#I felt like at times there was a 'too large ensemble cast pulling focus' issue but i thought letting certain characters like alucard/juste

[forbiddentaako]

ok im making the post bc my roomate confirmed i'm not being dramatic but its short and mostly me complaining

My enjoyment for nocturne season 2 was so severely held back by feeling like they did Olrox so dirty this season. Like I found his storyline and character in s1 to be extremely interesting and a great setup for season 2, but it feels like he was so pushed out of the narrative this season and lacked a lot of the subtext related to the themes around him that were present in s1. He just isn't having substantial moments that build on what was set up previously and I feel like the only context he really existed in this season was related to mizrak when his position in the erzebet/sekhmet storyline was also SO IMPORTANT/INTERESTING.

Like yes he had moments that were related to it but they didn't feel nearly as impactful as the s1 scenes, and overall Olrox simply didn't interact with other characters enough or even have interesting scenes on his own. Not to mention even in the scenes with him and Mizrak I felt like there really wasn't substantial progression or an arc building off of season 1 either, which overall made me feel disappointed at them not doing anything interesting with what they set up in the s1 ending. And that just made the s2 ending with him and mizrak in the last episode feel so insulting.

[alphapockets]

Discord: New Message Infodump

Yes this is not getting put in the widofjord tag because I don’t like filling up others’ searches with something that is not “directly” linked. *jazz hands* anxiety. BUT here is all I could think of and a sprinkling of things I have seen asked about or mentioned in the comments! May this and the last chapter hold you over <3

Q: Why a text fic?

A: Honestly? I have only ever seen one from VM (there may be others, but I don’t read many fics out of my niche sections?) that was between Grog/Vax (I don’t ship it but when it’s a bar shift #3 in a row that’s 14 hours long, you need entertainment). I had read also Call Me, Beep Me from the VLD fandom as well as Misuse of Stark Technology and thought that it was a strong platform for conversation and storytelling that shows multiple perspectives at once without the constant POV whiplash that can happen otherwise. And with the strong and chaotic personalities of TM9 and the diverse ways the NPCs interacted fit in, I hoped it wouldn’t be that hard to pull off.

I’ll be honest, I was not sure if it would work out or catch on as it is not the most popular form of storytelling. As many people said in the comments of chapters 1-5, people generally don’t enjoy texting fics and skip past them. I am glad I took the risk and that everyone has with me.

 Q: Is it true you have not watched past Ep. 40?

A: Yes. Campaign 2 came out just before I started school, and I decided school deserved my full attention. I was also not as attached at large with the cast as an ensemble as I was with VM. This combined with having anxiety and needing something to be finished before I can enjoy made it difficult to get back into C2. I was lucky that I started Campaign 1 a few weeks before that ended. I will probably watch it when everything is over, but I mostly follow through spoilers and Arsequeef’s gifs.

 Q: What are some of your influences for this?

A: I have seen a lot of people loving the realism of the conversations. I don’t watch TV or movies, but I watch streamers mostly, especially group streamers. Because of this, I tend to hear nothing but natural conversations. I also have been in group chats since the old AIM days and was a bartender for 6 years, so I have pulled from interactions that I have experienced around me. Often when something perfect happens in a chat with my friends I screen shot it for use later (the look spam and how do you uwu are both examples).

 Q: Why that area?

A: I like to use locations I know well if there is a lot of real-world interactions. I am from Massachusetts and I had used Savannah, Ga., for Here’s To Us, where I lived for 4 years.

 Q: Will the chat be renamed to The Mighty Nein or something similar?

A: No. The chat existed before Caleb as that and was set up originally by Fjord and Beau with Molly, Bryce, Darrow, and Yasha. It’s been the Game Hoes for too long in their life to change. There will be some side chats that appear and disappear.

  Q: Didn’t Veth work with Caleb?

A: Originally that was the plan, but halfway through the first chapter, I decided to space everyone out better and missed her name in one paragraph at the beginning of the chapter. I wanted them to know each other but avoid the trope of “direct connection” with strangers to lovers and text fics.

  Q: How tall is Fjord (and the rest of them by proxy)

A: I changed the heights because Caleb is canon “Average height” which in DnD is different than the US. So, he was given a few extra inches to put him at 5’10”. Fjord was scaled up because we love height differences to 6’3” because of that. By order of height:

Veth- 4’11, Kiri- 5’, Keg and Yeza- 5’3, Jester and Rissa- 5’4, Astrid- 5’5, Bryce, Beau, and Wulf- 5’9, Beau, Caleb, Molly, and Ava- 5’10, Yasha- 5’11, Darrow and Essek- 6’, Fjord and Gunther- 6’3, Cad and Enzo- 6’5.

