#also if you don’t want to watch the show I still highly recommend the soundtrack it’s hip hop and disco it’s so good

[magnus-sm-writes]

Magnus' Spooky Recommendations! 🎃

To get into the mood for today, here are Magnus’ favorite scary recommendations! I’m organizing them into sections for convenience. These are a combination of short stories, books, movies, and even a couple albums. Feel free to share your spooky recs; I love discovering new scary things to love!

Haunted Houses! 👻

“Stone Animals” by Kelly Link (mind-bending): A haunted house story that is so incredibly claustrophobic it made me dissociate the first two times I read it. Mind-bending is a good way to describe it. “Stone Animals” is a very long short story, but it’s such an atmospheric read that it doesn’t feel like it drags. A haunted house that drives the entire family living inside it nuts in unique ways. I highly recommend it, but don’t read it on an airplane like I did (the second time around).

Coraline (2009), dir. Henry Selick (childhood favorite): Neil Gaiman’s actions aside, the movie is a fantastic piece of media that enchanted baby Magnus and horrified his mother. The soundtrack is one of my favorite albums ever, and gets played in my car on multiple playlists all the time. It’s a classic for a reason, though not my favorite Laika film, because I refuse to let it top ParaNorman. 

Guts! Guts! Guts! 🩸

Alien Virus Love Disaster by Abby Mei Otis (gore, with feelings!): Take a dip into the grotesque with this gnarly short story collection from Small Beer press. The stories range from more emotional with less nasty bits (“Moonkids”, “Not an Alien Story”, “If You Could Be God of Anything”) to body horror (“I’m Sorry Your Daughter Got Eaten by a Cougar”) to a story that actually made me gag when I read it (“Rich People”). Otis has something for every lover of the grotesque in this collection.

Visions of Bodies Being Burned & There Existed an Addiction to Blood by clipping. (love letter to horror): A trippy, hair-raising pair of albums that brings horrorcore to clipping.’s industrial noiserap. (Yes, I am pretentious like that.) Two of the most interesting albums to ever be released. My favorite hits include “Enlacing”, “Blood of the Fang”, “Club Down”, “La Mala Ordina”, and “Looking Like Meat”. Daveed Diggs’ vocals are unmatched.

Hannibal, dir. Bryan Fuller (tasteful cannibalism): One of my favorite seasonal re-watches. Season one is my favorite, especially the mushroom episode. Some of the most beautiful cinematography on television I’ve ever seen. Also, fabulous gender-swapping of characters in Thomas Harris’ works.

Psychological! 🧠

You Too Can Have a Body Like Mine by Alexandra Kleeman (peel your skin off discomfort): This book is uncomfortable. It was part of my inspiration for my senior capstone project, Body, and it definitely shows. The main character’s roommate tries to become her. With targeted ads, weird cults, and a general sense of not belonging in your body, Kleeman really makes you want to peel off your skin to get a little more comfortable. (Or to see who’s really under there.)

Fight Club by Chuck Palahniuk (mind-bending): Both the movie and the novel have left me stunned. Even if you know the twist through cultural osmosis, I highly recommend both. Another piece of media that has made me dissociate multiple times after consuming. While I’m not a fan of Palahniuk’s other works, he really hit it out of the park with Fight Club.

The Secret History by Donna Tartt (atmosphere to die for): A great piece of psychological literary fiction where bad people do bad things and reap the consequences. Is it a pretentious pick? Probably. But I still adore it. My mom adores it, and that means something, because she’s super picky about psychological horror. I’m making my grandmother read it. It’s a classic for a reason.

Witches, Magic, & Folk Horror! 🐈‍⬛

ParaNorman (2012), dir. Sam Fell & Chris Butler (love letter to horror): My senior yearbook quote was from this movie; I’ve written academic papers about this movie; I have Norman Babcock tattooed on my calf forever. Of course this movie would be on here. It’s a love letter to cheesy 80s horror movies. This movie is my ultimate comfort and my favorite feel-good movie to cry to.

The Witch (2015), dir. Robert Eggers (atmosphere to die for): The most accurate historical portrayal of Calvinist culture I’ve ever seen on screen, while being compelling. We watched this in my witches class. It’s genuinely one of the most perfect films on witches I’ve ever seen. 

The Ritual (2017), dir. David Bruckner (atmosphere to die for): If I could watch this again for the first time, I would choose it in a heartbeat. A top-tier piece of psychological horror that leaves you feeling like you’re right there with the characters. Moder is one of the best creatures I’ve ever seen, designed by Keith Thompson (who also designed Ratma in “Storm Drain” from VHS 94). 

“The Ghost You Left Behind” by Magnus Singer-McLeod (love letter to the genre): I have to promote my own short story here because this is my blog and I make the rules. We've got psychics, ghosts, missing people, demons, and a gay romance; it’s got a little bit of everything I love about the autumn season. I’m biased, but I highly recommend.

Eco-Horror! 🪲

“42”, Doctor Who (BURN WITH ME): A cheesy, time-sensitive eco-horror episode. It has all the best hallmarks of the RTD era, including my beloved Martha Jones. A fun watch!

Annihilation by Jeff VanderMeer (atmosphere to die for): The first time I read this book, I read it in a day. It’s a fast read I pull out when I’m in a slump and just need a weird, atmospheric read to pull me into the world of the Weird. Having a biologist as the main character makes the setting of Area X shine. She’s so deeply fascinated by the weird place she’s in that you’re pulled in just as much as she is. So fucking creepy. (Shoutout to the bear scene in the movie, which makes my skin crawl.)

Polar Trauma! ❄️

Solar Trauma by Philip Sorenson (peel your skin off discomfort): This poetry collection is loosely based on The Thing, and inspired my own hivemind poetry collection. It is so fucking good. Grotesque, psychological, uncomfortable. One of the strangest, most fascinating poetry collections I have ever had the pleasure of reading. 

The Thing (1982), dir. John Carpenter (perfect creature work): One of the greatest body horror films of all time. The practical effects are unmatched. A horror movie where everyone is intelligent, realistic, and untrustworthy. “The Ultimate in Alien Terror” doesn’t even begin to cover it. I will go through periods where I watch this movie every single night for a month without growing tired of it.

The Terror (2018), dir. David Kajganich & Soo Hugh (atmosphere to die for): As someone who’s read both the book and watched the show, just watch Wendigoon’s video on the topic instead of reading the novel for historical context, then watch the show. The creeping sense of dread is nearly unparalleled. Tuunbaq is one of the most terrifying creatures I’ve ever laid eyes on. Colonizers meet their fate, and it is both horrifically tragic and incredibly justified. Fantastic rewatch value.

[trozeikylis]

I finished Dawntrail yesterday. (FFXIV 7.0 spoilers, ofc)

It’s weirding me out that I’m simultaneously elated and disappointed in the MSQ. It could’ve been so much more and yet, we’re not given much reason to like these characters as they grow. More on this later.

Wuk Lamat interested me back in 6.5x. Seeing her at fanfest made me excited and seeing her in Endwalker made me wonder with glee what Tural could possibly be. And yet she screams nothing short of girlfailure and delusional optimistism, two traits that don’t mesh well with being a fitting ruler.

Speaking of the Rite of Succession, our cast of warmonger, warmonger, slightly TOO optimistic tech nerd, and girlfailure didn’t do it for me. Granted, they’re gross oversimplifications of what they (mostly) are, but it’s still enough to call to mind who each of them are. Also: feels a tad bit off to make both the zealots for war the same race, if you ask me. It’s also a shame since Zarool Ja is one of the cooler designs I’ve seen XIV do and I wanted him to be more.

