe that information for a full year of hosted visits and public events.

this continues for all 13 years of the timeskip. of course, jiang cheng isn't outstandingly successful in actually making lan wangji miserable, because there are limits to what jiang cheng can actually achieve and what he's actually willing to spend enough time on; realistically, all he's accomplishing is causing lan wangji some minor irritations once in a while. but it's enough for jiang cheng to know that, every time lan wangji has to pass through yunmeng, he's absolutely miserable because jiang cheng has persuaded/paid every musician in the area to play the one song lan wangji hates the most.

jin guangyao, of course, figures out what's going on immediately. but even loyalty to lan xichen isn't going to make him sacrifice potentially useful dirt by putting a stop to jiang cheng's asshole behavior himself, so instead he just decides to watch and wait. he also just finds it really funny. meanwhile, lan wangji, for all 13 of these years, never figures out what's going on. he never figures out why he can't ever find the lanling-style osmanthus cakes he hates slightly less than the rest of lanling cuisine whenever he passes through the area and runs into disciples from yunmeng jiang. when his favorite obscure author releases a new book, he gets in line at the indie bookstore in qinghe he went out of his way to visit, and just doesn't question why everyone in front of him is wearing purple.

postcanon, though....now lan wangji has one hell of a source of insider information (wei wuxian), so the turns are about to get fucking tabled.

[tv-moments]

Unbelievable

“Episode 2“

Director: Lisa Cholodenko

DoP: Quyen Tran