I’m probably forgetting some people.

  Q: Why did Enzo’s arc allegedly end that way?

A: I’m not sure I’m done with him just yet, but the reason it had to be let go like that is simple: legality. Real world consequences to acts would have kind of thrown a wrench in how this all unfolds. And Molly was the character who I felt could bounce back the best from getting a solid ass kicking.

  Q: Why was Astrid faster at accepting than Wulf, and why is he so possessive?

A: Wulf was Caleb’s first real friend and that meant he was the redhead’s world. Astrid came second and she realized how quickly jealousy can sour something. Wulf’s jealousy fed into the break-up. So, despite the awkwardness, she wanted to show Caleb that she meant it when she said they could still be friends.

Wulf was Caleb’s first friend, and he has that sense of seniority in his mind and has a hard time accepting he is not being replaced when new people come around. And as a more dominant person, it was hard for him to have the normally docile friend speak out against him. He is still immature and needed to grow, but has a hard time seeing that is okay right now.

  Q: Where does everyone attend?

A: Amherst College- Astrid, Caleb, Essek, Wulf. Boston College- Cad. Emerson- Beau, Gunther, Enzo, Fjord, Keg, Molly, Rissa, and Yasha. Princeton- Bryce. Hofstra- Jester and Kiri. UConn- Yeza (Graduated). UMass/Boston University/Tufts- NPCs not brought in yet.

**Caleb has stated Jester lives in the City early on because Jester has all her locations on social set to NYC

 Q: Any reason why you picked those schools?

A: I’m a BC fan (and Providence College), my childhood friend went to Emerson, and I was accepted to Hoftstra before I joined the military instead. Amherst was a perfect “nearby” city that was another college town/I am maybe looking at Amherst for a PhD. Program.

 Q: Where is Darrow stationed when not crashing Bryce’s life or deployed? What does he do?

A: Camp Lejeune, North Carolina. He was attached to the 26th MEU (Marine Expeditionary Unit) that goes through the Mediterranean. He currently is on hospital duty as a temporary “relaxation period” for people who are deployed often. As he is a paladin, I thought it’d be a nice touch to have him as an FMF Corpsman.

  Q: Where is everyone from? The holidays showed people all over and it’s mentioned some people were not born in the US or where they were located.

A: This is where that spreadsheet I made comes in handy. Most of the people either grew up in or intend to stay in Massachusetts for a long while. As there are some of the major schools in that area, obviously people would be out of state.

Boston TM9 Party

The Clay Family is in Jamaica Plains, which is just outside of Boston proper. They are from there, minus Toya who is adopted as well and from Maine.

Molly was the godson of Cad’s mother, who is from England and his father had been stationed in England for some time, so when he was essentially orphaned and given up by the indirect family, she put through the paperwork to take him in. Fjord and Yasha stayed with them.

Fjord is originally from Texas, outside of El Paso. After he joined the Navy, he never intended to move home as he hated it there. He fell in love with New England when he was sent TAD (Temporary Assignment of Duty) to the naval base in Newport. He stayed and continued his education at Emerson.

Yasha is from Jamaica Plains as well and went to school with Molly and Ornna, who is the same age as them. Her dad is from South Carolina and her mother is from Okinawa. They moved up north for her dad’s work.

Beau is from Kentucky and her family is unreasonably wealthy. She decided to go to school someplace as un-Kentucky as she could fathom and was stuck between Berkley and Emerson but chose the former because the weather meant her mother would never visit.

The Amherst Crew (Astrid and Wulf) are all from the area except for:

Caleb, was born in Poland to a Polish/German family. They moved and when his family died in a fire (he was at a sleepover at the time) his grandparents took him in. Wulf was still there with his large family and

Essek had returned home to California for the break.

Astrid and her family spent 10 days in Key West for the holidays, which is why she missed the New York trip. Wulf stayed locally for winter break.

The Conn/NY/NJ Groups are pretty straightforward.

The Brenattos stayed in New Haven, where they moved when Luc was born from Amherst. They had moved so Veth could start fresh.

Jester was surprised by a visit from her mother on Christmas Day and spent it with her. It was the first time her mom came from the Ukraine, as Jester’s dad is the one who she moved with. She lives on Long Island not far from her school.

Kiri is from upstate New York and was home for the Holidays.

Bryce drove down to Louisiana. They and Darrow are from Marietta, but they were at their grandmother’s place in Lafourche Parish. Darrow returned to Jacksonville NC.