The cultures we learned about were cool (especially in the last 2 sections), but I feel like we didn’t need such detail in the MSQ. Shadowbringers had to do something similar, but we didn’t have to worry about a time crunch nearly as badly since a lot of details about how each society worked were either brief (read: didn’t require the Echo) or were engaging, like in Mord Souq. Instead, we get hours upon hours of exposition and reveling in the glory of Ms. Third Promise. Don’t get me wrong, I was interested in learning and read every line. I just wish they didn’t put ALL of the info in a straight line. I found myself practically screaming to want to fight. Perhaps it’s the sense of urgency that’s taken away since the rites didn’t necessarily have time constraints, but the fact that everything happened to line up perfectly with making friends (or trying to) out of everyone agitated me since it’s not realistic.

I’d imagine if someone tried to kill you in this world, you’d not want to save them for the sake of your sanity and safety. And yet, Wuk Lamat does just that to the radical giant. It doesn’t make sense why it goes unpunished with debts and repayment despite the fact that yes, they’re still enemies in game.

And despite it all, I still loved this expansion.

Going past Shaoolani, breaching through Vanguard, did I find the last final emotion within Pandora’s box. Heritage Found is a purposefully bleak place. I wish it didn’t look so miserable to be there, but past the doors into Everkeep’s ninth level did I find solace in the reality of this chapter.

To be stored and kept forever, to be cherished for one more day, to be locked away in a prison of eternal bliss did the bleak, golden skies past the Cenote greet me.

Alexandria was wonderful. The regulators and the artificial lifestream as a form of currency was a very interesting though, especially after just watching a video about time’s toll on the human psyche (the Daryl Makes Games one, I highly recommend checking it out). The Unlost being so umbrally charged and the challenged introduced by it, yet solved with even more specific solutions shows how the hardships of humanity causes it to evolve, and yet, stripping it away also surrenders what makes you, you.

I think about the Gondola scene in Canal Town a lot since I watched it. I think it’ll be like the 87 scene from Endwalker for me. I think about G’raha’s 200 years of torment he had to endure while we were frolicking in the fields. The apocalypse he saw time and time again, and how Living Memory spat it all back in his face. Truly, a moment of melancholy arises when he gazes at you so while the soundtrack reminisces of a bygone time, a mall long since closed, a moment hanging by a thread of nostalgia.

And speaking of sad boys, I was chatting with a friend going through it at the same time, and we immediately thought of Amaurot. After all, the spiraling architecture of the Meso Terminal couldn’t help but remind me of Emet Selch’s feat all that time ago. And to think one unsundered soul did all that when an unsustainable amount of aether was required to maintain something similar.

It saddens me you cannot return to the golden skies once it is done, and yet, it’s heartening that the terminal’s shutdown forces you to move on with it. It’s a bleak future, but one we must hold onto and carry with us. After all, so long as we are remembered, we live on vicariously.

So, I think I will do the same. I am saddened by the plot, the narrative, the flat characters, and yet, the little moments will forever shine to me. Otis, Cachiua, Gulool Ja, Maya’s parents, Erene- I mean Erenville, and the cast of the backrooms will be in my heart as I move on from this experience.

Here’s to hoping that patch content allows those that fell short to shine properly like the others.

[licoricesorcerer]

[3] Korean BLs I have watched so far👇

Oh! My Assistant

8/10 - the first second episodes was so funny. So many misunderstandings happened, “can’t you just be together??!!!” Such feelings was real during this drama. Joon Seok was soooo annoying🙃👌🏻

Tinted with You

7/10 - I watched it cause I was curious. I don’t understand the storylines, but manage to finish. I gave it 7 instead of 6 cause it’s unique and the chemistry of the actors

Blueming

7.5/10 - well, watched it cause of Tiktok, but I couldn’t enjoy it that much. I postponed after watching 4 episodes, then continue it again after about a month. It’s actually good, but I feel like.. we need more intense conflict, they solved it soo dmn easily. I need more fighttt with tears and sadness *uppss* but still have a good happy ending *plak*

Wish You

7/10 - Both of the main character has almost the same personality, silence and calm… I don’t get it yet, which one is T and B, they switch everytime🥹 the story is about In Su, whose parents don’t want him to be a singer, trying his best to become a singer, I thought that he’ll suicide on the last ep, but he didn’t. It has a happy ending anyway

Cherry Blossom After Winter

8/10 - I like the plot, don’t really like the characters. Th chemistry was good, but… i feel like He Bom is tooooooo feminine😭 I want him to show a little bit of his manly side (in which he did in the last ep and made me screamed like “eee???!”) he is cute, indeed.

Kissable Lips

8.5/10 it has a good storyline, I feel bad for them, it has a sad ending😭 I knew it already but still want to watch lol. I recommend to watch this first and assume the Roommates of Poongduck as their afterlife🥹

Matching! Boys Archery

100/10 THIS KIND OF STORY❤️❤️❤️❤️❤️

Gumush so cuteee!!! This is the real role of woman in a drama!🥹

Ocean Likes Me

8.9/10 I like the plot, it has a cute storyline. The development of the characters to the positive vibes. I don’t quite understand why Tommy needs to go away from Ba Da when he decides to continue his dream? But I’m glad that they are being together at the end. It also has a really beautiful and calming soundtrack💙

To My Star 1&2

10/10😭❤️ I Love it!!! The first one has an interesting story, the plot was too fast but it good. Meanwhile the second season has a more intense section (too much actually lol). Both main leads has the same portion of seme sides🤣 they switched every time, but Ji Woo’s actor claimed that he’s the top lol lol lol (though he became cute enough in season2). Highly recommended this one❤️❤️❤️

The Tasty Florida

6.8/10 well, I feel like… so many holes on the story which needs to be covered. Ya.. it’s a mini series though, but among all mini or short Korean series I have watched, this one needed more clarity. I like the main couple, but.. I ship Eun Kyu and Ji Soo more😭😭😭 I want them to be together lol🤣 sorry not sorry Hae Won😖. Despite my personal taste, it’s still worth to watch✨

[astrolaurical]

Hey

It's the same girl who asked about your opinion on my 10 year old cousin thinking Jungkook will marry her

I just wanted to ask

Is it normal that Every ARMY(some non-ARMYs too) around me thinks that someone from BTS gonna marry them? Or is it just people around me???

Everyone are delulu omg😭

I have too many stories about these girls

I (forcefully) checked what they were talking about and checked your Tumblr and I was so thankful someone was normal. I almost thought Everyone were like that

And Yes I told her to stay in School

I think everyone has a secret fantasy about marrying their favorite celebrity. That’s why celebrities and idols exist and why boy bands are so successful. I’m really showing my age but omg the frenzy in the 90s and early 2000s around NYSNC and The Backstreet Boys and Britney Spears?? Unparalleled. Then in the late 2000s we saw it again with Justin Bieber and One Direction. The Josie and Pussycats film (SLAY) makes fun of the entertainment industry the entire movie by even parodying boyband obsession, product placements, and the trend cycles. The movie went over so many peoples’ heads when it was released so it bombed at the box office but it’s a cult classic for a reason. Highly recommend to watch!!! Also aging myself again by admitting I had both the dvd AND soundtrack as kid bc the songs are bangers. Honestly the 90s-2000s in general just rocked. This is the only meme I have of the film but see the product placement and the mockery of boy bands? Genius.

