#With equal drama just slightly different narrative maybe

[jamietwat]

Jamie’s out here in chapter 31 like you know people wouldn’t have such a hard time believing that we get along now and all of this drama wouldn’t be happening if you would have just gotten a matching tattoo when I told you to back in Amsterdam 😔

[hologramcowboy]

This is going to be a long one, I apologize. Some parts may seem a bit vague, I was trying to make this as short as possible. I can offer another perspective for the anon curious about Jensen’s image in the eyes of fans. I used to like J2 almost equally, though favored Jensen slightly more. There were some red flags about him of course, but back then I dismissed them. It was wishful thinking on my part, I had wanted to believe the image Jensen has created for himself as a kind, laidback man. I knew he had bad qualities of course, he’s only human and we all do. The way I see it, is as long as bad qualities don’t harm others or outweigh the good qualities, it’s none of my concern. Especially if the person is famous/a public figure I will never interact with.

The change in Jensen’s image began a bit before June 2021. For the first few months post-Supernatural, things were going really well for the Jensen side of the fandom. He was booked for The Boys, relatively active on social media (for him) and it seemed like his career was on a really good path. Then, Jensen (both of the Ackles actually) went very silent. Jensen was working and not a very active on social media anyway, so his absence made sense. Danneel’s absence was a bit odder than Jensen’s. She was known for using Jensen, the kids for attention, and the occasional slacktivism for attention. Why does this matter? In their absence, the AAs created their own mythology regarding Jensen (as they do) and that spread to more rational Jensen fans and the rest of the SPN fandom. The AAs built Jensen up as a star that could do no wrong. And because the Ackles weren’t posting insights into Jensen’s life on social media, not only was there no other content for to keep fans entertained, there was no information to dispute the AAs’ claims. So when prequelgate happened, it was not only a major scar on the Supernatural brand, the mythology of Jensen began to unravel. Because he had been built up in the eyes of so many fans, he had harder to fall. He didn’t just betray a costar in his attempt to takeover the Supernatural legacy, but a man who he had portrayed as his brother on and off screen. That was a red flag that could not be ignored, and an event he still hasn’t recovered from. Why? Because Jensen has not only not done damage control, but he keeps on digging himself into a deeper hole. There was no public apology, no taking accountability for his actions. There are 3 or 4 stories about how prequelgate went down, all of them different and none of them his fault in his eyes. The Ackles continue to remain almost radio silent on social media, so there’s no narrative moving fans past the prequel drama and the version of Jensen present by the debacle.

Even after the prequel announcement and the fallout that followed it, I still was an equal J2 fan. A bit wary of Jensen, but willing to move forward. However, those red flags that I ignored were niggling at my brain. I began to think that maybe I was just as bad as the AAs, that I had created a version of Jensen in my head that did not exist. And then the Michael Rosenbaum podcast came out. The man that sat down for that interview came off as just another self-centered, arrogant actor. Not the man that I had been a fan of for years, or maybe he was that way the whole time and I was too blind to see it. The pieces of the puzzle are beginning to come together, and it’s not a pretty picture. I take comfort in the fact that a lot of Jensen fans are struggling right now, and I value the honest, impartial discussions that we’re having on this blog and the other few rare blogs who don’t require absolute devotion to Jensen. Anon if you end up reading this, I hope you can find appreciation for this part of the community that is dedicated to thinking critically rather than putting on blinders.

I am so proud of the replies that have come in so far. Beautiful and to the point. This was pure joy to read and summed up things with so much clarity and honesty. Thank you, Anon!

[ziracona]

Oh BTW what are some things, if any from history/mythology that you wish FGO included?

I would like more diversity in general, but also they make a lot of religious figures and gods heroic spirits for other religions, but the closest they’ve done for Buddhism was Sanzang and I want equality there. Too late for Normal Armor for All means it’s time for Skimpy Armor for All equality is equality. We haven’t had much Norse either despite a whole Lostbelt, but we have had so many gods and suped up spirits tbh I am unsure if I want that, like, the most compelling recent addition was Antonio Salieri. Maybe it’s time to focus on the way personal belief in a spirit affects them instead of 8 divine spirit combo characters. I’d like to see a lot more about characters with Innocent Monster too, and ones who are fictional have had very little story outside of Kojiro’s aside in UBW about how much that fucks you up, and I’d love to hear more. I’d like to see a lot of relationships develop too. I’d like to see Nightingale and Dantes more, see Emiya, Ishtar, and Cú on a team, see Alter Emiya stuck with Ishtar somewhere, see more of Outlaw Squad, see Karna and Arjuna given an arc that’s not the same one as always, see Medea taken seriously like in UBW instead of a joke, see David given ANY screen time to deal with Romani like wtf why didn’t he get major billing in arc one??? See David and Sheba interact, see more of Antonio and Amadeus, Fran and Moriarty. Love to hear more about Hessian Lobo like he was easily one of the coolest characters??? Literally never getting over how this random beheaded hessian soldier’s ghost was tied in death by an outside force to the legend of a wolf who hated humans for killing his mate, and they were trapped together as a phantom spirit and had no reason to be anything but bitter and angry, but when you’re beating the wolf to a pulp the headless corpse of a man scrambles off it and tries without a face or a voice to beg you to leave it alone and not finish it off. How an adopted stray left it’s owner to find him and curl up with him while he bled out. Like holy shit. Uhhhh, I like the kind of emotional ones too: Voyager, Van Gogh. The concept alone there is sweet. I’d like to see them do a non-human well again like. I love Danzo and I love robots but they literally can’t write inhuman characters without making them robots wtf is going on. Stop making Greek gods robots. They’re gods. You used to be able to write Fran and Nursery and shit what the hell happened to the character creation team. Or like. Actually give us a literal robot if you want to do robot humanity narrative so bad but I’m begging you to stop making all the Valkyries and Artemis just AIs like literally begging. Gods are inhuman but you write them different and it’s so fun and not actually hard like just do the assigned work jfc. Please.

If you mean more like what specific characters would I like to see, that’s harder. Personally I’d love a Lucifer if well done because I love a good Sympathy for the Devil character (P5 just gave and gave and gave to me). I’d like more animal spirits like give me Balto, or Laila. If they do more gods like they’ve been I would very much like Bast because she’s always been a favorite. Uhhh I’m a sucker for the personal connections so I would love it if they quit doing alters of existing people and gave us their family members or friends instead I mean the DRAMA. Mmmm tasty. There’s almost no Americans and that’s fine but like it’s Geronimo, Billy the Kid, Tesla, and every American president through Obama in a body with Edison and the 20th Century Fox lion so if they wanted to make it just slightly more normal they could add like Nathan Hale or Deborah Samson or something. Uhhh, from a gameplay perspective, we’ve got interesting and talented supports, but Iri is the only white mage and I’d like to see them play with more range on defense. So I would personally like Lister or some other doctor with highly specialized defensive skills and to play with the defense only mechanics more in the back line. Like team evades are great but I’d love to see someone with a skill to revive a party member but like with a massive cooldown or stun penalty to balance that. Idk I’d just like to see more complexity. Maybe it’s luck based called like ‘Defibrillator’ and it doesn’t always work, like guts but can be used after they’re downed and at any point. I do quite enjoy the specialized skills like how Katsu does little for support unless you’ve got a lineup of Nobunaga and he suddenly becomes the bullet chain in their galtling. An ability to swap formation, or switch the cooldown from one character with another (‘blood transfusion’) could be cool for a doctor. White Mage with 30,000hp, +5 to attack, who can revive downed party member and allocate NP or cooldown among them, or swap formation. Skill where damage he takes is taken by the frontline member with the most HP instead. Or NP that analyzes the enemy skill set and warns before stuns or rapid ult charge. Or can cast small passive buffs like debuff cleanses the way story characters do, but even when in the back line. Lol Romani Archaman build. Uhhh I’m off topic, characters let me think. I personally loved Amelia Earhart as a kid so I guess part of me keeps hoping she’d be added too. I kinda enjoy when unnamed, or less important or well known people get caught up by a twist of fate like the hessian though. I like weak normal people doing their best in an impossible situation.

[fanfiction-funtime]

IM SORRY IVE BEEN SLACKING ON HYPING YOU UP

Anyway I’m reading through the Things ™ and wow

Can I request something? There’s an idea I’ve been pondering for a bit. You know already who I’ll ask for, I’m guessing.

What if the reader fell for Xiao in Genshin, in a state where they constantly daydream about him. Rather than working on scenarios and scenes, it happens in real time.

Meanwhile, in another universe, Xiao in a modern setting has fallen for a Genshin character- the reader. He daydreams about them in the same manner.

To the reader, their Xiao is a guardian yaksha, Golden adeptus, and doombane itself.

To Xiao, his (y/n) is something just as exalted. I tend to use a seelie, since they’re an immortal race of ancient and now weak gods.

What they both don’t know is that they’re actually meeting in those daydreams. It’s not just imagination and the longing for company, but an actual relationship with another person.

Bonus points if it’s some sort of soulmate au and they physically can’t find each other and eventually realize it.

I’ve never told anyone about this before, and I’m excited to see what you do with it! I might work with it one day, just not yet.

(Hoo boy, this will be tough, but I'm sure I can do it! Xiao might be a bit ooc as I'm getting his personality from wiki and fanon, as well as modern au [hopefully] gives him less trauma and a slightly different personality.)

(Also, I can't do sad endings. So a bit of deus ex OC at the 3rd part)

---------------------------

Your game

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Your pov: the dream eater of your dreams

---------------------------

You are (y/n)(l/n), and you are in the saddest love story this side of the lake.

Ever since you saw him in that first quest you were in love!

You were just a teen though, so it wasn't real right? After all, your red string wasn't connected to the screen.

Well, your string isn't connected to anything...

Y-your just a late bloomer though right?

(Ten years later)

Your now in your twenties and you still love Xiao!

He permeates your thoughts like how lovers do, you feel an inexplicable hurt in your chest similar to what many describe feeling when they see their soulmate prior to their string appearing, not to mention whenever you aren't busy you feel like you're...slipping...in...in and...

[Daydream]

It was happening again.

It was like a daydream but more...real.

Like a lucid dream.

You saw your string, just like so many other times, and you followed it.

You ran and ran, turquoise clouds parting and making paths for you to find him.

Him..

You ran and ran, glad that atleast in some way your delusions can give you some semblance of true love.

You saw the..wait..that's not the inn.

Well it is the inn, but more modern. And there was a school next to it, and a small village not far away.

Another of thing was that you were in some kind of yellow armor, it reminded you of those baby geovisnaps from genshin impact(that are absolutely BULL-)

You went into the elevator, which seemed more ancient than usual.

And when you reached the balcony, you saw him. But he was different.

Instead of the Yaksha you usually saw, you were greeted by an equally shocked man in a martial arts gi. But it was him.

But different.

You reached out, and he did the same.

And you touched

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Xiao's pov: the midsummer knight of his dreams

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(Clarifying: in this version Liyue is based on European mythology and aesthetic while Mondstadt is based on Chinese. So you are a fae hunting knight rather than a demon hunting yaksha)

Xiao had always been reserved, but what happened to him as a kid drew him further into his shell.

Abusive parents, accidentally giving his sister trauma induced amnesia, he felt the weight of his actions like atlas feels the world on his shoulders.

Luckily, two people took him and his sister QiQi in: QiQi's doctor Baizhu, and Xiao's therapist(and Baizhu's husband) Morax.

It was difficult to come out, even after Xiao stopped feeling so at fault. So he mostly stayed in his room and played video games.

That is until he met you.

Well met is the wrong word here.

He saw your character in his world's version of genshin impact: tribunal eruption

The way you used your weapon, the way your armor shined in the night as you rode to his wanderer. The smile you gave as he handed you (favourite food).

But most of all, the way you used fighting styles from so many martial arts and hand to hand combat techniques.

From irish kickboxing to karate, from assassination arts in ancient history of japan to systema.

It awoken two things in him: first was his want to learn martial arts and make his own.

The second was his love for you.

But don't worry, your physical attributes only drew him in. Your personality made him stay.

Years went on, he became a martial arts instructor for his own style, and moved into an apartment near a small village.

He started teaching at a school nearby, he even gets a discount on rent for giving free lessons to the owner's sons, Ivan and Viktor.

He's also convinced those two have a crush on him but it's pointless.

After all, he was a dream eater, a common group of people who have a strange ability to find their soulmate.

Specifically, the ability to have "lucid daydreams" where they meet their soulmate.

But he must be defective. After all his soulmate kept appearing as...well you. As a knight that would meet him on the balcony every night.

He assumed maybe it was your voice actor or designer, but neither of them have had the lucid daydreams.

He began thinking he'd never find his soulmate

Until one daydream...

He was on the balcony again, like a prince awaiting his knight to rescue him.

But it was different.

The apartment complex he lived in now looked much smaller, as did the tree it was built around, and the building looked far more ancient in design yet so much younger in age.

And the village and school nearby aren't there anymore.

Oddest change of all is that his gi he was wearing just a second ago is now similar to the outfit warn by the mondstadt demon slayer Corps

And when you arrived at the balcony, he noticed a red string, one that connected your heart to his. But you weren't wearing your armor, you were wearing casual, modern clothes.

He knew it was stupid, after all you can't touch your soulmate in the daydreams. But he felt compelled to....to reach out and..

You touched him.

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nothing never comes between you, and nobody helps you get together

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(3rd person pov)

He really did find it annoying, how often mortals would find themselves in the wrong dimension, especially when it's because the writer wants drama. And now he's written in to solve the problem.

Ah well, it's his job.

(2nd person pov)

You didn't know how to feel. You were touching Xiao...and you weren't waking up. Was this...real?

"You... you're real...different but....still the person I love...." Xiao seemed to be equally in a trance at the prospect

"yeah...so are you..."

The armor you wore melted away, and you cant see it but Xiao's fictional clothes melted from him as well. You were both equally real, in your own reality.

But you knew it couldn't last.

"When the daydream ends, I wont be able to see you anymore," Xiao said with a sea of tears in his eyes, "We've actually met now...and now...now the dreams will end."

You lean into him, "then let's make this dream the best one we've ever had."

Your about to kiss when-

"Terribly sorry about this!" A childlike voice called, "you know, interrupting your moment and all that. See for the sake of narrative, you both were put in separate universes. And it's my job to give you a happy ending."

When you both looked, you saw a child made of bone climbing into reality from some kind of hole.

"Now just wait a moment aaannnd-"

The turquoise clouds cleared, and the world rippled into a conjoined reality between genshin impact and tribunal eruption.

"Welcome to your dream world, enjoy eternal love!" The child said as he crawled back into the hole and it closed.

When he was gone, you both observed the world around you: a beautiful mix of aesthetics surrounded you, and both your armor and his adeptus clothing were on you both.

You gazed into eachother's eyes.

He placed one hand on your cheek while another held your hand, "I'm not good with speaking..speaking my emotions..but I....maybe my actions can do that for me..."

You felt your red string radiate with the warmth of love, likewise Xiao felt his daydreams dissipate like a haze leaving his mind.

You grab his hand and place your free hand on his cheek, mirroring his love, as you always have.

"Xiao...your very existence tells me all I need to hear.."

You both leaned in, and kissed.

Two lovers, in a dream made reality,

A paradise for all eternity.

---------------------------

I feel it kinda fell apart with the deus ex, but I think I scraped it back together in the end!

I hope it's good enough for what you envisioned buddy, I tried my best!

(Also I think you deserve something just as good as what happens to the reader insert in this fic, story)

(Tagging: @golden-wingseos (this is the writing blog for someone you told to tag you), and @storytravelled (just to keep the idea of tagging in mind))

[ink-fireplace-coffee]

Short Story: Kiss me, for I am dying.

A/N: this story was crafted yesterday at midnight so I can't assure the quality of it at all. It is inspired in a theatre/legend we have here in Spain called Los Amantes de Teruel, or The Teruel Lovers in english. It's like the Spanish less known version of Romeo and Juliet.

Word count: 1901.

TW: mentions of death.

I don't have a general taglist or anything on the sort, but @nathandoesntknow asked me to tag them, so here you go! enjoy my midnight weird af inspiration I guess.

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Five months ago, Jaime would've just left if he saw that on the rooftop of the campus was already someone.

Five months ago, if he had seen that stranger sitting there- feet dangling in the air and looking at the sunset- was Isa, he would’ve turned on his heels and left before she could even so much but noticed him.

Or maybe he would’ve “asked” (more like demanded) her to go somewhere else.

Jaime and Isa hated each other. Pure and simple.

Ever since the first day of university, when Isa had given him a “you are annoying” look after Jaime had accidentally hitted her backpack, launching all her stuff through the hall.

No matter how many times he had tried to convince her that it hadn’t been on purpose, she had said that it was his fault over and over again.

If that wasn’t enough, they had not only been forced to sit next to each other for their whole third year (since it was extremely rude to tame someone else’s seat after the first week of classes) but they also were constantly competing on the top of the class.

If Isa had a 95% on the midterm, Jaime had a 98%.

If Jaime had scored a 9,9 out of ten in that essay, Isa had gotten the full mark.

Everyone saw it as a nice academic competition, the kind that made you better every day and it was healthy. Sometimes it could also be mistaken for a nice banter, or even a bit of university drama.

Isa and Jaime saw it as a live or die battle where only one of them could succeed.

Spanish had been the only subject Jaime had ever been really good at, for as long as he could remember. His zeroes in maths had always mattered less next to his tens in Spanish.

When he had told his father that his dream was to become a spanish teacher, the old man had simply nodded and said “I was not expecting less”. And so, one entrance exam to Salamanca’s university later, Jaime knew he was starting to walk the path of his future.

But while his passions were words formation, syntax and how the language had developed into today’s form; Isa had decided to study the career for a whole different reason.

It was clear that she felt completely herself when discussing novels and authors. Her essays on every single topic were excellent quality (even Jaime had to admit it) and they always provided a new, fresh way of thinking.

And maybe that's why some months ago, whatever they had agreed on had taken place.

Now, when the morning classes had already finished, Isa was already on the rooftop, a book in hand and a notebook resting on her legs.

“You are late. Again.” She remarked when she saw Jaime’s blond hair.

“Some of us have life, Isabel.” he answered in the same cold tone and took a seat in front of her.

“Being the teacher’s pet is not having a life.” They both held each other's gazes for a while, until instead of intimidating, they were staring.

The wind whooshed, making the students snap back.

Jaime cleared his throat and Isa focused on her book .“What are we revising today?” asked him.

She tapped the pages of her notebook with a pen. “Los Amantes de Teruel. Spanish version of Romeo and Juliet, I believe. Since you haven't finished it, even though it was due yesterday.” Isa added, a sassy remark included in her voice.

Jaime rolled his eyes.

Lovers of Teruel.

It is true that he had been stuck for three months in a 170 pages novel. But there were far more interesting things to do than read how two fools felt in love only to die at the end.

“I would've finished it if I hand’t been busy correcting someone’s homework.'' He remarked, as he searched for his own copy of the book inside his backpack.

Isa just scoffed, and gave him another “you are annoying” look. Jaime had to make an effort not to smile.

“You know? I wonder if those death stares are unically for me, like a personalized stare.”

“Oh, right, because you are so important in my life that I decided to give you an specific look whenever you say or do something stupid.”

“I mean… You asked me for help that day, so I guess I must be somewhat important, dear Isa.”

“I asked you for help?” she repeated, astonished “You were roaming this rooftop for weeks until I got fed up with how creepy it looked and told you to help me with that assignment, which, for the record, was perfect.”

That was true. Her assignment had been flawless, but Jaime would rather die than to admit that out loud.

“Are you planning on finishing this book with me or do you want to keep talking?” He grinned then “I’m sure there are a ton of other things you could use your mouth for, but I’d like to be prepared for my exam next week.”

Her slight blush felt like a personal win. Until she stroke back, of course.

“One: that is extremely gross, and I don’t want to know about the weird fantasies you have with my mouth. And two: it’s your turn ‘Diego’, so read.”

Since there was no point in reading plays in silence and to themselves, at the beginning of the book (three months ago), Jaime and Isa had divided the roles, taking the two main characters with them: he as Diego and her as Isabel.

“You were practically born for this role” had joked Jaime and Isa wondered how far from the ground they were… and how hard she would have to shove him.

They read some scenes out loud, stopping to make some points on the narrative, paraphrase or make a summary of what they got so far. If it was true that individually they worked really well, as a team it was almost magical.

“Kiss me, for I am dying” said Jaime/Diego for the second time. Isabel had just rejected his lover, since she had already married and didn’t wish to deceive her now husband.

“And then Diego dies because he can’t bear the pain that causes him not being able to love Isabel.” the girl closed her book, and got up, stretching “It’s late, we should go before the campus closes.”

Jaime nodded and tagged alone, but stayed quiet the whole time until they were about to leave the university.

Then, just before partying ways, the question escaped his lips “Would you kiss me if my life depended on it.?”

Both of them looked equally surprised. When he didn’t add anything else, Isa understood he was waiting for an answer.

Well, what do you answer when someone asks that without a warning?

If there’s one thing Isa had clear was that Jaime and her weren’t friends. They weren’t even study buddies! They were just two students of the same class who happened to help each other out every now and then…

And for what?

“Let’s be glad that it doesn't.” she finally said, and turned away, wanting to run as quickly as her legs could carry her.

Would you kiss me if my life depended on it?. Two college students were replaying the same question over and over in their heads. Tossing and turning, unable to sleep.

Isa didn’t have the guts to go back to the rooftop in the next few weeks. Since Jaime had handed in his essay on the novel, she had assumed he had finished it on his own.

That was good, right?

Now, both of them averted their eyes, and tried really hard not to cross paths.

What had been Jaime thinking when he asked that?! Oh right, he had been not thinking at all!

Still, not knowing the answer to the damn question was getting on his nerves. Not that he desperately wanted Isa to kiss him, that could never happen but…

Hypothetically he wanted to know.

Two weeks before finals, they both bumped into each other at the rooftop. Seeing Jaime’s figure -his back to her and his face to the orange sun-, made Isa stop on her tracks.

The door slammed closed and the guy turned around.

Awkwardness was all over the place.

“The library is super crowded and-” started to explain her. He nodded.

“I know, that’s why I’m here.”

A few minutes of silence and then:

“You finished the play.” commented Isa.

“Yeah, I did” Jaime rubbed his neck, nervous “Thanks for sharing your notes, by the way. They were really helpful.”

“Oh, um, no problem.”

“And, about that question…”

“It 's okay! You don’t have to explain anything.”

“No, really, I don’t know how it happened.”

“It’s fine, there’s no need to apologize, really.”

More silence in between them.

“I can go if you want me to.” offered then Jaime. She lifted up her gaze at him.

“The rooftop is big enough for the two of us, and I know you don't like studying at the library.”

Isa had been thinking about how much she noticed about Jaime without actually wanting to: his likes and dislikes, how he frowned slightly when there was a concept he was not following, his happy smiles whenever there was something he was pleased about…

He was grinning like that now.

“Earth calling Isa, are you there?” She blinked a few times.

“Yeah, totally. Here. Present.”

Jaime decided it was now or never.

