#Not Prometheus that's for sure

[oculusxcaro]

📔+ learning the ins and outs of her condition.

SEND 📔 FOR A JOURNAL ENTRY WRITTEN BY MY MUSE.

Something is really wrong with me.

Made a fool of myself at work this morning, dropping Chief O'Hara's breakfast all over the floor. It couldn't be helped. My muscles just had to have a spasm attack, spilling coffee and pancakes everywhere. First time it happened at work and it just had to be in front of her, didn't it? Kelly was so sweet about the whole thing too which only made me feel worse, even wanting to call an ambulance because a chunk of glass was sticking out of my arm. I don't think she noticed it went deeper than it looked. It didn't bleed much, just a small trickle and stopped a few seconds after that. I pulled the piece of glass out so the cut wouldn't start healing around it right away and leave anything inside, and when Kelly's handcloth pulled away, it just looked like a nasty pink gash. I'd sooner her think I was overdramatic than scared that when she lifted that fabric, there would be a fresh batch of eyes looking back at her.

...

It's April. I forget which day, it probably doesn't matter. Don't feel good at all, hungry but not able to keep anything down or feel satisfied. Bread? Nope. Packet of Fridge Raiders? Supposed to be chicken but eating them was just like eating the bread, tasteless and gutting. I boiled up some eggs. They were okay. I ate one and am saving the rest for later when I feel a little better.

... It's been a week since I last ate. The eggs aren't good anymore but I feel better. Weighed myself to be sure everything's okay, expecting a little weight loss. I'm heavier by 10 pounds. How. ... May Day. Eyes are growing on my forearm again. They sure are persistent about growing in that spot, between where my forearm regrew and where the original tissue ends. Last time I scraped them was 2 days ago. I'll need to do it again tonight before I go to work, before they start regaining function. I hate it when they squirm. It's disgusting. I'm disgusting. ... Hurt Cindy tonight. I didn't mean it, she clamped a hand on my shoulder as I came in from 'smoke break' but really I just needed to stand under the rain for a few minutes. I jumped. She jumped like she got an electric shock because she did. Thank God she's okay but I'll never forget that look of hurt in her eyes, afraid and unsure I'd hit her somehow and she just didn't see it happen for some reason. I'm sorry you have to work with a monster, Cindy. Please don't think I hate you.

[secretmellowblog]

Jean Valjean's Canon Toxic Unhealthiness around Romantic Love

( alternate titles: “Does Jean Valjean is Gay?”, or “Does Jean Valjean is Asexual?” Or: “Why is it so difficult to slap an identity/sexuality label onto Jean Valjean?” Or “LGBTPTSD+”)

I was looking at the responses to this poll about whether people interpret Jean Valjean as gay/asexual/straight or something else….and it got me thinking again about Jean Valjean’s canonical intense, complex, awful, toxic, and overwrought emotions around identity/ romantic love. I want to talk about that for a bit because I think it often gets overlooked in fandom!

I've noticed that Les Mis fandom/analysis often tends to interpret Jean Valjean as being far more content, more "at peace with himself," and more "comfortable in his own skin" than he ever is within the novel. This is also a common change in adaptations. The musical's version of Jean Valjean is great-- but he also seems a lot more self-actualized, more like he's gotten himself completely "figured out" by the end of the story. Other, bad, Les Mis adaptations — the adaptations that generally portray Jean Valjean a worse more violent person — also usually make Jean Valjean more confident in himself, more confident in his own feelings/desires, more certain that he’s entitled to certain things, and more willing to demand or take what he wants.

But one major aspect of book Jean Valjean's personality is that he does not have a healthy relationship with anything about himself. He has a tortured broken relationship with his own identity. He repeatedly thinks about “Jean Valjean” as a person outside of himself, a person who he finds frightening, repulsive, savage, and horrible— like a wild animal he needs to sedate, or beat into submission. He is obsessed with self-denial and self-repression. He is fixated on the idea that he is subhuman, that he is not allowed to want things or to pursue having any kinds of relationships with other people-- and that the most heroic thing he can do is "grab himself by the collar” and violently force himself to stay away from the things he wants. He is desperate to be loved and fixated on being unworthy of love and on denying himself love. He is absolutely not at peace with his identity: to paraphrase Jean Valjean in one of the later chapters, he believes he can only gain inner peace by “eviscerating his own entrails.”