The 1D documentary is a perfect example of the boy band frenzy that JATP film was mocking bc they even had a small scene where they had a neuroscientist or someone similar in that profession (I haven’t seen the movie in a few years so I’m not 100% sure but I was a hardcore 1d stan and have the dvd bc their live vocals honestly slap. Their concert cover of teenage dirtbag in the movie?? Still waiting for the actual recording bc chefs kiss). Anyway the neuroscientist was saying that corporations/ music companies have these formulas to create the perfect idol down to a t after studying the phenomenons of rabid Beatles and Elvis fans in the 50/60s. It has to do with the happiness chemicals in the brain. Combine those with good looks and music? You can’t help but fall in love. The entertainment industry then purposely directs their carefully molded artists to vulnerable audiences (preteens, teens, women) because they will buy more products. Casey Aonso (another fellow 1d stan wassup girl) YouTube video describes their XFactor era HILARIOUSLY. War flashbacks. The clips about HOW BAD each individual one direction members auditions were but you could see the $$$ in the judges eyes bc the boys were good looking and you could tel the judges were plotting how to sell the boys good looks. And they did.

And boy do we know that formula works. Hybe overprices bts products on Weverse shop and y’all eat it up and sell it out every time. $200 for a REPACKAGED cd. Weren’t they selling like a $1000 product recently? But even Jin had to be like “nah for my Astronaut comeback yall not gonna be selling hella expensive pajama pants like last time tho. We don’t price gouge in this house”. All hail jin.

I’ve talked a lot about parasocial relationships and media training, etc. While I think it’s fine to have a secret fantasy about marrying *insert celebrity crush name here*, I think it’s important to realize it’s a FANTASY. Fun to think about and daydream to, but NOT REALISTIC when trying to plan a future around or with. Go play the childhood game of MASH or make a SIMS family with Jungkook as your husband. That’s fine and normal. But don’t be going around telling people he’s your boyfriend. That’s delusion. I’ve included a perfect real life example of healthy young fangirling in the tags.

EDIT JUNE 11 2023:

I happened to come across this tik tok video yesterday that also explains delusion and obsession. I think it applies to “fangirling” especially well. TW for trauma.

[kiwi-tai]

9 favorite shows as gifs

Thank you for tagging me @willkimurashat @eva-neill-green @fujihime-litg @mrs-youcef

This is once again in no specific order because they’re all very different shows and all top tier imo.

1. Parks and Recreation

My favorite sitcom I have rewatched it soo many times and was so sad when it got moved to streaming on Peacock but then my cousin got Peacock and now I leech onto their account to watch it.

2. Schitts Creek

Elite sitcom! So funny, so heartfelt, Dan Levy you are my fav nepo baby and I accuse nepotism for this show. And Miora Rose iconic.

3. Space Force

Another tragic betrayal from Netflix by canceling this show. I love Ben Schwartz and space.

4. The Get Down

This was the first betrayal I ever experience from Netflix and you may be saying hey I’ve never heard of The Get Down before we’ll it’s because it featured a fully poc cast and told a beautiful story of the start of hip hop and fall of disco from the perspective of young teens from the Bronx in the 70s and Netflix didn’t promote it at all. It was directed by Baz Luhrmann ya know the guy that did Romeo and Juliet with Leo DiCaprio. This show was beautiful and amazing and I cried when I found out they canceled it. Still the story ends pretty well with only a slight cliffhanger that Baz later clarified what would actually happen so if your looking for a show to watch I very highly recommend this one . It’s incredible, the soundtrack is amazing, there are lgbt characters, I mean I can’t ever say enough.

5. Once Upon a Time

The chokehold this show had me on since I was 11. Unparalleled. I love everyone in this show like family, each character means so much to me it’s insane. Last season was eh they were trying too hard to keep it alive but that’s shows now a days. Gif of the queen herself.

6. Pretty Little Liars: Original Sin

Speaking of shows that had me in a chokehold the orginal pretty little liars was one of them. I was obsessed and they lost me the last few season after trying to hard to keep the show alive. A good show has an ending you don’t have to keep adding more to it. That being said I did not think this reboot/spin-off would be good but oh boy is it. I mean there is a slasher killer, it’s beautifully shot, and the cast is great.

7. Derry Girls

I absolutely love this show! I love everything about it. I pretend I have an Irish accent every time I watch it (sorry to any Irish followers but I think it’s a pretty decent attempt). This show is hilarious and I can’t wait to watch the final season.

8. Shadow and Bone

This show led to a downward spiral into the Grishaverse series and I am perfectly okay with it. I am still read every book in the series I’m on the final six of crow book rn. This show is soooo good I cried first episode for some reason. The cast is so hot. The characters and storylines are everything.

9. New Girl

Last but not least, this show is iconic. The friendships, the jokes, everything. Love it.

Omg I’m editing and adding a tenth because I can’t believe I forgot it

10. DEADLY CLASS

This!!! this show is one of the greatest shows to ever exist and I’m sooooo mad it got canceled. It’s based on a comic it’s one season I highly recommend despite the cliff hanger (because technically no cliff hanger if you jsut look up what happens in the comics). I love this show so much I did write a fan fic about it on Wattpad it’s called Medusa if you want to check it out. Literally Marcus (pictured above) the most incredible and stupid character ever I love him; the sass he has amazing. You will love all the characters as much as you hate them sometimes it’s great. Lana Condor is in it and so is Benedict Wong. If you like marvel movies the Russo brothers are producers.

Tagging whoever wants to join!

[onesingulartheaterkid]

In Defense of Audrey

I don't know how much of a hot take this is, but Audrey from Little Shop of Horrors is so insanely overlooked. So here's an analysis of her that no one asked for because I can.

This will go by each song in the stage musical soundtrack (specifically the 2003 revival because Kerry Butler slaps). I'll try not to put too many things from the movie and just stick to the musical the movie is based on, since the movie cut a few things (and the endings of the movie and stage show are extremely different).

Quick content warning: This analysis will include mentions of abuse (physical, verbal, and emotional) since it appears in the musical. I encourage you to skip this if that is something that is triggering for you.

I will try to keep each section of the analysis as brief as I can, but just in case, I will highlight any key parts. Sorry if this is all incoherent or weird, I’ve never really written many character analysis. I also put a ”keep reading” thing because this bad boi is LONG and i didn’t want people to have to scroll forever and hate me (/lh)

There will also be spoilers for the musical, so if you haven't seen/listened to it and plan on doing so (which I highly recommend) you may want to skip this. Unless you don’t care for spoilers (i still recommend you watch or listen to the show or the movie.

Skid Row (Downtown)

Audrey's introduction to the musical, although small, gives a small window into mostly what Skid Row is like, but also a little about her life. She sings:

Where the guys are drips Where they rip your slips Where relationships are no go Down on skid row

Audrey calls the guys in Skid Row "drips", which could mean that she finds them boring and not all that interesting. The next line references her abusive relationship with Orin, her dentist boyfriend, and how Orin acts forceful toward Audrey. Based on the next two verses, it's very possible that Audrey knows that being in a relationship isn't the greatest idea, either because she's poor or because she knows how terrible Orin is.

The ending of the song (when Audrey and Seymour are singing in unison) shows that Audrey doesn't want the life she has and wants to leave it. This idea links into the next song she's in, her big "I Want" song, in which she perpetuates that idea that she wants a different life.

Ya Never Know

Audrey doesn't show up in this song, but she is talked about briefly by Mr. Mushnik and Seymour.

After Seymour's first (?) interview about Audrey II (the plant Seymour takes care of), Seymour asks Mr. Mushnik where Audrey is, and says, "she was s'posed to be here." Mr. Mushnik simply says "Forget about Audrey!"