He lifted up his hand, the one holding the book and showed it to her. "We never finished reading."

"You handed in your essay already. Why would we finish reading it?"

Clearly none of this was working. The guy slided his backpack on his shoulder. "I should go, Alejandro needs me for this book analysis-" he rambled.

"Go" Isa nodded and then smiled. "Teacher 's pet."

He just laughed awkwardly and headed out.

Isa had hated every single second of that conversation. Even if it's true they never had a friendly relationship, they had somewhat grown closer along the few months they had tutored each other.

What did Jaime really mean to her? He was insufferable sometimes, that's true. Arrogant in class and a stupid know-it-all…

But he was also brilliant. And he was kinder than he wanted to show: he had given her his jacket to go home when it was raining once; and even shared his notes with her when she had been sick.

The girl ran downstairs.

Jaime was about to go inside the teacher's office when she finally got to him. In a final effort after her sprint, she tried grabbing his arm.

The guy turned around, really surprised.

"Isa, what-"

"Ask me again." she demanded.

"What?"

"Ask. Me. Again" Isa pleaded out of breath. Her courage would flee anytime soon and then-

"Bésame, que me muero." he whispered.

Kiss me, for I'm dying.

Their lips touched.

"Do you like this ending better?" she asked after the kiss, a sly smile already forming.

He tipped his head back and laughed "Much better."

In Spain whenever someone mentions Lovers of Teruel, we have a saying that sort of finishes the sentence: stupid her and stupid him. Since they both die foolishly.

Luckily, we can assure that the sentence does not apply to Jaime nor Isa.

[bookiemonsterph]

Serpent & Dove

Synopsis:

Bound as one, to love, honor, or burn. Book one of a stunning fantasy duology, this tale of witchcraft and forbidden love is perfect for fans of Kendare Blake and Sara Holland.

Two years ago, Louise le Blanc fled her coven and took shelter in the city of Cesarine, forsaking all magic and living off whatever she could steal. There, witches like Lou are hunted. They are feared. And they are burned.

As a huntsman of the Church, Reid Diggory has lived his life by one principle: Thou shalt not suffer a witch to live. But when Lou pulls a wicked stunt, the two are forced into an impossible situation—marriage.

Lou, unable to ignore her growing feelings, yet powerless to change what she is, must make a choice. And love makes fools of us all.

Set in a world of powerful women, dark magic, and off-the-charts romance, book one of this stunning fantasy duology will leave readers burning for more.

Title: Serpent & Dove Series: Serpent & Dove Author: Shelby Mahurin ISBN: 0062878034 (ISBN13: 9780062878038) Pages:  560  pages (Paperback) Published: August 4th 2020 by HarperTeen (first published September 3rd 2019) Characters: Reid Florin Diggory, Louise Margaux Larue Genre: Fantasy, Young Adult, Romance, Magic, Paranormal

I feel like I can’t even begin to describe just how pleasantly surprised I was by this novel. I am not a big fan of romance-heavy stories and one of my least favorite tropes of all time is hate-to-love relationships—so basically the two things the entire plot hinges on. Needless to say, I went into this very hesitantly. Very intrigued to learn how Lou and Reid end up in the position they do and to experience this story everyone has been raving about, but also keeping my expectations as low as I could. I did not for a second expect to come out of it knowing it will, without a doubt, be on my list of favorite books of the year. This is one of those books that I believe truly lives up to all the hype surrounding it.

Serpent & Dove is a dual perspective narrative following Lou le Blanc, a witch, and Reid Diggory, a Chasseur, or witch-hunter. Lou has escaped from her coven and has taken refuge in the city of Cesarine. She lives in hiding. giving up magic and surviving as a thief.  In Cesarine, witches are seen as a danger to all of society—they are hunted and burned, and no woman is above suspicion.

Reid is sworn to the church and charged with the hunting and capture of witches, sworn into a role that demands he will not let a single witch live. In a surprising turn of events, Lou’s and Reid’s paths cross in a way neither of them could have ever expected. A way that leads to their marriage, that forms a seemingly impossible love, and that brings Lou under the roof of the people who could be her source of protection—or her death.

The writing in this book is absolutely superb and cements Shelby Mahurin on my list of favorite authors. Her writing is gorgeous and so easy to fall into. It is incredibly clear how meticulously she formed every aspect of this novel. Both the plot and the setting are incredibly intriguing and captivating. I loved the French influences in all aspects of the story—it makes for a very vivid and enticing atmosphere and Cesarine is the perfect backdrop for everything that takes place. She also does a wonderful job with the dual perspective narrative and creates two very individual voices for our two main characters.

Even though the romance is the main focus of the story, the fantasy aspect is very strong as well and is of almost equal importance. The fantastical elements, though more of a side plot for now, don’t really take a backseat in terms of detail or how significant they are to the overall story. Mahurin crafts an interesting and intricate magic system as strongly as she crafts the romance. It’s something I’m particularly looking forward to seeing in more detail in the next book.

The only minor issue I had plot-wise was the event that sends Lou and Reid down the path toward their marriage. Though my opinion shifted by the end of the novel, as I was able to see every event throughout in a different light, the scene still felt a little bit clumsy and heavy-handed and also completely random, maybe a little too much so. It wasn’t at all what I would have expected and was a bit of a letdown for me, so I sort of wish it had been done differently. But overall, this barely affected my enjoyment of the story as a whole.

This novel holds one of the most brilliant and beautiful casts of characters I’ve ever come across. Lou is everything. She is one of my new favorite characters of all time—I fell completely and utterly in love with her right from the very start of the novel. She is so strong despite the pain she has been through and the terror and uncertainty of her life now. Lou is sassy and sarcastic and absolutely hilarious. She’s tough and guarded much of the time, but underneath, she is so intensely loving, caring, and loyal—just an absolutely beautiful person. I connected with her so easily, and it was an absolute joy reading from her perspective and following her journey.

It took me a while to warm up to Reid, but I definitely had by the end of the novel. He’s quite set in his ways and his prejudices against women, always acting in a very traditional way toward Lou. They are living in a time when women are little more than the property of their husbands and this is something that is clearly ingrained in Reid. He is protective of her and chivalrous to a fault, but it takes a while from him to sound anywhere near loving, even after it’s clear he has feelings for her. At first, I struggled a bit reading his chapters because his attitude and initial inability to be open-minded frustrated me so much. However, there is one major reason I noticed that I think prevented me from connecting with him sooner.

Yes, he is very close-minded in many of his beliefs and his actions, but I felt that there were a few times where things sort of got lost in translation in a sense. There would be scenes from his point of view where his actions and words felt a bit confusing to me and I took them as negative. But later on, something would cause me to realize what exactly he meant by what he said or did and that it wasn’t in fact negative. I don’t think I explained that particularly well, but basically, I think there were times where his point of view could have been written more clearly. In the end, though, I did end up really liking him and it does become very obvious how much he truly cares and would do anything for Lou.

I ended up absolutely adoring the relationship between Lou and Reid. It unfolds and transforms in such a natural way. As I said before, hate-to-love is one of my least favorite tropes, but it is done so well here that I didn’t really mind it. It’s still not something I enjoy reading about and that obviously does impact my rating of the novel slightly. However, few people can get me to like a novel that features this type of relationship, and Mahurin definitely nailed it. My problem with the trope tends to stem from the tension being completely nonsensical and feeling like it’s just thrown in to create drama, and you will not find that in this book.

The tensions between Lou and Reid feel so realistic and necessary—they have every reason to be wary of each other. Understandably, that they sometimes overlook what they truly know about the other as a person in favor of ideas and prejudices that were hammered into them from a young age. They are both strong characters that are unapologetically themselves and, while it causes them to butt heads at first, it turns into a mutual respect for each other and, of course, love as well. The issues that create conflict, in the beginning, are what come to be the things that pull them together rather than drive them apart. And the sum of both of them individually—the strengths and the flaws—is what brings them each to love the other wholly.

There are also some stellar side characters in this story. Coco was, by far, my favorite—she is totally someone I’d love to be friends with. The friendship between her and Lou is so lovely and I’d gladly spend hours just reading about them. They have such a fun dynamic and they always have each other’s backs no matter what. They are the definition of found family and their story warmed my heart. Ansel, a bit like Reid, took me a while to start really liking, but he turns out to be an absolutely wonderful person and a great addition to that lovable found family.

Now for one of the most surprising things I’ve probably ever said and also one of the biggest contradictions when it comes to my typical taste in stories. As I’ve already said, I’m generally not a fan of books that heavily focus on romance. However, this book was so well written that one of my absolute favorite scenes in the entire story was the scene where Lou and Reid make love for the first time, as well as the truly heartwarming lead-up to it.

I am beyond picky about how sex scenes are written in novels. So many fall into the trap of using overly descriptive and flowery prose and a lot of just plain weird words for everything. While I think that being extremely blunt and cold about it is not a good direction to go in either, the flowery descriptions and oversharing of details tend to make these scenes feel very awkward and unrealistic.

The sex scene in this book does not fall into either of these traps and I absolutely adored it. It just feels so realistic and natural, and that is exactly what I frequently find is missing from these types of scenes. Mahurin continues to write as beautifully as ever but is, I felt, fairly minimal on the exact details of the scene. And this is exactly why it works so well.

While yes, there is still detail, she relies more often on the reader’s knowledge of what takes place during a sexual encounter, which cuts out the need for the overly flowery prose and questionable word choices. In a number of places, she writes it in a “fade to black” way without actually fading to black. Mahurin has created a perfect example of how a sex scene should be written and how it should feel to the reader. The focus is on the passion and love between Lou and Reid���on not just physical feeling, but emotional and mental as well. It is so beautiful and natural and is, by far, one of the best-executed scenes I’ve ever come across.

Suffice it to say, I really enjoyed this book. It is so beautifully written and captivating—it is very easy to fall into and get lost in. Shelby Mahurin has created a magical and emotional tale, both heartbreaking and heartwarming that, at its core, brilliantly demonstrates the power of love of all kinds. The story and especially the characters will definitely stick with me for a long time. I’ve honestly been thinking about it constantly since I finished it a few months ago. And, of course, I am absolutely dying to get my hands on the next book in this series. I love how this ended and I cannot wait to be back with these characters once again and see their story continue.

[joealwyndaily]

Sometimes the best Christmas presents are the ones we don’t think we need; a new Christmas Carol, for instance. Indeed it may be indicative of a certain unappreciated vacancy around the Christmas tree that in discussing the BBC’s new version of the Dickens classic both its director and leading man refer back to The Muppet Christmas Carol made way back in 1992.

“I was sent the script,” admits Nick Murphy, best known for directing the Rebecca Hall ghost movie The Awakening, “and my first thought was, ‘For God’s sake! The Muppets! They nailed it. What’s the point?’ ”

Joe Alwyn, who plays Scrooge’s clerk Bob Cratchit in the BBC three-parter, has meanwhile posted a trailer on Instagram with the caption: “Hard to fill the shoes once worn by Kermit. But I tried.” The self-deprecation was quickly “hearted” by the singer Taylor Swift, who is the actor’s girlfriend and who will be watching the mini-series with Alwyn and his family in London in the final days before Christmas.

There is nothing wrong, of course, with The Muppet Christmas Carol. It is probably in most people’s top three adaptations of Dickens’s masterpiece (alongside, I would say, Alastair Sim’s 1951 version and Scrooged). Its endurance does suggest, however, that it may be time someone did something a bit more serious, a little darker and a touch more grown-up with a tale that excoriated Victorian neglect and associated Christmas with the relief of poverty for ever more.

And this is exactly what Nick Murphy has achieved with a bracingly fresh script by the Peaky Blinders creator Steven Knight. Guy Pearce’s Ebenezer Scrooge is still a “squeezing, wrenching, grasping, scraping, clutching, covetous old sinner”, but since Pearce is only 52, there is rather less of the old. At the end of the novel, Dickens wrote that “ever afterwards” — that is after Scrooge’s Very Bad Night — “it was always said of him that he knew how to keep Christmas well”. That is rather more of an achievement when, as in this version, you may have 40 Christmases, rather than a couple, left to you.

Equally remade is Cratchit, who in Alwyn’s incarnation is far from the bashfully gulping frog thanking his master for granting him Christmas Day off before scampering back to Miss Piggy’s fleshy arms. Although Alwyn grew a rough beard for the part, his is also the best-looking Bob Cratchit you have seen. As the actor and I talk at the Picturehouse Central cinema in London, I find him as mesmerising off screen as on.

“Bob is trapped by Scrooge,” Alwyn says. “He’s abused by him. He’s not treated fairly. He’s there only because he has to be. He’s treated like shit.”

I’d say there’s a definite feeling in their shared scenes that Bob might just snap and hit Ebenezer over the head with a poker. “That was the intention. He’s at breaking point. He’s pushed right to his limits and Scrooge, I think, relishes winding him up. All Bob can do is hold his ground and fight back as much as he can — but he isn’t such a sap in this version.”

Scrooge and Cratchit’s relationship so much resembles an unhappy marriage that the niggling, bitter exchanges invented by Knight, with very little reference to Dickens’s dialogue, resemble Steptoe and Son rewritten by Strindberg. The easy contrast would have been with the Cratchits’ poor but happy marriage, but this too comes under scrutiny. There is an acknowledgment of the challenges a disabled child can bring to a household, and it is somehow emphasised by Tiny Tim being played by Lenny Rush, an extraordinary young actor, aged ten, who has a rare form of dwarfism called spondyloepiphyseal dysplasia congenita, the same condition as Warwick Davis.

“It really mattered to me that nobody was photo-fit,” Murphy says from a studio where he is dubbing the last episode. “Bob Cratchit is always a winsome, put-upon nice guy and the Cratchits themselves represent this idea of an ideal, working-class, lovely family. So we looked into their relationship on the page and there seems a genuine tension between Bob and his wife. Things are hard. It isn’t easy to have no money and a disabled child, and they lean on each other and they’re not straight with each other and there is a genuine antagonism between them.”

Knight has written into the narrative a family secret that connects the Cratchits to Scrooge. The secret belongs to Mrs Cratchit, played by Vinette Robinson, whose part is greatly expanded; indeed, the novella does not even grant her a first name, although the Muppets, and other adaptors, opted for Emily.

“Inevitably the secret begins to surface and cracks appear in the family,” Alwyn says. “Something has to happen. I think what Steven has done is take the story and drill deeper. He hasn’t taken too much liberty. It’s not bending the truth too much from what Dickens would have wanted. Or I hope not.”

Murphy insists that worthwhile adaptations of classic texts should be “edgy” and have “a good bite to them”. “If you absolutely don’t want any variation from the book then I strongly suggest you sit in a corner at Christmas and read it again. But if you want to see it used as a prism through which we can see a broader and slightly different subject explored, then this one’s for you.”

Alwyn’s performance is part of the iconoclasm. “Joe’s instinct as an actor is always to push away from the obvious and into ambiguity,” Murphy says. “He’s very quietly spoken. He’s not brash at all. He’s a gentle, intelligent guy, but he just simply wasn’t interested in fitting a Dickensian cliché.”

“I’ll take that,” Alwyn says when I pass on the compliment, having not considered his technique in such terms. He is 28 and would probably accept that he is best known for two facts: the first is that he is Taylor Swift’s boyfriend; the second that, aged 25 and with no professional acting experience, he won the title role in an Ang Lee movie.

He is from north London, the middle of three sons. Their father is the television documentary-maker Richard Alwyn, renowned for making The Shrine about the public reaction to Princess Diana’s death.

“He was away a bit,” Alwyn says. “He made quite a lot of films in Africa when I was growing up. He was often in Uganda, Rwanda at one point, South Sudan. So he’d come back with stories and artefacts from all over the place. He made a great documentary in Liverpool during the World Cup about two kids on an estate growing up there.”

His mother, Elizabeth, is a psychotherapist. So, I say, although his family were comfortably off and he was sent to the fee-paying City of London School, he knew something of other people’s lives?

“All different kinds of people, all different kinds of stories,” he says. “Obviously, she couldn’t share them with me in the same way that Dad could, but both their jobs take an interest in other people and are about how to empathise, understand, and listen to stories and tell stories. I suppose it’s not a million miles away from an actor’s job; listening to other people, understanding them, trying to tell stories.”

I ask about the contemporary political resonances of A Christmas Carol. I cite the wealth of certain members of his profession and of Swift’s. Only the other day I have read that she has a private jet so she can visit Alwyn on a whim. He promises me that 99.9 per cent of what the press write about them is false, and this is an example.

I ask if he finds it embarrassing.

“Find what embarrassing?”

The disparity between the amount some people earn and the wages of workers in, say, Amazon fulfilment centres.

“I saw something in The Guardian the other day, I think, saying that the top six richest people in the UK accumulate the same amount of wealth as the poorest 13 million. I think that was the figure,” he says.

And politics today?

“It’s bigger than Scrooge, but it’s the same thing amplified; not being able to see beyond yourself, building walls, cutting yourself off from other countries. If there was ever a story to counter that, featuring someone who epitomises that and then who remembers who he is as a human being, it is A Christmas Carol.”

Unlike the young Dickens, Alwyn was not a boy to stand on a table and sing and dance. As a child he auditioned to play Liam Neeson’s son in the Richard Curtis film Love Actually, but didn’t get it. He harboured ambitions to act, but pursued them only later at the University of Bristol, where he took plays up to the Edinburgh Fringe. One night he acted before an audience of one: the writer’s mother. Undeterred, he went on to the Royal Central School of Speech and Drama, joining the scramble at the end to find an agent. Weeks later, his new agent rang to say that Ang Lee was working on a new film, Billy Lynn’s Long Halftime Walk, and wanted to see an audition tape.

“I got some mates to film me in a lunch break and then my dad filmed another scene, and we got a call that night saying, ‘He wants to meet you this weekend. He’s saying, we’re going to put you on a plane and take you out of school. Come for the weekend. Learn these scenes.’ ”

As Billy, a young US Marine fêted for killing an enemy assailant in Iraq, Alwyn was painfully believable; a virgin solider returning home to be exploited for an act that had devastated him. The film did not do well, mainly because it was shot at a hyper-reality frame rate that few cinemas had the technology to show, but Alwyn was on his way.

“Things only evolve by change and people taking risks,” he says. “And Ang Lee is someone who I admire for that. None of his films are the same. Maybe thematically they draw on the same things, but he’s always pushing the boundaries.”

The same can be said for A Christmas Carol and, even more, about Yorgos Lanthimos’s The Favourite, in which Alwyn appeared alongside Emma Stone and Olivia Colman. It applies less so to his other recent films, Mary Queen of Scots, Boy Erased and now Harriet, a faithful biopic about the slave liberator Harriet Tubman in which he played a slave owner’s son. What he has managed to do consistently is work and learn from some seriously good actresses — Colman, Stone, Saoirse Ronan and Cynthia Erivo. “I know. I am targeting them,” he jokes.

I tell him my daughters have insisted I ask if he minds Swift writing songs about him (whole albums, actually, but check out London Boy if you are in search of a little cringe). “No, not at all. No. It’s flattering.”

Does it matter to him that the press — it’s a bit metatextual this, I admit, for I’m probably doing the same thing — make it obvious that they are as interested in his girlfriend as they are in him? “I just don’t pay attention to what I don’t want to pay attention to,” he explains tolerantly. “I turn everything else down on a dial. I don’t have any interest in tabloids. I know what I want to do, and that’s this, and that’s what I am doing.”

The boyf, described only the other day as “mysterious” in one of those tabloids, is no mystery at all. He knows what he wants for Christmas, and it is the career he is already forging.

A Christmas Carol begins on BBC One at 9pm on Sunday

[mattbrothersscriptwriter]

My Top 20 Films of 2019 - Part Two

I don’t think I’ve had a year where my top ten jostled and shifted as much as this one did - these really are the best of the best and my personal favourites of 2019.

10. Toy Story 4

I think we can all agree that Toy Story 3 was a pretty much perfect conclusion to a perfect trilogy right? About as close as is likely to get, I’m sure. I shared the same trepidation when part four was announced, especially after some underwhelming sequels like Finding Dory and Cars 3 (though I do have a lot of time for Monsters University and Incredibles 2). So maybe it’s because the odds were so stacked against this being good but I thought it was wonderful. A truly existential nightmare of an epilogue that does away with Andy (and mostly kids altogether) to focus on the dreams and desires of the toys themselves - separate from their ‘duties’ as playthings to biological Gods. What is their purpose in life without an owner? Can they be their own person and carve their own path? In the case of breakout new character Forky (Tony Hale), what IS life? Big big questions for a cash grab kids films huh?

The animation is somehow yet another huge leap forward (that opening rainstorm!), Bo Peep’s return is excellently pitched and the series tradition of being unnervingly horrifying is back as well thanks to those creepy ventriloquist dolls! Keanu Reeves continues his ‘Keanuassaince‘ as the hilarious Duke Caboom and this time, hopefully, the ending at least feels finite. This series means so much to me: I think the first movie is possibly the tightest, most perfect script ever written, the third is one of my favourites of the decade and growing up with the franchise (I was 9 when the first came out, 13 for part two, 24 for part three and now 32 for this one), these characters are like old friends so of course it was great to see them again. All this film had to do was be good enough to justify its existence and while there are certainly those out there that don’t believe this one managed it, I think the fact that it went as far as it did showed that Pixar are still capable of pushing boundaries and exploring infinity and beyond when they really put their minds to it.

9. The Nightingale

Hoo boy. Already controversial with talk of mass walkouts (I witnessed a few when this screened at Sundance London), it’s not hard to see why but easy to understand. Jennifer Kent (The Babadook) is a truly fearless filmmaker following up her acclaimed suburban horror movie come grief allegory with a period revenge tale set in the Tasmanian wilderness during British colonial rule in the early 1800s. It’s rare to see the British depicted with the monstrous brutality for which they were known in the distant colonies and this unflinching drama sorely needed an Australian voice behind the camera to do it justice.

The film is front loaded with some genuinely upsetting, nasty scenes of cruel violence but its uncensored brutality and the almost casual nature of its depiction is entirely the point - this was normalised behaviour over there and by treating it so matter of factly, it doesn’t slip into gratuitous ‘movie violence’. It is what it is. And what it is is hard to watch. If anything, as Kent has often stated, it’s still toned down from the actual atrocities that occurred so it’s a delicate balance that I think Kent more than understands. Quoting from an excellent Vanity Fair interview she did about how she directs, Kent said “I think audiences have become very anaesthetised to violence on screen and it’s something I find disturbing... People say ‘these scenes are so shocking and disturbing’. Of course they are. We need to feel that. When we become so removed from violence on screen, this is a very irresponsible thing. So I wanted to put us right within the frame with that person experiencing the loss of everything they hold dear”. 

Aisling Franciosi is next level here as a woman who has her whole life torn from her, leaving her as nothing but a raging husk out for vengeance. It would be so easy to fall into odd couple tropes once she teams up with reluctant native tracker Billy (an equally impressive newcomer, Baykali Ganambarr) but the film continues to stay true to the harsh racism of the era, unafraid to depict our heroine - our point of sympathy - as horrendously racist towards her own ally. Their partnership is not easily solidified but that makes it all the stronger when they star to trust each other. Sam Claflin is also career best here, weaponizing his usual charm into dangerous menace and even after cementing himself as the year’s most evil villain, he can still draw out the humanity in such a broken and corrupt man.