Others Keg and Gunther were in Rhode Island but separately, where they are both from, Rissa is from Maine and went home, and Enzo was in jail (he is from Lynn, Ma).

  Q: How old is everyone?

A: 5- Luc. 19- Kiri, 20- Jester, Rissa, Keg, and Enzo, 21- Beau, Molly, Yasha, Essek, and Astrid, 22- Caleb, Cali, Reani, and Wulf. 24- Cad, 25- Fjord and Bryce. 27- Veth and Darrow. 28- Yeza.

  Q: If Fjord has the GI Bill why does he live on campus or have a job?

A: For those who don’t know how the GI Bill works, the government pays for education and sends some money based on housing in the zip code of the school. Boston is insanely expensive and student living is easier. Essentially, he wanted the “college experience” and it was cheaper. He needs the job more because he knows better than to let himself get idle. If he does, he won’t focus on school. Like Travis, my Fjord has ADHD.

  Q: How did Veth and Caleb meet?

A: In a Juvenile’s in-patient program for at-risk teenagers and those suffering from mental health issues. Caleb’s depression and anxiety following the death of his parents and the constant bullying for numerous things and previous attempts or ideations had him labeled “at risk” for self-harm. He was in for 3 weeks. Veth was in for her kleptomania and possible signs of disruptive BPD or other developing personality disorders but aged out of the youth section when she turned 18. As most diagnoses cannot be done for those until adulthood, she was being watched for early onset signs.

  Q: How did Jester/Veth get into the group?

A: Jester met Beau, Yasha and Molly at NYCC two years’ prior in line for a panel. They met again at Anime Boston after exchanging Twitter handles a few months later. Jester had worked NYCC a year ago and helped Veth to a quiet room for Luc, who was fussing, then stayed with her as she was on break soon. She invited Veth to play a few games of Don’t Starve Together with her and Yasha before she was brought into the main group.

  Q: This is a really diverse cast. What is everyone and why?

A: Some were obvious choices such as Caleb being from Germany, Jester being from Eastern Europe (Ukrainian), and Molly as Irish (and English).

Others I did to flush out to make a group in a major city make more sense. Wulf and Astrid both have French/ Germanic backgrounds because in canon, they were raised in a similar way. Astrid is Jewish along with Caleb to hint at why it may have been easier for them to date if her family was stricter than his.

Fjord and Yasha faced some racial issues early on in the show (Yasha from where she was from and Fjord for being a half orc), so I wanted them to be people of color. Yasha is half Japanese because of her name and because US troops often marry someone from Japan when they are single and stationed there. Her father is Jamaican in decent. Fjord’s dad he figures is Black but they’ve never met, as his mother’s side are Mexican. I chose that because I wanted to keep the Texan because a lot of people in the service are from Texas. Also, as previously stated, I had too many naturalized or foreign students already and needed to not stress over how they would be around for the breaks.

Cad is English, Norwegian, and Swedish because Cad is a god, who why not make him a Norse god? Veth is half Cambodian partially because there is a decent population size in Massachusetts. Beau is the not white-passing cousin of her family which will come in later because rich families have secrets, yo. Her family has some Cajun/Creole in her like Darrow but it shouldn’t be there according to her family lineage. 

Essek is Persian, Rissa is Puerto Rican, Bryce and Keg are “Confused American Mixes” of everything. Cali I have not decided yet, but will probably have some English in her, Reani I have decided on Moroccan. Kiri is Korean. 

Enzo is an asshole (he’s also mix of random European heritage.) I feel like I missed someone.

  Q: Is Widofjord the only pairing we will see?

A: There are some others forming, including BeauYasha, which was one of the possibilities when I started. Molly/Essek/Astrid were a shock and some others I won’t spoil just yet are starting to bud as hopefuls.

  Q: Do you have an end game in sight?

A: Honestly, as this whole fic has taken on a life of its own, not entirely. It was originally mapped out to be 12 chapters long and have much of this condensed down with all the side characters removed, no Enzo or hockey games, and the extra fluff cut out. As I wrote it, I found I enjoyed that almost more than the Widofjord specifics. So, this has really evolved away from a Widofjord ONLY fic, I am aware. Endgame wise, when I feel the story is told, I will wind it down, but there are more elements evolving with every chapter and I want these characters to get the moments they’re aiming toward. I also don’t want it to drag on too long, so I know that this will eventually come to an end.

 Q: Did anything change relationship wise while writing?

A: 100%. Beau and Jester were originally who I expected to pan out, but my Jes couldn’t seem to devote to that because she had developed more attraction to Molly and Fjord than I expected. Beau and Yasha just clicked better. Molly was the next option for Jester, but then I decided to make Essek and Astrid actual friends with the TM9 and we see how that went.