He is never truly content with who he is, what he wants, or what kind of love he wants— and he never learns to be. The novel ends with him cutting himself off from his only family, breaking ties with the only person who loves him, and essentially slowly killing himself out of self-loathing.

There are other characters in Les Mis who seem very content with who they are and what they want. Enjolras is self-assured in his identity, and doesn’t appear to feel like there is any kind of love that is missing from his life. Whether you interpret him as gay or ace or trans or w/e, book!Enjolras is written as someone who is extremely self-assured and has a loving support system that is enough to keep him happy. But I don’t think that’s true for Jean Valjean at all XD.

And that’s why it's hard to apply labels like “aromantic” or “ace” or gay/straight/etc to Jean Valjean, when talking about his canon characterization. Those labels imply the person has a basic level of comfort with acknowledging their own desires/lack of desire/identity. And Jean Valjean never achieves that level of comfort. What “label” do you give to someone whose relationship with their identity is “I do not belong in a family, I have no right to want things, I have no right to be happy, I am outside of life, and I will never be at peace until I eviscerate my own entrails?” Is there a “self-disembowelment" pride flag? XD I've seen a lot of interpretations that go "Jean Valjean never expresses any interest in romance, he's perfectly content just to have his relationship with his daughter" but I honestly don't think that's true. Jean Valjean tries to content himself with having only Cosette. But part of why everything explodes so catastrophically in the end of the novel is because he needs more than just a paternal relationship. He doesn’t try to have a “normal” father-daughter relationship with Cosette, he tries to force his relationship with Cosette to be literally everything and everyone to him, for her to be his entire world: and it doesn’t work.

There’s a passage in the novel that talks about how all the love Valjean is capable of ends up being suppressed/sublimated into his relationship with Cosette. The love of a brother, of a friend, of a father, of a husband, the love of everything he is capable of, gets repressed so that he can throw every part of himself into being a father. There are Bad les mis adaptations that incorrectly misinterpret that passage to mean that Jean Valjean is incestuous/grooming Cosette. But in context, that’s not what the passage means at all.

The passage specifies very explicitly that Jean Valjean “did not love Cosette otherwise than as a father,” that “no marriage was possible between them,” that his feelings for her are absolutely paternal. But the passage does show how Jean Valjean is doing a very different unhealthy thing: he’s relying on Cosette to fill every single emotional void in his life.

He’s relying on parenthood to fill the grief/emptiness left behind by all the other kinds of love that he has wanted, but never been given.

To quote a bit of that passage:

Jean Valjean did not love Cosette otherwise than as a father (…) Let the reader recall the situation of heart which we have already indicated. No marriage was possible between them; not even that of souls; and yet, it is certain that their destinies were wedded. With the exception of Cosette, that is to say, with the exception of a childhood, Jean Valjean had never, in the whole of his long life, known anything of that which may be loved. The passions and loves which succeed each other had not produced in him those successive green growths, tender green or dark green, which can be seen in foliage which passes through the winter and in men who pass fifty. In short, and we have insisted on it more than once, all this interior fusion, all this whole, of which the sum total was a lofty virtue, ended in rendering Jean Valjean a father to Cosette. A strange father, forged from the grandfather, the son, the brother, and the husband, that existed in Jean Valjean; a father in whom there was included even a mother; a father who loved Cosette and adored her, and who held that child as his light, his home, his family, his country, his paradise.