Gorgeously shot in the Academy ratio, the forest landscape here is oppressive and claustrophobic. Kent also steps back into her horror roots with some mesmerising, skin crawling dream scenes that amplify the woozy nightmarish tone and overbearing sense of dread. Once seen, never forgotten, this is not going to be everyone’s cup of tea (and that’s fine) but when cinema can affect you on such a visceral level and be this powerful, reflective and honest about our own past, it’s hard to ignore. Stunning.

8. The Irishman

Aka Martin Scorsese’s magnum opus, I did manage to see this one in a cinema before the Netflix drop and absolutely loved it. I’ve watched 85 minute long movies that felt longer than this - Marty’s mastery of pace, energy and knowing when to let things play out in agonising detail is second to none. This epic tale of  the life of Frank Sheeran (Robert De Niro) really is the cinematic equivalent of having your cake and eating it too, allowing Scorsese to run through a greatest hits victory lap of mobster set pieces, alpha male arguments, a decades spanning life story and one (last?) truly great Joe Pesci performance before simply letting the story... continue... to a natural, depressing and tragic ending, reflecting the emptiness of a life built on violence and crime.

For a film this long, it’s impressive how much the smallest details make the biggest impacts. A stammering phone call from a man emotionally incapable of offering any sort of condolence. The cold refusal of forgiveness from a once loving daughter. A simple mirroring of a bowl of cereal or a door left slightly ajar. These are the parts of life that haunt us all and it’s what we notice the most in a deliberately lengthy biopic that shows how much these things matter when everything else is said and done. The violence explodes in sudden, sharp bursts, often capping off unbearably tense sequences filled with the everyday (a car ride, a conversation about fish, ice cream...) and this contrast between the whizz bang of classic Scorsese and the contemplative nature of Silence era Scorsese is what makes this film feel like such an accomplishment. De Niro is FINALLY back but it’s the memorably against type role for Pesci and an invigorated Al Pacino who steals this one, along with a roll call of fantastic cameos, with perhaps the most screentime given to the wonderfully petty Stephen Graham as Tony Pro, not to mention Anna Paquin’s near silent performance which says more than possibly anyone else. 

Yes, the CG de-aging is misguided at best, distracting at worst (I never really knew how old anyone was meant to be at any given time... which is kinda a problem) but like how you get used to it really quickly when it’s used well, here I kinda got past it being bad in an equally fast amount of time and just went with it. Would it have been a different beast had they cast younger actors to play them in the past? Undoubtedly. But if this gives us over three hours of Hollywood’s finest giving it their all for the last real time together, then that’s a compromise I can live with.

7. The Last Black Man in San Francisco

Wow. I was in love with this film from the moving first trailer but then the film itself surpassed all expectations. This is a true indie film success story, with lead actor Jimmie Fails developing the idea with director Joe Talbot for years before Kickstarting a proof of concept and eventually getting into Sundance with short film American Paradise, which led to the backing of this debut feature through Plan B and A24. The deeply personal and poetic drama follows a fictionalised version of Jimmie, trying to buy back an old Victorian town house he claims was built by his grandfather, in an act of rebellion against the increasingly gentrified San Francisco that both he and director Talbot call home.

The film is many things - a story of male friendship, of solidarity within our community, of how our cities can change right from underneath us - it moves to the beat of it’s own drum, with painterly cinematography full of gorgeous autumnal colours and my favourite score of the year from Emile Mosseri. The performances, mostly by newcomers or locals outside of brilliant turns from Jonathan Majors, Danny Glover and Thora Birch, are wonderful and the whole thing is such a beautiful love letter to the city that it makes you ache for a strong sense of place in your own home, even if your relationship with it is fractured or strained. As Jimmie says, “you’re not allowed to hate it unless you love it”.

For me, last year’s Blindspotting (my favourite film of the year) tackled gentrification within California more succinctly but this much more lyrical piece of work ebbs and flows through a number of themes like identity, family, memory and time. It’s a big film living inside a small, personal one and it is not to be overlooked.

6. Little Women

I had neither read the book nor seen any prior adaptation of Louisa May Alcott’s 1868 novel so to me, this is by default the definitive telling of this story. If from what I hear, the non linear structure is Greta Gerwig’s addition, then it’s a total slam dunk. It works so well in breaking up the narrative and by jumping from past to present, her screenplay highlights certain moments and decisions with a palpable sense of irony, emotional weight or knowing wink. Getting to see a statement made with sincere conviction and then paid off within seconds, can be both a joy and a surefire recipe for tears. Whether it’s the devastating contrast between scenes centred around Beth’s illness or the juxtaposition of character’s attitudes to one another, it’s a massive triumph. Watching Amy angrily tell Laurie how she’s been in love with him all her life and then cutting back to her childishly making a plaster cast of her foot for him (’to remind him how small her feet are’) is so funny. 

Gerwig and her impeccable cast bring an electric energy to the period setting, capturing the big, messy realities of family life with a mix of overwhelming cross-chatter and the smallest of intimate gestures. It’s a testament to the film that every sister feels fully serviced and represented, from Beth’s quiet strength to Amy’s unforgivable sibling rivalry. Chris Cooper’s turn as a stoic man suffering almost imperceptible grief is a personal heartbreaking favourite. 

The book’s (I’m assuming) most sweeping romantic statements are wonderfully delivered, full of urgent passion and relatable heartache, from Marmie’s (Laura Dern) “I’m angry nearly every day of my life” moment to Jo’s (Saoirse Ronan) painful defiance of feminine attributes not being enough to cure her loneliness. The sheer amount of heart and warmth in this is just remarkable and I can easily see it being a film I return to again and again.

5. Booksmart

2019 has been a banner year for female directors, making their exclusion from some of the early awards conversations all the more damning. From this list alone, we have Lulu Wang, Jennifer Kent and Greta Gerwig. Not to mention Lorene Scafaria (Hustlers), Melina Matsoukas (Queen & Slim), Jocelyn DeBoer & Dawn Luebbe (Greener Grass), Sophie Hyde (Animals) and Rose Glass (Saint Maud - watch out for THIS one in 2020, it’s brilliant). Perhaps the most natural transition from in front of to behind the camera has been made by Olivia Wilde, who has created a borderline perfect teen comedy that can make you laugh till you cry, cry till you laugh and everything in-between.

Subverting the (usually male focused) ‘one last party before college’ tropes that fuel the likes of Superbad and it’s many inferior imitators, Booksmart follows two overachievers who, rather than go on a coming of age journey to get some booze or get laid, simply want to indulge in an insane night of teenage freedom after realising that all of the ‘cool kids’ who they assumed were dropouts, also managed to get a place in all of the big universities. It’s a subtly clever remix of an old favourite from the get go but the committed performances from Kaitlyn Dever and Beanie Feldstein put you firmly in their shoes for the whole ride. 

It’s a genuine blast, with big laughs and a bigger heart, portraying a supportive female friendship that doesn’t rely on hokey contrivances to tear them apart, meaning that when certain repressed feelings do come to the surface, the fallout is heartbreaking. As I stated in a twitter rave after first seeing it back in May, every single character, no matter how much they might appear to be simply representing a stock role or genre trope, gets their moment to be humanised. This is an impeccably cast ensemble of young unknowns who constantly surprise and the script is a marvel - a watertight structure without a beat out of place, callbacks and payoffs to throwaway gags circle back to be hugely important and most of all, the approach taken to sexuality and representation feels so natural. I really think it is destined to be looked back on and represent 2019 the way Heathers does ‘88, Clueless ‘95 or Easy A 2010. A new high benchmark for crowd pleasing, indie comedy - teen or otherwise.

4. Ad Astra

Brad Pitt is one of my favourite actors and one who, despite still being a huge A-lister even after 30 years in the game, never seems to get enough credit for the choices he makes, the movies he stars in and also the range of stories he helps produce through his company, Plan B. 2019 was something of a comeback year for Pitt as an actor with the insanely measured and controlled lead performance seen here in Ad Astra and the more charismatic and chaotic supporting role in Once Upon a Time... in Hollywood.

I love space movies, especially those that are more about broken people blasting themselves into the unknown to search for answers within themselves... which manages to sum up a lot of recent output in this weirdly specific sub-genre. First Man was a devastating look at grief characterised by a man who would rather go to a desolate rock than have to confront what he lost, all while being packaged as a heroic biopic with a stunning score. Gravity and The Martian both find their protagonists forced to rely on their own cunning and ingenuity to survive and Interstellar looked at the lengths we go to for those we love left behind. Smaller, arty character studies like High Life or Moon are also astounding. All of this is to say that Ad Astra takes these concepts and runs with them, challenging Pitt to cross the solar system to talk some sense into his long thought dead father (Tommy Lee Jones). But within all the ‘sad dad’ stuff, there’s another film in here just daring you to try and second guess it - one that kicks things off with a terrifying free fall from space, gives us a Mad Max style buggy chase on the moon and sidesteps into horror for one particular set-piece involving a rabid baboon in zero G! It manages to feel so completely nuts, so episodic in structure, that I understand why a lot of people were turned off - feeling that the overall film was too scattershot to land the drama or too pondering to have any fun with. I get the criticisms but for me, both elements worked in tandem, propelling Pitt on this (assumed) one way journey at a crazy pace whilst sitting back and languishing in the ‘bigger themes’ more associated with a Malik or Kubrick film. Something that Pitt can sell me on in his sleep by this point.

I loved the visuals from cinematographer Hoyte van Hoytema (Interstellar), loved the imagination and flair of the script from director James Gray and Ethan Gross and loved the score by Max Richter (with Lorne Balfe and Nils Frahm) but most of all, loved Pitt, proving that sometimes a lot less, is a lot more. The sting of hearing the one thing he surely knew (but hoped he wouldn’t) be destined to hear from his absent father, acted almost entirely in his eyes during a third act confrontation, summed up the movie’s brilliance for me - so much so that I can forgive some of the more outlandish ‘Mr Hyde’ moments of this thing’s alter ego... like, say, riding a piece of damaged hull like a surfboard through a meteor debris field! 

3. Avengers: Endgame

It’s no secret that I think Marvel, the MCU in particular, have been going from strength to strength in recent years, slowly but surely taking bigger risks with filmmakers (the bonkers Taika Waititi, the indie darlings of Ryan Coogler, Cate Shortland and Chloe Zhao) whilst also carefully crafting an entertaining, interconnected universe of characters and stories. But what is the point of building up any movie ‘universe’ if you’re not going to pay it off and Endgame is perhaps the strongest conclusion to eleven years of movie sequels that fans could have possibly hoped for.

Going into this thing, the hype was off the charts (and for good reason, with it now being the highest grossing film of all time) but I remember souring on the first entry of this two-parter, Infinity War, during the time between initial release and Endgame’s premiere. That film had a game-changing climax, killing off half the heroes (and indeed the universe’s population) and letting the credits role on the villain having achieved his ultimate goal. It was daring, especially for a mammoth summer blockbuster but obviously, we all knew the deaths would never be permanent, especially with so many already-announced sequels for now ‘dusted’ characters. However, it wasn’t just the feeling that everything would inevitably be alright in the end. For me, the characters themselves felt hugely under-serviced, with arguably the franchise’s main goody two shoes Captain America being little more than a beardy bloke who showed up to fight a little bit. Basically what I’m getting at is that I felt Endgame, perhaps emboldened by the giant runtime, managed to not only address these character slights but ALSO managed to deliver the most action packed, comic booky, ‘bashing your toys together’ final fight as well.

It’s a film of three parts, each pretty much broken up into one hour sections. There’s the genuinely new and interesting initial section following our heroes dealing with the fact that they lost... and it stuck. Thor angrily kills Thanos within the first fifteen minutes but it’s a meaningless action by this point - empty revenge. Cutting to five years later, we get to see how defeat has affected them, for better or worse, trying to come to terms with grief and acceptance. Cap tries to help the everyman, Black Widow is out leading an intergalactic mop up squad and Thor is wallowing in a depressive black hole. It’s a shocking and vibrantly compelling deconstruction of the whole superhero thing and it gives the actors some real meat to chew on, especially Robert Downy Jr here who goes from being utterly broken to fighting within himself to do the right thing despite now having a daughter he doesn’t want to lose too. Part two is the trip down memory lane, fan service-y time heist which is possibly the most fun section of any of these movies, paying tribute to the franchise’s past whilst teetering on a knife’s edge trying to pull off a genuine ‘mission impossible’. And then it explodes into the extended finale which pays everyone off, demonstrates some brilliantly imaginative action and sticks the landing better than it had any right to. In a year which saw the ending of a handful of massive geek properties, from Game of Thrones to Star Wars, it’s a miracle even one of them got it right at all. That Endgame managed to get it SO right is an extraordinary accomplishment and if anything, I think Marvel may have shot themselves in the foot as it’s hard to imagine anything they can give us in the future having the intense emotional weight and momentum of this huge finale.

2. Knives Out

Rian Johnson has been having a ball leaping into genre sandpits and stirring shit up, from his teen spin on noir in Brick to his quirky con man caper with The Brothers Bloom, his time travel thriller Looper and even his approach to the Star Wars mythos in The Last Jedi. Turning his attention to the relatively dead ‘whodunnit’ genre, Knives Out is a perfect example of how to celebrate everything that excites you about a genre whilst weaponizing it’s tropes against your audience’s baggage and preconceptions.

An impeccable cast have the time of their lives here, revelling in playing self obsessed narcissists who scramble to punt the blame around when the family’s patriarch, a successful crime novelist (Christopher Plummer), winds up dead. Of course there’s something fishy going on so Daniel Craig’s brilliantly dry southern detective Benoit Blanc is called in to investigate.There are plenty of standouts here, from Don Johnson’s ignorant alpha wannabe Richard to Michael Shannon’s ferocious eldest son Walt to Chris Evan’s sweater wearing jock Ransom, full of unchecked, white privilege swagger. But the surprise was the wholly sympathetic, meek, vomit prone Marta, played brilliantly by Ana de Armas, cast against her usual type of sultry bombshell (Knock Knock, Blade Runner 2049), to spearhead the biggest shake up of the genre conventions. To go into more detail would begin to tread into spoiler territory but by flipping the audience’s engagement with the detective, we’re suddenly on the receiving end of the scrutiny and the tension derived from this switcheroo is genius and opens up the second act of the story immensely.

The whole thing is so lovingly crafted and the script is one of the tightest I’ve seen in years. The amount of setup and payoff here is staggering and never not hugely satisfying, especially as it heads into it’s final stretch. It really gives you some hope that you could have such a dense, plotty, character driven idea for a story and that it could survive the transition from page to screen intact and for the finished product to work as well as it does. I really hope Johnson returns to tell another Benoit Blanc mystery and judging by the roaring box office success (currently over $200 million worldwide for a non IP original), I certainly believe he will.

1. Eighth Grade

My film of the year is another example of the power of cinema to put us in other people’s shoes and to discover the traits, fears, joys and insecurities that we all share irregardless. It may shock you to learn this but I have never been a 13 year old teenage girl trying to get by in the modern world of social media peer pressure and ‘influencer’ culture whilst crippled with personal anxiety. My school days almost literally could not have looked more different than this (less Instagram, more POGs) and yet, this is a film about struggling with oneself, with loneliness, with wanting more but not knowing how to get it without changing yourself and the careless way we treat those with our best interests at heart in our selfish attempt to impress peers and fit in. That is understandable. That is universal. And as I’m sure I’ve said a bunch of times in this list, movies that present the most specific worldview whilst tapping into universal themes are the ones that inevitably resonate the most.

Youtuber and comedian Bo Burnham has crafted an impeccable debut feature, somehow portraying a generation of teens at least a couple of generations below his own, with such laser focused insight and intimate detail. It’s no accident that this film has often been called a sort of social-horror, with cringe levels off the charts and recognisable trappings of anxiety and depression in every frame. The film’s style services this feeling at every turn, from it’s long takes and nauseous handheld camerawork to the sensory overload in it’s score (take a bow Anna Meredith) and the naturalistic performances from all involved. Burnham struck gold when he found Elsie Fisher, delivering the most painful and effortlessly real portrayal of a tweenager in crisis as Kayla. The way she glances around skittishly, the way she is completely lost in her phone, the way she talks, even the way she breathes all feeds into the illusion - the film is oftentimes less a studio style teen comedy and more a fly on the wall documentary. 

This is a film that could have coasted on being a distant, social media based cousin to more standard fare like Sex Drive or Superbad or even Easy A but it goes much deeper, unafraid to let you lower your guard and suddenly hit you with the most terrifying scene of casually attempted sexual aggression or let you watch this pure, kindhearted girl falter and question herself in ways she shouldn’t even have to worry about. And at it’s core, there is another beautiful father/daughter relationship, with Josh Hamilton stuck on the outside looking in, desperate to help Kayla with every fibre of his being but knowing there are certain things she has to figure out for herself. It absolutely had me and their scene around a backyard campfire is one of the year’s most touching.

This is a truly remarkable film that I think everyone should seek out but I’m especially excited for all the actual teenage girls who will get to watch this and feel seen. This isn’t about the popular kid, it isn’t about the dork who hangs out with his or her own band of misfits. This is about the true loner, that person trying everything to get noticed and still ending up invisible, that person trying to connect through the most disconnected means there is - the internet - and everything that comes with it. Learning that the version of yourself you ‘portray’ on a Youtube channel may act like they have all the answers but if you’re kidding yourself then how do you grow? 

When I saw this in the cinema, I watched a mother take her seat with her two daughters, aged probably at around nine and twelve. Possibly a touch young for this, I thought, and I admit I cringed a bit on their behalf during some very adult trailers but in the end, I’m glad their mum decided they were mature enough to see this because a) they had a total blast and b) life simply IS R rated for the most part, especially during our school years, and those girls being able to see someone like Kayla have her story told on the big screen felt like a huge win. I honestly can’t wait to see what Burnham or Fisher decide to do next. 2019 has absolutely been their year... and it’s been a hell of a year.

[nellie-elizabeth]

Grey's Anatomy: My Shot (16x08)

Oh, Grey's Anatomy. You wouldn't be you if you didn't have manufactured coincidences popping up around every corner. I loved this episode, for the most part! Let's take a look.

Cons:

So, the thing about doing a medical drama/soap opera is that a lot of really unrealistic stuff has to happen in order to keep the drama quotient up. The characters in this show have been through more trauma than is remotely realistic for any group of people, and over the sixteen seasons of this show, every single character has done stuff that's super illegal and messed up and bad. When you have an episode like this, where Meredith's past gets dredged up, you're forced to realize how completely improbable it is that Meredith would still be allowed to practice medicine in the first place. Or frankly, how Richard and Alex would be allowed to continue, what with committing assault, breaking the law, the list goes on. And that's fine, it doesn't matter most of the time on this show. But when a spotlight is shone on all of the things that have happened over the years, it starts to feel a bit more shark-jumpy than I'm comfortable with.

Also, I can take some cheesiness, but all the patients rushing in to testify for Meredith, and the letter from Cristina, and letters from Addison, Callie, Arizona, April... come on. That's a little much, don't you think? I wanted this to be more grounded in reality. Meredith probably should be taken to task for a lot of what she's done. There could have been a better balance there, with some of her bad behavior actually being condemned. I think they tried to do that with Bailey, but for me it didn't quite stick the landing.

Also Jackson and Maggie - ugh. Please stoppppp. Maggie is really upset after killing her cousin, and Jackson is there to comfort her. I didn't strictly hate this at first, and thought maybe they were going for an easing of the tension, like the two of them could be friendly with each other and stop resenting one another so much. And then Jackson leans in for a kiss, stops himself, and Maggie kicks him out. She tells Meredith: "I hate someone I used to love... I don't want to see or speak to him ever again." That line, about hating someone she used to love, is actually really powerful, and if Jackson and Maggie weren't such a stupid train-wreck, I might really have liked it. But - but why? Why does she hate him? What did he do that was so awful? They had a somewhat crappy relationship and Maggie felt like Jackson didn't respect her, and it fell apart. But Maggie's anger feels misplaced, somehow. I was so happy last week to have a story that was about Maggie that didn't annoy me, since she's become so irritating over the years. And now here, it has to be about Jackson again, doesn't it? Those two were the worst things to ever happen to each other on this show.

Pros:

In perhaps a direct contradiction to what I said above, it was a bit fun to look back over the years and remember all the crazy crap that Meredith has done. Obviously a lot of the context has been stripped away, but the fact remains, she's done a lot of messed up stuff! This episode brings up ancient (yet legendary) history like the LVAD wire, stuff like the Alzheimer's trial, a patient Meredith had on her first day as a doctor, and more recent stuff like Alex assaulting Andrew, and Schmitt being the one to turn Meredith in to Bailey. I'm a sucker for longevity. I like sinking in to a story for a long, long time, and it's cool to do an episode like this where you can actually pull footage from back when George W. Bush was still POTUS and examine a character's life through so many years.

Koracick has a brief role in this episode, and we can mark this as a good appearance for him. They trashed his character early in the season in an attempt to get us on board with Owen/Teddy, but they seem to be softening that approach and rehabilitating him a bit here. He's still a cocky bastard a lot of the time, but when Amelia tells him she needs his help, he immediately agrees, and does everything he can to help the patient. I really love him and hope he gets the happiness he deserves.

And Amelia and Link also have a brief moment, where we see their relationship continue to develop and strengthen. Amelia is worried she might kill the doctor who killed Derek, which is why she lets Koracick do it. That's a sign of maturity and strength from Amelia, her ability to step away and let someone else perform the surgery. And when that man dies on the table, she can be confident that she wasn't to blame. Link comforts her through the confusion of the situation, and it's just another brick in the foundation of trust they are building between them.

I like the DeLuca/Meredith drama, actually. There's this moment when Meredith yells at the doctor who killed Derek, calling Derek "the love of her life," and I immediately thought... oh no. Are we going to do the whole drama thing where DeLuca decides he can't compete with Derek's memory or whatever? But instead, they go for something slightly different. Basically, DeLuca knows he's never going to replace Derek. But he wanted to work towards something, to be Meredith's partner in a real way. He's realizing now that he doesn't have Meredith's respect, that she doesn't view him as an equal, and he worries she never will. He basically breaks up with her, but frames it as giving her a chance to think things over. I like Andrew a lot. I like Andrew and Meredith together, I think it's genuinely interesting. It's not as intense as Meredith and Derek, but the show has done a smart thing by not trying to make it like that. I'm on board for whatever comes next for them, as I think a break-up plot thread with these two might actually be interesting, whether or not they end up together in the end.

The Bailey/Richard dynamic as explored in this episode was really intriguing to me. I was complaining a few weeks ago about Bailey's over-sized reaction to what Meredith did, but here we get more of an explanation. Not only does she feel betrayed by someone that she raised to be a doctor, but she feels betrayed by Richard as well, and feels jealous of the way he will bend the rules for Meredith. We even find out that Meredith didn't originally match with the hospital, and that Richard made a call to make it happen all those years ago. That's such an interesting "sliding doors" moment!  Richard then flips the narrative on Bailey, however, saying that Meredith is family and he'd trust her to back him up the same way he backed her up. He says he feels the same way about Bailey, or he did, before Bailey turned her back on them for their actions.