Clearly, Audrey means a lot to Seymour. But she isn't too much of an importance to Mr. Mushnik because Audrey hasn't given Mushnik any success to the florist shop, unlike Seymour.

Somewhere That's Green

I used to absolutely despise this song because I always thought "All it's about is her wanting a husband. And it's heteronormative."

But the song isn't just about Audrey wanting a husband. It's about the life she wants based off the media she sees. Most of those things being around the time period the show takes place (around the 1960s).

Audrey bases her dream life off of idealized versions of life. She references several mid-1900s sitcoms, that are (by nature of the genre) idealizations of the white, suburban life. She also expresses wanting to be like Betty Crocker and Donna Reed, who are part of the housewife stereotype: being able to cook any meal (Betty Crocker) and beautiful (Donna Reed. but can you blame Audrey? Donna Reed was beautiful and awesome). She even references two magazines (Better Homes and Gardens) that were idealizations of the suburban home as a whole.

Audrey wants a life made from idealized media because they're simple. Unlike her daydreams, Audrey’s life is far from simple. Audrey lives in the economically poor Skid Row with an extremely abusive boyfriend, referenced in the beginning of the song.

But I'm dating a semi-sadist So I got a black eye and my arm's in a cast.

It's safe to assume Audrey probably knows that Orin is not good for her health, but is understandably afraid to break things off because he could do something to her. As she stays with Orin, she justifies staying with him. Right before "Somewhere That's Green", Audrey explains to Ronette, Chiffon, and Crystal why she stays with Orin. She says something along the lines of "if this is how he treats me when he likes me (referring to her broken arm and black eye), imagine how he'll treat me when he doesn't like me!". Having her little daydream might give her some freedom from Orin, even if it is for a short while.

Audrey's daydream acts as a way to escape from her current situation and imagine a happier life for herself.

When she talks about a "he" in the song, Audrey isn't necessarily talking about Seymour, even though she does talk about him at the beginning

Just me and the toaster and a sweet little guy--like Seymour!

It certainly sounds like she is thinking about Seymour since she talks about him in the beginning, and the lyrics "He rakes and trims the grass/ He loves to mow and weed" definitely seem like Seymour (considering Seymour knows everything about plants). But going back to the whole theme of idealization in the song, having a husband and being married would definitely be a staple of the middle class, suburban household, and something Audrey would want to complete for the ideal life.

That isn't to say Audrey doesn't care about Seymour, because she does! It’s just that at this point of the show, Audrey just wants the life she sees depicted around her, and part of that idealized life is having a husband.

(I hope I don't have to explain this, but just in case: obviously the idea that people have to be married and the heteronormative view of marriage is outdated. No one needs to have either of these to live a fulfilling life or have a meaningful relationship.)

Closed for Renovation

This song is more for exposition, but there's a few things to say about Audrey. Audrey expresses concern for Seymour because he's been getting hurt for reasons unknown to anyone except Seymour and the audience. So Audrey obviously cares about Seymour's well-being and him in general.

Audrey: You've been getting hurt so much lately!

There's also a use of flower symbolism within Seymour and Audrey's dialogue in the song. The flowers used for Audrey are fitting for her personality. Audrey talks about daisies and fleur-de-lis ("flower of the lily" in French) which both represent purity and innocence, and Audrey maintains her pureness throughout the show. She also mentions the forget-me-not flowers, which represent true and undying love, which could be Audrey hinting at Seymour that she actually loves him.

Feed Me (Git It)

This song introduces Orin and Audrey's dynamic and relationship. Orin repeatedly verbally and emotionally abuses Audrey. He tells her she's stupid for forgetting a sweater at the florist shop, and the whole situation seems to be overwhelming for Audrey.

She tries to act as if she's got it all under control, when in reality, Audrey doesn’t have any control over the situation and is under pressure from Orin’s irrational anger. At least in how it sounds in the soundtrack, Audrey sounds panicked and stressed as she says the lines:

Audrey: Hi, Seymour. I left my sweater here before...

We also see her stand up for herself when Orin hits her, to which Orin shows no remorse. Clearly, Orin doesn't care for Audrey at all, both for her well-being and what she wants, which is in direct juxtaposition to Audrey's care for other people.

It makes sense why, in Somewhere That's Green, Audrey would talk about wanting a life that's more simple (especially around a family life): she doesn't have a happy relationship with Orin at all.

Something else I noticed (I don't know if this is intentional or not) was that in Somewhere That's Green, Audrey says "he's father he knows best", saying that her Daydream Husband would be the head of the house. It would make sense, historically speaking, why she would say that. But Audrey could also be saying that because she believes that she is supposed to be the submissive housewife. Audrey is expected to be submissive toward Orin in their relationship, with him insisting on her calling him "doctor" (yikes), so she might have just assumed that's how all relationships are.

(((PS: has anyone noticed both the beginning of Feed Me (Git It) and Somewhere That's Green are the exact same music-wise?)))

Call Back in the Morning

This song is similar to Closed for Renovation in that not a lot is shown about the characters. It brings up some more flower symbolism, though. Audrey asks if someone would like carnations or yellow roses, which are both about romantic feelings. Carnations represent affection and love, feelings Audrey has towards Seymour. Yellow roses represent loss of love, which could be feelings Audrey either feels or thinks she needs to feel about Orin's recent death (occurs in ‘Now (It's Just the Gas)’).

Suddenly, Seymour

Okay, this might sound really bad, but hear me out: the beginning isn't actually horrible. In fact, Seymour singing

Lift up your head, wash off your mascara Here, take my Kleenex, wipe that lipstick away Show me your face clean as the mornin' I know things were bad but now they're okay

It actually serves a purpose.

The makeup in the song is more symbolic of Audrey hiding what she went through with Orin—as she has previously throughout the show. By telling her to take off her makeup, Audrey can finally admit (instead of hiding like she has before) that she went through abuse and confront that it existed, so she can begin to heal from it. It's not "Oh YoU dOn'T nEeD mAkEuP tO lOoK bEaUtIfUl To Me", but rather a "Hey, you went through a really messed up and harmful experience. We're going to face it together and begin healing." This post and this post both explain my thoughts on these lyrics excellently.

This song also gives us a closer look into Audrey's life before the events of the musical. Audrey's history with men was never good to begin with as her father abandoned her mother and Audrey. Then, Audrey fell into relationships where she became more submissive.

I'd meet a man and I'd follow him blindly He'd snap his fingers, me, I'd say, 'Sure'

At this point in the show (and song), Audrey is able to explain how much Seymour has affected her life. Seymour’s nothing like the other boys she's had in her life, and it's implied that she actually wants to be with him. This isn’t the first time Audrey has expressed wanting to be with Seymour either, because it's been stated before in the show.

“Still, that Seymour's a cutie  Well, if not, he's got inner beauty  And I dream of a place  Where we could be together at last” (Somewhere That’s Green)

Even knowing that Seymour isn't like the other boys she's met, Audrey is nervous about being with him because it's "still strange and frightening". In comparison to all the other relationships she's been in, being with Seymour would be different and strange.

Sominex/ Suppertime II

In her core, Audrey is a compassionate person and cares for other people. She is worried for Seymour and goes to check on him, only to be met by Audrey II.

While she is innocent and a bit naive, Audrey most certainly isn't ignorant. As Audrey II tries to get Audrey to "help" him, Audrey is initially cautious ("I don't know if I should!"). She wants to help the plant, but isn't sure it's a good idea, especially since she just found out Audrey II can talk. And I don't know about you, but if I witnessed a plant talking to me, I'd definitely be cautious about helping it.

