#a very good depiction of consent and boundaries to include in a kid's show

[thatwitchrevan]

Garnidot is actually god tier as a qpr type dynamic because Garnet is Intimately Gay with all her friends but doesn't want or need any romantic partner other than herself and Peridot is aroace and loves affection and intimacy without fusion and romantic/sexual coded interactions, and their initial relationship dynamic revolves around coming to understand each other and respect each other's boundaries which solidifies them as pals, perhaps queerplatonic pals that cuddle and watch movies together 👀

[miraculouslbcnreactions]

A lot of stories focusing on Lila getting too close to Adrien depict him as being very naive about consent and personal boundaries because of how he was raised. Do you think that really makes sense based on what we know about Adrien?

Adrien's upbringing - including what Emilie was like as a mom let alone a person - is so vague and Gabriel's characterization is so all over the place that I have no issue reading stories that use this premise. Adrien not realizing that he's being harassed or even being told that he has to put up with harassment for the sake of his public image does fall in line with the little we know. This is especially true after the utter disgrace that was Gorizilla. Aka, the episode where Adrien was chased across the city by a stranger who he then became friends with??? Writers, what are you doing? Whatever happened to stranger danger?

At the same time, I don't think that I'd ever write a story with this element because I have a hard time believing that Adrien wouldn't be given sexual harassment training both in terms of what not to do and in terms of what people aren't allowed to do to him. His father works in the fashion industry, his mother was a professional actress, and Nathalie's really good at the non-emotional aspects of running Adrien's life. It's hard for me to buy that all three of these adults would happily throw Adrien into the deep end of an industry that's known for sexual harassment issues. Especially when there's no concern about him failing to make money since it's not like he's a child star whose parents have no wealth of their own. He's literally working for his fathers company and seemingly no one else.

Keep in mind that I'm also a fan of the broken happy family backstory in which Adrien actually did have a happy and loving childhood. I generally write Emilie as being at least a decent parent and come up with different reasons to justify Adrien's sheltered upbringing. For example: Gabriel having to travel a lot for work, so Emilie home schools Adrien so they can travel with Gabriel. I actually know a family who does something similar because the parents love to travel and have work from home jobs, so they just travel and work from wherever they currently are, bringing their kids along for the adventure. I'm not sure if it's the best thing for their kid, but I certainly can't call it abusive. The kid seems very happy with this setup, so I sometimes use that as inspiration for the Agrestes.

If you go the route where Adrien had a terrible childhood - a route that does have backing in the show based on things like Adrien being locked up for 13 years for no reason - then it's a lot more plausible that Adrien would be naive and/or forced to put up with things that he absolutely shouldn't. Canon has left a lot of wiggle room for writing these characters while still giving them a characterization that feels reasonably authentic to the source.

[ayuuria]

Yashahime Translation: Da Vinci Magazine December 2020 Edition

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

“Hanyou No Yashahime” Tripartite Cast Talk

Matsumoto Sara X Komatsu Mikako X Tadokoro Azusa

Inuyasha and Kagome’s daughter and Sesshomaru’s two daughters play an active role in “Hanyou No Yashahime”. As an original anime with no original work (translator’s note: As in not an adaptation of something like a manga or light novel), the subject is the next generation of “Inuyasha” done in the same style. Being “Inuyasha” fans themselves, we had the three lead voice actresses talk about the charm of the series.

The main character design was done by Takahashi Rumiko!

Towa

A 14-year-old middle school girl. 10 years ago, she time traveled from the Feudal Era to the Modern Era and became the adopted daughter of Kagome’s little brother, Souta. Upon reuniting with her younger twin sister, Setsuna, after she time travels to the Modern Era with Moroha, Towa decides to return to the Feudal Era. She is Sesshomaru’s daughter.

Setsuna

14 years old. Towa’s younger twin sister. A member of the demon slayers led by Kohaku. She has lost her memories of her childhood and is unable to fall asleep. She has the gold rainbow pearl in her left eye. While she does not believe Towa is her older twin sister, she travels with her as she tries to take back Setsuna’s memories and sleep.

The 3 of you reacted shocked with “What you mean daughters?!”

Moroha

Commonly known as “Monster Killer Moroha”. A 14-year-old bounty hunter. When she puts on rouge stored in a shell with the red rainbow pearl on it, she becomes “The Country Destroying Beniyasha” and goes on a rampage. While she is Inuyasha and Kagome’s daughter, she does not know her parents and has lived mostly on her own apparently.

Komatsu: When the work was announced, the world was shocked like “Sesshomaru has a daughter?!” and we were the same. When I opened the audition documents, it was written that the setting takes place over 10 years after the conclusion of the original work and that Setsuna, who I was auditioning for, is Sesshomaru’s daughter. I thought “What does this mean?” and reflexively grabbed the last volume of the manga.

Matsumoto: I was handed Takahashi Rumiko-sensei’s character design and a simple correlation diagram. In regards to Towa, who I auditioned for, it was also written that all that was known was that she is Sesshomaru’s daughter. I was given lines without knowing the context or anything so I wondered what to do. However, at the same time, I was so happy to the point that I was like “The “Inuyasha” world is coming back!”