It's not even necessarily a cruel moment from Richard - he's saying it because he knows now what Bailey is feeling, and he knows how to get underneath that feeling, to an even bigger truth. And it works - Bailey goes back in to the hearing and says that while Meredith Grey is a pain in the ass and deserved consequences for her actions, she's also a fine surgeon and doesn't deserve to lose her medical license. Who knows whether or not that was the tipping point, but at the end of the day, Meredith wins and she's still a doctor!

It was interesting to bring in the doctor whose negligence resulted in Derek's death. Frankly, I vacillated about which section of this review to put my discussion of this in, because I can't quite decide how to feel about it. The whole point here is that Meredith is unconventional, but ultimately very good at her job. She saves lives. It's interesting to contrast that with this man who hasn't broken any rules, but who killed someone. He's not only allowed to remain a doctor, he's allowed to vote on Meredith's fitness to remain a doctor. This is so manifestly unfair that it's clear to the viewer that Meredith is in the right. But this man's presence, and then later the influx of testimonials from patients and fellow doctors, overshadows Meredith's crime. It's interesting in that I wonder if there will be lasting consequences - will she be under heavier scrutiny when it comes to pro bono cases, or will this be the one thing the finally tarnishes her reputation? I'm excited to find out.

Schmitt has the setup for a future plot thread here, as he confesses to being the one to turn Meredith in, unwittingly. As his fellow interns find out, he watches as they lose respect for him, especially Helm. This could be so cool. As I said, it's not as if Meredith doesn't deserve some sort of consequence for her bad behavior. And what was Schmitt supposed to do, just trust on blind faith that this wasn't a mistake, that Meredith had done it on purpose? Was he supposed to put his career on the line for her? That's an unreasonable expectation, and I hope he stands up for himself, with the support of his boyfriend. It's time to start giving some of these characters more screen-time.

That's it! Another long review, for a pretty solid episode. I think next week is the mid-season finale!

8/10

[oveliagirlhaditright]

So... since a lot of videos that are being recommended to me lately, are about people’s ten most hated tropes and it’s on my mind... I’ve decided to do my own list. For no reason whatsoever.

1. Fridging... do I even need to explain why I hate female characters being killed off, just to cause a man pain or further his arc? No. It can happen with guys--think Sydney Bristow’s fiancé, Danny, from Alias, who died and set her whole story into motion--and sometimes it can even be done “right” (like with Aerith Gainsborough from FFVII, or something, where she was maybe slightly fridged... in that she somewhat died to bring Cloud pain. But more than that, she died to save the world--and actually had agency with that--and knew she was going to die, and bravely went through with it, anyway)... as “right” as this annoying trope can be done. But for the most part, I hate it and get so mad when authors use it.

2. Lack of Communication Kills... There is no more annoying plot in the world, then when all the drama and your entire goddamn story happens because people can’t open their damn mouths and have an actual conversation with each other. -sigh- 

2.5 And with the above one... though not as bad for me: when a character is saying all these glowing things about another one--and maybe says one bad thing about them--and of course the other character only hears the bad stuff. Or when a character gets there at the wrong time: like, someone is kissing their significant other... and their significant other clearly didn’t want it, and told them no, and isn’t even kissing them back... but the main character is going to miss all of this and think they cheated when they didn’t. We’re just going to call these two together “plot convenience”.

3. The “Can’t Ever Have Sex” trope... I hate this one so much. And not even because I care about sex. I really don’t. It’s just annoying and unbelievable. A lot of the time, it was done in the late 90′s to early 2000′s, where networks thought if they let their two main love interests have sex, the audience would lose interest in the rest of the thing and stop watching there (and look, I feel if you think your fans are only watching your movie or show, just to see their two favorite characters have sex, that’s kind of your problem right there). But I just find this a cop-out, and am glad most writers have moved away from this--because if you’re a good writer--you can keep your audience invested and let your characters have sex, dangit. But Buffy (Buffy the Vampire Slayer) not being able to have sex with Angel, because he’ll turn into serial killer vampire Angelus is dumb. Max and Logan (Dark Angel) not being able to sleep together, because Manticore put a deadly virus inside of Max that only targets Logan’s DNA is stupid. Jace and Clary (The Mortal Instruments) not getting it on until the last book, because first Jace was her “brother”, and then because he was possessed, and then because he had heavenly fire inside of him, etc.... why? Just why? And a lot of these are in danger of getting into “sex is evil” and/or “sexuality in women is a bad thing” categories.

4. Love triangles. I get why people love love triangles. I do. And I can sometimes even enjoy them myself... but I’ve just seen them too many times now to really care about them. More often than not, they annoy me... especially if people are being abysmal to each other--so you’d wonder why Person A loves Person B at all, if they treat them like that--and there’s cheating involved. I also... just don’t believe that it happens so often in life, that right when Character A and Character B realize they’re in love with each other... A Character C just happens to be in love with one of them, too, and chooses then to let them known. Edit: Also, when the author clearly has a choice of who they want the person to end up with... so they make that person wonderful and the other one terrible, so you’ll hopefully choose what they want, which sort of defeats the whole point of the love triangle to begin with. Have both choices be great, so you struggle with the character and get why they’re struggling.

5. The “I’m leaving you/breaking up with you to protect you” trope, that’s usually coupled with “And of course, I’m not going to tell you this is the reason I’m doing this--I’m just going to break your heart, for no good reason--instead of actually treating you like an equal and giving you a choice about how you want to live your own life.”

6. I don’t hate this one as much--in fact, I might not even hate it... but I still don’t like it--but whatever trope it is, that has one girl and two boys in a group of three, and two girls and three boys in a group of five: where the girl always has to be the gender that’s outnumbered for some weird reason.

7. Villain monologues... though to be fair, I also do this a lot in my own writing. And I get why it’s easy to do... Because most of the time, you don’t unmask the killer--or whatever--until the end of the story, and you also don’t get all the clues to tie it together until then, either, so the only one who knows everything has to fill you in on it... but it’s just so unbelievable. And even moreso, if a murderer is confessing to a cop, or whatever, knowing full-well that this will throw them into prison for life or even give them the death penalty... when anyone else in this situation would say nothing.. or ask for a lawyer. Or even still say nothing with said lawyer. And with this one... when a villain would have actually killed their enemy, if they’d actually shut up and done it instead of gloating.

8. Chosen one storylines... just chosen one storylines. For one thing, I think they’re overdone and kind of lazy. They can also make your character seem like a Mary-Sue... because what are the chances that they, of all people, are the only one in the world who can do this thing? And it just annoys me, that in a lot of “chosen one” stories/prophecies or what have you, someone else could do all the work in defeating the Big Bad or whatever... but because there’s a prophecy, they can’t kill them no matter how hard they try! And then the chosen one can just come in and bonk the Big Bad on the head--dealing the final blow that they couldn’t have even inflicted on the bad guy, if the other person hadn’t done all their work for them--and then they get the credit for it. Like, it must suck to be the supporting character in a chosen one story. Surely they should all hate the chosen one, right? Especially since chosen one stories are also often “new to the world” stories, where everyone else has been fighting the Big Bad for years... but now out of nowhere, a chosen one can get introduced to the problem and in one second do what they in years were unable to do. I do, however, love love love stories that subvert the chosen one narrative.

9.Rape as a way to make a story “gruesome” and “gritty”. Rape in general, actually.

10. I’m someone who always wants and prefers a happy ending... but to be honest, some people in your narrative probably should die--and there probably should be some consequences to whatever happened--otherwise it feels too perfect. But on the flip-side of that, I hate stories with the most bleak endings ever... and when authors refuse to give you even a hint of a happy ending whatsoever--because “that’s life, bitches”--and even seem to want to shame people for wanting/expecting happy endings.

Edit: Honorary mention, that maybe somewhat goes with the “Can’t Ever Have Sex One”: senseless relationship drama in a ship--all the time--because for some reason, the author(s) think you can’t invested in a relationship that’s actually happy and healthy together. This can also be a “we fight, we break up. We kiss, we make up” one. There is a difference between relationship drama that’s needed for the plot, and relationship drama that’s just there because the writers think you’ll lose interest, otherwise, and because we gotta be “dark, gritty, and realistic. Because clearly there aren’t happy relationships in the real world. Clearly.”

Edit 2: The next honorary mention. The Damsel in Distress trope. I have no problem with girls needing to be saved in a story--I have less problems with this than most people do, probably--or a guy, if it’s the “Dude in Distress” trope. But if you refuse to give such a character any agency whatsoever, there’s a problem.

Edit 3: The “Girls Hating Each Other” trope.

Edit 4: A girl’s entire character being all about the boy that she likes... with literally nothing else, and really no other relationships, to her. I feel this is usually the fault of male authors who don’t know how to write girls at all.

Edit 5: When a story goes on much longer than it should (after its story has really come to a close)--and becomes the worst thing ever for this reason--and just refuses to end.

Edit 6: When love interests put their love interest before the fate of the world--refusing to make the tough choice they really probably should--that the author thinks is romantic... but really isn’t. And kind of says bad things about the characters and their love... like that they’re and it are selfish.

These are all the ones I can think of off the top of my head. There may be more. And I may edit this list, if I think of honorary mentions... or things that I think should have been on here more than the ones that I listed. But for now... this is good, I think.

[journaloftomfooleryandjapery]

All the TOP 10 OF THE DECADE posts made me want to make one of my own, so here’s my 10 fave games this decade:

Yakuza 0  Shovel Knight  Nier Automata  Metal Gear Rising  Gunvolt Chronicles Luminous Avenger IX Final Fantasy XV   Scott pilgrim vs the world the game Undertale Persona 5  Doom

Danganronpa 2, New Vegas, Touhou Luna Nights, Katana Zero and Mario Odyssey all only barely missed out, and it was a tough decision not to include them. I loved the shit out of those games but thinking it through I decided they were just slightly less loved by me than the above.

Below the cut are some extended thoughts (of varying length) on the games included:

Just CTRL F if you wanna find a specific one

Yakuza 0

Every Yakuza game is delightful and this is definitely the best one, in my opinion. The Yakuza games appeal to me for a lot of reasons: the combat, the story, the variety of activities, the look of it all and the music. I feel like its a very unique game experience with its blend of weird in-depth side activities, serious crime drama, manly man masculine combat friendship melodrama, metal gear-esque convoluted conspiracies and a surprisingly compassionate view of the world it takes place in. 

The combat is what drew me in initially because it just feels good, the feedback of stomping on a dudes face in yakuza is delivered perfectly, and the attacks are brutal, hard and flashy. Its a very solid and satisfying combat system and in 0 its the best it has ever been. The ability to switch between 3 different and equally fun fighting styles on the fly really lets you mix things up and adapt your approach, every style feels fun and useful. If i had to pick a favorite it would be slugger, but its a tough choice, and they are all very viable and FUN.

Yakuza 0 also gets big points for having the best story in the series. The protagonists feel much more interesting in this era, the fights feel more earned in this game than others, the relationships are incredibly touching (I’m almost mad majima didnt stay with makoto) and the substories (and some parts of the main story) are the funniest they’ve ever been. Stuff like the quasi-stealth mission where you have to make sure women don’t see you buying a porn magazine for a child, and the extended scene of kiryu trying to guess the right business manners for a meeting had me laughing so much i was i was almost in physical pain.

The extensive business and host club substories get you tons of extra game content and are good enough to almost be there own game. The other games in the series have extended side activites of varying quality, but i think 0 had a rare case of all of these being, basically, perfect. The team obviously agrees since host club management came back repeatedly, but never as good as it was here.

Being set in the 80s elevates almost everything in the game because of the outfits, money flying out of every enemy you attack, the classic sega games you can play at the arcade (Outrun is so much fun and I’d have never have given it a proper go otherwise) and the disco minigame everyones made a meme out of (that music is so catchy).

As a final note this game has the best boss fights and music in the series, which is a very high standard to surpass when you look at the rest of the series. The dual final boss fights, the recurring boss for kiryu and almost every majima fight are highlights of the entire series for me. 

0 is going to end up being one of the few games I’ll never sell my copy of because i want it available for me to play forever, its a complete delight.

Shovel Knight

This game has been analysed to hell and back, so i wont have much original to say i suppose. Admittedly i did enjoy the first campaign but it didnt completely win me over, plague knights campaign and beyond was what really made this an all time greats for me. It’s one of very few games that gets the NES+SNES platforming appeal 100% right and essentially surpasses most games of the day, with almost perfect pacing, challenge and level design. IT helps that the whole world and story and look is charming as all hell. It’s an easy game to love and the more you play it the more that feels justified. Being PACKED with great content is also a plus. If you liked the first campaign you can just keep going through a set of campaigns about as good that only really rehash some level assets. I would say its one of the best 2D platformers ever for me, if not quite my true number 1.

ALSO JAKE KAUFMAN KNOCKS IT OUT THE PARK WITH THIS SOUNDTRACK

Since i have little else to add to the shovel knight discussion, here’s my ranking/thoughts on each campaign

Plague of shadows. BEST storyline, great levels with a really cool gameplay gimmick, the characters are all cute and the ending really makes me feel for him. both sorry for him at first and then a very real AAAAAAAWWWWWWWWW for LOVE

King of cards. king knight is just fun as hell to play as, he doesnt have that many tools but his movement is just crazy fun and i love the flair in all his animations. also has that rad final boss. joustus is ok i guess.

Shovel of hope. uuuuuuh what can i even say about this. its good, and the melancholy dream bits add a lot to the mood of the story. we’ve already analysed this campaign within an inch of its life i dont think i can say anything new. wish we could fight the battletoads on pc.

Specter of torment. still fun and i appreciate the tone change, but i didnt care as much for the characters and the mega man-esque level select doesnt suit shovel knight imo. specter knight has a lot of fun movement options though. mainly i just love GRINDING and the diagonal slash. i dont give a fuck about reize

Nier Automata

I feel a tiny bit ashamed i have so little to say about this considering it is one of the most emotional experiences i have ever had with a story. If i lsten to the final version of weight of the world i still cry just from remembering this game and how it made me feel. i think its one of the greatest narratives of the century but i can barely get across the appeal to anyone who hasnt already played it. its a story about hope, despair and the nature of the human race that never feels like its preachy or pretensious or taking on more than it can handle. it made me feel all kinds of emotions deeply and intensely, it genuinely made me burst into tears about 10 times, maybe more. even putting aside the ggrand narrative, theres so many cool character moments and bits of world building and visual eements and tragic little side stories that you would need a whole book to talk about them all while doing any real justice to them. i loved it so much that im paying £70 to see an orchestra do the soundtrack live. I want to hug and kiss 2b and 9s better. i just love it deeply and i find it hard to explain why it makes me feel that way, but its a dark beautiful and hopeful story where every moment feels earned. the despair of the story giving way to genuine hope with the rest of the world helping you fight for it is such an intensely emotional moment that you could never replicate outside of this kind of story and medium. how the fuck do i explain that to anyone that doesnt already get it. I’m glad this game exists

Metal Gear Rising 

Well, complete tone shift here. Platinum made a lot of great action games in the last decade that all dig into that same itch for DODGE SLOW MOTION BANG BANG BANG alongside great soundtracks, visuals and awesome set piece moments. Just intense, flashy, awesome combat. Picking a favorite of the decade was the hard part, because a platinum game had to be one of my faves of the decade. The closest was transformers, but mgr has a couple of things about it that put it above the rest of the platinum catalog for me.

The story actually works very well at still being metal gear while in the platinum formula, its about the cycle of violence and FINDING YOUR OWN PURPOSE and it works weirdly well. The strangest part is that it feels like a legitimate sequel to metal gear 4 tonally while still being the crazy action game it is

Raiden is just super fun to play as, while I’ll always miss the DODGE SLOWMO in a platinum game parry and zandatsu give a great flow to fights and there’s real exhilaration to parrying a hard chain of attacks and tearing out a bunch of enemies spines at once every time

raiden is also just  a fun protag, it truly allows me to embrace that kind of stereotypical edgy cool anime swordsman he embodies

BEST PLATINUM SOUNDTRACK DO NOT @ ME

Bosses just rule

one of the best final bosses ever, in my opinion? maybe that’s controversial, but armstrong gets an insane amount of characterization and pure PRESENCE out of such a small amount of screen time and the fact he feels like such a perfect rival to raiden so quickly is kind of nuts to me. within about half an hour you are ready for the ultimate final showdown with everything at stake, and then the gameplay 100% delivers on that with a fight that is challenging as hell and just feels climatic and intimidating. its a little thing, but having this dude just smack you around with his hands and almost no fighting skill after a game filled with crazy flippy cyborg ninjas makes him feel TOUGH and the way you finish him off? it just rocks, plain and simple. I don’t think i need to justify slices a massive dudes chest open and ripping out his giant still beating robot heart as the music climaxes and our cool edgy protag literally says WE’RE DONE HERE. truly, it has to be this way.

Gunvolt Chronicles Luminous Avenger IX 

For fast twitchy 2d platformers this barely beat out Katana Zero and Touhou Luna Nights, but i think its just a little better. The skill ceiling on this game is high as hell and once you really get to grips with it, its an experience you cant find anywhere else. its just satisfying as hell to be able to get through the point where you can ZOOM  through these levels by making use of copen’s dash and lock-on and weapons well enough. once you get good enough to get through a hole level without touching the ground, you just cant go back. I liked this enough to get an S rank on almost every level. this game just rules, man.

story, art and music are all great as well. but they pale in importance next to zippy jetpack zoom zoom fun time.

also great for having a cool twist that i genuinely did not see coming at all

Final Fantasy XV   

For context, my experience of FFXV was not the base game so i cannot personally address the concerns of the version at launch, which i hear from others was a total mess! The game has been updated and changed so much that it is probably almost unrecognizable aside from the absolute base aspects of it. The version i am talking about is, as far as we know, the “final” version released right before Episode Ardyn. There was of course an update after this, but it only added DLC compatibility and a few items, so it means very little in the grand scheme. I also played all of the dlc and watched all the periphery material to get the full, messy disjointed experience. it is also worth noting that the only other FF game i have played is the classic title Mario Hoops 3 on 3 Basketball. I feel it important to tell you this before getting into things so that you can have a full idea of the perspective i come at the game from.

This was chosen over Mario Odyssey and someone will probably kill me for that. I just think its a great emotional story that does a fantastic job of making you care for all the characters, and the world feels massive and full of cool stuff to see. It’s my favorite open world game and i love The Boys.  its not the kind of thing i usually play but i think it genuinely had a great story and its a very fun game to just explore and spend time in. ffxv truly understands the emotional bond between The Lads and it is fun to kill big monsters with your party

(they kinda ruin the last cutscene in english, in japanese he says I LOVE YOU GUYS and it makes me cry but in english he goes U GUYS ARE THE BEST which just isnt the same. a small nitpick though. a lot of this game made me cry regardless, its just great at creating an emotional bond)

I admire the insane level of ambition in the visuals and scope, and i bought every dlc for it because it was just that good. the ifrit boss fight and all the giant monsters are just amazingly epic in scale. the “found a cool rock” post is what i truly admire about this game summed up. 

all the ancillary material for the game is great and worth getting into, with the exception of the Comrades multiplayer expansion. Everything else adds depth to the story and the world without being entirely necessary for you to get through the story. the anime and the dlc all really feel worth getting into without being something you have to see to get The Full Experience

the giant monsters are cool

Scott Pilgrim vs the World: The Game

Being from 2010 this game only just makes it in, but it was my favorite beat em up this decade and a source of great nostalgia for me. It had a pretty big impact on music and art tastes in regards to games, and in retrospect this games existence was very much a dream team scenario. Paul Robertson is a great sprite artist who does a lot of good work, Anamanaguchi have gone on to become one of my favorite bands (another winter is still one of their best tracks imo) and at the time this came out i was obsessed with scott pilgrim. That plus the beat em up gameplay makes this kind of a perfect blending of a lot of my specific tastes. Playing this brings me back to the time in my school life that i played it very distinctly, a more comfortable time in my life for sure, and i think the game still stands up excellently. I hope that someday it will get a rerelease so others can enjoy it. I give this another play through every year or so, but i wish id gotten the dlc while it was still available

Doom

ITS VIOLENT ITS FAST ITS FUN ITS METAL

i like this game because of the intense adrenaline rush and violent catharsis it gives me, essentially a constant dopamine rush

fun game good

Undertale

I’m glad i got to this before the massive wave of spoilers and popularity came about. It’s a great story with some fun gameplay, and i think SANS UNDERTALE was one of the best boss fights this decade. Its a shame that for so many new players this experience is going to be ruined by spoilers

Persona 5 

Danganronpa 2 and fallout new vegas were close contenders for this last spot. I actually made a post about my thoughts on this game before https://journaloftomfooleryandjapery.tumblr.com/post/184341270554/nue-is-great-love-his-goofy-design-when-life-will but essentially 

Essentially, its got a great cast of characters, a cool slick look, great monster designs, a fun gameplay loop of collecting monsters and grinding stats while waiting for the next big event, and a surprisingly good story

No idea if royal is any good, but its on a pretty small list of games that i might actually take the time to replay

[punkscowardschampions]