Jean Valjean reminds me of a Failmode I’ve seen in a lot of different real-life parents? There are parents who cope with their own hard lives by telling themselves that parenthood is their sole reason for being alive, and who obsess over their child’s success as their only source of purpose, meaning, love, happiness, community, and validation. But it’s a bad idea to rely on one child to provide the emotional support that should be shared by friends, parents, siblings, every possible loved one, etc etc—- One child can’t actually heal you from your trauma, be a replacement for your broken relationships, pull you out of your grief, save you from your adult loneliness, etc etc etc etc.

When I see the common interpretation that Jean Valjean is perfectly content just to be the father of Cosette, I think of this line:

Thus when he saw that the end had absolutely come, that she was escaping from him, that she was slipping from his hands, that she was gliding from him, like a cloud, like water, when he had before his eyes this crushing proof: “another is the goal of her heart, another is the wish of her life; there is a dearest one, I am no longer anything but her father, I no longer exist”; when he could no longer doubt, when he said to himself: “She is going away from me!” the grief which he felt surpassed the bounds of possibility. To have done all that he had done for the purpose of ending like this! And the very idea of being nothing!

On one hand, the terrible Les mis adaptations that portray Valjean as Incest Creep are incorrect and wrong. On the other hand, though, Jean Valjean IS unhealthy about Cosette— just in a different and actually sympathetic way.

He has made fatherhood his only purpose, to replace every other purpose he could have in life. So he can’t be “just Cosette’s father.” He can’t imagine her becoming an adult and leaving the nest, like children do. What does he have if he’s not taking care of her? What is his purpose in life if she doesn’t need him to be her parent? He's not just being her father, he's relying on her to be his entire reason to exist. He hasn't been allowing himself to have things outside of her.

And speaking of things outside of Cosette: segue time. This post was supposed to be about Jean Valjean and romance, so let's switch gears and talk about his canon 'romantic experiences' more:

We’re told that in his youth he “never had a sweetheart” because he “never had time to be in love.” There is no indication that Jean Valjean never wanted to be in love. The opposite is implied. Hugo frames it as a tragedy that Jean Valjean’s does not experience young love; it’s the horror of poverty taking yet another thing from him.

Within prison, Valjean is “gloomy” and “chaste;” when he traumadumps to Montparnasse about it, he talks about women looking on galley slaves with horror and disgust. Romance, at least “normal” heterosexual romance, is no longer something that is permitted for him. Jean Valjean knows very little about romance/love/sex and it repeatedly messes up his life. He spends 19 years in the all-male environment of prison, then about a decade in the almost-all-female environment of the convent. He has very little experience with how men and women are supposed to interact. The oppression Fantine faces as a sex worker, and Cosette's relationship with Marius, are both two big 'blind spots' that he struggles with.

At one point romantic love is described as “The only misery Jean Valjean had not yet experienced, and the only one that is sweet.”

In his massive confession to Marius, he agonizes over how he is not allowed to be part of a family, and is incapable of being part of a home. He compares himself to someone sick and diseased, that poisons good and normal people with his presence, and cannot be allowed to make himself part of their families.

So Jean Valjean doesn’t frame Romance as “a thing he doesn’t want:” it’s a thing “he is not allowed to want,” it is one of the many things he is banned from wanting. It's impossible to tell what kind of things he would want, if he were allowed to want them.

One of the most interesting things to me, however, is his general attitude towards Marius/Cosette.

Obviously his first reaction to Marius snooping around is fear and resentment— he doesn’t know to interact with romance, having never experienced it, and immediately begins catastrophizing. He views Marius as a privileged booby ruining his life for something as frivolous as a love affair: it reads to me as partially envy, envy of the fact that Marius lives the kind of safe comfortable life that allows him to experience young love.

Jean Valjean added: “What does he want? A love affair! A love affair! And I? What! I have been first, the most wretched of men, and then the most unhappy, and I have traversed sixty years of life on my knees, I have suffered everything that man can suffer, I have grown old without having been young, I have lived without a family, without relatives, without friends, without life, without children, I have left my blood on every stone, on every bramble, on every mile-post, along every wall, I have been gentle, though others have been hard to me, and kind, although others have been malicious, I have become an honest man once more, in spite of everything, I have repented of the evil that I have done and have forgiven the evil that has been done to me, and at the moment when I receive my recompense, at the moment when it is all over, at the moment when I am just touching the goal, at the moment when I have what I desire, it is well, it is good, I have paid, I have earned it, all this is to take flight, all this will vanish, and I shall lose Cosette, and I shall lose my life, my joy, my soul, because it has pleased a great booby to come and lounge at the Luxembourg.”