Audrey isn't ignorant. She knows that there's something weird about Audrey II. It’s Audrey's innocence and drive to help people that leads her to override her initial concern about the plant. Audrey II also aides in this by taking advantage of Audrey's compassion and naivety. Both of these end in Audrey being hurt by the plant.

Somewhere That's Green (Reprise)

In "The Meek Shall Inherit", Seymour is afraid of Audrey not liking him anymore if he becomes poor. Which turns out to be very untrue because in this song, Audrey shows she cares about Seymour and doesn't care that Seymour murdered Mushnik and Orin to get famous (to each their own, I guess???).

In this song, Audrey is able to have her own autonomy within a relationship. Audrey tells Seymour to feed her to Audrey II as her "one gift" to Seymour, so he can become more famous and get all the things she believes Seymour deserves. Seymour respects Audrey's wish, and gives her to the plant.

This scene is important because it's the second time that Audrey expresses that she is in pain as a result of something happening to her— the first time being when Orin hit her. The way that both people involved react to her pain is different and shows their character.

Audrey: Orin, that hurt! Orin: Move it! (Feed Me (Git It))

In "Feed Me (Git It)", Audrey is the one to say she is hurt, only to have Orin not acknowledge that she has been hurt by him or that he cares. At least how Kerry Butler portrays Audrey in the scene, Audrey seems nervous to tell Orin he hurt her. Based on that, I'd assume this sort of behavior from Orin wasn't a one-time event, and it would explain why Audrey would be a bit more nervous to tell Orin.

Seymour: Audrey, are you alright? Audrey: Yes! No... (Somewhere That's Green (Reprise))

What makes this scene different from the one in "Feed Me (Git It)" is that Seymour is the one to ask if Audrey is alright. He is showing that 1) he cares for Audrey's well-being and 2) she is safe to tell him how she feels. Audrey understands that sentiment and tells Seymour how she honestly feels.

Ending Note

Hopefully, I was able to maybe get you to like Audrey more or at least notice maybe one new thing??? I've been putting off posting this because I want it to be as clear as possible what I'm trying to say, but I can't wait around forever. If you've noticed anything that I didn't mention, I'd love to hear it! If I said anything extremely wrong, please don't hesitate to tell me. I don't mean to hurt anyone. I might do some more characters, so if you have any you’d like me to analyze too much, I’d love to hear it! Or I might just do more that no one asks for cuz I had a lot of fun doing this!

[nitrateglow]

Favorite films discovered in 2020

Well, this year sucked. I did see some good movies though. Some even made after I was born!

Perfect Blue (dir. Satoshi Kon, 1997)

I watch a lot of thrillers and horror movies, but precious few actually unsettle me in any lasting way. This cannot be said of Perfect Blue, which gave me one of the most visceral cinematic experiences of my life. Beyond the brief flashes of bloodletting (you will never look at a screwdriver the same way again), the scariest thing about Perfect Blue might be how the protagonist has both her life and her sense of self threatened by the villains. The movie’s prescience regarding public persona is also incredibly eerie, especially in our age of social media. While anime is seen as a very niche interest (albeit one that has become more mainstream in recent years), I would highly recommend this movie to thriller fans, whether they typically watch anime or not. It’s right up there with the best of Hitchcock or De Palma.

The Good, the Bad, and the Ugly (dir. Sergio Leone, 1966)

Nothing is better than when an iconic movie lives up to the hype. Clint Eastwood, Eli Wallach, and Lee Van Cleef play off of one another perfectly. I was impressed by Wallach as Tuco in particular: his character initially seems like a one-dimensional greedy criminal, but the performance is packed with wonderful moments of humanity. Do I really need to say anything about the direction? Or about the wonderful storyline, which takes on an almost mythic feel in its grandeur? Or that soundtrack?

Die Niebelungen (both movies) (dir. Fritz Lang, 1924)

I did NOT expect to love these movies as much as I did. That they would be dazzlingly gorgeous I never doubted: the medieval world of the story is brought to vivid life through the geometrical mise en scene and detailed costuming. However, the plot itself is so, so riveting, never losing steam over the course of the four hours it takes to watch both movies. The first half is heroic fantasy; the second half involves a revenge plot of almost Shakespearean proportions. This might actually be my favorite silent Fritz Lang movie now.

Muppet Treasure Island (dir. Brian Henson, 1996)

I understand that people have different tastes and all, but how does this movie have such a mixed reception? It’s absolutely hilarious. How could anybody get through the scene with “THA BLACK SPOT AGGHHHHHHH” and not declare this a masterpiece of comedy? And I risk being excommunicated from the Muppet fandom for saying it, but I like this one more than The Great Muppet Caper. It’s probably now my second favorite Muppet movie.

Belle de Jour (dir. Luis Bunuel, 1967)

I confess I’m not terribly fond of “but was it real???” movies. They tend to feel gimmicky more often than not. Belle de Jour is an exception. This is about more than a repressed housewife getting her kicks working as a daytime prostitute. The film delves into victim blaming, trauma, class, and identity-- sure, this sounds academic and dry when I put it that way, but what I’m trying to say is that these are very complicated characters and the blurring of fantasy and reality becomes thought-provoking rather than trite due to that complexity.

Secondhand Lions (dir. Tim McCanlies, 2003)

The term “family movie” is often used as a synonym for “children’s movie.” However, there is an important distinction: children’s movies only appeal to kids, while family movies retain their appeal as one grows up. Secondhand Lions is perhaps a perfect family movie, with a great deal more nuance than one might expect regarding the need for storytelling and its purpose in creating meaning for one’s life. It’s also amazingly cast: Haley Joel Osment is excellent as the juvenile lead, and Michael Caine and Robert Duvall steal the show as Osment’s eccentric uncles.

The Pawnbroker (dir. Sidney Lumet, 1964)

Controversial in its day for depicting frontal nudity, The Pawnbroker shocks today for different reasons. As the top review of the film on IMDB says, we’re used to victims of great atrocities being presented as sympathetic, good people in fiction. Here, Rod Steiger’s Sol Nazerman subverts such a trope: his suffering at the hands of the Nazis has made him a hard, closed-off person, dismissive of his second wife (herself also a survivor of the Holocaust), cold to his friendly assistant, and bitter towards himself. The movie follows Nazerman’s postwar life, vividly presenting his inner pain in a way that is almost too much to bear. Gotta say, Steiger gives one of the best performances I have ever seen in a movie here: he’s so three-dimensional and complex. The emotions on his face are registered with Falconetti-level brilliance.

The Apartment (dir. Billy Wilder, 1960)

While not the most depressing Christmas movie ever, The Apartment certainly puts a good injection of cynicism into the season. I have rarely seen a movie so adept at blending comedy, romance, and satire without feeling tone-deaf. There are a lot of things to praise about The Apartment, but I want to give a special shoutout to the dialogue. “Witty” dialogue that sounds natural is hard to come by-- so often, it just feels smart-assy and strained. Not here.

Anatomy of a Murder (dir. Otto Preminger, 1959)

I’m not big into courtroom dramas, but Anatomy of a Murder is a big exception. Its morally ambiguous characters elevate it from being a mere “whodunit” (or I guess in the case of this movie, “whydunit”), because if there’s something you’re not going to get with this movie, it’s a clear answer as to what happened on the night of the crime. Jimmy Stewart gives one of his least characteristic performances as the cynical lawyer, and is absolutely brilliant. 