Rio & Nancy

Rio: So, I have something to say to you Rio: And I waited 'til I left so you don't have to find space in your luggage for my body, before you ask Nancy: Okay... Nancy: slightly scared but tell me anyway Rio: Me too, girl Rio: but I'll just say it, 'cos I should've before Rio: the party, at your parent's rental Rio: it was my party Nancy: That's not funny, Ri Nancy: He's my twin, I suffer the joint parties so nobody else has to Rio: It isn't, I know Rio: but it was, I was there and they were all my friends Rio: I had no intention for it to get that out of hand, for the police to come Rio: to ruin shit for you, I'm really sorry Nancy: So you let him take the blame? Rio: I know, that's why I'm telling you Rio: so you don't blame him Rio: not for this anyway Nancy: He must've still given you the keys Nancy: and he was still there when it got so out of control Nancy: all I'm learning is that it's both your faults Nancy: Like he's stupid, you're stupider Rio: I just wanted you to know that it wasn't all him Rio: I'm not trying to change your mind Nancy: Why? Nancy: Why do you want me to know that? You think he's a prick too Rio: Like you said, I let him take the fall Rio: that ain't right, whoever it is Rio: I'm not trying to aggravate anyone's situations and relationships Nancy: say sorry to him without including me Rio: You can be mad at me, its fine Nancy: Oh I am Nancy: his excuse is any for a party, yeah? 🙄 but I don't understand why you would do this Rio: Why can't I just want to go to a party too Rio: and not think about everyone it may or may not affect, like Rio: I'm sorry, and I really am, but I'm not the one making you go home Nancy: cos you live there! Don't tell me there weren't others that you could've gone too Nancy: that wouldn't end in us going back Rio: It was an oversight Rio: I shouldn't have said yes but I did so you do with that info whatever you need to okay Nancy: you know what he's like and all the encouragement he DOESN'T need to do stuff like this Nancy: he'd have done it whether you were there or not but the fact is you were and you didn't stop him at any point Rio: It was only a party Rio: no one died Nancy: tell that to my mum and dad Nancy: seriously, please do Rio: He wants to handle it himself with them, which is why he took the blame Nancy: Cool yeah and I'll handle being back here myself Nancy: you say maybe you just wanted a party, well maybe I just wanted a break from everything that I already told you has happened Rio: I don't doubt that Rio: but you can't hold me responsible like I'm the one taking you home or I'm the one doing the bullying Rio: I don't have the power to prevent either, I wish I did but I've not claimed it and you don't think I do, equally, I don't have the power to enforce either Nancy: but I can for acting like you care how bad it is and then helping Buster be stupid enough to cause another Nancy: just ridiculous shitshow Rio: I do care Rio: but all of this is nothing more than you said, a break, distraction, from the actual shitshow that is waiting back home and won't go away Rio: do your parents know? Nancy: I can't tell them Rio: You have to Rio: you can't live like this Nancy: I can't have my mum look at me like that again Nancy: every time she has to remind the old men who teach us that dyslexia is a thing, it's a THING Nancy: and my dad doesn't understand anything, you know Rio: It's their job to fight your corner Rio: and they will Rio: you have to tell them how bad it is Nancy: they always do, that's the point Nancy: Buster hasn't needed them to do anything since he started school basically Nancy: they love him for it Rio: then maybe that's the problem Rio: what if he doesn't want them to look at him like that either Nancy: This would never happen to him, or them Nancy: so it's my fault that I'm the one that's different Nancy: that's what he thinks and that's what they'd think too, like Rio: everyone has different issues Rio: that doesn't mean no issues, ever Rio: even if you are different, they still love you Nancy: I'm handling it, not the way they would, but I am Rio: How? Nancy: what doesn't kill me makes me stronger, right? Nancy: don't people say that Rio: People are idiots Nancy: It's not how my family do things, talking Nancy: I can't just spill my truth over the dinner table in place of asking for salt Rio: Fixing things, isn't that what yours like to do best Rio: give them the chance, you can save the rest for someone who's a better listener, someone more comforting, I'm not saying you have to do that Rio: but this can't carry on Nancy: it won't forever Nancy: she's clearly in love with me or something, that's every homophobe's narrative in every YA thing ever Nancy: once she gets over it, I'll be fine Rio: This ain't teen drama, and she isn't Rio: this is serious Nancy: I know how serious it is Nancy: Living it Rio: Then stop Nancy: it's not that easy Rio: No, its brave Rio: but so is enduring that level of hate every single day Rio: without any of the reward Rio: so I know you can do it Nancy: it'll make it worse if I say anything Nancy: I don't know if I can cope with that even hypothetically so Rio: How much worse could it be Rio: how much more are you willing to take before that point, not hypothetical, 'cos all of that is already happening and it won't just get better on its own Nancy: I'm not testing that at my own expense, okay? Rio: Don't Nancy: She's got so many friends, boys as well Rio: Some friend Rio: I'm sure loads of people hate her too Nancy: Maybe Nancy: and I'm sure at least some of them spend every day holding their breath too Nancy: I'm not starting a club Rio: Who do you think she is to bully you Rio: because that's the truth, she can only get away with it because you think she's somehow better than you Nancy: I barely know her Rio: exactly, she should be irrelevant Nancy: what's closer to the truth, I think, is that I refuse to see other girls as my competition and she can't stand it Nancy: I could weaponize things she obviously feels self conscious about, but I won't Rio: That just feeds into it being your fault, that there's any reasoning that's acceptable Rio: if you didn't have those insecurities yourself, she couldn't use them, fuck her and hers Nancy: my sexuality isn't an insecurity, not to me Nancy: the fact that I'm not whatever Chelsea girl cliche she thinks I should be is far from either Rio: Then get help Rio: if you thought you deserved it, you would Rio: that's the problem, there, you can't see getting help as anything but a weakness Rio: letting someone treat you like shit is, especially when you say you have the confidence to see you deserve better Nancy: and trade it in for my parents disappointment? thanks but no Nancy: letting everyone see and treat me like 'that bullied girl' is no better Rio: Then don't be Rio: that is all you're being Rio: in what world do you think either of them would be proud you grin and beared it from some bitches not worth half of you Nancy: If I wanted any of this I'd ask my brother for advice Rio: Just because the solution is walk through the fire and that sounds terrifying, doesn't mean you aren't fucking living in it Nancy: I don't need you to tell me how I'm living Nancy: or what fear is like Rio: You don't want anyone to examine it Rio: you wanna just disappear, so they can't see you and no one else can Rio: this shit will shrink you and wear you down to nothing but 'that bullied girl' and that's the fucking truth Nancy: You're being a real bitch right now actually Nancy: and not just for making me call you one Rio: Call me what you like Rio: I know myself and my intentions Nancy: so do I but what you don't know is how difficult this is Rio: Yes I do Nancy: it's so constant and I'm so tired Nancy: I don't have time or space to explain to my mum and dad why and what is happening Rio: There's no alternative Nancy: there's no words for any of it Nancy: to make them understand that it's not just stupid kid stuff that they'll tell me to sort out on my own Rio: There are Rio: but if you say them it stops being stupid kid stuff and it makes it serious and real Nancy: not in my head, you know how hard it is for me to find any Nancy: when I'm upset it's worse Nancy: I can't organise my thoughts ever any more Rio: I can help you, or Junior or Billie or any of us would be happy to Nancy: I haven't told either of them Rio: Who knows? Nancy: you Nancy: and Buster unavoidably Rio: You should talk to them Rio: Junior especially, he's never had an easy time of school either Nancy: that's why I don't wanna worry him Nancy: he's so sweet but what can he do? Rio: Get it Rio: if you're feeling misunderstood by the rest of us Nancy: I vented to him forever before I came out, he doesn't need this too Nancy: it's not fair Rio: That's what friends are for Nancy: he's my escape from it, he'll stop being if I drag him right in Nancy: it's already all you wanna talk about Rio: Its your life Rio: you can't escape it Nancy: I do though Rio: and its still there when you get home Nancy: Like I said, telling on her isn't gonna fix that Rio: Fine Nancy: You don't get to be mad at me about this Rio: How do you expect me to talk to you about anything else like you don't hate your life? Nancy: Don't talk to me then Rio: You may be happy to ignore it but I won't Nancy: Happy is an oversimplification Nancy: you're ignoring everything I've said Rio: And you don't get to tell me not to be mad Rio: Like I don't care about you and have every right to be worried Nancy: I can tell you not to be mad at me if you're telling me it's not my fault but treating me like it is Rio: I'm not Nancy: everything you want me to do only makes my life worse, not hers Nancy: my school is stuck in a timewarp and she's surrounded by people who support her even if it wasn't Rio: Because this isn't about her, or revenge or being that person Rio: she's that person and clearly her life is shit enough already if that's how she treats people Rio: why am I pretending to you that its easy, exactly? Rio: when has life ever been Nancy: Yeah okay Nancy: Life's hard, why do I have to be the one to make it harder? Nancy: Why can't they just stop Rio: Because they aren't handling their own shit Rio: you shouldn't be the one to take that on just 'cos they've picked you to do it Nancy: I miss you Rio: I miss you too Rio: I am so sorry you had to go back before planned, okay, you know I am Nancy: Of course I do Rio: Its your life, alright, do what you have to but I know you aren't okay Nancy: I'm trying Rio: I know you are Rio: some things you can't do alone Rio: shouldn't have to Nancy: I know Nancy: I'll try to talk to mum but you really have to pick your moments with her Nancy: and with Buster determined to wind her up right now, there aren't loads Nancy: I have no idea how you could bear to be in the same room as him, especially with all your friends there Rio: If anyone knows how tough it is to get parents undivided attention, its me, don't worry Rio: he's not so bad Rio: sure I'd feel different if he was my twin though Nancy: when he's drunk or high, he's worse Nancy: which is like always now so Rio: We've all got shit we're dealing with badly, yeah? Nancy: Okay, good connection made there, even if it does wanna make me scream how not like him I am Nancy: that's just twin things, I guess Rio: I'm not going to force you into matching outfits, like, don't worry Nancy: Oh god Rio: You can admit he's human too, I won't tell Nancy: If he'll ever admit that he likes being a bad person, maybe Rio: No one likes being a bad person Rio: sometimes its the easier thing to do though Rio: we all want an easy life Nancy: he never goes for what's easier, he does what he wants to do Rio: We should all do what we wanna do, shouldn't we? Nancy: If it doesn't hurt people, sure Nancy: but not if you don't care whether it does or not Nancy: and constantly put yourself before every and anyone else Rio: What constitutes hurt? Nancy: You know what I mean and what he's like Rio: I'm just saying, bigots say that kinda thing about being gay, that it hurts everyone around you etc Rio: you can apply it to a lot of shit that is actually fine, even if you're not about it, you know Nancy: Gross Nancy: I'm applying it to his attitude and how he treats people Nancy: neither of which are fine Rio: Its not your burden to bear, you know Rio: you can't affect how he treats you, never mind other people Rio: you can only decide how you react to it Nancy: Well I'm not sorry for wanting him back Nancy: how he used to be Rio: That makes sense Nancy: Don't you remember how kind he used to be? How funny and genuine Nancy: he used to care about us Rio: He's still got the potential to be that person Rio: people change constantly Rio: for good, bad, better and worse Nancy: exactly, so I'm not gonna let him be a prick unchecked Rio: Okay Nancy: mum and dad let him get away with too much Nancy: sending him home isn't gonna help when he behaves better in Dublin and always has Nancy: they're just embarrassed Rio: Yeah well, parents rarely know what's best Rio: even if they chat like its 100% in their favour Nancy: right? Rio: Its all about confidence Nancy: mine have too much of that, let's be honest Nancy: 🙄 Nancy: I'll admit it was a good idea having the party there, well it would've been if he didn't get found out Rio: It was good Rio: 'til the garda ruined it Nancy: thanks for the invite 😏 Rio: You wanna be in the same place as your brother? 😱 Nancy: I have to avoid him the rest of the time, I would've managed Rio: My bad Rio: next soiree Nancy: You thought I wouldn't come Nancy: but in my defense, I've only been to family parties Rio: its much the same but just with people you aren't related to Nancy: I doubt that or nobody would have any Nancy: must be slightly fun Rio: nope, exactly the same Rio: expectation to enjoy yourself and 'just have fun' is even higher, actually Nancy: oh great Nancy: what I suffer from my bullies, I don't suffer from peer pressure Nancy: good to know I'm not missing out thanks to my lack of friends Rio: Don't grow up, babe Nancy: excuse you Nancy: I'd pick Tinkerbell over Peter Pan Rio: Of course you would Rio: you sound like Wendy though 😏 Nancy: so rude Nancy: I won't make the 🐶👶👶 comparison for you though Rio: You've already called me a bitch, babe Nancy: I'm sorry, okay Rio: Forget it Rio: I've been called worse and invariably will be called ever worser Nancy: but not by me Nancy: it's obviously not you I'm mad at Rio: I know that, don't worry, seriously Nancy: it's just so lonely and frustrating Nancy: like is this my payback for not having gay angst Nancy: so sorry that girls are beautiful and I don't feel bad about it Rio: Being a teenager is trauma Rio: no one gets to adulthood unscathed or you wouldn't survive Nancy: Yeah and I know it could be worse Nancy: everything that happened to my mum, to nan, to so many of them Rio: doesn't mean this isn't bad too Rio: or that your mum would dismiss it Nancy: they handled it though Nancy: better than I can or I am Rio: None of its a competition Rio: and nan would be the first to tell you her life isn't aspirational or inspirational Nancy: I just feel like she deserves a different daughter after everything Nancy: a stronger one Rio: All anyone wants is happy and healthy kids Rio: if your list is longer than that then you shouldn't have 'em Nancy: I know but Buster's so brave, she raised me to be like that too Rio: Like I said, you are brave Nancy: I'm scared all the time, he's not scared of anything Rio: Everyone's scared Rio: he just hides it well Nancy: Another skill he's got, like Rio: Courage is not the absence of fear, but rather the assessment that something else is more important than fear Rio: now someone did say that 'cos I quoted it Nancy: shame I'll forget it by the time I finish writing this Nancy: having no short term memory is really annoying Rio: sure there's a poster or a mug I can get you Nancy: 😊 Rio: is it an early flight then? Nancy: Yeah Nancy: I'm sleepy just thinking about it Rio: Ugh Rio: not even long enough that you can sleep Nancy: it's so weird to me that they even do flights that short Nancy: isn't there like a million checks and stuff they have to do before? Rio: 😂 the things you think about Rio: Probably like nipping down the shop for a pint of milk to the pilots, routine as Nancy: I guess Nancy: but it'll take longer for me to decide what I'm wearing than it will to get there Rio: D'ya wanna sound more first-worldy, babe Rio: I know I said all problems are created almost equal but don't take the piss with it Nancy: also my hair won't be dry 😏 Rio: you can truly fuck off with that one Rio: my hair retains water FOREVER Nancy: 😂 Nancy: I knew you'd like that Rio: So, we're good? Nancy: Of course Rio: 🙏 Nancy: 💋 Nancy: I mean, if you go to any more parties with my brother we'll have to be sworn enemies but that's standard Rio: 😏 Nancy: since it's partly your fault I'll be there again, you really should come to London though Rio: Yeah? Rio: that'd be cool, I was wanting to go anyway Nancy: if your mum and dad will let you and your boyfriend won't be too 💔 that I'm stealing you away Rio: ha Rio: that 🚢 sailed 'fore your ✈ set off Nancy: Oh Nancy: are you okay? Rio: 😂 Rio: yeah, again, don't worry Rio: I'll survive Nancy: I am worried now cos clearly you can't get a word in Nancy: 😶 Rio: Nah, there's not much to say about it Rio: neither a problem nor important, legit Nancy: well I've deleted my 👄 now so Nancy: and if you dumped him cos of his inability to dress you for the wedding, babe, that's ALL straight boys Nancy: just saying Rio: whereas lesbians are known for their impeccable dress sense 😏 Rio: and he dumped me actually, not over my wedding outfit though Nancy: breaking my heart when yours isn't, is very unfair Nancy: and he obviously couldn't use that as a reason, you looked 🔥 Rio: put on your comfiest flannel and 😭 babe Rio: exactly though, occupational hazard of dating me, he couldn't hack it Nancy: that's both slander and a borderline hate crime cos I have and will never 😧! Nancy: you deserve more parties and I won't be a bitch about any of them Nancy: even if you invite Buster and not me, again Rio: You're so sweet Nancy: it's just a fact that the fragile male ego isn't ready for someone as pretty as you Rio: You aren't turning me Rio: but I appreciate the compliment nonetheless Nancy: that's not what I'm 🤔 more like how to find you someone mature without being gross old Rio: What about your own love life Rio: let's 🔎 there Nancy: I don't have one Nancy: we all know boys are really slow at growing up but that doesn't mean any girls I've encountered are ready for me either Nancy: they only started letting girls into my school a few decades ago, I'm the only one who's out from that already shockingly small number Rio: You live in London though Rio: one of the most diverse cities ever Rio: get out of that ⬜ and into a different ⚪ yeah Nancy: what am I gonna do sit weirdly alone at every tourist attraction 🤞🧡? I don't have any friends to do anything with Rio: that's why you join clubs, take up hobbies Rio: friends and girlfriends aren't gonna break in your house and interrupt your netflix marathon, like Nancy: if I get my 📷 out that's stalking Rio: get permission first, like Rio: rule no1 of not being a creepy/illegal photographer Nancy: thanks for putting that in writing for me Nancy: I'll try and remember Rio: any time, babe Nancy: Why did he break up with you? Rio: Oh, someone told him I was all over someone else at the party Nancy: Ugh Nancy: so it wasn't even for a good reason Rio: I mean they weren't lying Rio: just overexaggerating but whatever Nancy: Wait, I've missed a break up and a hookup? Oh my god Nancy: really out of your ⚪ right now Rio: It was that kinda party Nancy: Buster does know how to throw them, like Nancy: quite Gatsby of him Rio: okay, nerd Rio: you lost me 😏 Nancy: you saw the movie, don't lie Rio: perhaps Rio: 💚 Nancy: and I only did cos Jordan Baker has such lesbian energy and her beard Nick is clearly in love with Gatsby so call me what you like Rio: she plays golf, no straight woman would dream of being that boring Nancy: or dressing how 🏌 do Rio: precisely Nancy: I'll find a well dressed lesbian somewhere, somehow Nancy: though it could take years Rio: no pressure Rio: don't need another wedding any time soon Nancy: Gross Nancy: I'm never getting married Rio: nah? Nancy: we covered that I don't like family parties, yeah? Rio: I guess so Rio: you don't have to do it like that though Nancy: anyway it's so hetero Nancy: no way am I being given away by my dad like I belong to him Nancy: or taking someone else's name cos they like own me now 🙄 Rio: 🙄 Rio: 1. who does that or has since like 1988 babe Rio: 2. we get it, you're the man, you don't have to do that either Nancy: literally every straight couple ever Nancy: and those kind of 'which one of you is the groom' jokes aren't gonna sell it either Nancy: I'm triggered at the prospect Rio: were you at my parents wedding or Rio: this bullying got you behaving all manner or retro tbh Nancy: your parents are far from traditional, we all know Rio: so you don't have to be Nancy: let me find a well dressed girlfriend first before you worry about dressing me for my wedding, like Rio: 👌 Nancy: I understand you wanna see me 😳 but it won't be cute Rio: just don't be so judgey Rio: that ain't cute Nancy: okay that's fair Nancy: I shouldn't judge anyone else by elite Chelsea girl 'standards' I know that Nancy: this place is just mind altering Rio: You're all good, babe 🧡 Rio: I'll keep you in-check Nancy: I really hate it Nancy: you'll see, even our house is too big and too.....blank Nancy: like a gallery if someone forgot to put the art in Rio: I'm sure your room is cosy Nancy: I've got space for a giant wardrobe that's a plus Nancy: and I don't have to fight Buster for the mirror cos that's a fight I'd NEVER win Rio: 😂 Rio: so there's some pluses Nancy: 😏 end of rant, I promise Rio: You've got packing to do, conserve some energy Nancy: I WOULD'VE FORGOT TO PACK 😲😣😂 Rio: Oh honey Nancy: I'm just sleeping soundly til the morning when I have to throw an empty case in like I'm Lisa Simpson starting a new life and getting new friends at the beach Rio: Its a plan Rio: not gonna go ahead and call it solid but you know Rio: go have those sweet dreams Nancy: we can't okay it when my dad loves his car like a 4th child Nancy: I'll go and pack Nancy: 🧡 Rio: Perhaps enough drama for one trip Rio: there's always next time 🧡 Nancy: as long as you don't tell Buster the same thing, like Nancy: 💚💋 Rio: 😶🤞

[fightmeyeats]

Wrath Month: Probably Not Gonna Calm Down

I feel very frustrated by @taylorswift​’s “You Need to Calm Down” (currently “#3 On Trending” on youtube). This is not a particularly hot take.

Corporate pride tends to be highly contested in general: on the one hand, some argue that it's helpful to LGBT+ youth to see themselves represented in the hegemony and suggest that maybe it’s better that corporations are courting LGBT+ dollars over the money of homophobes; on the other, normalization (especially normalization through capitalist/corporate interests) has historically been complicit in the further marginalization of many queer folks--especially trans women of color. To some, “You Need to Calm Down” is simply one example of corporate pride, and therefore represents the same potential for an ambiguous reading. Personally, I have tried to imagine whether this song would have meant anything useful to me as a closeted queer teen; I remember looking desperately for queer themes in “straight” music, and I remember being slightly older (18, maybe?) watching Hayley Kiyoko’s “Girls like Girls” on a loop and how much my first exposure to actually queer music produced by actually queer artists meant to me, and I don’t think even that version of me would have felt connected to Taylor Swift’s attempt to reconcile her experience as a celebrity who has literally capitalized off of internet drama to the harassment queer folks experience daily for existing as themselves.

The Onion’s article “Taylor Swift Inspires Teen To Come Out As Straight Woman Needing To Be At Center Of Gay Rights Narrative” does a great job of simplifying why exactly this video and song is so exhausting to me and many other LGBTQ+ folks: the author argues that Taylor Swift uses “LGBTQ iconography to advance her career” and that, rather than letting people speak for themselves and control their own narratives, she’s making Pride Month about herself. The Atlantic and Vox both have run more in-depth articles breaking down the multitude of reasons why this song is deservedly coming under fire, which I highly recommend reading.

One counter argument I’ve seen here and there is that Taylor Swift is actually not a straight woman centering a gay rights narrative around herself--now that she’s said the word “gay” in a non-negative way in a song, its only a matter of time before she comes out! So one of the things I want to emphasize here is that while I personally don’t believe she’s queer (and per Swift’s own tumblr post explaining why she didn’t kiss Katy Perry in the music video where she says “To be an ally is to understand the difference between advocating and baiting. Anyone trying to twist this positivity into something it isn’t needs to calm down. It costs zero dollars to not step on our gowns.” she doesn’t seem to anticipate coming out either), regardless of whether or not she turns out not to be straight, this song and its lyrics are appropriating LGBTQ iconography to advance her career, and Swift is using queer folks as accessories to perform “wokeness” and draw parallels between herself and actual marginalized communities for her own gain. She may end the music video with directions to sign her petition for Senate support of the Equality Act, but the links in the song description are all promotion for her song, her merch, and her social media accounts. She does not even follow through on the optics of social justice.

The main way I want to trace this argument is through her fundamental misunderstanding and, more significantly, misrepresentation of what homophobia is.Throughout the song/music video Swift is consistently trying to render compatible her own supposed experiences with being bullied/criticized on the internet to the violence of homophobia which is, quite frankly, fucking wild. She sings: “Say it in the street, that's a knock-out / But you say it in a Tweet, that's a cop-out.” What seems to be the intended interpretation of this line is that negative interactions online are cowardly, because people are “hiding” behind usernames and icons, rather than being “brave” enough to offer direct criticism and publicly/visibly own their words; I am not going to go into the potentials of this line of conversation, because I do think in another context (and said by other people) real conversations about the potentials and pitfalls of online culture in regards to purity/call-out culture, social activism/organizing, and bullying can be and are already being had. What I want to point out here is the cognitive dissonance: who can say anything in the street to someone as rich, privileged, and insulated as Taylor Swift? If Swift only accepts criticism delivered in person, she doesn’t accept criticism and she might as well own up to that. And when she is trying to tie this into a commentary on homophobia, maybe she should have considered for two seconds the kind of actual danger queer folks (especially trans and gender non-conforming) are actually in on the streets every day while she’s in a mansion/penthouse apartment (and to that extent, the gentrified trailer park imagery didn’t sit to well with me either, but I’ll get into the discussion of class later on). Queer folks really are getting knocked-out in the streets (1, 2, 3). Furthermore, in her desperate attempt to center her psuedo-discourse on homophobia and queer liberation around herself, she sings the lines: “But I've learned a lesson that stressin' and obsessin' / 'bout somebody else is no fun / And snakes and stones never broke my bones”. I’m not really surprised that it doesn’t “break her bones,” given how successfully she has marketed and monetized her feuds and her own victimhood; this is just a newnother rebranding of said victimized persona, and even though she may not be bothered, there are real stakes to it beyond the “lack of fun”.