 Q: Is Jester going to find something happier? It kind of sucked seeing her so down and withdrawn these last few chapters. And where is Nott’s role now?

A: I am trying with Jessy. I am. Here’s to hoping she behaves? As for Nott, she is shining as the mom friend, but her coming into the fray more means bad things are happening. And yes, that is on the way.

 Q: You keep hinting at something in both Caleb and Fjord’s pasts. Are we ever going to see that?

A: Yes. I am trying to space out the angst as much as possible. This was never meant to be a hurt/comfort type story, but people have mental health issues and those because pivotal to the story more than I intended. Maybe the curse of having complete access to everyone’s conversations? But they will be coming out.

[wordssometimesfail]

An Extremely Belated and Unasked-For Dissection of the HIMYM Finale

So, I recently hung out with a teenage cousin of mine. He told me that he had just discovered How I Met Your Mother on Netflix, and was a couple of episodes away from the series finale. Since the show’s been finished for a while and the internet fallout was so prolific, I asked him if he’d been spoiled for the ending. He said no, but then began insisting that I tell him what happens. 10-15 minutes of begging later, I finally relented and gave him a bullet-point summary of the finale. 

He burst out laughing, said I was a bad liar, and asked for the real ending. 

Instead of digging in my heels, I shrugged and told him he’d just have to watch it, so, y’know, that’ll be hilarious. But it got me thinking. 

I, like everyone else, felt so fucking betrayed by the ending of HIMYM. Because it affected me so much, in fact, I became a bit obsessed with it. I went back to the show not long after the finale aired, just to watch old episodes again. This was partially because it had been a “comfort watch” for me for so long, and partially because I felt a deep-seated need to dissect the show as a whole. 

And the thing is, if you rewatch the show with the ending in mind, it is very easy to see that they kept the ending in their heads the entire time. It’s decently, if subtly, foreshadowed. While the characters’ behaviour in the finale is frustrating, it is actually fairly consistent with their established personalities. And the misogynistic subtext of the finale was, unfortunately, a mainstay of the show long before that point. We gave C&C a lot of shit at the time for the ending coming out of nowhere, but outside of a few minor timeline/continuity issues, honestly? It didn’t. The groundwork was laid, and the clues were there all along.

So... why did it feel unearned? Why did almost no one see it coming, even avid, weekly watchers? Why does it sound so much like a bad lie? 

I think the main problem came in when the showrunners realized that they were likely not going to be cancelled until the story was done. If you look at the first 4 seasons, you can see where they left themselves lifelines to complete Ted’s story if the plug were preemptively pulled: 

Cancelled in Season 1 - Victoria becomes the Mother. Robin and Ted have feelings for one another, but because of timing and circumstance, they never pull the trigger. The audience was (presumably) rooting for them all season, so seeing them end up together years after Victoria’s death is satisfying, and feels like the resolution of years-long tension. You CAN love again after losing a beloved partner! (In hindsight, considering the ending they went with, I kinda wish the series had ended here.) 

Cancelled in Season 2 - Robin and Ted break up earlier than they do in-show. Ted meets the Mother at Marshall and Lily’s wedding, which also happens earlier than it does in-show. While in this timeline the audience HAS seen Robin & Ted as a couple and there is less UST to resolve, the toxicity of their relationship has not yet been explored, so seeing them get back together has more of a “they’re finally ready for each other” feel. 

Cancelled in Season 3 or 4 - Stella becomes the Mother. The “Shelter Island” wedding ends in a reception and a honeymoon, and the pacing is drastically altered. Again, Robin & Ted have not really relapsed in this timeline - they broke up and are both miserable about it, regretting what they did but both being too proud to admit as much, until it’s too late and Ted has fallen for someone else. The Barney/Robin hookup in S3 makes this a bit messier, but basically works. The rift caused by their hookup (+ Robin begging Ted not to marry Stella before the ceremony) kicks off the dissolution of the gang, and either...

Barney doesn’t catch feelings in this timeline and that’s the end of it.

Barney doesn’t catch feelings, but they continue a FWB relationship that eventually implodes as Robin realizes she wants what she had with Ted again, she can’t do casual anymore. 

Barney does catch feelings, but upon accepting that Robin will always be pining for someone else, “relapses” and goes for the Perfect Month. (This one works whether they do the FWB thing or not.)  

Ultimately, the tragedy of poor timing strikes again, and there is still some narrative satisfaction to the Ted/Robin endgame. 