But, even though Jean Valjean views romance as something he isn’t allowed or have or to want, views it as a threat and catastrophizes over how it will ruin his life……he seems to also put heterosexual romance on a pedestal.

The way Jean Valjean idealizes marriage is one of his weirdest character notes for me.

He views marriage as Cosette’s “happy ending.” It’s her “happily ever after” point where she won’t need him anymore, where she won’t need anyone outside of her husband. A Man And a Woman Are Meant to Get Married, It's Fate, and It Means They Will Live Happily Together Forever. Marius is “the goal of her heart, the wish of her life; her dearest one.” Nothing outside of that matters anymore.

He treats her marriage as if romantic love is inherently always more important than any kind of platonic relationships, and always takes priority over them. He later dismisses the unconventional family structure he has with Cosette, saying that despite his love for her he was only a "passerby" and was not actually her real father, because they were not biologically related.

There's a moment where Jean Valjean is described as someone whose ideal is to be angel on the inside and a bourgeois on the outside. Jean Valjean's worship of bourgeois social norms, norms he can never truly be a part of, is one of his character flaws. He has a similar "guard dog" energy as Eponine does when she defends Rue Plumet from her parents.....Eponine and Jean Valjean both become the guard dogs of a kind of romantic relationship they believe they are banned from having. Jean Valjean believes that getting Happily Straight Married in a Middle-Class Home with a Picket Fence(tm) is the ideal path for life....but believes himself broken/incapable of ever following that path. And so he instead throws his entire life into securing that future for Marius and Cosette.

In what manner was Jean Valjean to behave in relation to the happiness of Cosette and Marius? It was he who had willed that happiness, it was he who had brought it about; he had, himself, buried it in his entrails, and at that moment, when he reflected on it, he was able to enjoy the sort of satisfaction which an armorer would experience on recognizing his factory mark on a knife, on withdrawing it, all smoking, from his own breast. Cosette had Marius, Marius possessed Cosette. They had everything, even riches. And this was his doing.

TL: DR:

Jean Valjean's gender/sexuality label is “idk but he’s super fucked up about it.”

[hypo-critic-art]

experimenting with new designs for the main Frankenstein cast

[cellarspider]

7/30 germs.

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We return to a movie that disrespects the archaeological importance of roads, Prometheus.

I am still not over that. I will never be over that.

This time, content warnings for continuing frat boy archaeology, cringeful application of racist terms to lily-white androids, me screeching about site contamination some more, and Apollo’s dodgeball striking this movie with a glancing blow about masking.

So, back in the theater in 2012, I had already lost sympathy for the cast. They were being set up as stock horror movie characters, they were doing their jobs in a way with a certain flair for the incompetent.

And one of them, I suspect, the movie intends to make into a “flawed but you feel for him” kind of guy. Or, I hope they intended to make him “the guy in the slasher movie who you hate and want to see die”. That’s Holloway, one of the two archaeologists. He’s robot racist.

Like, seriously robot racist. The whole crew is, David literally gets referred to as “boy” here, which isn’t so much a dogwhistle as a tornado siren. No wonder David is quietly starting to show his disdain for the human crew.

“They're making you guys pretty close [to human now], huh?”

“Not too close, I hope.”

One of the few themes the movie handles halfway competently is the parallel between the humans stumbling all over themselves as they rush to go meet their makers, while David is already experiencing the disappointment of actually meeting his, and finding out they’re a bunch of clueless assholes. Are we supposed to believe the same of the Engineers? I don’t know. They definitely think of humans as lesser, though. More to come on that later.