Oldboy (dir. Park Chan-Wook, 2003)

Oldboy reminded me a great deal of John Webster’s 17th century tragedy The Duchess of Malfi. Both are gruesome, frightening, and heartbreaking works of art, straddling the line between sensationalism and intelligence, proving the two are not mutually exclusive. It’s both entertaining and difficult to watch. The thought of revisiting it terrifies me but I feel there is so much more to appreciate about the sheer craft on display.

Family Plot (dir. Alfred Hitchcock, 1976)

Family Plot is an enjoyable comedy; you guys are just mean. I know in an ideal world, Hitchcock’s swan song would be a great thriller masterpiece in the vein of Vertigo or Psycho. Family Plot is instead a silly send-up of Hitchcock’s favorite tropes, lampooning everything from the dangerous blonde archetype (with not one but two characters) to complicated MacGuffin plots. You’ll probably demand my film buff card be revoked for my opinion, but to hell with it-- this is my favorite of Hitchcock’s post-Psycho movies.

My Best Girl (dir. Sam Taylor, 1927)

Mary Pickford’s farewell to silent film also happens to be among her best movies. It’s a simple, charming romantic comedy starring her future husband, Charles “Buddy” Rogers. Pickford also gets to play an adult character here, rather than the little girl parts her public demanded she essay even well into her thirties. She and Rogers are sweet together without being diabetes-inducing, and the comedy is often laugh out loud funny. It even mocks a few tropes that anyone who watches enough old movies will recognize and probably dislike-- such as “break his heart to save him!!” (my personal most loathed 1920s/1930s trope).

Parasite (dir. Bong Joon-ho, 2019)

This feels like such a zeitgeist movie. It’s about the gap between the rich and the poor, it’s ironic,  it’s depressing, it’s unpredictable as hell. I don’t like terms like “modern classic,” because by its very definition, a classic can only be deemed as such after a long passage of time, but I have a good feeling Parasite will be considered one of the definitive films of the 2010s in the years to come.

Indiscreet (dir. Stanley Donen, 1958)

Indiscreet often gets criticized for not being Notorious more or less, which is a shame. It’s not SUPPOSED to be-- it’s cinematic souffle and both Ingrid Bergman and Cary Grant elevate that light material with their perfect chemistry and comedic timing. It’s also refreshing to see a rom-com with characters over 40 as the leads-- and the movie does not try to make them seem younger or less mature, making the zany moments all the more hilarious. It’s worth seeing for Cary Grant’s jig (picture above) alone.

The Taking of Pelham One Two Three (dir. Joseph Sargent, 1974)

This movie embodies so much of what I love about 70s cinema: it’s gritty, irreverent, and hard-hitting. It’s both hilarious and suspenseful-- I was tense all throughout the run time. I heard there was a remake and it just seems... so, so pointless when you already have this gem perfect as it is.

They All Laughed (dir. Peter Bogdonavich, 1981)

Bogdonavich’s lesser known homage to 1930s screwball comedy is also a weirdly autumnal movie. Among the last gasps of the New Hollywood movement, it is also marks the final time Audrey Hepburn would star in a theatrical release. The gentle comedy, excellent ensemble cast (John Ritter is the standout), and the mature but short-lived romance between Hepburn and Ben Gazarra’s characters make this a memorably bittersweet gem.

The Palm Beach Story (dir. Preston Sturges, 1942)

Absolutely hilarious. I was watching this with my parents in the room. My mom tends to like old movies while my dad doesn’t, but both of them were laughing aloud at this one. Not much else to say about it, other than I love Joel McCrea the more movies I see him in-- though it’s weird seeing him in comedies since I’m so used to him as a back-breaking man on the edge in The Most Dangerous Game!

Nothing Sacred (dir. William Wellman, 1937)

I tend to associate William Wellman with the pre-code era, so I’ve tried delving more into his post-code work. Nothing Sacred is easily my favorite of those films thus far, mainly for Carole Lombard but also because the story still feels pretty fresh due to the jabs it takes at celebrity worship and moral hypocrisy. For a satire, it’s still very warm towards its characters, even when they’re misbehaving or deluding themselves, so it’s oddly a feel-good film too.

Applause (dir. Rouben Mamoulian, 1929)

I love watching early sound movies, but my inner history nerd tends to enjoy them more than the part of me that, well, craves good, well-made movies. Most early sound films are pure awkward, but there’s always an exception and Applause is one of them. While the plot’s backstage melodrama is nothing special, the way the story is told is super sophisticated and expressive for this period of cinema history, and Helen Morgan makes the figure of the discarded burlesque queen seem truly human and tragic rather than merely sentimental.

Topaz (dir. Alfred Hitchcock, 1969)

Another late Hitchcock everyone but me seems to hate. After suffering through Torn Curtain, I expected Hitchcock’s other cold war thriller was going to be dull as dishwater, but instead I found an understated espionage movie standing in stark contrast to the more popular spy movies of the period. It’ll never be top Hitchcock, of course-- still it was stylish and enjoyable, with some truly haunting moments. I think it deserves more appreciation than it’s been given.

What were your favorite cinematic discoveries in 2020?

[freckledbodty]

Stripping Away The Bloat - The Umibe No Etranger Movie Did The Manga Dirty

I finally got around to watching the movie of Umibe no Etranger - a movie I didn’t know existed based on one of my old favourite BL mangas. And oh boy, does this adaptation reflect a painful trend in manga to anime/movie adaptations overall. Allow me a moment to rant, if you will...

TL;DR: READ THE MANGA BY THE LOVE OF GOD IT’S WONDERFUL. Also the movie is super pretty, but here’s a semi-detailed look at why it still really didn’t do the manga justice. You bet I came with receipts.

A few important notes before you start: 

1. Remember this is just my opinion, and I’d love to hear other people’s point of view on the matter, whether you agree or disagree! 

2. I am not fluent enough in Japanese to read the original without a translation, so my thoughts on the manga are coming from fan translations, which 100% might have affected how I view this! The anime I’m a little more sure on as I can generally tell when the subtitles have deviated, but that does mean I may have missed something/something was lost in translation that means something I say here is incorrect. I’m very sorry for this, so remember this is my view based on the media types I’ve consumed. 

3. Also the manga cuttings I use are not the best quality because of tumblr’s sizing, so even more of a reason to go read the books yourself! 

I’m aware I’m very late to this party, but when I saw the other day that this movie had been made, I was horrified that I hadn’t known about it sooner. I read the manga years ago, and adored it - it’s genuinely a sweet and beautifully drawn romance, and I’d highly recommend it to anyone. With that, however, the movie was a huge disappointment to me and I just need to have a moment to gush in a less than positive way. 

The Pros: 

Let’s get this out of the way, I’d still probably recommend this movie to anyone who likes romance anime-style movies. It’s beautifully animated. Seriously, this movie is stunning, with wonderful expressions, bright colours, and a pretty well suited soundtrack too. The animation tries to match the original art style of the manga, and frankly, I think it captures it perfectly. 10/10. Gorgeous. Watch it just for the prettiness. 

I’m also a big fan of any BL/GL adaptations that get a little more into the mainstream. This movie is definitely a huge win in terms of representation, especially when the manga (on the whole) avoided the more negative tropes that the BL/GL genres have historically been known for. (More on that later...) So that’s a win, and I will take it. 

The Bloat Cut: 

To put it simply, this movie fell into the trap of what I call (in my head) ‘cutting out the bloat’. As a long-time anime and manga fan, who has seen countless adaptations over the years, it’s a common theme that tends to make or break an anime. 