Tadokoro: I completely freaked out (laughs). Also, my manager knew I was big fan of “Inuyasha” and calmly told me before I looked at the audition documents “Azusa, you absolutely can’t miss out on this. This a huge opportunity.”

Komatsu: A lot of pressure!

Tadokoro: Then when I looked at the documents, I saw that Moroha, who I was auditioning for, was the daughter of Inuyasha and Kagome. After getting excited like “They had a child~!”, I saw Towa and Setsuna and screamed “I will be upset if they’re not XX’s children!” (translator’s note: they’re referring to the mother)

Komatsu and Matsumoto: I know!

Tadokoro: As a fan, I worried endlessly but as a voice actress, I thought I couldn’t miss out on this. However, when I went to the studio audition, I was told “Keep the base but try to say these lines a little more like a middle-aged man”. I became flustered like “Even though she’s a 14-year-old girl?” … I felt like I didn’t respond properly and was really down going home.

Komatsu: Me too. Maybe it was because I was pulling too strongly from Sesshomaru’s image but I was told “Not only coolness but we would also like for you to show the cuteness of a 14-year-old” and I couldn’t make the switch the very well. I didn’t get the reaction that I got the part at all.

Matsumoto: I over considered the setting of (Towa) wearing a boy’s uniform and I was told “Don’t make her a boy”. After that no matter how many retries I did, the direction I took didn’t match up… I cried a lot when I got home like “I totally bombed it”. That moment, I realized that I had really wanted the part and was surprised. “Inuyasha” was a work that was more special to me than I thought.

Overcoming different boundaries, their feelings melt together

Komatsu: For me, “Inuyasha” was also a textbook on love. Especially the relationship between Inuyasha, Kagome, and Kikyou. It’s a little hard for kids to understand and I thought, “Why does Kikyou always get in the way?” and “Inuyasha too, make up your mind” but in a certain scene, Kagome asks Inuyasha “I… What exactly am I to you?”. In between the feelings of it can’t be helped that he overlaps her face with Kikyou’s and this has nothing to do with her, she properly checked what her existence meant to him. Seeing that, I realized. Not only in love but that’s important in life in general as well.

Tadokoro: It’s so cool isn’t it? She acknowledged all her feelings of jealousy and hate towards Kikyou and still saved her on top of that. She showed us her resolve to properly face her heart and Kikyou and accept them. It was so cool that I cried. Then when I became an adult, I came to understand Kikyou’s feelings and it hurt.

Matsumoto: Well she was also a victim… I think when you read “Inuyasha”, you become emotionally attached to each individual character because depictions that give you a sense that they’re “alive” are inlaid in all sorts of places. For example, the scene in volume 1 where Kagome offers food to Inuyasha whom she had just met. While Inuyasha makes his wariness known, he takes a bite of the radish in the next frame. I always laugh like “Even though you say it’s annoying, you’re still eating it!” but at the same time I feel that it’s really “like” him. From those ordinary depictions, over time we accept “something” without realizing it. That accumulation turns into a big emotion that overflows when you get to the important scenes.

Komatsu: At times when those complexly wrapped emotions sublimate, even sad endings become beautiful. For example, Kagura. Even though she was born from Naraku, she was guided to good through Inuyasha and the others who were supposed to be her enemy. Kagome and Kikyou’s relationship too but ally or enemy, good or evil, all sorts of borders are crossed and seeing drawings of humans and demons coming together I think is the charm of “Inuyasha”.

We haven’t been told the answers to the mysteries

Matsumoto: Continuing onward to “Hanyou no Yashahime”, the character I play, Towa, passed through space-time and got sent to the Modern Era at age 4. However, possibly because she was raised by Kagome’s little brother, Souta, even though she is Sesshomaru’s daughter, I feel like she’s also similar to Kagome.

Komatsu: While blood inheritance is important, the person who raised you has a big influence as well. Also, what environment you were raised in. Setsuna lost her childhood memories due to certain circumstances. So of course, she doesn’t remember her older twin sister, Towa, whom she got separated from at 4 years old. Due to that hole and being raised in an environment where you could be killed by anyone at any time, she gives off an air of not allowing others to get close to her. But just when you think that, there are times where you can feel that she’s actually kind and that makes it heartrending.

Matsumoto: Feeling she (Towa) needs to fill in the 10-year void with Setsuna who became like that, the highlight is seeing their relationship change as Towa closes the gap between them. Add Moroha in and there’s a lot of chattering.

Tadokoro: Moroha speaks in a vulgar manner (translator’s note: it actually translates to abusive language but abusive didn’t sound right to me) but in reality, I have a feeling that she truly enjoys traveling with the two of them. To her, those two are probably the first friends she has ever had. That form is so precious and I feel lonely when I wonder what sort of environment she grew up in. I wonder why she’s desperately earning money by slaying demons. We were only told who she was raised by but at this time, we have not been told things like happened to Inuyasha and Kagome.

Matsumoto: This includes who Towa and Setsuna’s mother is. This is something fans have been wondering the most but the answers will be revealed eventually and I have faith that this work will properly continue on what was drawn in “Inuyasha”.

Tadokoro: That’s why we would like everyone to watch over them until the very end and love the 3 Yashahimes as they survive with each of their individual strengths.