Barney’s finale plotline (unplanned daughter changing his life) would’ve worked if the show had ended at any of these points, since Barney’s secret desire for romance & family wasn’t really explicitly explored until later. Marshall & Lily’s finale plotline (ascent into picket-fence bliss at the expense of their beloved status quo) works no matter what, mainly because that was their overarching plotline for the entire show. 

While the original ending concept was showing its wear as we approached the end of the actual S4, there was still some time to salvage it after this. The death knell came, not when Barney expressed romantic interest in Robin, but when Robin returned that interest. 

And this isn’t about to turn into a screed about how Swarkles should’ve been endgame! Upon rewatching the show, I actually like Swarkles a lot more in theory than I do in practice - the showrunners went out of their way to make the pairing seem great, but act toxic. They have FANTASTIC moments, but those moments are strung together by poor communication, self-destruction, and Robin at her most insufferable (her desperate attempts at getting Barney to like her again in the first half of S8 were... *shudders*). They, much the same as Ted and Robin, are clearly shown to Not Work. 

Even so, from the S4 finale onward, the show began to build toward Barney and Robin’s wedding, and that killed the planned ending. I say this began at the end of S4 because, as I said before, it isn’t until Robin explicitly returns Barney’s feelings that Swarkles becomes a threat to Ted/Robin - or, at least, a threat as perceived by the audience. Beyond the fact that this inadvertently turned Swarkles into a fan-favourite pairing, and was a large part of why the ending was poorly-received, it effectively changes the story. 

Before canon Robin/Barney, no one other than Ted was really presented as a viable romantic option for Robin. She wasn’t interested in getting serious with anyone else, she didn’t have that electric connection with anyone else. In S1′s “Zip, Zip, Zip”, Robin turns Barney down (despite him offering the casual, fun fling she purports to want) because she’s hung up on Ted. In S3, Robin sleeps with Barney but is uninterested in doing so again, and her attentions are quickly back on Ted (though at this point it’s more unspoken). No matter who Robin hooked up with, even when it was another principal character in the ensemble cast, the primary tension was always between her and Ted. But as soon as she develops real, romantic feelings for Barney, that tension is gone. 

And it... never really came back in the same way. 

Other than their FWB arrangement in S4′s “Benefits” and a couple of near-misses later, Robin and Ted are not involved again until the end of the series. In fact, in “Benefits”, neither Ted nor Robin are interested in taking their relapse further - they only want casual sex, and are so romantically disinterested in one another that Ted ends the arrangement for Barney’s sake in the same goddamn episode. Though Ted does express that he still has feelings for Robin as early as S5, at no point does she reciprocate in any meaningful way. All of the romantic tension between them after the fact is one-sided. Robin is no longer romantically interested in Ted by approximately the midpoint of Season 4, her attentions are firmly on Barney (and later, other serious romantic interests) by the end of Season 4, and she isn’t interested in Ted again until the final episodes of the show. 

The problem here isn’t that Robin had other serious romantic relationships, but that Ted was no longer a serious option in her mind for so much of the show’s run. Starting in S6, the wedding build starts in earnest, meaning that for four whole seasons (S6, S7, S8, and S9), the audience knows that someone is getting married. We’re told that Ted meets the Mother at the wedding, so there’s Zero chance of any of his relationships working out during that 4-season period - the tension is gone from his love-life, because we know that we’re waiting and we know what we’re waiting for. Suddenly, Robin and Barney are the center of the romantic tension of the show, and... Robin hasn’t been interested in Ted for a year. She and Barney are involved in a love quadrangle plot of which Ted is only an observer. By the time it’s confirmed, it’s painfully obvious that Robin is the bride at the foretold wedding, even with Barney’s red-herring girlfriends tossed in the mix. We spend all of Season 8 building up to the wedding. We spend all of Season 9 on the wedding weekend. Barney and Robin actually address the more toxic aspects of their relationship, and resolve to work on them (something Ted and Robin never actually did). We meet the Mother, and spend a season gleefully building up to the Mother meeting Ted. 

Remind me... why are we supposed to want Ted and Robin to get together in the end? 

There are other issues with the finale that bother me, but are not the focus of this rant as I don’t think they’re the Biggest Problem:  

The gang was always going to drift apart, but they seem to stay in frequent contact with one another in flash-forwards that we see earlier in the show. This is... not super supported by the finale. (Ex. If [roughly] kindergarten-age Luke and Penny drew pictures of times they hung out with Aunt Robin, why does the finale imply they barely got to know her until after their mother passed?)  