‘Cutting out the bloat’ to me means that the adaptors cut out a lot of the ‘smaller’ moments and panels that are seen in a manga. This movie was thankfully very good at following the original plot and took us through the same beats that the manga did (many adaptations don’t bother doing that at all), but they left out a lot of the extra stuff - the aforementioned ‘bloat’. 

The bloat isn’t really bloat in that it is pointless, however: the problem is that these little moments and scenes are seen to be pointless by the adaptors. Again, understandable: they have a limited run time, and it’s hard to include every little tiny moment, especially when they are ones that are easily scanned passed. Some bloat cutting is necessary to make an adaptation viable at all, but sometimes, it can be hugely detrimental to the piece. Umibe no Etranger is a key example of this. 

Setting: 

I watched this movie without rereading the manga, and as such, I was quickly thrown off by how bad the movie was. This was one of my favourite mangas, wasn’t it? Had I really had such terrible taste? (Yes, let’s not go there, but this manga was not one of my high-school bad decisions). 

The characters felt strange. Personalities did complete 180s after the time skip and did some questionable things that I couldn’t recall finding issue with when I read the manga. The two main characters felt so hot and cold that it didn’t feel like the story I remembered. Even the pacing felt off and janky at times. 

After watching, I went back and reread the manga, and this is where I saw all the ‘bloat’, the little intricate moments and minor panels that were easy to overlook but made the story what it was. Here’s a few of the biggest examples I could find. 

Shun:

Oh, Shun. What did they do to you? 

Shun’s character was bizarre. In the first 15 minutes of the movie, he was bubbly, friendly, and even bold enough to flirt with Mio. After the time skip, he was sour, cold, and completely withdrawn from the world. I understood Mio’s confusion because after the time jump he was a completely different character. 

The manga is often focused on Shun and his inner thoughts, and he’s the one who is hurt the most by the bloat cutting. For starters, he wasn’t as over-the-top friendly at the start of the manga as he was in the anime, and we’re able to see his inner thoughts and worries that cause his reservations from the first few pages we meet him. We also get more hints earlier on as to Shun’s past that explain a lot of his behaviour as a whole, as well as getting little hints as to why he’s even more negative and exhausted after the time jump. 

Mio: 

The biggest bloat cut out in terms of Mio is the big plot point of the phone call. For context, before leaving for the time skip, Mio promises to call Shun once he’s gotten to his new home. In the movie, this is never really brought up again, focusing on the relationship in the present, but this was a huge point to leave out. I think it was cut out because it was explained in one short scene in the manga, and therefore easily mistaken for bloat. 

In the manga, it’s explained that Mio does call, but it’s Eri who answers, and there’s a very important conversation that sets up Mio’s whole character development and explains why he returns to the island set on having a relationship with Shun. Eri warns him that calling Shun, despite knowing that Shun has feelings for him, is cruel and unfair, and tells Mio he shouldn’t contact him unless he’s worked out his feelings. It’s a great scene, and a real shame to leave out when it explains firstly why Mio never called back, and secondly why he is so adamant about his feelings and love for Shun when he does finally return: because he saw Eri’s warning to mean ‘don’t come back unless you are serious’.

Relationship:

In the movie, Mio and Shun didn’t really seem to have a relationship until the drama kicked up and then it quickly seem to disappear again. Shun was extremely held back and reserved, and barely ever seemed to return Mio’s feelings (even in the scenes he was instigating) - he even totally avoided anything resembling physical contact at first. 

Compare this to the manga, where there are little hints of their relationship progressing throughout the chapters. For one, Shun is never as cold and blank as he seems in the film, and when he does seem that way, the manga quickly shows a glimpse of his thoughts to explain how he’s exhausted or distracted - without those little bloated thought bubbles, he just seems... a little cruel frankly.

A really good example of this is the beach kiss scene. In the movie, as Mio is about to kiss him, Shun suddenly announces that he’s hungry and avoids the kiss altogether, leaving Mio confused. 

In the manga, they actually do kiss - it’s their first kiss, in fact. Shun seems embarrassed and his ‘I’m hungry’ feels like more of a way to distract them both. He explains he’s exhausted (which is fair enough, this is a big thing for him to process on little sleep that his inner thoughts earlier in the chapter already set up) rather than just outright shunning him. (Ha. Shun. shun. Get it?) 

A more *noted* bloat they cut out is that Shun and Mio get physical in the manga way earlier than the movie, the touches just not quite being everything Mio wanted. Without those more tender moments, where they actually seem like a couple, it seems like Mio is chasing after Shun desperately, whilst Shun couldn’t care less about him. It detracts from the whole relationship. Below are some examples of the two of them actually seeming like a couple that were cut from the movie, including longing looks from Shun, Shun hugging Mio whilst he’s asleep, and Shun asking to kiss and touch Mio. 

The Issue: 

Bloat cutting always annoys me, but usually, if it’s not hindering the story, I don’t mind. What bothers me most of all in this movie, is that without these subtle little panels and moments, the relationship between Shun and Mio seems... forced, frankly. In the movie, Shun seems to be the instigator of the flirting, and then after the time skip he acts practically disgusted, avoiding a lot of Mio’s advances, and we don’t get to hear his inner thoughts like we do in the manga to explain why he’s feeling this way. 

In the manga, during these ‘bloat’ pieces, Shun is an actual willing participant in the relationship, and Mio isn’t just forcing his advances onto Shun. It’s natural. It’s not flipping between hot and cold, or suddenly ramping up after a big moment of drama, it’s slow and careful and a real relationship. 

This would be a bad change in any adaptation, but it’s especially so in this one. Anyone who is a fan of BL specifically is probably aware of the genre’s bad rep historically for having some... questionable consent issues. This manga didn’t have them. The movie? I’m not so sure, and that’s why it’s rubbed me the wrong way. I could spend another 1000 words talking about this issue as a whole, but I’ll leave it there, you get the idea.

Expected? Yes. Okay? Meh. 

There’s no real point to this post aside from to complain a little and point out just how much more the source material gives us. Cutting the bloat always happens, and I don’t want it to stop happening per say, that would be impossible, but I’d kill for adaptors to just take a little more time to work out what is unnecessary and cutable bloat, and what is something they should really keep in. 

The movie is still cute and beautifully made, so please go watch and see for yourself! Mostly, I’d highly recommend the manga: it’s got the same gorgeous art style, only about 5 chapters long, and the story and relationship is that little bit more firmly built. 

I’ll stop ranting now, and I hope this actually made sense? Anyway, congrats on making it all this way.

[iron--spider]

I woke up at 3am yesterday to watch The Devil All the Time and I’ve been thinking about it since. I’m gonna put my thoughts and feelings and a review of sorts behind the cut, because I am gonna talk about it freely, so there will be spoilers! So don’t click if you don’t wanna see. I’ll also be discussing the content of the film and I know that might bother people, so that stuff is in here, too! And it’ll be really long because you know I can’t shut up.

So, I loved it. I loved it loved it loved it. I read the book a long time ago when I first found out Tom was gonna be in it, and the only problem I had with the book was that the POVs would change in the middle of a paragraph lmao, but other than that I thought it was pretty perfect. I knew the movie was gonna be pretty brutal, because the book is brutal, so I was prepared.