Komatsu: While there are a lot of cheerful episodes, there will be times when the inlaid depictions within those episodes will be collected in an instant which I think people will enjoy. For that, we will give it our all!

We Asked Takahashi-sensei!

Q: What did you especially focus on when doing the character design?

A: Series composition writer Sumisawa (Katsuyuki) requested me to draw the image of Towa as a white Sesshomaru and Setsuna as a black Sesshomaru. Upon reading the scenario, I designed them incorporating their father’s facial look. Moroha was the same, being Inuyasha and Kagome’s child. As such, I made it so that Inuyasha’s mischievousness came through.

[transastronautistic]

I have some friends that watch the good doctor and I’ve only seen one episode but I wanted to know if you think it’s good representation of autism and if there is anything I should know before I watch it because it looks really good?

Ah yes hello!! Overall I think The Good Doctor is a fantastic portrayal of one autistic person – it does not try to represent All Autistic People, and that’s a good thing. It’s not perfect, but it’s pretty great. I find a lot of Shaun’s actions and experiences very relateable as an autistic person.

I’ll start with some general content warnings so that you know what to watch out for when starting the show; then I’ll go through the pros and cons of its portrayal of autism.

Content warnings for the show:

Anti-autistic ableism. Other characters are often ableist towards Shaun. This is usually portrayed well, in my opinion – it’s what I would expect from other surgeons and from some patients when an autistic surgical resident comes into a hospital; but it’s not always fun to watch. As the season has gone on, ableism from the main characters has (mostly) decreased, luckily! They’re learning. However, spoilers for a later episode, one character pushes Shaun into a meltdown at one point

Abuse, animal cruelty. In some of the earliest episodes, there’s emotional abuse of Shaun by his dad as well as very cruel bullying from his peers, and there’s also brief animal cruelty.

Death of a sapphic woman. In one episode, a sapphic woman dies after being injured and we see her wife grief. That was really hard for me to watch; if you message me I can tell you which ep and give you more details.

Death and surgical gore stuff, as you would expect in a medical drama.

Weaknesses in its portrayal of autism:

Non-autistic actors and consultants. Shaun is played by Freddie Highmore, who is not autistic. It definitely would have been cooler to have an actually autistic actor. And the main “autism consultant” of the show is Melissa Reiner, who isn’t autistic herself but works with “families who have children on the Autism spectrum.” (The explanation of her work with autistic kids is not worded super great but at least aba isn’t mentioned, so hey, maybe her therapy is actually good?) Still, the portrayal of autism feels real and accurate enough that I’m surprised that the actor and consultant are not autistic; wherever they’re getting their information, it’s working for them.

Not a diverse portrayal of autism. Shaun is a white man, most likely cis and probably straight – just like most portrayals of autism already in fiction. Some people genuinely don’t realize that people other than white men can be autistic, and lack of diverse representation doesn’t help fight that misconception. The only other canonically autistic character so far was also white and male. (I do want to note that the actual show has a lot of racial diversity and some great female characters, though. So it’s not horrible in terms of overall diversity.)

Claiming Shaun has savant syndrome. I don’t think Shaun has any traits that can’t be explained simply by autism; they didn’t have to give him savant syndrome. I feel like they did it just to explain his high intelligence…as if autistic people…can’t be smart? idk. What do other autistic folks think about that?

Functioning labels are used in the show. I don’t recall Shaun ever calling himself high-functioning, but other characters sometimes call him that.

Infringements on Shaun’s agency. A character who is near and dear to Shaun keeps pushing Shaun to get a caregiver despite Shaun clearly not wanting one, and it’s annoying me. Still, if the overall message ends up being that this is a bad thing (the arch isn’t complete yet so I’m not sure if it will or won’t), then I’d move this point over to the show’s strengths.

Strengths in its portrayal of autism:

Switching between person first and identity first language. Since autistic people ourselves will often switch around saying we’re autistic, have autism, or are on the spectrum, I like that the characters switch around their language too. I tried to keep count of which language Shaun used most, I think it was fairly evenly split between have autism and autistic. 

Autistic traits without overdoing it. Some fiction crams a ton of traits into one character as if to be autistic you have to express the whole list of traits…I don’t feel like this show does that with Shaun. But here are some of the traits he does express:

 sensory overload – Shaun responds to unfamiliar and/or overwhelming environments by rocking or fiddling with his toy knife, and seems to be semi-verbal during them: unable to answer questions but able to reply to statements. He rocks when distressed.

special interests – it is clear that human anatomy is a special interest for Shaun; when a traumatic thing happens engaging in this interest is the only comfort he has. I write more on the show’s treatment of special interests in this post (with show spoilers).

routine

samefoods!

high spatial intelligence

difficulty understanding sarcasm and flirting

trouble expressing to others what he plans to do sometimes

uncomfortable with physical contact, though he usually tolerates it and at at least one point initiates it on his own terms

at least one shutdown and one meltdown are depicted

repeating phrases – some being instances of echolalia, others being an attempt to make people understand

fixation on what needs to be done; he calls it perseveration – he won’t stop thinking about a thing if it spikes his interest or seems out of place to him or is a puzzle to be solved

Stimming! The word stimming has only been used one time in the show so far; I do wish it was used more often, especially since the one instance of its use was for the behavior of the teen-aged autistic patient featured in one episode – that was an example of anxious, overwhelmed stimming, so it would be nice to have them use that word to name an instance of positive stimming as well, in my opinion. But anyway, whether or not they call it stimming Shaun stims a lot! It’s usually in more subtle ways, which gives me the feeling he’s been taught to repress more overt stims, which makes sense with his history of abuse and bullying. Some of his main stims include holding his hands folded, pacing, and rocking. When he’s upset or overstimulated he raises his hands near his head and at one point when melting down hits his head.