We knew for several seasons that Barney DID want a wife & kids, he was just afraid to admit it or pursue it because he thought he was too far gone. Yet we’re supposed to believe that his “relapse” after his breakup with Robin was him going back to the “real Barney”, and that despite having had 3 meaningful, serious romantic relationships throughout the series, one of which led to a marriage, he could not be arsed to so much as learn the name of the mother of his child. Despite getting 4 seasons of significant character development re: vulnerability, love, and relationships, he is supposed to have learned nothing, and changed not a whit. (NPH’s stance on this, that you may “want” Barney to change but some people don’t change, is... lame, imho, since we didn’t just want Barney to change, we were told and shown that he was actively changing, even if he wasn’t fully there yet.) 

On that same note, the fact that Barney didn’t “really” change until his daughter was born implies that things might’ve worked out with Robin if she’d been able to bear him children. Also, implies that his speech to his mom about how Robin means more to him than the possibility of having children was insincere or at least misguided. Gross. 

We all know about the Mother = Uterus shit, and while I don’t necessarily dislike the idea of the Mother having been dead all along, the idea that Ted and Robin couldn’t be happy together either until some other woman bore Ted’s children is also gross. 

In general, super sexist, and it’s not a twist when you directly contradict what you have told/shown your audience. It’s bad writing. 

But with all that said, if the show had ended somewhere between Seasons 1-4 (with minor to major tweaks - *reluctantly salutes*), the planned ending would have been fine. At least, it would’ve been fine with regard to Ted/Robin (and Barney’s character). The tension between them was still there, they still had audience support, and it made sense that, after all that buildup, Ted’s kids would be hoping for some closure to his tumultuous relationship with their Aunt. The problem is that, in the show as written... Ted and Robin do get closure. Ted, just like Tracy, is able to let go of the love that has consumed him and arrested his romantic development for so long, and that is what finally opens him up to meeting the love of his life. His relationship with Robin, even the unrequited mess it became later, not only led him to the Mother, it made him ready for the Mother. When he shuts Robin down in the penultimate episode of the show, Ted closes the door on that chapter of his life. That’s the closure. That’s the resolution of the Ted/Robin tension.  

And that’s a huge part of why the ending feels flaccid. They attempt to resurrect a dynamic that no longer holds any narrative weight - Robin pining after Ted in a happy relationship, lamenting what she’s lost, is not only something that we’ve seen before, it’s something we’ve seen Robin get over before. She didn’t realize “too late” what she had with Ted, or what she could have had. She had it, lost it, mourned it... then decided she didn’t want or need it again, and found something new with someone else. They wanted to throw the audience off the scent, but by killing all the tension between their endgame couple, and spending literal years building up relationships between other characters, they destroyed any momentum that that storyline had in the first place. They told a will-they/won’t-they story, and while there were moments where they subtly hinted that “they will”, more than half their text was dedicated to showing their audience, “no they won’t”. 

In the Season 2 episode “Something Blue”, Barney hears that Ted and Robin have something to tell everyone. When he begs them to tell him, they give him a story piece by piece detailing what happened. With each part of the story he gets, Barney guesses how it ends. Every time he guesses, Ted smiles wryly and tells him, “the story’s not over”. This implies to Barney and the audience that each of Barney’s guesses is wrong, because he doesn’t have all the information yet. 

Except... Barney does correctly guess the end of the story. He guesses that Ted and Robin broke up, Ted smiles wryly, says “the story’s not over”, and proceeds to continue to tell it, only for the story to, in fact, end with his and Robin’s breakup. 

This plot is emblematic of the problem with the end of How I Met Your Mother. One of the biggest running themes of the show is that until a story is over, you can’t turn it into a narrative. You don’t have the full picture, you don’t know who the bad or good guy is, you don’t know what story you’re living. Barney doesn’t know what story he’s being told until it’s over - except he does. And because Ted isn’t finished telling the whole story, he implies to Barney that he’s wrong. He throws him off, so he can end the story on his own terms. That’s what the showrunners of HIMYM did, too. They wanted so badly to tell the story as they conceived it, but in order to keep that ending as a twist, they couldn’t telegraph it too obviously. This, to them, meant throwing the audience so far off the scent of their plan that they obscured their plan, that they deflated the central narrative, made it look like there was no way it would happen, because we were being made to look in another direction. No, we clearly didn’t have the whole story. But we had the story that was unfolding before us, one where Robin didn’t want Ted romantically anymore, one where Barney was trying so, so hard to be better, one where Ted needed to let go in order to be happy. And that story doesn’t feel complete when it ends the way that it does, because the ending we got is the end of the story we saw in Season 1. 