So let’s get into it. As I said before, Swift is dangerously misrepresenting what homophobia is and what it looks like, namely through the use of a progress “wrong side of history” narrative. The lines run “Why are you mad when you could be GLAAD?...Sunshine on the street at the parade / But you would rather be in the dark ages” and the music video shows what Kornhaber, writing for The Atlantic, aptly describes as “an unwashed-looking mob” holding childish signs with misspellings and the all-time classic “Adam + Eve Not Adam + Steve.” Korhnaber points out the more common use of “God Hates Fags” signs; personally, I’ve also seen a lot of the “HolyBible” “After Death, the Judgement” signs. In Swift’s narrative, homophobia looks like the obvious, regressive, primitive villain; the already defeated. Perhaps worse, it looks like the rural poor, against the backdrop of rich queer celebrities. This narrative works to render invisible the poor-and-queer, and it undermines the real dangers homophobic violence poses by imagining homophobia has already lost. Imagining homophobia as thirteen unwashed rural poor people who can’t spell the word “moron” obscures the reality that there are also the Mike Pences and the Philip Anschutzs and the laundry list of other rich and connected anti-LGBT politicians, activists, and donors who have very real effects on the lives of the disabled, people of color, women, LGBTQ+ folks, the poor, immigrants, and all the intersections thereof. This also ties into the way Swift puts forward the solution “You just need to take several seats and then try to restore the peace / And control your urges to scream about all the people you hate.” As meaningless as these lines are overall, the insinuation that there is a “peace” that we can be “restored” to that would benefit the marginalized and oppressed is ridiculous and harmful, and again misrepresents the problem. Moreover, it suggests the problem could be understood as one of bodily discipline: if homophobes “controlled” themselves better, didn’t scream so much, there wouldn’t be a problem--this gets us back to the problematics of representing homophobia as exclusively the undisciplined poor, rather than the rich and connected. It also leaves room for the potential insinuation that everybody who is angry on the internet needs to calm down; I’ve seen a lot of jokes that this Pride Month, the 50th anniversary of Stonewall, we’re returning to our rebel roots and also celebrating Wrath. I certainly don’t plan to calm down, thanks anyway, Taylor. 

In this same vein lets consider the much quoted line: “'Cause shade never made anybody less gay”. This was the first line I heard from the song, and my immediate problem with it was, as Korhnaber also points out, that throwing shade comes from queer communities of color, and “there are many ways to describe a parent who disowns a trans kid, or a lawmaker who tries to nullify same-sex marriages, or a church member who crashes a gay soldier’s funeral. Shady isn’t one.”

Swift hides from potential criticism/backlash behind a psuedo-feminist “female solidarity” with lines such as: “And we see you over there on the internet / Comparing all the girls who are killing it / But we figured you out / We all know now we all got crowns.” While there certainly are people who try to pit women against each other on the internet, again this is something which Taylor Swift has directly utilized multiple times to make herself money. I’m glad celebrities know they’ve all got crowns, but in what world does this benefit the non-rich and famous?

[gale-gentlepenguin]

Miraculous Ladybug and Randy Cunningham, 9th Grade Ninja. An analysis and Comparison.

Request submitted by @ididntthinkthis-through )

They asked for a comparison as well as the good and the flaws of both shows.

First, Randy Cunningham: It is a fast paced 11 minute per episode show that’s main focus is action. Its animation while not beautiful, fits in line with the show and fits its style perfectly. 

The good: The character development for Randy and Howard, (Mostly Randy) is solid throughout the show. Howard is the ninja’s best friend, not a hero partner, so he isn't burdened with the Ninja’s responsibility like Randy is. This allows him to be the devil on Randy’s shoulder, causing Randy to misuse his powers in order to help them out. Sometimes Howard will be the one telling the Ninja not to do something, but that is rare and usually has an in character for it. 

The show knows what it is. It knows its lore is kind of weird and makes little sense to when you think how there was a Japanese-esqu village over 800 years ago, but it has fun with it. It knows not to take itself too seriously. But it knows how to give drama or stakes when needed. I also love the variety and dynamic of Randy and his villains. For example: The ninja has this understanding with McFist that if McFist is outted as a bad guy, it would be really bad. Which was questioned and even had an episode on WHY this would be bad. The ninja lessons are interesting and allow for development in someway for Randy, never coming off as preachy or unnecessary.

The ninja also has the coolest stuff for fighting bad guys and the enemy variety, including monsters, robots, and even sorcerers does give a nice change of pace when needed. He even fought a former Norrisville Ninja. 

The Flaws: Oh this show has a lot. Lets talk about the lack of use of side characters. Randy and Howard are the only high schoolers we get some actual development on. The others are 9 times out of 10 kind of stuck as one dimension caricatures. Which sucks because they could flesh them out more. They might get one episode fleshing them out then back to the trash bin to be part of the collective. The fights do get repetitive with stanked teens, and while they do change it up sometimes, it gets kind of boring in some episodes. A lot of the time you can skip episodes and have no impact on what you know. Which in an a way, is good but not when you have random bits of lore sprinkled with no real care on where it lands. It can really have people missing some context.

The villains are sort of a double edge sword. They can be fun and sinister, but most of the time the balance is thrown more towards silly, and the edge is sort of lost. I love the sorcerer, but he is so... limited at times. When he is a threat, oh man he is a threat. But most of the time... its just... meh.

____________________________________________________________________

Miraculous Ladybug: Is an action show with a 22 minute episode format that allows for more of a build up between episodes, allowing the viewer to grasp a situation, as well as some sort of B plot, if Adrien is not with Marinette at the time/ related to the a plot. 

The good: Marinette is an amazing main character, a hard working, caring, sweet and creative individual with so much to offer. She is the ideal hero candidate which is why she is chosen to become Ladybug. She has her struggles but her confidences and sweet attitude usually help her in the long run. Adrien the deuteragonist of the show, is Marinette’s love interest and her crime fighting partner. The key to the dynamic is that neither Marinette or Adrien know the other’s identity, this is the sticking point and the reason for the love square. Marinette is in love with Adrien, Chat noir is in love with Ladybug, Adrien is Chat noir and Marinette is Ladybug. They are in love with each other but they don't know that they love the other.  This allows for 4 different takes on a relationship. Which in concept is awesome. The side characters of the show get bits of development here and there, some even becoming reoccurring characters with their own personalities that make them stand out more.

Then their is the lore, the mystery of the miraculous is intriguing, what are Kwami? Why is Master fu the current guardian of all of them? How did Hawkmoth get the butterfly and peacock miraculous? How did hawkmoth even know about the miraculous? How much did the miraculous impact history? What does the ladybug and cat miraculous actually grant the user of both? There is so much to unpack here.

Hawkmoth is an example of a tragic villain. A man with a moral code that wants the miraculous simply for the sake of getting his wife back. A reasoning similar to Mr.Freeze from Batman. Perhaps he was a hero once, but now he is forced to go the dark route for his ambitions.

The Flaws: This show, oh this show. Despite what the fandom says. The show doesnt really have that many flaws. But the flaws that it does have are rather large.

1st. The writing is inconsistent within the characters. Excluding Marinette, her family, Adrien and Hawkmoth. Most of the characters are pretty much subject to the whim of the episodic plot. That means if the class needs to suddenly turn on Marinette for no inexplicable reason, it does. If some characters are acting harsher then normal, it is fine, it is clearly Marinette’s fault. Its kind of twisted. (I have talked about this before so I am just cutting it here)

2nd. The lore and writing conflict. The problem is that in the lore Ladybug and chat noir are considered equals and opposites. They are a sort of yin and yang. But then the show basically has Chat noir get the shaft more times then anyone can count. I get the show is called Miraculous Ladybug, so Ladybug needs to be the main hero, but this hurts in context because whats the f***ing point of it? The episodic nature and as a writing make it seem like Chat noir is about as important as a meat shield rather then a crime fighting partner. Sometimes he does help out and it looks like a partnership, but it mostly looks like a hindrance. As a fan of the show and Writer this infuriates me to no end. Its clear Ladybug is more important, since she has the Deus ex Machina power and the fix everything power. But when you can replace chat noir with a piece of toast and have things be EASIER on Ladybug, that is s*** writing. Just have Chat be a temp hero like Rena rouge or Carapace. Just stop jerking me around like this with Lore on one end telling me how important both are yet shafting Chat noir in fights and EVEN IN THE PLOT. HE FOUND OUT ABOUT FU WAY LATER THEN HE SHOULD HAVE. ITS F***ING STUPID. 

3rd. The Formulaic yet not writing: To put it bluntly, this show suffers in a way because its formulaic. Some episodes are clearly more important then others. In season one, You could watch maybe 6 or 7 episodes with something new, relevant to the lore, relevant to the love square development, or just true character introductions/ development. The rest are basically filler. Season 2, is a lot more sporadic but has a lot more lore and development in episodes, but it is random and then makes call backs that also have plot holes in some aspects. It honestly gets kind of fuzzy. 

The comparison: Both shows have young teens fighting against villains that have the power to influence others by taking advantage of their negative emotions. They both have the main character learn lessons and grow as heroes, they both have interesting lores. But after that, their is a split on how each show takes itself.

The difference: The main difference is how the shows center themselves. Randy has the world build around him. With more and more added as he grows and develops as the Ninja. Randy is the reactor, the world is simply reacting to him.

Marinette has the world reveal more and more and then she grows accordingly. That is to say when a development happens, Marinette is reacting not the reactor. She is not the instigator in events, She simply stumbles into it.

Whether that is a good thing or not I am not sure, a lot of deep shows usually go with the later method as it allows for growth and development in a more realistic manner. But in monster of the week narrative, it becomes slightly more....difficult to implement. Not impossible, but hard for deep lore to shine through.

[rwdestuffs]

Done dirty: Yang.

Because I guess her having an entire hate group dedicated to her on deviantart isn’t enough to make the writers to think that maybe they should actually develop her and cut her some slack.

Hey everyone, and welcome to ‘Done dirty’ the blog series that takes a look at these characters, and shows how they’ve failed at being characters, or at least the ones that the writers have tried to tell us that they are.

And Yang is a perfect example of this.

See, Yang was meant to be a deconstruction of the party girl trope. This means she loves fun, and doesn’t take things seriously.

If that sounds nothing like Yang, then congratulations!- You clearly know the difference between what was told and what was shown.

The Yang/Yellow trailer shows Yang going to a nightclub and wrecking the place because she didn’t get the information she wanted. While her going to a nightclub seems to be all that is needed for her to fulfill the party girl trope for the writers, it really isn’t enough for the viewers. Here’s an idea: How about we open on Yang on the dance floor, and when she does a minor offense (Like spilling someone’s drink while she’s dancing), the guy she offended attacks her, and she defends herself.

Not only would this give Yang a valid reason to fight, but it would also show that she was there for a good time, only to have it ruined because some asshole didn’t accept an apology.

Instead, she walks up to Junior, skipping the dance floor entirely, and demands that Junior give her the information that she wants. Such a ‘party girl’ am I right?- Then she assaults him for not giving it to her, and wrecks the place!

She doesn’t even face any consequences for wrecking the place! Some of the fanfics I’ve read have the excuse being that Junior doesn’t want any attention from the police, as he associates with criminals. But that doesn’t work because a) This isn’t conveyed well enough to the audience and is pretty much moot, and b) Yang tends to not do this often.

Volume 1 rolls around, and she’s giving her sister a big hug. But once they touch down, she immediately ditches Ruby to hang out with her shadow friends!- But not only that, they establish in the very next episode that Yang was like a mother figure for Ruby, so this contradicts what happened because on one hand, the first part makes us think that Yang is actually a party girl, like the writers intended, but the second part…

… Establishes her as a motherly figure. She wants Ruby to break out of her shell, and meet new people, as established in the next episode.

and she does this even further by not actively looking for Ruby, so that she can help her little sister break out of her shel- She doesn’t at all. If you’ve been following, Yang is really contradictory in the first volume.

Party girl tendencies?- Practically nonexistent. Motherly figure to Ruby?- Only when the plot calls for it. Wanting to help Ruby grow?- Doesn’t even apply to the following episode. Cares about her partner?- She doesn’t even run off trying to chase and stop her after Blake runs off.

There’s no consistency about Yang in volume 1 because at this point, she’s just a pretty face who punches things. At least she’s strategic about it, as she came up with the idea of blasting the Nevermore from the inside on her own and didn’t just recklessly shoot it from the ground in a fruitless manner (remember this for me, would you?)

Volume 2 gave her some personality. She makes puns! Oh I get it! It’s just like Barbara!- Oh that’s clever.

Yeah, the start wasn’t good to Yang, but she provides some interesting things to say, and she manages to get Blake to calm down with a heartfelt speech about how she should have died when she went out to look for Raven, yadda yadda, we know how the end went.

She dances with Blake for… about what?- five seconds of screentime?

Then she doesn’t dance with anyone else.

And when we get to Mountain Glenn, she provides some pretty neat exposition on the location.

And people keep saying that she’s a ‘dumb blonde.’- HA!

Like… the other things. I mean, she blocks, dodges and weaves in all the fights she’s in (remember that for me).

She also nearly rings out Mercury, and that’s actually pretty brilliant. She almost threw the entire plan of Cinder out the window, and she didn’t even realize it. It’s actually a pretty cool fight.

And we know how it ends, so let’s talk about the consequences of the fight.

There are none. Sure, she gets disqualified, but that’s hardly anything. We finally had Yang in a position that she couldn’t punch her way out of, and the writers didn’t capitalize on it. This would have been a perfect opportunity for the Yellow trailer to come back and bite her, but we don’t get that. We don’t get to see Yang developing from bad social stigma. We don’t get to see people flinching away at her, or being on edge because they’re afraid of making her mad, we just see her uncle calling her crazy.

Right… The guy who fought a person who could distort what they were seeing being at the tournament is totally never going to happen. It’s not like Qrow once fought a person with that ability when he was trailing the fall maiden.

But really, the biggest insult of all comes from the audience, when Yang got her arm cut off. After the initial shock, we got treated to people saying that “She deserved it” “Now she won’t be so reckless” and ‘She should have waited!”

Right. Because obviously, if that were said viewer’s friend in that same situation, they would have waited too. There was no reason for Yang to believe that Adam would step away from Blake, there was no reason for her to know that Blake had enough aura to use her semblance, and there was no reason for Yang to wait around and strategize. If she did, then I’m positive that the fans would say “Why did she wait?- She put Blake in danger by waiting! She should have rushed in!”- Effectively blaming Yang for losing her arm, and putting her in a no-win situation.

Then we have Volume 4. Oh boy, how to deconstruct this piece of shit.

Let’s start with the positives of Yang’s arc.

It starts off really well. Yang’s PTSD is portrayed realistically, and she finds it hard to function as she once did. She acknowledges that she has to get used to this, and her nightmares feel very real.

Tai doesn’t blame her for not wanting to put on the arm, and that’s actually pretty good. He’s not guilt tripping her……… yet.

We go to a later part, and we now see that Tai actually does blame Yang for losing her arm.

WHO. THE FUCK. WANTED THIS. JOKE?- Who thought that this was an okay thing to say to a person who lost their limb on the battlefield?

Not only does this show that Tai blames Yang for losing her arm, but it also carries the implication that Tai would have let his teammates suffer through death had he been in Yang’s shoes. And then Yang has to diffuse the situation.

If this was how they functioned, then Yang would have shot back with something equally as scathing. But why should I think that Tai knows how to parent when he was stated to have ‘shut down’ after Summer died?

There is no reason to. Tai was a shitty parent not only in that scene, but in the past as well. And yet, the narrative still seems to want to shit on Yang some more.

Yep. comparing losing a limb and getting PTSD from it to a fear of mice. I guess that’s something you’d see if you only read the cliff notes of the cliff notes on how to write PTSD.

And remember how I said that Tai hadn’t guilt-tripped Yang into putting on the arm?

……… Yeah, it didn’t last long. Whether he intended to or not, Tai guilt-tripped Yang into putting on the arm. And the narrative still makes Tai out to be in the right in this situation.

This is only like… four or five episodes after she lost the arm, by the way. This makes the whole drama of her losing it totally pointless. How about she loses that feeling of invincibility by just having Adam defeat her in a brutally-drawn-out manner, and then she collapses from exhaustion? Not only would this provide an explanation as to why Blake managed to save her (she could recover enough aura in the time they were fighting), but it would also instill a deeper fear of Adam. And it would also make it so that it didn’t feel like the writers half-assed and rushed the PTSD arc so that they could get Yang back into action. But we don’t get that.

And do you want to know the worst part about the training session?- It’s not when he makes unfair comparisons to Raven. It’s not when he implies that Yang’s fighting style isn’t his fault (despite him being her teacher). It’s when he outright calls her semblance, the manifestation of her soul, a temper tantrum.

Real father of the year material right here. Yeesh, and people wonder why I don’t like Tai. And that line “What if you miss?”- That’s not an actual argument. That’s like asking Ruby “What if you miss with your scythe?”- It applies to everyone, not just Yang. So Tai saying that just feels like the writers couldn’t find a flaw in Yang’s fighting style, so they went with the most generic and useless concept they could think of: The possibility of missing.

Gasp! That’s right! What if Yang does miss?- She could be left about as vulnerable as……… any time that she’d miss before charging her semblance! How about focusing on how she’s predictable instead? Or how she doesn’t think of incorporating kicks into her fighting style? Was that too hard?

Volume 5 is slightly better to Yang, but not by much. For starters, Qrow apparently decided that after only knowing three-fourths of them for about two months, that team RNJR needed to know everything about Raven, despite the fact that Yang’s been asking for at least a decade.

And while the arm shaking is nice to see, it feels… tacked on. As if the writers decided to throw it in because they realized that Yang didn’t have many lines back in the Volume that shall not be named. It doesn’t seem like a genuine effort to actually show the trauma, it just feels really forced.

Yang beats up some bandits by……… doing what she’s been doing. Blocking, dodging, weaving, and getting in close to her opponent. She doesn’t deliberately take hits like she did in that one single fight we saw back in volume 2, and it just shows that Tai (and the writers) knew absolutely nothing about Yang’s fighting style.

She confronts her mother, and instead of getting the answers she wanted, the writers threw out that motivation in favor of her demanding that Raven send her to Mr. “I fought a person with the ability to alter a person’s perception but it’s impossible that Yang was under that influence when she kneecapped that Mercury kid who shares a name with that one assassin named Marcus Black.” (Can you tell that I’m not happy with any of the male authority figures in Yang’s life?).

Also also, we don’t see that shopkeep from earlier being wary of Yang. So either word got out that there were some shenanigans going on at the tournament, or people in this world are really forgetful. Considering that Emerald later forgot about her semblance and the “Pulling Coco  using her weapon’s chains back  in Volume 3″ feat, the latter is pretty likely.

And I guess to Yang and pretty much everyone else in the world, Ozpin possessing a kid, dragging him into a war, and eventually assimilating him takes a lower priority than him giving Qrow and Raven bird powers. Granted, this is a problem with everyone, but Yang is the one who brought up the bird thing.

Unfortunately, she seems to have forgotten that she once described Summer as

Because now, Summer is now just

Thankfully, Yang shows some human emotion, and talks about how she’s always been abandoned.

It’s really great to see a character actually talking about their issues, and- waitaminute. Tai was what?

And she had to what?

And she was what?

So, we’re all in agreement that Tai isn’t ‘dad of the year’ material, right?- The guy left Yang alone to pick up the pieces, and forced her to grow up really quickly. Albeit, he did this unintentionally, but he still did it. And the narrative just doesn’t ever bring this up. There’s very little resentment towards him outside of Yang calling her father by his name, and nobody seems to want to talk about this?

She shows some human emotion and is convinced that she should at least try to understand why Blake left, but considering all she’s been through……… I can’t help but blame her for wanting someone to be there for her.

Later in the volume, Weiss gets impaled. And like a lot of people in RWDE discussed before, only jaune gets to react to it.

And Yang abandons her arm when she’s told to go after Raven. Like……… why? There’s a time and a place for brute force, and that was a time and a place for it. What was she going to do if Cinder had won?- Ask nicely for her to not take the relic?

Her speech to Raven also feels empty. She wasn’t brave coming down to that vault, she was reckless. She wasn’t thinking ahead, and she wasn’t using what she had available to her. I dare say that it was Taiyang’s advice that made her think to abandon the arm.

And can we talk about how jaune was rewarded for rushing in to fulfill his revenge boner, while Yang was punished for wanting to save Blake?- Again, nobody is saying that jaune had no right to those emotions. But the narrative, characters (specifically Tai), and a few audience members seem to believe that Yang was in the wrong for wanting to save her friend, while saying that jaune was in the right for wanting revenge.

[iluvtv]

“I Sleep in a Bed but I’m Homeless” and other contradictions in terms

Last month Donald Glover curated a media moment. He hosted Saturday Night Live while his alter ego Childish Gambino simultaneously appeared as the musical guest. All the while (to much social media fanfare) he dropped a music video chock full of divisive commentary on racism in America. In my opinion this wonderfully creative and crucial social commentary rattled the masses far more than I think they should have. I'm startled by the possibility that one could "be here now” and still be surprised that This is America.

Point being though, that during a spring weekend’s naughtiest hours in 2018 Glover did what he did best — worked. And in doing so his art (as it is wont to do) challenged us. In just a little over and hour this legendary genius gave us everything he has to offer. He made us laugh, taught us something and kept up his now signature cocky air. Reaffirming that while he will provide his brilliance for us to share and learn from it is not exactly for us.

In an incredible New Yorker interview by the fabulous Tad Friend earlier this year Glover explains; “If ‘Atlanta’ was made just for black people, it would be a very different show. But I can’t even begin to tell you how, because blackness is always seen through a lens of whiteness—the lens of what white people can profit from at that moment. That hasn’t changed through slavery and Jim Crow and civil-rights marches and housing laws and ‘We’ll shoot you.’ Whiteness is equally liquid, but you get to decide your narrative.” For the moment, he suggested, white America likes seeing itself through a black lens. “Right now, black is up, and so white America is looking to us to know what’s funny.”

But before we go that deep, early in that SNL episode there was his monologue. Through this caricature of himself Glover pokes fun at the man he presents in this interview. By claiming there is  "nothing he can't do" while failing at everything, subsequently puking into a clarinet and repeatedly bringing up his rejection from SNL  many careers ago, he delivers audiences a humbler version of himself. This is notable because even if the farce is egotistical what he's actually playing is failure. Was this by a cast writer's design to mock his arrogance or did he write every word himself?

Neither would surprise me. After greedily consuming Atlanta’s first season (Hulu why must you wait so long to give me new FX seasons?) and then studying the media image Glover presents I see he is his own anomaly.

Confident, worried, scared, brave, untouchable and sensitive. Through his thoughtful creativity he has (for the most part) been given permission to be whomever he wants.

We all will agreeably, eagerly (and even gluttonously) accept all of it.