Breaking down some stereotypes.

Even though they call him “high functioning,” Shaun does not fit the usual definition of that label. He needs less support for some things, and more for other things. There are times when he is selectively verbal.

Shaun evinces deep compassion for people, which is nice when “emotionless, heartless robot” is a common stereotype about autistic people. At the same time, the way he expresses that compassion and his emotions is not a neurotypical way, and some characters miss it.

Shaun gets crushes and seems to have a sex drive. Fiction tends to make autistic characters completely desexualized or else over-sexualized in a creepy way (like in Netflix’s Atypical, where the guy doesn’t respect boundaries or consent). While I personally am not a fan of some of the ways they portray Shaun’s sexuality, it is cool that they’re trying to dismantle the usual stereotypes.

Shaun is able to establish meaningful relationships, contrary to a really hurtful stigma about autistic people. His relationship with his brother as a kid, his relationship with Dr. Glassman, and his friendship with Claire are some examples. Something I appreciate about his friendship with Claire is that she doesn’t expect him to make all the effort at communicating her way – she tries to communicate his way, too.

Portraying anti-autistic ableism as a civil rights issue. In the first episode, the discussion around whether an autistic person should be “allowed” to be a surgeon is framed as a civil rights issue – Aaron talks about how not long ago a Black surgeon or a woman surgeon would not have been accepted at the hospital, and it’s likewise bigoted to reject a surgeon simply for being autistic. He notes how the same arguments were used – did they have the emotional control, what would the patients think – to bar women and Black people that the hospital is now using against Shaun.

Do other autistic folks have any thoughts on the pros and cons of autistic representation in The Good Doctor?

[weekendwarriorblog]

The Weekend Warrior 9/11/20 – I AM WOMAN, BROKEN HEARTS GALLERY, RENT-A-PAL, UNPREGNANT AND MORE!

Thankfully, we’re getting a slower week this week after the past few weeks of absolute insanity with so many new releases. This week, we also get a nice string of movies about women that are mostly made by women directors, so hopefully these won’t get lost in the shuffle of theaters reopening.

To be perfectly honest, I went into Unjoo Moon’s I AM WOMAN (Quiver Distribution) – this week’s “Featured Flick” -- thinking it was a doc about ‘70s pop sensation Helen Reddy. Imagine my surprise to discover that it actually was a narrative film with Tilda Cobham-Hervey playing the Australian singer who moved to New York in 1966 after winning a contest, expecting a record deal but only winding up with disappointment.  Once there, she’d meet journalist Lilian Roxon (Danielle Macdonald, being able to use her real Australian accent for once) and Jeff Weld (Evan Peters), the man who would become her manager and then husband. Once the couple move to L.A. with Helen’s daughter Traci (from her previous marriage), things began to pick up at the same time as Reddy starts dealing with issues in her marriage and friendship with Roxon.

Listen, I get it. To some (or maybe all) younger people, including film critics, Helen Reddy represents the cheesier side of ‘70s music. I only know her music, since I was a young kid who listened to AM Top 40 radio for much of the ‘70s, but by the end of the decade, I had already switched to metal, punk and noisier rock. As you can tell from watching I Am Woman, Reddy is a particularly interesting music personality, particularly once you realize how hard she struggled to get into the business with a husband who only feigned to support her after dragging her to L.A. for “her career.”

There were many takeaways from watching Moon’s film, but one of the bigger ones is how amazing Cobham-Hervey is at portraying a woman that few of us may have actually seen perform even on television. I’m not sure if Cobham-Hervey did any of her own singing or is lip-syncing the whole time, but it doesn’t matter because she instills so much joy into the performances, especially the two times she sings the highly-inspirational title song live.

Although there isn’t a ton of major drama in Reddy’s life, most that does exist revolves around her relationship with Wald, who is depicted by Peters as an out-of-control coke-sniffing monster. Those in Hollywood may have dealt with Wald as a movie producer or during his stint as Sylvester Stallone’s manager, and only they will know how exaggerated this performance is. Far more interesting is Helen’s friendship with Macdonald’s Roxon which would inspire her to perform the song “You and Me Against the World.”  (Seriously, if you want a good cry, throw that song on after watching I Am Woman.)

Moon does a great job with the material, whether it’s recreating New York in the ‘60s – often using music to set the tone of the period -- or by framing Reddy’s story with Phyllis Schlaffly’s fight against the ERA, as depicted in FX’s mini-series Mrs. America.  Still, it never loses track of Reddy’s journey and her role as a mother to Traci and slightly less to Wald’s son, Jordan. The movie ends with a wonderful and tearful epilogue, and I will not lie that I was tearing up more than once while watching this movie.