Because right now, an expedition is barrelling toward the alien structure–again, driving all over the FCKING ALIEN ROAD–and they’re doing it with only six hours of daylight left, because Holloway literally says “It's Christmas [...] and I want to open my presents.”

I cannot communicate how heinous this character felt. The actor did a perfectly fine job playing him, but if Charlie Holloway was real, his name would be said with the same venom as that of the man pictured below: Heinrich Schliemann, the man who found the real, actual city of Troy, and immediately dynamited a trench through the royal palace, destroying who knows how many artifacts from the period the Iliad was based off of. Yes, I picked out the most assholish-looking photo of him I could find on purpose.

Also, Holloway’s an anti-masker, apparently.

I’m going to step back for just one second and list the one practical, movie budget reason why characters might take their helmets off. The costume designers did an admirable job coming up with something that fits the general requirement of a helmet in major studio releases, prior to The Mandalorian: make the actor’s faces completely visible, because without actors with a strong sense of physical presence and voice acting, you’ll lose connection with the audience.

They did a great job with that. Unfortunately, shiny helmets are a bastard to digitally edit film crew out of. 

It’s not impossible to place lights and crew so that the audience won’t notice them. Alien certainly pulled it off. Clear plastic elements in helmets also mean other logistical challenges, though: fogging being the main one. This, and cooking your actors in a fishbowl under studio lights.

Both problems can be simultaneously combated by installing A/C fans within the helmets, but because these helmets are entirely clear, you’re limited to hiding them down near the neck, and anybody who’s done similar for a cosplay or suit will know that it’s potentially noisy and not always effective. You can actually see condensate on the helmets in the movie, though whether that’s from the actor’s breath or a deliberate choice, I don’t know.

All this adds up to increased time resetting actors (i.e. cleaning sweat off of them without disrupting their makeup), more exhaustion from said actors, and the worry that the highest-paid, plot-critical actors may decide they don’t want to do a sequel if the shooting experience is too physically unhealthy.

And then there’s also more time spent carefully arranging crew and lights to hide their reflections, or more time making some poor VFX artist erase a transparent, curved reflection from frame and replace it with something else, or make the actors more comfortable by adding the glass in later with CGI, at the potential loss of some realism. The average modern movie studio would choose one of these VFX-driven options and demand it done in a week, which is why VFX artists need to unionize.

So. I understand at least a few logistical reasons why you don’t tend to make actors wear helmets for too many shooting days. But it has to be balanced with the story. It has to feel believable. It has to fit the story. It has to not make your characters look like mud-witted morons.

As soon as they find liquid water and the oh-so-deadly CO2 levels start to drop, Holloway takes his helmet off.

“Don't be an idiot.”

“Don't be a skeptic.”

Flames on the side of my goddamn face.

Now, this is the moment a lot of people lost sympathy for the human characters, even back in 2012. It was a dumbass idea even then, in the pre-’rona years. Sadly, Millburn the biologist isn’t written smart enough to punch Holloway in the nuts over even thinking of doing this, because we have two problems with what Holloway’s doing here: Biology, and biology.

First, biology.

(https://www.turbosquid.com/3d-models/13-viruses-virus-3d-model/1071200)

Obviously, they don’t know if anything’s in the air. He could find out that humans are deathly allergic to alien dust mites. He could have just caught himself a case of space covid, which he and the lemmings that follow him can then transmit to the entire crew if he’s not kept in quarantine. They can sterilize the sealed suits, but they can’t sterilize the inside of his lungs. Yet.

Second, biology. 

Specifically, Earth biology. Do you know how carefully modern space agencies sterilize anything that’s headed for Mars, or anywhere else that might have a biosphere of its own? A lot! They sterilize everything a lot! Because microbes are hardy little bastards. We’ve never found extraterrestrial life, only precursor molecules that show the capacity for life to develop in other places. How are you going to verify you’ve found alien life, or even those precursors, if you can’t prove that your samples are uncontaminated? What happens if microbes from Earth manage to survive the trip and establish a foothold somewhere? What if they destroy native life?