He didn’t always believe this would be possible. When he first pitched Atlanta he was certain this wouldn’t be the case at all but FX surprised him. In the New Yorker interview the producers explain:

“The parts that you’re worried we’re going to think are too weird—lean into those.”

From its onset I suppose Atlanta can be read as sad. A sort of devastating drama on race and poverty and violence. And while this is clearly a trap story there is  an almost inexplicable, deep seeded sense of satire that feels both simultaneously impossible to pinpoint or ignore.

In imagery and experiences (which more often than not trend more towards metaphors than reality) Atlanta challenges me. I just can’t get enough but I also can't help but feel like most of the time I don't totally get it. And this is just the tip of the iceberg in the long series of anomalies which like Glover himself comprise Atlanta. At the end of the day am I just too white, slightly too old (and more to the point un -hip) or was this confusion just the purpose?

FX Chief John Landgraf explains to the New Yorker, “Donald and his collaborators are making an existential comedy about the African-American experience, and they are not translating it for white audiences.”

There is a consistent underlying dichotomy in all of Atlanta's odd stories and part of it I suppose is an assumed understanding between the white coastal viewer and Glover that we are only partially in on the joke.

Presenting this dichotomy, Atlanta begins introducing Earn (Glover) and Van’s (Zazzie Beetz) relationship which while terribly charming is equal parts fleeting.  Seconds into a relaxed and loving scenes their relationship just as quickly turns contentious.

We watch this pattern repeat again and again.

The pilot episode continues in this vein introducing relationship dynamics before revealing a storyline or history.

We meet Earn’s fed up parents. Friendly enough but annoyed that their adult son is always asking for money, oh and also that he doesn't flush.

Earn: "That wasn't me."

Mom: "That was you. I checked. You better start eating some real food and not all these candies and cookies..."

We are introduced to my favorite character, Darius (Lakeith Stanfield) wearing only an apron while baking cookies. He also has guns and a butcher knife.

We witness the first of many racial power dynamics as Earn takes his cousin Alfred’s (Brian Tyree Henry) tape to a white DJ “buddy”, hoping if he can get Al’s alter ego Paperboi radio time he'll be able to convince his cousin to give him work representing Paperboi. It is here we see some dumb white kid front as though he is "hard" using language he would never use in front of any black man he found intimidating. Because Earn is not intimidating. In the face of this obnoxious DJ Earn is unassuming, friendly and essentially desperate all the while ignoring the terrible behavior of a stereotypical white millennial’s crude attempt to impress his "nigga" while completely refusing to throw Earn a bone by spinning Paperboi's first single. It is noteworthy throughout this season just how child like un-intimidting the character Glover has created for himself is. 

Later when Earn manipulates things in his own favor he asks an older black janitor if this rude white DJ has ever said "nigga" in front of him.

The janitor is stunned by the very thought!

But this is who Earn is. Friend describes it as such: “Atlanta” broke rules that most viewers hadn’t quite realized were rules. In comedies, jokes are underlined by closeups, but Atlanta’s camera stayed aloof, serving not as an exclamation point but as a neutral bystander. The characters didn’t have histrionic reactions to the problem of the week; they just gave up a little more. Earn was an antihero, as is now customary, but, unlike Don Draper or Walter White or Olivia Pope, he wasn’t an expert in anything. He wasn’t a great manager or a great part-time boyfriend or, for that matter, a particularly promising human being. Curiously boyish in shorts and a backpack, he wasn’t even active, the minimal standard for television characters. He didn’t seem to do or want anything. He just watched and flinched and got yelled at to grow up.”

The episode ends with the show's first of many very obvious forays into existential surrealism. The way Atlanta plays with fantasy is very fresh and new and brave and often completely impossible to fully comprehend forcing me to wonder why I only took a handful of philosophy courses in college?

But aren’t those courses just an antidote of the privileged white youth’s confusion?

That and marijuaina.

Again, Friend  addresses this discussing Glover's complete willingness to fail where other black television revolutionaries are wary.

“This sensibility is singular yet recognizable. Just as John Cheever’s epiphanies and apologias were stamped by drink and Paul Bowles’s hallucinatory quietude by hashish, so “Atlanta” ’s vibe is molded by weed. There’s a goofiness to the action, a dreamy awareness that reality is untrustworthy right now, but hold up, try this edible. Recognizing that quality, Lakeith Stanfield told me, “I decided to play Darius as a high version of myself. And now he’s become all the fantastical elements of Atlanta condensed into one person—this gateway to Freakville.”

Half way through the pilot we find Earn on a bus with his sleeping daughter opening up to a well dressed black man in a suit about feeling like a loser. "Am I just there to make things easier for winners?”  he asks.

The man sits listening patiently on this bus seat, all the while making a Nutella sandwich. "Just a symptom of the way things are," he explains to Earn "actual victor belongs to those who simply do not seek failure."

He forces a bite of his chocolate bus sandwich on Earn and then just as quickly disappears, only the tub of Nutella remains.

And abruptly the episode closes where it began, realizing the reason why the first scene was so confusing is only because it was actually the end. None of these characters were lying or being intentionally evasive, rather the drama which opened Atlanta had not yet ensued. And while it is still rather unclear, on some level even the whitest and most sheltered kids (those who can comfortably say the N word around very specific audiences) understand this rhetoric just enough and those who grew up in the trap world of Atlanta could probably write their philosophy dissertations on the scene.

As an audience we continue to ride out their drama into episode two. Conveniently, the coinciding moments of Alfred's arrest and his radio debut have vaulted him to instant fame all while housed in the relatively newsless space of jail.

When Darius comes to bail him out even the cops ask if they can pose for selfies with Paperboi. A beautiful moment of social commentary on race, class and most importantly fame.

Meanwhile, not-famous and mostly useless Earn stays stuck in jail which lends itself to one of the saddest satirical series of scenes I have ever seen. Think  Orange Is The New Black but really, really funny or maybe really, really miserable and also just so exactly where any of us (even the more privileged white girls) might end up for a few hours after a really, really bad night.

Fortunately I never have but I will take Atlanta at it's (sur)real(ist) word.

When Earn is told by the guard he cannot sleep he is baffled.

“Everyone sleeps."

To which he is told, "If you wanted to sleep you should have thought about that before you came to jail."

This dysfunction is further magnified by the token insane guy who apparently gets locked up on a near weekly basis. While his absolutely pathological behavior at first prompts laughs from the rest of the men waiting in lock-down they also  all just sit there and quietly watch as the guards kick his ass and drag him off to solitary.

To the repeat offenders this is normal behavior.

Earn, like myself seems less comfortable with this violence.

Meanwhile, Alfred due to newfound Paperboi fame is suffering his own violent satire.

On a walk through his projects he sees a kid with a toy gun shooting at his friends. They are playing a game of pretend in which the male child is Paperboi.

Alferd observes this. The kid, through clear admiration of his alter ego pretends to shoot down his little girlfriend. She feigns death just as the children's mother comes out to yell at the children, asserting to these small black bodies that they should "just say no to guns"

Overwhelmed, and clearly experiencing a myriad of emotions from the last 24 hours Al approaches the family and argues to the children that "shooting people ain't cool." At first the mother is stand-offish and annoyed at his presence but once he admits he is the very same rapper whom they are make-believing about the mood shifts. Instantaneous hilarity ensues as she is suddenly very interested in this infamous man. Momma comes on hard posing Al with the family for photographs. She is genuine comic relief "now one with my head on yo chest," she says as she snuggles in. And even Al who was out for a walk to escape the fresh madness his single has suddenly created seems calmed -- his comfort level with being viewed as violent has shifted now that it is getting him some pussy.

Likewise, the mother is now completely comfortable with the children playing “guns”, clearly sending the message that fame and more specifically hip-hop fame excuses violence.

This hypocrisy so clearly mirrors that of the prison guards from earlier and sadly represents America’s reality. If everyone from the single Mothers in the ghetto to the police are down with rappers using guns it must be OK, right? And folks were even remotely shocked by Gambino’s music video which debuted nearly two years later?!

The episode closes when Van finally bails Earn out of jail. It is unsurprising really that it is left on the woman to pull through and protect the men. I find that this aspect of American reality is more often acknowledged in African American and other ethnic popular culture than in white. This is too bad really, as it is a remarkable reality which women are tremendously under-appreciated for. I too have bailed a boyfriend out of jail. I watched him walk out of the police station arms in the air, proud of his day.  He also never came with me to Salinas to collect the title of my car which I lost to the county in the bail process (its a complicated when you are only 21 and haven't owned anything or held a job for longer than 2 years).

Appropriately, the credits run to Bill Withers' "Grandma's Hands," subtly noting the importance of the matriarch through a beautiful song. This also solidifies Atlanta's role as one of the best television soundtracks I (the generally music ignoramous) have ever bothered to notice.

As the audience grows more comfortable with the odd (yet perfect) stylings of Atlanta we venture into episode three armed and ready to address poverty as it pertains to immaturity. In real life Donald Glover and I are the same age but somehow he plays Earn much younger. Pop Culture Happy Hour Pod Cast discussed this episode at length, pointing out that the pathetic date Earn organizes to impress Van is actually just a very young man's attempt at romance. They argue that this scene would likely play out quite differently for the couple ten years later. Then again, Glover himself might come back at this  this theory; pointing out the story he is trying to represent here is "the trap" and the assumption that the only thing which keeps Earn so completely suffocated by an up-selling, self-serving waiter is time is just a white, educated NPR audience being only marginally clear on the concept. I can see both sides to this particular coin while (as a white, educated NPR listener) also continuing to ascertain that Earn's overall behavior reminds me more of my 20 year old sister’s than my clique of 30-somethings (whom I consider millennials only due to some made-up falsehood of a technicality -- we are very clearly The Oregon Trail Generation).

Anyhow, this frozen-in-time youthfulness (as a means to escape poverty while actually perpetuating it) is already well established in our protagonist and immediately reinforced as the episode itself opens with him ordering a kid's meal at a fast food joint. No dice:

“I Didn’t get title of daytime manager by passing out discounts," the proud black girl behind the counter explains.

He begs for a water cup instead and settles on stealing diet coke from the fountain -- eyeing the hispanic janitor with a daring glance. He walks away in his short shorts in the rain and backpack, emphasizing either his pathetic-ness-- or just child-ness.

And as I so often did 14 years ago in the middle of the day he heads to Alfred's where they smoke blunts and play video games.

OK I didn’t play video games but my productivity level was essentially on par.

And somehow while reliving our own boring youths through this mundane existence of an ordinary day audiences are still terribly entertained.

Darius, our scene stealing, wonderful guru of a roommate irons in his bathrobe, pulling a gun out of a cereal box. "Just so you guy's know there's probably a bullet in here somewhere, “ he warns.

 A drug selling story arc evolves between Alfred and Darius which in a more mature moment Earn is wary of due in large part to his cousin’s new-found notoriety (but how else are they supposed to make money?)  however, because I am a white girl and the drug story in this episode just gets so fucking dark and also I can only bombard you with so much information I will instead focus in on the terrible date which Earn attempts in hopes to assuage Van's whining about his irresponsible behavior.

No dice

She's wary from the get. Even tries to refuse his invite at first but he begs:

“Can I at least buy you dinner and watch from the other side of the room? I can even get one of those corny ass dudes you like to eat it with you.”

He continues, mocking the guys she likes by mimicking her (always a good strategy when you’re trying to prove you are the preferred choice): “‘I love your energy. Your dreads are in a bun’ “

The two accuse each other of being their own worst black stereotypes.

“I’m in a bed but I’m technically homeless and love it,” she mocks back.

They giggle. Something about their terribly unromantic connection is just so terribly romantic. Or maybe I just really, really like when guys make fun of me?

There's a brief scene involving the gun between Darius and Alfred where Darius solidifies himself as my favorite character, absolutely proving unequivocally that the most simple men are also the wisest. He explains to Alfred that his “assumed perversion of the word daddy stems from his own fear of mortality.” sheer and idiotic genius. An utterly true and hilarious savant.

Meanwhile, the date Earn has finagled is not going according to plan. WIth only $63 in his bank account and promises of a decent happy-hour dashed he is just in a hipster restaurant in a bad neighborhood, springing for a valet, with a date who is luxuriously lapping us each and every ploy from their server to raise their check.

When Earn, trying to lower their overall bill in spite of Van's pricey picks asks for a "Miller High Life in a can," the waitress responds,"ooo we've got a hipster!"

Yes, us educated, white NPR listeners sure as fuck did try to appropriate poverty through the hipster movement, didn’t we?

You can get a $17 trotter hot dog at the bar around the way from my house.

Likewise, Darius and Alfred's drug deal has also gone all wrong. They have been led to the middle of nowhere only to find a gang of black men with chains, drinking Hennessy and hanging out in front of a luxury camper van chilling around a campfire. Here the woods are a stark juxtaposition from their familiar life in the projects and yet the forrest is surprisingly more menacing. Nothing safe about unfamiliarity -- particularly when guns are in the mix. However, even with a tied up guy crying in the corner there is this unshakable element of satire, ever present yet so difficult to explain or maybe even understand. An impending doom of hilarity is the omnipresent mark of all Atlanta scenes.

But just as the episode grows darker and all of our protagonists’ immaturity increasingly complicates their situations the resourcefulness these young men have learned growing up without means also manages to save them.

At the end of the day nobody wins -- and the best laugh is when the homeless guy working as the restaurant’s (off market) valet runs into the fancy restaurant to warn a random white man in an expensive suit that his car is being towed prompting the two polar-opposite gentlemen to race outside in excited collusion.  This sudden impromptu camaraderie is just a downright hilarious aside.

But in a true test to it’s sitcom roots, Atlanta holds to the rule that come episode four nothing much is really permissible to change so in spite of tremendous havoc nobody really loses. At the end of the day Earn solves the problem of the expensive date by reporting his debit card stolen and Darius and Alfred don't die.

Maybe even the homeless valet got a tip.

In both a sitcom’s writers room and in the trap, everybody's just trying to survive.

The following episode The Streisand Effect continues this exploration of survival. We peer through the lens into  fame and notoriety wondering if success built through any means necessary, driven by the sheer desire to survive can ever really be deemed ethical.

Oddly, the querry reminds me of one tackled by a completely socially unconscious show — the Friend’s episode where Phoebe and Joey argue the existence of  truly selfless good deeds in The one where Phoebe hates PBS.

The Streisand Effect centers a similar debate through a racially ambiguous asshole internet "celebrity" (aka troll) who causes an all out twitter feud (which Alfred brings to real life).  Meanwhile  an interesting story line between Darius and Earn play out as the two explore what one’s existence means when you are truly just surviving pay check to pay check.

There are other episodes I love more and will focus more energy into analyzing but here are a few of the very best, most stand-out lines:

Old bartender: "Guy was Smoking a swisher with no weed. He gave me the creeps."

Darius: "Chinese people short because of Genghis Kahn, look it up!"              Earn: "In what? The racism book?"

The aforementioned troll (Zan) to Alfred (who is accusing his internet game of being pretty fucked up): "All a gang, we all just hustling"

Alfred: "I have to rap, I'm making the most of a bad situation."                          Zan: "You’re exploiting your situation. All of us are exploiting to make money"(hilarious scene ensues with Zan filming a paid child to spout filthy rhymes and deliver pizzas).

And if you are interested, this moment is discussed in greater depth on Fresh Air where, Brian Tyree Henry explains what this trap means to him.

We close with Earn teaching Darius that poor people don't have time for investments they need to eat today. This is a poignant moment where their friendship is solidified, poverty is explored and human nature vs. exploitation is left undecided.

Personally, I tend to agree with both Alfred and Zan’s views of exploitation though admittedly Alfred’s actions are certainly carried with far more integrity.

If you are particularly dense but have made it all the way to episode five, Nobody Beats the Biebs, you will no longer be able to ignore the absurdist tactics this show is employing to fuck with our perceptions of race, appropriation, stereotypes and popular music culture. 

The episode takes place mainly within a high school gym at a celebrity basketball fundraiser for Atlanta’s Youth. Paperboi has been invited to participate in the charity game and Earn of course attends as “representation”. Noticing a gorgeous successful news anchor there to cover the event, Alfred ditches Earn and sets off to pursue a date (or at the very least an on-air interview). She immediately staves off both advances, letting him know that she knows him as “the guy who shot someone.” He insists that isn't really who he is and invites her to get to know the real him, "I'll let you interview me someplace real fly like Bennihana," he offers to which she retorts that she and her fan base aren't into the “gangster thing”, and blows him off fairly easily as the commotion of "Justin Bieber's" arrival has distracted the masses.

At first I assumed that Justin Bieber was one of the white guys in this entourage but as a feud ensues between Alfred and JB you realize that in the fantastical world Glover has created Bieber is in fact just black. Or at least appears that way to us. After watching the whole episode I can't definitively pinpoint why Glover created this racial fluidity. Was it a point about racial appropriation, common perceptions and stereotypes? Or was he just trying to fuck with his audiences? I can only assume that most of Glover’s surrealist style is designed to achieve all of the above (and more). Anyway, this Bieber who may be just as black in appearance as Paperboi, is definitely not just one in the same. Other than his outward appearance the Bieber Fever is the same douchey, successful, unapologetic and handsome man I assume him to be in real life (admittedly I know zero about Justin). In Glover’s world though he can pee on the floor in front of everyone and the general opinion of him is not even slightly affected. He is the Golden Boy pervious to social optics and to him (much like to the pretty newsgirl) Paperboi is "a nigga who blew  other niggas brains out…” although he adds the operative “cool!" to the end of this statement. As the episode develops Alfred's hatred towards this pop sensation grows and they wage war on the court. Afterward Bieber offers  a press conference full of "sincere" apologies for the fight. All really just a marketing ploy for his new song called "Justice," (a title with more irony than I care to unpack here).

Meanwhile, Earn and Darius are also confronted by stereotypes and racial profiling. 

Earn encounters a successful music agent who mistakes him for a different black man whom she believes destroyed her career. In an attempt to seek revenge on this man she at first is very kind. She invites Earn into an elite circle of producers it is all very posh and excellent for networking and Earn laps it up, happy to play along with her confusion as long as this woman’s racism serves his needs. The rewards are seemingly high enough that Earn can turn a blind eye, joining a very specific brand of self loathing by embracing  the fact that he is participating in one of the most frustrating and oldest stereotypes out there: "all you people look the same.” It isn't until she accuses him of undercutting her and pledges to ruin him that he tells her he is not in fact Alonzo to which she retorts. "I'm going to make sure you die homeless." He certainly seems to be on this path.

Darius' day is equally bizarre and yet also totally conceivable. His storyline is so unique I can't help but marvel over where the inspiration came from. It seems safe to assume it must be rooted in someone’s real life experience. Perhaps a news story that was mostly overlooked? I digress, he paints a dog (which it seems worth noting that in addition to being quite the homemaker Darius is  a talented artist and his room is full of these supplies). Darius rolls up his painting and goes to the shooting range where he uses his art for target practice. Harmless enough, right? Not quite, a collective panic ensues. A white man calls Darius “psycho for shooting a dog” and tells him he has to leave, to which Darius explains that “a human target is just as specific as shooting a dog.” Which just seems pretty accurate to me. A Mexican guy joins in the bickering, he points out to the white guy that he shoots at Mexican targets. Stating more truth spurs further anger and an uprising is vowed. Darius tries to explain that dogs in his ‘hood are “fucked up (not cuddly pets)” but the range’s manager interrupts the men’s arguing with a shot gun,

“I told you rules before you got here ain’t gunna let you start no shit” he leads out a very patient Darius.

This scene is so fucked up.  Its rhetoric on arbitrary rules and categories is so important while remaining on brand with the show’s satirical edge. It magnifies the fact that the laws of a black man with a gun are so, so different than that of a white man with a gun takes a very different and slightly less sinister spin on the all too familiar police shooting unarmed black men storyline. We also get a close look at how Darius is observed and judged. A recurring theme of Atlanta is the simultaneous invisibility and hyper-visibility of the impoverished and minorities.

The episode ends with Black Bieber's aforementioned ”sincere" apology, explaining he's been trying to be too cool lately which has lead to hanging with the wrong crowd. He offers his new-found commitment to christ and uses autotune to premier his new song, Justice. In the back of the crowd, frustrated and over it Alfred returns to his day’s start and gives picking up the anchor another go. She returns with the lesson we’ve witnessed all of our protagonists scrambling to learn for the past 30 minutes” “let me give you some advice, play your part. People don’t want Justin to be asshole they want you to be asshole. You’re the rapper. That’s your job”

So, in sum this episode features….

Black man kicked out of shooting range

Black man mistaken for other black man

Black rapper unable to escape media’s perceptions of murderer in spite of being recognized as an “Atlanta Celebrity”.

All the while a rich white musician is able to chameleon himself into an infallible black superstar for a bit of extra street cred.

There is a lot to dissect here, but I’ll let an ethnic studies course can take it from here...

Episode 6, aptly titled Value is the first one to really feature Van's story and give women a voice. I was immediately interested to see if a woman took the reigns in the writer's room on this one because even the tone is so different.It didn’t take much digging to find this from Joshua Alston over at the A.V. Club. 

“Glover started off strong before a single frame was shot by bringing in staff writer Stefani Robinson to assist on the script, the first to give a writing credit to someone whose last name isn’t Glover. It seems like a little thing, but it makes such a huge difference to know that someone with insights about how black women communicate contributed to an episode that mostly consists of black women communicating and miscommunicating.”

It feels easy to  proclaim that the tone employed in Value lacks the humorist sensibilities applied to other episodes but I have to wonder if that’s an oversimplification. Perhaps I just found Van's story so horribly relatable (she seems to have the same dumb (re:bad) luck as myself and the series of unfortunate events which befall her here may just feel less satirical when you’ve felt the hardships yourself? Maybe a black man from the trap in Atlanta wouldn't find other episodes this season as funny as I did? Maybe I'm being sensitive? (Though that doesn't really sound like me to be honest). Or, maybe while very, very good this episode just wasn't meant to punch the gut in the same manner a jokey man-centric 30 minutes does. Maybe Glover isn’t ready to tackle female satire. I'm not sure and it seems like all these assumptions could get me in trouble so in the interest of not putting my foot in my mouth (or pulling a Van) I’ll move on....

This episode centers around the drama which ensues when Van's old friend comes into town. Actually, in this case (as is often true with childhood girlfriends) frenemy is a better term. This gal-pal plays companion to NBA players which subsequently allows her to lead a very posh lifestyle. She is baffled by Van's far more humble life and makes her judgements very clear by stating straight off the bat the following three rather insensitive points:

“Sometimes I wish I had a kid and then I'm like ew, no." (preach sista!)

“Back in the day you would have made fun of yourself for still fucking with Earn.”

and 

“Black women have to be valuable. NBA players fuck with me because I provide a service. I am worth it. I am cultured, intelligent...."

the implications here are thick and seem to cut very deep.

Anyway, as a passive aggressive fight inevitably ensues Van's girl does eventually bribe her back into frenemy territory, insisting they make up over a joint. They hotbox the bitch’s fancy-ass car and at first seem to be reliving the good old days but as is apt to happen when you hang out with narcissists (particularly in our social media obsessed times) eventually Van finds herself being forced into snapping pic after pic of her social-climbing friend who is dead set on getting that absolute perfect insta-shot. I have zero patience for this behavior. Actually, every girl who has ever made the mistake of forcing me into this game has quickly fallen out of my good graces.