I Am Woman may be relatively uncomplicated, but it’s still a compelling relaying of Reddy's amazing story bolstered by an incredible knock-em-dead performance by Tilda Cobham-Hervey. It’s also one of the most female-empowering film I’ve seen since the Ruth Bader Ginsburg movie On the Basis of Sex, starring Felicity Jones.

This week’s primary theatrical release is Natalie Krinsky’s THE BROKEN HEARTS GALLERY (Stage 6/Sony), starring Geraldine Viswanathan as Lucy, a young woman who works at a gallery who is still obsessed with her ex-coworker/boyfriend Max. On the night of her  disastrous break-up, Lucy meets-cute Nick (Dacre Montgomery from Stranger Things), who later inspires her to rid of her hoarding issues by creating the “Broken Hearts Gallery.” This is a place where people who have broken up can bring the remnants of said relationship by donating the mementos they’ve maintained from their partners as sentimental value.

I’m a big fan of Viswanathan from her appearance in Blockers and TBS’ “Miracle Workers” series, as she’s clearly very talented as a comic actress, but I couldn’t help but go into this with more than a little cynicism, because it does follow a very well-worn rom-com formula that can be traced right back to When Harry Met Sally. Yup, another one.  Much of this movie comes across like a bigger budget version of a movie that might play Tribeca Film Festival, and I wish I could say that was a compliment because I’ve seen a lot of good movies at Tribeca. But also just as many bad ones.

The problem is that The Broken Hearts Gallery isn’t very original, and its roots are especially obvious when it starts interspersing the recently-heartbroken giving testimonials. It’s also a little pretentious, because rather than the real New York City that would be recognizable to anyone who lives there, it’s more of a Millennial woke fantasy where everyone is a 20-something LGBTQ+ of color.  Even so, the main trio of Lucy, Nick and Nick’s business partner Marcos (Arturo Castro from Broad City) do keep things fun even when things are getting predictable.

To be honest, I’ll be perfectly happy to see Viswanathan become the next Meg Ryan, because part of the reason why I warmed up to the movie is because I thought she was quite great in it. (I hate to say it but she’ll definitely need a simple name to remember to make that happen. I’d like to suggest G-Vis… as in G-Vis, she’s awesome!) There’s no question she’s the best part of the movie, but it also thrives from some of the other women cast around her, including Molly Gordon, Phillipa Soo and (surprise, surprise!) Bernadette Peters. (At times, I was worried Lucy’s friends would get particularly annoying, but you’ll warm up to them as well.)

Krinsky’s movie is cute, and while it certainly gets a little overly sentimental at times, there are also moments that are quite heartfelt, so basically, it’s a tolerable addition to the rom-com genre. The fact that the characters are so likeable kept me from outright hating the movie, especially once it gets to its corny and somewhat predictable ending. Another thing I like about Broken Hearts Gallery is that at least it’s making an effort to have some sort of theatrical presence, including drive-in theaters.

Next up is Jon Stevenson’s RENT-A-PAL (IFC Midnight), a rather strange and very dark horror-comedy. It stars Brian Landis Folkins as David, a lonely 40-year-old living with his elderly mother suffering from dementia, who has been using the services of a dating service called Video Rendezvous. This is the ‘80s after all, so it involves getting VHS testimonials from various women. One day, David finds a tape labelled “Rent a Pal” and he decides to check it out. It turns out to be a video of a guy named Andy (Wil Wheaton aka Wesley Crusher from Star Trek: The Next Generation) who David begins having conversations with, but once David gets his chance to have a real relationship with a nice woman named Lisa (Amy Rutledge), he’s been dragged too far down the rabbit hole with Andy’s evil urgings.

This was recommended to me by my own personal rent-a-pal, Erick Weber of Awards Ace, who saw it weeks ago. I totally could understand why he would have liked it, because it’s pretty good in terms of coming up with an original idea using elements that at least us older guys can relate to (especially the living with your Mom part which I had to do a few years ago).  I wasn’t sure but I generally thought I knew where it was going, because David’s trajectory always seemed to be heading towards My Friend Dahmer or Maniac territory. What I liked about Folkins’ performance is that you generally feel for him right up until he gets to that point. I also really liked his innocent relationship with Lisa and was hoping things that wouldn’t get as dark as where they eventually end up. I also have to draw attention to Wheaton’s performance, because as one might expect if you only know him from the “Star Trek” show he did as a kid, this is a very different role for him similar to Seann Michael Scott in last year’s Bloodline.

Either way, Stevenson is a decent writer and director who really pushes the boundaries with where Andy takes his new friend, and it’s especially great for its synth-heavy soundtrack that reminds me of some of John Carpenter’s best scores, as we watch David’s inevitable descent into madness. You’ll frequently wonder where it’s going, but for me, it just got too dark, so I only really could enjoy it up to a point.