This movie’s characters treat this with only a fraction of the gravitas that the cinematography does, which is part of why this remains so jarring throughout. The practical sets, the art direction, and the camerawork are all excellent. The editing continues to do its best, though it almost feels like things were cut very tight through this to speed things along and to give more time, unfortunately, to what the characters are doing. 

their crimes against my sanity are not done yet

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As a side note, rounding up some discussion from a previous entry: The most excellent artist @noordzee pointed out that the clashing artistic style of the moon and stars slapped onto the carving of Kʼinich Janaab Pakal I. In the previous post, I focused on the link between that carving and its use in ancient aliens conspiracy theories. But let's dig a bit into actual Maya iconography around celestial bodies instead.

Now, I am not an expert on Classical Maya stuff. Not in the slightest. And there is a lot of information on their art that is linguistically inaccessible to me, as a non-Spanish speaker. But out of the Maya art and writing that survived the book-burning conquistadors, we have some iconography for the moon and stars, and they don’t look like what’s in the movie.

I wasn’t able to find any specific pieces of art that contained stars, but I did find the glyph for star, ek’. 

I was only able to find depictions of a crescent moon in the context of the moon goddess, where she tends to be sitting on the crescent like a chair, or one part of it is shown behind her, almost like a tail (though I can’t be certain whether that’s due to chipped paint).

The moon by itself was somewhat harder to find. I couldn’t find any Maya depictions of it with my limited poking around of the spanish internet, but I did find a (much later) Mixtec depiction of the moon, complete with a lunar rabbit! Much like East Asian cultures, the darker markings on the moon are culturally interpreted as a rabbit shape.

Thanks again to nordzee for pointing out the dissonant art style, because the real mesoamerican art on this subject is phenomenal.

Next time, the movie will hurt me more, so if anybody else has fun facts to share or details to point out. PLEASE. Ease my pain.

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Alt text citations:

None this time. Many ramblings, though.

[spooky-something]

These playlists are gonna make me cry, I can't, they're so bad...

Don't you dare try to gaslight me, Victor would NOT listen to Will Wood, leave him out out this...

Like, for actual characterization, this one had it, a lot of these songs are actually on our own Frankenstein playlist...

Heavy on HAD...

[periru3]

Showing my roommate Alien for the first time

Him: This is sooo like Prometheus

Me: Wait you've seen Prometheus but not Alien????

Him: No, I just was trying to think of something dumb to say that would annoy you lol

Me: OK GOOD cause as I said before, no judgment from me for not having seen Alien, but if you'd seen Prometheus but not Alien, then we might have a problem

*15 minutes later*

Him: Wow ok that ship does kinda look like the stuff in the Prometheus trailer though

Me: I mean yeah that makes sense

Him: Wait Prometheus is part of the Alien series?

Me: WHAT IS EVEN HAPPENING RIGHT NOW

[hiwelcometothemonstersancturary]

So anyways I remember Hamilton the American Musical existed

-the song You’ll be Back

Fits perfectly for Space Riders Angel and Proto

Like it is too perfect for those two

Oh my God, I just remembered my Hamilton phase way back in 2017- AHEM. That song? Is exactly them, down to the toxicity I imagine they have.

Worldwide!Angel in the Space Riders AU fleed the cult after a long time of not wanting to be there anymore. The final straw was an Hour of Joy where Angel had to take care of the planet's citizens from being hurt by the cultists, and after months of planning an escape, they did it to never come back. To me the Prototype in the Space Riders AU took this as both an offense and a direct hit to the heart (if he has one lmao), but he was always a bit possessive and controlling of our Angel. He's the kind of partner who would demand to know where you have been if he thinks something is strange, except you just did the same stuff you always do.

I stand for toxic yaoyuri and I WILL say that Space Riders Prototype thought of Angel as both his property and his tool. They were his right-hand, his greatest weapon against his enemies, his wonderful achievement. This Angel willingly let the Prototype experiment on them, which is part of the reason why they are SO good at combat in this AU, and also why they sometimes spawn a set of woobly arms on their back. Kind of like a trophy wife, depending on how you see it! Angel fleeing and using everything Proto achieve against him... Yeah, that HURT.