The story we saw in Season 1 was of a man who hopelessly pined after a woman who loved him back, but wasn’t in a place to reciprocate the way he wanted. Years later, they reconnect and are finally able to make it work. That’s the story that HIMYM thought they were telling. But, because they never got cancelled and got free reign to tell this story for as long as they wanted, and because they didn’t want us to guess that darn twist, they gave us a whole whack of misdirections, plot threads, and character growth that ultimately gets nullified to make way for the ending of the “real” story. There is no momentum carrying us to the finale as planned, because the finale as planned was meant to be the ending to a much shorter tale. 

Everything else was just filler. 

[moviestorian]

Les Mis BBC final thoughts

Alright, on monday I finished the 6th and last episode of the most recent, mini-series adaptation of Les Misérables. I was slightly hesitant about posting my thoughts (mostly because of the tag being largely dominated by negativity; any effort to post anything else seemed kind of pointless to me), but I eventually decided to go for it. I still wanted the entire show to sit in for a while (I also want to do a rewatch, because I can't guarantee that my feelings remain the same; I might just as well change my opinions completely). But let's begin!

Tldr; Also, unpopular opinion alert: I actually enjoyed it. A lot. I genuinely liked the miniseries. Yes, there were some choices and things I wasn't exactly fond of, but I have the same thing about literally every single adaptation I have seen so far (mostly thinking of the stage musical and 2012 film). Cause you know, you can like something and still see its flaws, and the other way round - you can dislike it and yet admit it is not inherently bad.

Now, the longer "review" comes in. It's gonna be reaaaally long. Also: spoilers.

The negatives/things I'm indifferent about/what could have been better:

- I'm following the popular trend of disliking that font. I care a lot about cinematography and visual parts of films and shows, so I wasn't satisfied with this particular choice. They could do better, honestly.

- For most of the time, the music was a bit meh. Nothing really striking or to hate, but compared to the War&Peace 2016 soundtrack (which was amazing!), this one was very undermining. There were some individual songs I liked a lot, though.

- The overall cinematography was ok. Again, nothing super special, but there were some pretty nice shots, too. I had some minor objections about cgi in a few scenes, but let's that the 2012 film wasn't exactly flawless in this aspect, too... If not worse.

- Ok, confession time & another unpopular opinion alert: I genuinely think the script is not half as bad as some people on this site try to tell everyone and the majority of their issues is either exaggerated to an enormous extent or comes from a huge prejudice. Or a general but pretty clear misinterpretation of certain scenes. Having said that, I had issues with the script, too. Davies did a waaay better job with his W&P, really. Although I actually like some of his changes or narrative choices, there is one thing I can't exactly ignore: how certain scenes were pure exposition. I think it got better in the later episodes, but I spotted at least two(!) examples just in episode one alone. Davies, being the experienced author as he is, should really know that it's not a good way to write scenes, especially in the first episode (which is supposed to encourage the viewers to keep watching). There's nothing more annoying to me than being treated, as a viewer, as a person who needs a straight-in-your-face explaination of what’s happening on screen.

- Another fairly popular trend: the brothel & the wet dream sequences. Even though I expected both of these to be A LOT worse, given what the fandom was saying (exaggerating again), and I don't think they are "out of character" or unrealistic in terms of the setting, I tried to cut these out from the episode (in my head ofc). And I think we could do without them; the brothel scene could remain in the final cut, but I would make it way shorter.

- What I REALLY disliked: a minor thing, but it bugged me a lot. I mean the main dialogue being in English, and the background dialogue in French. Christ, how I hate when they do such stuff in the movies...(thankfully the main characters didn't try to pull off their fake French accent, that would be even worse) Either you do it in French, or in English. One has to be consistent.

- The pissing scene in ep1 was...weird.

- Valjean being mean to Gavroche.

- The timeline was sometimes a bit odd, if not crazy, but could’ve been way worse (nothing can surpass P0ldark and its weirdly ageing children and even more weirdly, or not at all ageing adults)

- Valjean firing Fantine left me with very mixed feelings. On the one hand, I think it makes sense narratively, in this particular adaptation, it’s also not the first one who makes Valjean responsible for Fantine’s misery (to a smaller or bigger extent). On the other one, it’s not a choice I’m super happy about so...

Now, let's move on to the positives!

- Excellent choice in casting. I think all of the actors did a solid job. Obviously they had some veteran, experienced or acclaimed actors like Bradley, Sumpter, Jacobi, Colman, West... You couldn't expect any less from them. BUT there were also some younger and fresh faces, who's interpretations of their characters I really loved - Lily Collins, Erin Kellyman, Reece Yates, Josh O'Connor. Liked Joseph Quinn and Ellie Bamber a lot, too, especially the former. Obviously, I cannot NOT mention David Oyelowo! He was particularly impressive in the last episode.