A little cheerier is UNPREGNANT (HBO Max), the new film from Rachel Lee Goldberg, who directed the recent Valley Girl remake, although this time she’s adapting a book written by Jenni Hendricks. It stars Haley Lu Richardson (from Split and Support the Girls) as 17-year-old Veronica who discovers that her dopey boyfriend Kevin has gotten her pregnant. Since women under 18 can’t get an abortion in Missouri without a parents’ consent, she goes on a road trip with her estranged childhood friend Bailey (Barbie Ferreira) to New Mexico to get the job done.

It’s more than  little weird seeing this movie come out in the same year as a much more serious version of the same movie in Elyza Hittman’s Never Rarely Sometime Always. That aside, Goldberg and her cast do their best to make this something more in the vein of last year’s Book Smart, although that’s also a fairly high watermark for any movie.

Because this is a road trip comedy, it tends to follow a fairly similar path as other movies where they meet a lot of strange characters along the way, as they try to get a ride after being busted cause Bailey stole her mother’s boyfriend’s car for the trip. For instance, they meet a friendly couple who tend to be pro-lifers who want to change Veronica’s mind, and the best side character is Giancarlo Esposito as a conspiracy theorist named Bob.

I guess my biggest problem with the movie is that it just isn’t that funny and feels fairly standard, but at least it has a decent ending to make up for the predictability of the rest of the movie.

Now streaming on Netflix is Maimouna Doucouré’s French coming-of-age film Mignonnes aka CUTIES, a film that premiered at Sundance and then stirred up quite a bit of controversy last month due to its marketing campaign, but is actually not the pervy male gaze movie which it may have been sold as. It’s about an 11-year-old Sengalese girl named Amy Diop (Fathia Youssouf) who wants to join the school’s “cool girl” dance group, known as the “Cuties,” even though it goes against her family’s Muslim beliefs.  Amy learns to dance so she can be part of the dance team and take part in a dance competition, but you know that this decision will led to trouble.s

Cuties got a lot of backlash from for the trailer and Netflix’s decision to release Doucouré’s movie, which is about a young girl discovering her sexuality, although it isn’t really something lurid or gross but actually a very strong coming-of-age film. I haven’t seen the trailer, but I can only imagine what scene it focused on that got people so riled up, since there are dance scenes that felt a little creepy to me. Other than that aspect of the film, Cuties is as innocent as a Judy Blume book. I mean, how else do you expect kids to learn about real life than movies like this? (Unfortunately, the movie is TV-MA so young teens won’t be able to watch it.)

The big problem with the Cuties is that they’re actually kind of bratty and bullies, almost like a younger “Mean Girls” girl gang, so it’s very hard to like any of them. They’re also trying to act way older than they really are, and you can only imagine what dark places that might led, as you worry about Amy getting dragged down with them, just because she wants to have friends and feel popular.

Despite my issues with Cuties, Maimouna Doucouré is a fantastic filmmaker, and this is a pretty amazing debut, especially notable for how she’s able to work with the young cast but also make a movie that looks amazing. That said, Cuties is a decent coming-of-age film, although I feel like I’ve seen better versions of this movie in films like Mustang and The Fits.

Also from France comes Justine Triet’s SYBIL (Music Box Films), starring Virgine Efira (who appeared in Triet’s earlier film, In Bed with Victoria) as the title character, a jaded psychotherapist who decides to return to her passion of writing, getting her inspiration from an actress patient named Margot (Adèle Exarchopoulos), who she becomes obsessed with. I don’t have a lot to say about this movie other than it wasn’t really for me. As far as French films go, a movie really has to stand out from the usual talkie drama filled with exposition, and though I thought the performances by the two women were great, I didn’t really care for the script or the pacing on this one. After playing at last year’s Cannes, Toronto and the New York Film Festival, Sybil will be available via Virtual Cinema through Film at Lincoln Center and the Laemmle in L.A. as well as other cities. You can watch the trailer and find out how to watch it through your local arthouse at the official site.

Now seems like as good a time as any to get into some docs…

 Liz Garbus and Lisa Cortés’ doc ALL-IN: THE FIGHT FOR DEMOCRACY (Amazon) follows Stacey Abrams through her run for Atlanta Governor in 2018, but it also deals with the laws that had been put in place to try to keep black voters from taking part in their right as Americans to be able to vote. I’m not sure what’s going on with me right now, but I generally just don’t have much interest in political docs right now, maybe because there’s so much politics on TV and in the news. I also have very little interest in Abrams or even having the racist history of the American South drilled into my head by another movie. I was born in 1965, my family didn’t even live in this country until 1960, and I’ve spent my life trying to treat everyone equally, so watching a movie like this and being preached to about how awful African-Americans have been treated in parts of the South for hundreds of years, I’m just not really sure what I’m supposed to do about it here in New York. I guess my biggest problem with All-In, which is a perfectly fine and well-made doc – as would be expected from Garbus – is that it lacks focus, and it seems to be all over the place in terms of what it’s trying to say… and I’m not even sure what it is trying to say, nor did I have the patience to find out. I thought Slay the Dragon handled the issues with gerrymandering far better, and I think I would have preferred a movie that ONLY focused on Abrams and her life and political career than trying to make a bigger statement. All-In will open at a few drive-ins (tonight!) and then will be on Amazon Prime on September 18.