AND. I'LL ADD MORE TO THIS: Even after 10 years, the Prototype still thinks he can win Angel back to his side via gifts, favors or promises that he'll toooootally be better this time around, just come back to him, he'll be good, he's not going to torture people for sport anymore, he promises! Which just screams how little Proto actually knows Angel but the idealized perfect weapon he made them be for him.

I say all of this, but Prototype genuinely cared for Angel. In his own twisted and awful way, but he did care, and deep down he still does. But he refuses to change, and will never do so. Meanwhile, Angel got through the worst of the worst mental-health wise the decade post fleeing, and nowadays has a pretty decent support system that will back them up whenever things get dire!

[5-turtleducks-in-a-trenchcoat]

Some portraits of Victor, Henry and Elizabeth I did a while back.

My touchscreen didn’t work at that time so I had to do them with my mouse. Needless to say it was painful.

[wephrenes]

So uhm

Le creechur

[samarecharm]

For someone who has such a soft spot for monkey anthros and monkey-adjacent creatures (chimchar my beloved), i am shocked that it never crossed my mind to sketch up Seiten Taisei, the coolest little monkey in the world…

[roboyomo]

ough. Another thing to add onto the whole Thing with kenix and his severe identity crisis

What if he felt like an intruder while in Ken's body for the first time, in an another timeline? Not only is he not recognized as someone else other than Ken, but he is not even supposed to be here. Sure, the plan states that he has to be in this timeline to carry on what Ephai has been doing - but other than that, why is he here? He is a stranger in a familiar body, an unknown danger to the Ken's colleagues. Whatever opinion he had on this matter must've been just discarded and all the feelings of pain had to be suppressed, right? He isn't here to connect with others, he is here to only finish what already has been started. Yet something about That. Something about it has always felt like a cage. A cage he has locked himself in willingly. A room with no way out for himself now that he has walked into it.

The feeling that he never belonged in here from the start, brushing it off like it is nothing because he has been given what he wanted in this offer for what he desired. And you always have to give away something in such trades, don't you? Others looking at him with disdain, no longer being able to go back - Oh don't you worry about that anymore! Those are not the people that you need anymore, and you surely will not be able to go back either way. No way to go back now, you are far too deep into this. So might as well just finish this mess.

but You Are An Intruder You Are a Burglar You Have Stole Someone’s Life And You’re Living It. You are not known by Anyone. You are a stranger.

[cellarspider]

4/30 Meeting the Prometheus crew. Hmm.

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We return to the movie that I want to fold, spindle, and mutilate, Prometheus.

Time to actually meet the human crew.

Hooboy. I am feeling David’s dead-eyed look here. Content warning for jumpscare Charlize Theron, brief mention of vomit, depiction of smoking, and whatever the hell is going on with these people.

First off, there is Vickers (Charlize Theron). Her reveal implies that she has escaped containment, and is probably scuttling around in the vents somewhere. No, in fact, she is doing pushups. She asks David if anyone’s died with all the concern of an inconvenienced accountant,  because she is a Cold Corpo Queen who is going to be an asshole to everyone throughout the movie.

This includes David, who, again, may be meeting his makers for the first time here.

On the other hand, this has more dignity to it than the rest of the crew. They’re currently stumbling around and horfing up their two-year-old lunches, a grand tradition in the Alien franchise.

Charming.

Indeed, this is basically a recitation of a scene from Alien and Aliens: Everyone wakes up and feels like crap, except for a machine-like character and, in Aliens, a Black military dude, Sergeant Apone (Al Matthews), who wakes up and immediately chomps down on a cigar.

On an unrelated note, meet Captain Janek (Idris Elba). He’s smoking a cigarillo and setting up a Christmas tree on the ship’s pool table, while a nameless white guy appears to have ragdolled in the corner. Vickers disapproves.