- You have no idea how grateful I am for the entire Pontmercy storyline, honestly. I have so many feelings about Georges Pontmercy it's not even funny. Also baby Marius!!! Huge props for the Marius/Guillenormand dynamics.

- Fantine's storyline. I love the focus on her in this adaptation, and instead of merely showing her "downfall", we got to see her entire background story and many faces of her character. From naivety and joyful innocent to her determination to survive, and, finally, her desperate attempts to feed her daughter. I love that we got to see a glimpse of her relationship with Cosette. I love that, heartbreaking as that scene was, we got to see the moment of her leaving her child with the Thénardiers. Loved that she was also outspoken at times. I really felt for her in this series. Naturally, I always do have tons of empathy for Fantine, she's one of my favourite characters in general, but I found Lily Collins' version to be particularly relatable.

- Btw: I disagree that Fantine and Cosette were overly "sexualized" or fetishized. And don't even get me started on the supposed "sexual undertones" between Cosette and Valjean, cause this is utter bullshit.

- I actually liked the relationship between Cosette and her Papa, especially when she was little!

- I loved Gavroche in this adaptation. I'm usually not a huge fan of his, but Reece was so charming and impossible to resist!

- All the side characters (good or bad) we finally got to see at least for a while! I already mentioned the Pontmercies, but I also mean: Petit Gervais, Tholomyès and his gang (+Favourite and Zephine), Azelma, Gavroche's little brothers, Mabeuf, even Victurnien. And Sister Simplice, I love that woman. And Rivette. 😁

- Huge thumbs up for portraying the Thénardiers as the evil/malicious people they were (but not one-dimensional, esp. Madame Th.) instead of as some comic relief only.

- Contrary to the popular opinion, I count Les Amis as the positives. I actually think that narrowing down the number of the students to focus on was a good choice (like, excuse me, but giving a few lines to a character in an ensemble song is not enough to give them personality. Even in the book some hardly had one). And guess what? I legit cared more about this Enjolras or this Courfeyrac than in other adaptations. I liked Quinn's version of Enjolras more than I like Hugo's original character. This is obviously a personal preference, but to me personally Quinn's slightly toned down version, sort of a hybrid of Enjolras and Combeferre was way more appealing (I also think Quinn had more innocence and wide-eyedness in his eyes and face than some most popular actors who have played the role. To me, the accurate hair colour is the least sygnificant thing, honestly. Especially that some of the fans' favourites hardly fit the book description in that aspect).

- The Enjolras/Grantaire execution scene.

- Small interactions between Enjolras and Courfeyrac. Especially the ones in the final moments of the resistance. Oh my...

- Overall, the barricade scenes were very good.

- I liked Marius a lot, which is quite a thing! I loved that we got the awkward, but still adorable side of his. I had seen Josh in The Riot Club and I remember him being good but not memorable; I was impressed with his performance in Les Mis, he was so different!

- Erin's Éponine broke my heart. Especially in episode 5, she was fantastic. So many expressions in her eyes; I loved her fidgety hand moves, too!

- I appreciate that they started the show with something other than the galleys/bishop Myriel. That was a nice and quite refreshing take.

What else do I like about this adaptation? That it revived my passion for Les Mis; that it made me want to reread the book (or certain chapters at least), rewatch the 2012 film, listen to songs from the musical, check out other adaptations. That it’s gonna bring new people to the fandom. And, whether you like it or not, it DOES offer new interpretations of the characters and actually does give a fresh take. Every adaptations gives us something new to discuss, this one included. I also don’t believe it’s the worst thing that ever happened to Les Mis or whatever; I happen to think it actually is a good adaptation overall. Is it flawless or 100% accurate in everything? No, because it’s impossible to turn such a huge and detailed book into a 100% faithful adaptation; also it’s really not what the adaptations are for. I too would have added/cut out some stuff from various versions of Les Mis, but this is because it’s my interpretation; the fact that we imagine some things differently does not mean that other people’s interpretations are bad.

Since films and tv shows belong to the visual media, I think that Les Mis BBC could have done better in that aspect - I wasn’t exactly satisfied with it, as I wasn’t exactly over the moon about some choices in the script. It’s not a masterpiece, but I never expected it to be one; neither it is a “piece of shit”. Despite its flaws, I still found the miniseries to be very enjoyable and I will gladly rewatch it in the near future. I feel that it might even become one of my favourite adaptations(I will decide once I’ve seen them all, or most of them!), save for the interpretation of JVJ, which could’ve been better tbh. For me, it’s a nice 7,5/10