I was similarly mixed on Jeff Orlwosky’s doc, THE SOCIAL DILEMMA, which debuted on Netflix this week. This one looks at the addiction people have for social media apps like Facebook and Twitter, and how the information of what people watch and click on is collected into a database that’s sold to the highest bidder. Basically, it’s your worst fears about social media come to life, but my issue with this one is that the filmmaker decided to hire actors to dramatize parts of the movie, showing one family dealing with social media and phone addiction, which seemed like an odd but probably necessary decision other than the fact that the topic is so nerdy and so over my head that maybe it was necessary to illustrate what’s being explained by programmers. Again, not a terrible doc, just not something I had very little interest in even if it is an important subject (and I’m probably spending too much on social media and essentially more of the problem than the solution).

I saw S. Leo Chiang and Yang Sun’s doc OUR TIME MACHINE at Tribeca last year, and I quite liked it. It follows influential Chinese artist Ma Liang (Maleonn) who collaborates with his Peking Opera director father Ma Ke, who is suffering from Alzheimer’s, on an elaborate and ambitious project called “Papa’s Time Machine” using life-sized mechanical puppets. I don’t have a ton to say about the movie but it’s a nice look into the Chinese culture and traditions and how the country and art itself has changed between two generations.

One doc I missed last week but will be available digitally this week is Michael Paszt’s Nail in the Coffin: The Fall and Rise of Vampiro about semi-retired professional wrestler Ian Hodgkinson aka Vampiro, who is a Lucha Libre legend.

There’s a lot of other stuff on Netflix this week, including THE BABYSITTER: KILLER QUEEN, the sequel to the Samara Weaving-starring horror-thriller, again co-written and directed by McG (Charlies Angels: Full Throttle). This one stars Bella Thorne, Leslie Bibb and Ken Marino, as it follows Judah Lewis’ Cole after surviving the satanic blood cult from the first movie.

I don’t know nearly as much about the British comedy series The Duchess, other than it stars comedian Katherine Ryan as a single mother juggling a bunch of things. Julie and the Phantoms is Netflix’s latest attempt to be the Disney channel with a movie about a young girl named Julie (Madison Reyes) who decides to start a band with a group of ghosts (hence the title). It’s even from Kenny Laguna, who is best known for the Disney Channel’s biggest hits High School Musical and The Descendants.

Other stuff to look out for this week include Kevin Del Principe’s thriller Up on the Glass (Gravitas Ventures), which is now available On Demand, digital and Blu-Ray; the Russian dogs doc Space Dogs (Icarus Films) – available via Alamo on Demand; Phil Wall’s doc The Standard  (Gravitas Ventures), and Andrei Bowden-Schwartz, Gina O’Brien’s tennis comedy All-In (on Amazon Prime and VOD/Digital) and Sam B. Jones’ Red White and Wasted (Dark Star Pictures).

Next week, more movies not in theaters!

By the way, if you read this week’s column and have bothered to read this far down, feel free to drop me some thoughts at Edward dot Douglas at Gmail dot Com or drop me a note or tweet on Twitter. I love hearing from readers … honest!

[sage-nebula]

hey so i saw someone vaguely translate the argument between lillie and lusamine in today's ep and apparently it amounted to lillie being mad that lusamine evolved her clefairy without her consent and lusamine's answer amounting to "well technically it was my clefairy that i gave to you and also your reason for not evolving it was stupid" and? is it wrong for me to hope that pokeani will give us like (cont.)

more of this? like. lusamine being overly smotherly and lowkey selfish and overbearing and those aspects of her get more and more pronounced as an early warning sign that she’s not the ally the other characters think she is? like it’s pokeani there’s so many things that could go wrong here but the fact that this argument was bad enough that even sato and kukui notice that lillie is NOT here for her mom’s shit and that sumo-ani has been p. good with developing relationships make me hope.

Well, first of all, if that’s the same clefable that Lusamine has in the games, then it can go get fucked, tbh, because that clefable gave me the hardest time in the final battle. Not because it kept killing* my pokémon, but because it wouldn’t fucking die, none of my attacks did significant damage to it, and it kept healing itself and it was just The Worst™. So honestly, Lillie, you dodged a bullet there, because that clefable is a fucking bastard.

(*No, I do not nuzlocke. This is just an expression, not meant to be taken seriously.)

On a more serious note (because yes, the above is supposed to be a joke, please don’t take it too seriously, anyone), hmm … honestly, I don’t know!