We meet the last two crew members who are going to have enough of a presence in the plot to get names: Millburn (Rafe Spall) and Fifield (Sean Harris). Millburn is an awkward glasses-wearing dork of a biologist. So far, so realistic.

Fifield appears to be attempting to channel Sheamus the wrestler during a heel-y season. He isn’t here to make friends, he’s here to get paid. He’s here to win.

He’s a fucking geologist.

Sure, there’s a lot of geologists who work for extractive industries that probably are just there for the paycheck, but I don’t know how one of them ends up being selected for a mission of POTENTIAL FIRST CONTACT WITH AN ALIEN CULTURE.

This was absolutely baffling in the theater. What in the hell was this scene? This character? It felt so out of place. Little did I know that this was, in fact, setting expectations for the rest of the movie.

The human characters are not treated in the same way David is. We are not often invited to consider them as beings with inner lives, they are stock characters that you may or may not have previous affection for. And because we functionally meet David first, their presence is jarring.

Because these aren’t just stock characters from just any genre, they’re stock characters from a horror movie. Several different kinds of horror movie, with one bonus character trait if they're lucky. Elizabeth Shaw is the final girl (plus religious background), Charlie Holloway is the jock boyfriend (plus allegedly scientist), Millburn is the nervous, glasses-wearing nerd. Fifield the geologist is, bafflingly, the mercenary who’s Just There For The Money (plus rocks), Vickers is the heartless corpo, and Idris Elba is the calm and unflustered military guy. The rest of the characters, regardless of their role, are therefore consigned to being nameless dead meat.

This didn’t have to be the case. A different vibe could’ve been chosen. The marketing tied this movie to Alien. You’re introduced to everyone in that movie through the lens of their average, unremarkable jobs (in spaaaaace!), and you understand how the situation they find themselves in is completely, terrifyingly overwhelming. 

These are scientists and highly skilled professionals (in spaaaaace!). We have successful horror films out there, where scientists are placed beyond their limits. This used to be a whole thing in the 50s, where Serious Men of Science were sometimes the first and last line of defense against extremely rubbery aliens. Was it mostly goofy? Absolutely. But not always!

(First, the goofy: Night of the Blood Beast (1958), best known in latter days as MST3K’s Season 7 premiere (1995). The trailer features the amazing voiceover “The first satellite creature to impregnate man with its chromosomes!”, as heavy breathing plays in the background. “It’s true,” says a square-jawed white guy, “I can feel it inside!”.)

(Second, the straight: The Thing from Another World, precursor to John Carpenter’s The Thing. While just a standard monster movie, it features one of the first and honestly ridiculous full-body fire stunts on film. They repeatedly doused stuntmen in buckets of flaming kerosine.)

These have slowly died off in Hollywood, but there’s still some that pop up every so often: Contagion (2011) being the one that first comes to mind. Sunshine (2007) and Annihilation (2018) are another two that take a similar, slow tactic, all three of them containing horror elements in their premise and execution.

(major content warning on this first one for pandemic themes. Like, all of them.)

(cw for brief body horror, old self harm scars)

This was what I’d expected from the premise of the first five minutes: a well-prepared team, traveling to confront something with existential implications for humanity, taking the job seriously. The movie disabused me of that quickly, but it didn’t provide me anything as compelling in return.

If I had to guess what other movie Prometheus was trying to be like, The Thing (1982) is a strong candidate. It features a cast of dysfunctional people who are similarly broad in their characterization, and pits them against a source of alien body horror with existential implications for all of humanity. Unfortunately for Prometheus, it can’t live up to The Thing either. However, what it did manage to do was drive me COMPLETELY insane, starting in the next segment.

⛬

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[bnuuywol]

‧͙⁺˚*･༓☾ FALLEN STAR ☽༓･*˚⁺

[memecatwings]

what does it say about joss whedons writing that i enjoyed the Alien movie with no xenomorphs over his Alien movie

[droppingartintotheinfinite]

was brainstorming some more modern outfits for meth