Ultimately, the mess that ensues for Van because she casually decided to hit a joint a few times with her disaster of an old friend is totally comparable to multiple series of my own disasters. Fortunately for both myself and Van (we’re similarly industrious and independent young women) we do manage to pick ourselves up by our bootstraps and move on. But, for a minute suspend your disbelief that I too could create this sort of disaster and let's discuss Van's mess:

She awakens the next morning to a cell phone reminder that today is “drug test day.” This of course prompts an insane rampage as she attempts to figure out where to get “clean urine.” When both Old Friend and Alfred fail her she realizes she has a whole garbage pail full of her baby's diapers. A true renaissance woman Van creates a complicated process to extract the pee and tapes a condom full of her daughter's urine to her own thigh. In a flowy dress she heads off to school (making it clear for the first time that she is an educator of some sort).

The storyline then takes a quick veer from the very normal baby-pee-condom situation prompted by a basketball “prostitute” to a  fellow teacher who approaches Van. This woman is beyond frustrated with one of her student’s. A  brief aside ensues regarding a black child who has come to school in white face to fuck with his teacher (who is so mad she begs Van to help her deal with him so she "doesn't get arrested for beating his ass,”). It is a sharp return to the previous episode’s discussion of cultural appropriation, reminding viewers how inescapable race wars are for Glover.

Van declines to help her friend, she is on a mission after all. But of course, things don’t quite go as planned. A bit of physical comic relief ensues when she can't untie the condom of pee. She tries to rip things apart with her teeth which of course results in pee spraying everywhere (except of course in the cup for urine sample).

Desperate Van just admits to the principal that she smoked weed.

This is definitely something I would do.

When you’re honest no-one can fault you, right?!

Wrong.

Dissapointed, the principal explains that the county can’t afford quarterly drug tests anyway so after the initial one required for hire the samples aren’t actually sent anywhere.

Of course.

She levels with Van, “everyone smokes weed. The system isn’t made for these kids to succeed and you gotta shake it off somehow. I get it. But unfortunately you’ve admitted your drug use to a government employee and now I have to fire you. To cover my own ass as well as the schools’”

She gives Van a hug and one weeks notice.

Defeated Van, an inexperienced druggie tries to get more weed from Alfred who tells her she's “sloppy as fuck.” Which after the day she has had is just truth.

The episode closes with the same kid still in white face smirking now in Van’s class.

Again, somehow the female battle of race and class explored in this episode feels more sad to me than the male saga we’ve seen play out thus far

The closing shot of the sinister child in white face and my own history is undoubtedly playing into my interpretation. I will admit here that I have two equally stupid stories of being fired for absolutely absurd things that make zero sense. Once for rolling a blunt by request for my boss. A swisher of marijuiana which I didn't smoke and only procured because he asked.  Another time a 28 year old woman claimed I was sexually harassing her. In neither case was I truly guilty and yet somehow believed that an overcompensated apology could fix things with the higher-ups. At the end of the day though everyone is just interested in covering their own asses. Again, this probably could be presented far more satirically and at times I am able to give these stories a bitingly funny spin — but not with the regularity one might assume.I suppose what I’m getting at is I know what it's like to essentially be so inexperienced with getting in trouble that you can't tell when to just shut your goddamn mouth. I also think that this assumed guilt is such a female burden. It is a subsequent and frequently overlooked side effect of the ancient historical annals of sexism. Perhaps if we can learn anything from “mansplaining” it is to always just take the position that everyone else just doesn’t get it. But then also just keep our mouths shut.

Episode 7, B.A.N has got to be the most hilarious, perfect, wonderful episode of Glover's premier season (and pretty much of all television of all time). I feel fairly confident saying its everyone's favorite. B.A.N which stands for Black American Network is (simply put) a fictional television episode called Montague; a black spin on a Donahue-esque late night “news” show featuring Alfred as one of it’s guests. The "fake news" premise on this show delves into the complexities of identity in our touchy PC culture and is in its own right more than enough to ensure side gripping hilarity. However, it is the commercials interspersed throughout this episode that really cinch the deal.

But I’m getting ahead of myself.

The subject of the Montague episode, “how accepted sexuality is affecting black American Youth and Culture” features a panel made up exclusively of Paperboi and the head of “Trans Issues.”  Ummmm..... really? I’m already laughing

Alfred is being called out by Montague and asked to explain a comment he made on twitter, quoted by our host as such: “y’all N words said I was weird for not wanting to F word Kaitlyn Jenner."

He is asked if this makes him transphobic? Alfred is complacent, admitting that while he gets what they're saying she (Jenner) just isn't "important to me".

The white trans expert explains Paperboi is coming from a culture of exclusion and power; the black community has issues with power and masculinity more than transphobia. She calls him out on the layer of fluidity in his raps to which he uses the same line he used in response to the challenges posed earlier by the racially ambiguous internet celebrity, Van: "I'm just trying to get paid." The ultimate premise of this show is, after all, escaping the trap life.

Cut to commercial break.

And here is the gold:

Commercial 1: Black guy in a bodega being up-charged for a can of Arizona Iced Tea. The tagline: Arizona: price is on the can.

Commercial 2: A masquerade party filled with fancy black people drinking Mickey's forty ounce bottles out of champagne flutes. Tagline? Mickey’s: You're drinking it wrong.

Yes! This appeals to all my senses. I remember when I was 19 and 40 ounces, Conan O’brien, Swisher Sweets, 7-11 sandwiches and a bit of homework were evening staples.

Now back to our regularly scheduled programming:

A Montague correspondent is reporting on scene regarding a “trans-racial” black teenager (I kid you not) who self-identifies as, yes, a 35 year old white man. Ummm..... I hope you’re laughing now too.

As a black teenage boy he had always wondered why he wasn't getting the respect he deserved, "then it hit me,” he tells the reporter, “I'm 35 and I'm white."

Obviously.

We cut to scenes of our trans-racial teenage adult pretending the projects are the suburbs of Colorado.

He explains his Mom just  doesn't get it. Cut to her explaining, "I'd love to wake up and say I'm Rhianna but I 'aint"

Which as a white woman I’m going on brand with the appropriation I mentioned earlier and I just have to say: “preach sista!” If I get to come back as anyone in my next life I sure as fuck hope its Rhianna. Sometimes I ask myself what would Rhi Rhi do? and then I remember to just do me.

But I digress, our teen’s response to his mother’s dismissal is to explain that they don't "realize race is just a made up thing" and he doesn't believe in labels. Unwilling to accept this “reality” he is presently working on getting (yes) racial transition surgery while also stopping trying to convince others he's not "us". Ummm....

Rather than argue he tries to show his community he is not one of them by doing incredibly stand-up white male things like turning black guys into the cops.

This episode came out years before the recent onslaught of social media documenting black people having cops called on them  for doing very questionable things like sleeping in their own dorms but I still challenge you not to be laughing hysterically by this point.

As great as this storyline is though, who can complain when it's time to return to commercials?

First up a commercial break for Swisher Sweets (looks like I too was a trans-racial teenager). In the commercial all the actors are emptying the guts of their swishers to enjoy in between filming sets. Duh.

Quickly though, I want to admit that I am not doing this insanely perfect 30 minutes of remarkability justice —please watch! In the meantime though I return to Montague’s panel….

Paperboi admits to the audience he is afraid of being persecuted by the audience and does not feel comfortable speaking his mind. Our female white expert accuses him of being unable to have intelligent dialogue without spewing profanity (proving his point, of course). Montague continues by asking Al if he hates trans people because of his lack of a father.

If your head is spinning and you’re feeling ready to throw down you aren’t alone but Alfred handles the insanity with unbelievable levels of eloquence. He explains, ”It is hard for me to care about this because no one cares about me as a black man. Kaitlyn Jenner is just doing what white men have done since the dawn of time which is whatever the hell they want. Why should I care?"

He goes on to question where the tolerance is for him?

And yes, this is the crux of it.

It is far easier to speak out against intolerance when you are privileged.

The white expert agrees with his point but as is talk show nature Montague  keeps egging for the drama.

All getting a little too real? No worries, we have a commercial to lighten the emotions.

Or is it just more sad truth?

First up we have a commercial reminiscent of the 1-800-psychic infomercials of my youth. A perfect example of selling an ideal to the impoverished rather than a reality, and media assumingThe poor are an easy target as they are so desperate for a solution out of poverty they can easily be taken advantage of. Sadly, gullible.

Or maybe it is me that’s sad and I just don't believe in magic-- perhaps my cynicism is the problem?

A man (I believe the same guy from the bus in episode one) is offering us “the answers we deserve.” He goes on to talk about chakras and crystals and the power to make his customers rich.

"Call now and you get a free juice and Nutella sandwich" he proclaims.

And now I'm even more in love with this episode.

Cut to a Dodge Charger commercial concerning divorce settlements which is too complex to describe but also totally accurate and finally the episode’s piece de resistance -- a fully animated Coco Cruncherz commercial with a “black Trix bunny" being beaten up by a cop because he is trying to steal the kid's sugary morning treat (which is of course just for kids). As the kids plead with the cop to stop he argues that age old tag line Coco Cruncherz is for kids -- harking again back to my youth and Saturday morning cartoon days when the innocent commercials with a rabbit stealing breakfast was not nearly as menacing (or realistic).

And just like that with a seemingly sweet cartoon we have jumped the line from dangerously sinister satire to downright sadness. Nobody wants to see a cartoon cop beat the shit out of  a black cartoon  bunny especially in front of a bunch of cartoon kids.

And yet its still so funny and important.

Close commercials and we circle back to our black teen dressed like a white man. Alfred can't stop laughing at him "You look like Fellon Degeneres!"

But don’t feel sorry for this misunderstood teen to soon. When the trans expert welcomes him, the kid uses his new platform to spew his own stereotypes, explaining that marriage is meant for a man and woman and men can't turn into women. So while he believes in racial fluidity he is totally close-minded to gender fluidity.

Obviously.

This episode and how it speaks to acceptance of other cultures is fantastic but the commercials and the garbage peddled to lower classes and minorities specifically is crucial. If I was an American Studies High School teacher I think I could develop an entire semester’s worth of curriculum on these 20 minutes.

Episode eight, The Club features our motley crew at a club and clearly miserable about it. As a woman whose personal anthem is George Thorogood and the Destroyers I Drink Alone I couldn't possibly find this more relatable. The only reason why Alfred, Earn and Darius are even at the club in the first place is because Paperboi is being paid for the appearance.

Since I’ve already managed to drone on for close to 10,000 words and supplied an overwhelming amount of both series and personal anecdotes, for this episode briefing I’ll do my best to just take a moment or two for a quick review of a few standout moments and trust that you, dear reader, now have obtained a certain level of Sylvie’s Mind Mastery to elaborate on the now all too predictable consensus:  this episode is just as fabulously funny, sad, complicated and littered with omnipresent issues of social status as the next.

And now in side-splitting surrealist summation:

Earn on the dance floor with subtitles for his thoughts: "somebody smells like Wendy's Double Stack.

Darius showing the crew instagrams of a famous guy in the ‘hood who has a very fancy invisible car. Noteworthy: I thought Darius was just gullible at first but I clearly underestimated Glover’s dedication to metaphor. If you’re still confused by media’s dark comedy, magical realism, social commentaries on race (a new and now thanks in large part to Glover a very dominant genre) don't worry so am I.

Earn gets drunk enough to feel powerful and demand the money owed from the owner for Alfred's appearance and subsequently vomits all over him (sounds about right).

Darius has trouble getting through security after he steps out momentarily to blaze. Rather than put up too much of a fight he goes home to eat cereal and play video games (I'm pretty sure we will get married in season 3). 

Alfred and Earn go to beat up the club owner for trying to rip them off (by now vomit free). After the boys finally obtain what they are rightfully owed they leave the club, at last drunk enough to be  in a decent mood. While laughing and talking about getting food  they are startled by gun fire. People start to run but most of the crowd is maimed anyway as a man seated seemingly on nothing floats by (in an invisible car, clearly) and mows down the crowd.

This is so complex -- Donald Glover has completely lost me and yet I am obsessively curious. What does this mean? What does it say about our culture? Did he just think it was funny? Does the invisibility represent the utter bullshit of an expensive car? It must somehow tie back to status and violence but what is he saying exactly? I’m wary to even venture a guess.

Either way, The boys escape to Waffle House for a post mortem with Darius. The men are still drunk and laughing, moods still surprisingly upbeat though if you know anything about Southern Culture the very fact that this restaurant is still serving speaks volumes of the gravity (or lack thereof) of the violent incident. Things shift toward somber though as the local news streams through in the back ground. A story reporting the incident clearly lays suspected blame  on Paperboi. 

"Fuck the club," says Alfred.

Indeed.

Last year Juneteenth was finally brought into the average modern white person's rhetoric through a "holiday special" for the masses from the very funny (and carefully cultivated to expand mainstream America's mind) Blackish.

Atlanta's take on the holiday is of course slightly more subversive. Certainly due to its non-network and later time slot it is more carefree and able to cater less  to the masses. Nonetheless, I am certain that Atlanta’s episode managed to bring a bit of awareness even if the show -- unlike Blackish -- made zero attempts to educate the ignorant on what Juneteenth is exactly.  It doesn’t matter though, because well... Wikipedia... Glover is smart to assume that his audience is woke enough to use their pricey smartphones to look up whatever they don't already know. Maybe I should learn to employ a similar tactic.

Anyway, on Juneteenth Earn leisurely wakes and bakes in some random girls' bed. When his alarm goes off he is rushed into reality, panics and dashes out. Cut to him and Van in the car where she is very unimpressed that he is stoned which plays out in a passive aggressive fight over the automatic windows in her car. Although we don't know where they are going or why, it is made quite clear that this is an important outing for Van, and that Earn is complicity playing along basically because they have a child together.

They arrive at a fancy house, with a fancy valet and a fancy black woman named Monique answers the door. "happy Juneteenth," she proclaims and then proceeds to humble brag her home "we have so many bathrooms!”

Her white husband Craig makes a grand entrance also proclaiming "happy freedom day."

This is already a very strange party.

Earn retreats for drinks which he orders from a very condescending bartender in an African print bow tie.

"Emancipation Eggnog?" asks Earn "It's June!"

To which the Bartender replies "nigga do I have to explain alliteration to you?!"

Earn takes his beverage and wanders through the looming home finding the white husband, Craig’s office does nothing to alleviate the strangeness. The room is full of black art which Craig painted based on one of his favorite Malcolm X quotes. He explains to Earn that black musical artists are a product for white American consumption and appropriation. He pours them some Hennessy and is baffled that Earn hasn't been to Africa and also does not know where exactly he is from.

Just a side note all this has inspired my own bit of spinoff commercial satire: We all know by now that gene testing companies can provide a great deal of knowledge for White Europeans but usually lack the same insight into an African person’s roots and thusly all their televised advertising features a white person drinking whiskey in the Irish pub of their forefathers or celebrating an ancestors Viking victory. I think it’s high time someone (Preferably Glover and not me because I’m clearly far busier) wrote a commercial with a black person talking about the slave ship he learned his great great grandmother was shackle on etc etc.

Anyhow, Craig employs a specific style of appropriation (seemingly bred from his own white insecurity and guilt rather than ignorance or hate) to black shame the unassuming young man he has invited to drink in his home.

Earn retreats, whispering to Van that the party feels "very eyes wide shut." (Which I myself hadn't yet noticed but once brought to the periphery realize  could not be more accurate). Frustrated that Earn hasn't embraced her thing she asks him to “just once pretend that they aren't who they are so he doesn't blow this opportunity” for her.

He responds by bringing on what I’d like to classify as his very best "douche" (I know , I know, this is not the PC term) in order to impress the "very cultural" uptight, wealthy black people this party is full of.

Van seems to be binge drinking which, as is apt to happen eventually leads to a retreat for a bit of an overwhelmed bathroom cry.

Afterward she winds up outside with Monique who finally starts to reveal actual elements of her own humanity. "You don't think I know how crazy my husband is? Treating black people like a hobby?" And there it is — the thing I have been grappling with as I’ve attempted to blog this season of Atlanta over the course of a three-plus month period. At the end of the day it is safe to assume that the best I can really do is just repeat their story and really I have no shot at successful analyzation. Craig’s overwhelming analyzation is enough.

Van asks Monique if she wishes she had someone to confide in to which Monique responds with this equally telling quote. "It is redundant to be both black and sorry in the world."

With nowhere else to go they return to the party to find Craig performing a poetry slam on Jim Crow in front of his black guests’ and this is when shit hits the fan....

The party’s crew of valets find Earn and attempt to give him their sister's underwear to pass on to Paperboi (I can't even begin to understand why a brother would agree to this for his sister and I refuse to believe my ignorance is cultural). The gesture may be gross but it is relevant to this story's evolution because they have outed Earn as Paperboi’s “manager.” Monique's husband increases the awkwardness by bringing up the shooting. Oddly if memory serves this is the first time since episode two that the series opening incident has been directly referenced. Or maybe it isn't weird at all, maybe the whole point of this surreal show is nothing can be taken seriously enough to carry over to the next episode. Isn’t that the rule of thumb for sitcoms anyhow? Needless to say for the time being the fact that Earn is somebody and not the nobody Monique had assumed seems to make her quite uncomfortable to which Earn responds with spite. Fed up by a full day of clear hypocrisy he proclaims the very real observation that “this is all wack, its not real life and they are all dumb.”

Van rather emotionless attempts to drag her partner away, making it clear she knew  this all along.

“Stop stunning on me about culture,” Earn shouts. “I’m not going to go back to Africa to discover my roots cuz I’m fucking broke. Stop being so black-able!”

We cut to Earn driving home. He promises Van (with eyes closed next to him)  to call Monique in the morning to apologize.

Van opens her eyes demands he pull over and when he does she climbs on top of her man and starts banging him right there in the drivers' seat. In spite of it all they are young, have a baby and I think most importantly she is more attracted to his authenticity than the party's grandeur and faux behavior. The screen zooms out on the lovers in the middle of nowhere with the haunting lyrics of Chain Gang from Sam Cook and nothing seems so well earned and genuine than the freedom these two young black humans have to express their complicated love outdoors in Atlanta in June. Or maybe I'm just being romantic. So far as I know no one is actually  allowed to have sex in their cars outside of their own garage.

The season finale like many episodes starts with Earn waking up in someone else’s home. While this is a recurring start I somehow missed the trend until now. Perhaps that is attributable to the fact that our finale stresses the relevance of Earn’s homelessness. In this scene he is uncomfortably situated in a bean bag chair and being chastised for fucking up whomever's house he has crashed at.

“Where's my jacket?" Earn manages to ask a few times but the homeowner is too distracted with the destruction Earn has caused. So Earn leaves and calls Alfred who also has no idea where the jacket is. This is clearly a bummer for Earn but great news on my end. The missing clothing means we have some 20 odd minutes  ahead to enjoy Earn retracing the steps of a wasted night. This is a plot premise I have adored ever since Ashton Kutcher spoke to my very sensible 17-year-old- stoner- humor in Dude Where's My Car. I haven't watched the film in years and I know it gets a bad rap but I'd be hard pressed to believe that it doesn't stand the test of time. Since this is Atlanta though the surrealism is even more omnipresent than similar story arcs. 

As Earn travels through his home-town (True to its name Atlanta has remained one of the most crucial characters throughout the season) he notices that everyone is dressed as cows. He asks a stranger why the costumes "Free chicken sandwich day nigga,” he’s told

Duh.

So Earn gets his sandwich and in true Dude form heads to the strip club to see if his jacket might be there. Maybe Glover was also a fan of this fine film— we are the same age after all.

A wonderfully awkward and funny scene ensues where Earn tries to describe one stripper who might have his jacket to another stripper.

Largely unsuccessful (how does one describe one generic stripper to another?) the girl is more preoccupied anyhow, her focus being on getting herself cast in a Paperboi video.

Defeated, he defers to last night’s snapchat stories to recall where he went next. Had this technology existed 15 years ago maybe the Dudes also could have found their cars in 27 minutes.

Frustrated by his snaps, Earn instead goes to chastise Alfred for his inappropriate "stories" but Al explains social media is important work. "Rappers make money on appearances" to which Earn reaffirms it is a bad idea.

Darius chimes in "That's black people's number one problem, they don't know how to have fun."

"I don't think that's our number one problem," Earn says to which I laugh out loud. 

And then I laugh again just reading my notes on this episode. And then again during editing. I am proud of Earn for this comment. For the most part he tends to be slower than his buddies when it comes to off the cuff quips.

In a stalemate, Earn defers to ridesharing apps. And even though I'm pretty sure Uber does not actually work this way Alfred is able to call last night's car to try to locate Earn's jacket. Yes, this affirms it, late 90's technology or the lack there of is the only thing that made Dude realistic (to which of course I  understand it still wasn't at all but... y'know....).

Alfred agrees to pay the 50 dollars the Uber driver demands for the chore but is annoyed that he is back to bailing out his cousin. They sit in the car stoned and discuss Jamaican food in a relatable way that will make any stoner smile.

Then something big finally happens for Alfred. Something that could carry over to season 2 or slide into another dream like fantasy never to be mentioned again (both viable options given the strikingly realistic and terribly fantastical world Atlanta has created). Earn gets a call from a famous rapper, Senator K, requesting Paperboi open for his upcoming tour

But before they can get too excited Alfred says "something here is off" and tries to bail. Just then an undercover van pulls the group over.

The group of black men are then patted down for seemingly no reason and asked if they are tring to purchase illegal things from the driver.

Just a jacket they claim.

A small chase scene ensues and the Uber driver is shot down.

And now there is a dead man wearing Earn's jacket.

Earn looks devastated he tells the cops he left something “in there. Can they check the pockets?”

No dice.

So Alfred tries to cheer him up, gives him a roll of cash -- his 5% on the tour deal, affirms that Earn finally “did good.”

But Earn just awkwardly walks away, defaulting to his defeated little kid look in his short shorts and his backpack. He Stops briefly to dump a rock out of his shoe and then goes to Van's and cooks a family dinner. It is a brief sweet moment, interrupted by a friend stopping by to drop off Earn's key. "I've been looking for this all day." he tells him. The proverbial “car” has been retrieved.

Finally at ease Earn and Van retreat to the couch where he gives her the roll of cash. He really does want to support her. There is another sweet moment as the two lie on the couch laughing at how bad of a drug dealer he would be and she asks him to stay but again like a kid he and his back pack leave.

There is something sweet and promising here. A rarity in this funny but often self-defeating show.

Rather than use his friends and family Earn steps out— finally on his own for the night.

He goes to a storage unit and opens it with the key he spent the day looking for. We finally see that Earn is not entirely without a home. This lonely unit with a couch is what he has and clearly why he is consistently waking in other people's spaces. He takes off his shoe, and we realize he wasn't dumping a rock at all but using his sneaker as a bank. No matter, weather shaking out a pebble or stocking cash taking his shoe off in the street earlier must have been Earn’s first sense of relief this season.