It’s hard to judge because the PokéAni is inconsistent across the sagas in many ways. There are some constants that we can always count on: Ash will always leave all of his pokémon sans Pikachu behind when he goes to a new region, he will never win a game League, and he will always have at least one (1) of the new region starters as a mainstay on his team, so as to promote the new generation to kids. But aside from constants like that, the PokéAni tends to change its narrative style each season (and Ash along with it, but this post really isn’t about him). For instance, the first two seasons ever produced—and the first season itself in particular—are markedly different in tone from everything that followed, even when compared to the Johto seasons of the OS. The Johto seasons were more formulaic; they’re chock full of episodes that are very same-y and that you can skip right on over without losing anything of value. Meanwhile, the Kanto season was really treated as an adventure; it was less about showing Ash going through the game journey, and more about showing him on a journey, period, even when it included messier aspects like the kids being lost for two weeks on the way to Vermilion City, and being completely caked in dirt by the time they finally arrived, longing for baths and laundromats. Similarly, the Kalos saga is markedly different in tone from the Alola saga. The Kalos saga took itself more seriously, and so while there still were moments of comedy and some typical anime expressions here or there, by and large it was more … I don’t want to say realistic, because it still is a modern fantasy anime, but you had a lot less exaggeration in terms of animation style. By contrast, the Alola anime doesn’t seem to take itself nearly as seriously (at least right now), and the animation is a lot more exaggerated and over the top. Compare, for instance, animation sequences of the twerps falling asleep thanks to Jigglypuff’s song in the OS to the same situation in SM. Yeah, a lot of it is due to the fact that their animation budget is much higher now, and the technology they have to work with is much better et cetera, but a lot of it also has to do with a tonal and style shift.

So with all of that said, it’s really hard to predict what this saga will do, because we can’t exactly use previous sagas as a concrete frame of reference. We can try to make guesses … but it’s hard, because each saga is so distinct, they all have different things they were trying to accomplish. Just because one saga might have followed through doesn’t mean that this one will, and vice versa. And even though it’s been about a year so far, I feel that the Alola anime is still a bit too young to make a call, especially since …

Well. We all remember what happened in Kalos, don’t we?

Lysandre was a realistic depiction of an abuser. The emotional abuse he layered on Alan, and the way that he lied to, manipulated, and used him like a tool is blatantly obvious, despite the cordial way he behaved around everyone else. As a result, and speaking as someone with C-PTSD from abuse myself, the C-PTSD that Alan has is also very obvious, and is also a realistic portrayal. Lysandre was an abuser, Alan was his victim, and this is obvious to everyone except those who purposefully refuse to see it so they can have an excuse to keep trashing all over Alan the way they do. 

And for the most part, PokéAni handled this well! Like, I was legitimately impressed with how well they handled it! Again, Alan’s C-PTSD was extremely well portrayed. His severe depression was extremely well portrayed. In XYZ044, we see that this has (more than understandably) hit such a critical mass that Ash essentially talked him down from suicide in their garden discussion, even if the actual word was never spoken. (Like, has Ash ever looked that anxious when asking someone to promise him to battle again in the future? I don’t think so. Let’s be real, like pretty much everything else in their relationship, it really was not about the battle.) And yet, despite all of that being done so well, despite it being portrayed so well … the PokéAni writers decided “fuck this lmao” and ruined it in all the episodes that followed by sweeping Alan’s issues completely under the rug, disrespecting his boundaries and wishes once again in a way that actually triggered me in XYZ045, and sending him off on a journey again in the last episode of the saga. They were doing so well, XYZ044 was actually a perfect conclusion for him, and then they … ruined it all at the last second, as they are wont to do. 

So I mean, if we follow that as an example, then it’s perfectly possible that they could continue doing a great job with Lusamine, that they could really show how she is inarguably an abusive parent, how she doesn’t care about Lillie’s wishes or boundaries … and then ruin it all at the last second by “redeeming” her and having everyone decide that she’s not really abusive after all. Or maybe they won’t continue doing a great job, and her following appearances will be disappointing because they’ll pull an OS and forget that they were supposed to be keeping up with this subplot. (I mean, this isn’t really a subplot and so I doubt that will happen, but to be honest, any one of the subplots in the OS could have been a main plot, and they chose not to do that, so like …) It’s really hard to say. The PokéAni writers proved with Misty’s and Brock’s cameos that they can do anything at this point. Almost everything is fair game. (Almost. Ash is still never going to win a game League. People need to just give up on that dream.)

That said, I’d say that if you’re enjoying it now, then enjoy it now! Enjoy it while you can, for as long as you can (and hopefully forever). At this point, like I said, anything can happen. I don’t think it’s wrong to hope for just about anything at this point. (Again, just about. No League wins, no eleventh birthdays, et cetera.) So keep watching and keep enjoying; might as well make the most of it while it lasts. :)

(On that note, “technically it’s my clefairy that I gave to you” fjdksjdf fucking yikes. Bullshit like this is why I adamantly maintain that Lusamine is the most realistic depiction of an abusive parent the series has had to date. Ghetsis is cartoonish compared to Lusamine—a caricature. Aside from the fact that Lusamine’s “you betrayed me when all I ever did was give you love” line in the games pretty much mirrors the last conversation I ever had with my biological mother, my biological mother used to hold Shiloh like that over my head all the time. She hated the fact that Shiloh and I were so close, so she used to threaten to get rid of her, telling me that she was going to all the time so that I’d step in line and behave, justifying it by saying that she was the one who gave Shiloh to me, so she could do whatever she wanted insofar as keeping her at the house or not. Of course, she was also fond of the “I brought you into this world, so I can take you out of it” line, but tbh my own life has never mattered as much to me, so that never scared me as much as threats to Shiloh did. So yeah, Lusamine telling Lillie that the clefairy was actually hers, legally, is just … yiiiiikes. There are so, so many ways in which Lusamine is written as a realistic abusive parent. It’s what hands down makes her one of the utmost, absolutely most vile villains the series has had yet.)