-BUT I think the critics HIGHLY HIGHLY exaggerated how bad the content was. Like, seriously, they acted as if this was gonna be a Saw movie. I was preparing for blatant, horrific gore, but it didn’t live up to their dramatics at all. There’s blood and nasty situations, but every single episode of Game of Thrones is worse than this movie, as are most episodes of any crime drama on a paid network. I actually thought they were super, super tactful of all their horrific shit. The dog death was off screen and the shot of the body (described by the critics as literally traumatic) was so quick (enough to shut your eyes) and in the dark. I also argue that particular moment is extremely important for Arvin’s journey, because it’s the moment he truly turns on his father and turns on religion entirely, and he carries it with him his whole life (it’s what he flashes back to when he says “I know what my daddy did” because it’s the marker of all Willard’s mistakes) and it winds up being one of the last things he does before he leaves everything behind. Burying Jack’s bones. So, like, I despise dog death or any animal death in my entertainment, but it’s important here and handled well. And all the worst death scenes are either extremely fast (Helen’s and Gary Matthew’s) or shown in negative (all the photos). I think Bodecker’s headshot with Bobo is probably the worst and is also pretty quick. I don’t know if this means I’m a jaded bitch, but God the way they were all whining and crying, I thought it’d be a million times worse. It could have been, with the book’s descriptions, so it was actually pretty tame. Lenora’s death affected me the most and they cut away from that, too. I guess it’ll still bother some people, but there are many, many mainstream things that are far more violent and gory than this was.

-I thought it was a beautiful movie. I never mind films that are slightly slower but I love ones that use their time to lay things out and really show us what’s going on, build the ambiance and the relationships. I loved the narration (which I was worried about), and it really made me feel like we were visiting a moment in time that was important. Like something that was written and should be learned about. Rumors in a town you’re passing through. The ghosts of past trauma and transgressions looming over everyone that’s left.

-I liked the changes they made with Roy and Theodore because I thought that storyline kinda meandered in the book and I’m glad that Roy was actually gone the whole time and not just neglecting to come back to Lenora.

-The only real complaints I can make, I’ll get out of the way here: I wanted a little bit more time with Carl and Sandy. Carl was really creepy, but he could have been much creepier. In the book he was the one looking at the pictures constantly, Not Sandy, and that really showed that he was the one with the sickness, the one pushing them forward and orchestrating it all. I thought they did well with showing how Sandy deteriorated in her efforts with him through the years, but I would have liked to see a bit more of their personal lives together and her fear of him and her genuine feelings about what they’re doing, because the book goes into that a lot more. I also wasn’t a fan of Lee finding the picture early and knowing some about what they were doing, because I liked how it was a surprise to him in the book and yet he still did all he could to cover it up. And lastly, in the book there’s a scene with Arvin after he kills Sandy and Carl where he’s in a motel and he takes like 18 showers because he can’t get the grime of what he’s done off of him, and he looks at the picture and has a nightmare about killing Sandy, and I really would have loved if they’d kept it in. It would have been another ‘acting’ moment for Tom, and it would have been nice for us to see his direct trauma and reaction to everything that’s piling on top of him.

-BUT that’s it. I loved pretty much every single other thing and decision that they made. The cinematography was TOP NOTCH. You could tell they filmed on 35mm film, you could see the grain, and it really, really added to it. Antonio Campos is a very skilled director and I trusted him at the helm of this story. Everything looked so authentic, all the sets and the costumes. The soundtrack and score were AMAZING and enhanced the film. Technically it was just perfect in every regard to me.

-Acting! Acting! God this was like...a massive testament to the casting department and the talent of these people. Everyone was on their A game. Bill Skarsgård has been on my radar since Castle Rock (which I recommend to everybody, both seasons) and he was so natural and great in this role. Haley Bennet was absolutely adorable as Charlotte, I loved her cute face and her sweet relationship with little Arvin. Riley Keough was so great as Sandy with the limited amount of time she had, and Jason Clarke is one of my favorites but he was unrecognizable in this as creepy ass Carl. Harry Melling was a far cry from Dudley Dursley and he did a great job with his screen time, too. Same with Mia Wasikowska, who didn’t have much to do (same as poor Helen in the book) but she was able to garner our sympathy anyway. Seb Stan was slimy and gross but he pulled it off so well. Eliza Scanlen has been one of my favorites since Sharp Objects (another one that’s brutal as hell but I recommend it, she’s so scary) and she was so, so great here. Robert Pattinson was ALRIGHT, everybody talks him up over this but he felt a little hammy to me and a little too over the top, but there’s no denying his talent.

-Now, the reason we’re all here. Tom. My God. As soon as it was over I just didn’t know what the hell to do, I didn’t even know how to....go on, lmfao. We all know he’s talented, that’s why we’re here, that’s why we love him, but his performance in this is just BEYOND all that. Beyond comprehension. The man is only 24 years old and he’s out here outacting people who have been in the industry for longer than he’s been alive. He is SHOCKINGLY good. I knew he’d be perfect for Arvin as soon as I read the book, but he just completely embodied this role in a way that I couldn’t have imagined. He doesn’t show up in the movie until about 45 minutes in (which doesn’t hurt it because of the strength of the leadup, Bill’s performance and the performance of little Arvin’s actor) but God, as soon as he’s there the whole thing comes to life in a way that it hadn’t before. Tom is literally just a shining light, and he draws your eye in every single scene he’s in, and when he’s not there you’re wondering when he’s gonna come back. Arvin, to me, is a very complex character—he has been inherently changed by how his father twisted religion in his childhood, how deeply he betrayed him by his behavior, but he still has a kind heart and a protective streak and the need to be strong despite the pain nearly breaking him apart from moment to moment. Tom is just outrageously good at portraying all Arvin’s little nuances, how he clenches his jaw, how his voice breaks when he’s afraid or trying to convince someone of something or get his point across, how his hands tremble after he’s done something he wishes he didn’t have to do, how his whole body wilts when he realizes he’s emulating his father. And his eyes. Tom can do so, so much with his eyes that it’s unbelievable. He tells you so much with just a simple look, a glance, a wince, a long blink. I’m not exaggerating when I say he’s just an absolute revelation in this, he cements his place in Hollywood with a firm hand and a tender look, and I will not be forgetting what he did here anytime soon. There’s a reason that everyone called him out for being so stunning in this. He is magnificent. He has a gift.

-I wanna say, in particular, how much I love Arvin’s relationship with Lenora. Their lives were both marked by such tragedy and pain and Arvin just took up the torch of protecting her from the moment he said hello as a child. He wants so badly to be tough, and he IS, but there’s just miles and miles of love in this boy’s heart, and it manifests itself for his family—for his uncle, for his grandma, but for Lenora in particular. I loved how he just showed up when she was being harassed and just ran in there without thinking, and it’s purely devastating that he was out taking care of her bullies while a worse predator was cornering her. The scene where she was sick wasn’t in the book but it was a beautiful addition. Tom sometimes wears this very open, unguarded, honest expression, and this is the only scene in which he shows it, and it really expresses the love between them and how much she means to him. Arvin didn’t find Lenora’s body in the book, but it was the right change for them to make. Tom was devastating here, and that pain and that moment truly fuel every second of his journey through the rest of the film. “My Lenora”. The saddest siblings. Both Eliza and Tom did so beautifully with this relationship and I hope they work together again.

-Favorite acting moments for Tom: when he’s in the car in the rain after beating up the bullies, when he’s in the church crowd and realizes Preston is insulting his Grandma (the way his face changes oh my GOD), when he finds Lenora, when the cop comes to tell him Lenora was pregnant (this is just....so damn good), when he was telling his uncle to look after his Grandma, THE ENTIRE CHURCH CONFRONTATION (the way he trembles when he’s trying to get his attention, how he speaks the whole time, how he slowly gathers his strength), when he thinks Sandy has shot him, the moment where he’s over Lee’s body and just....pleading with his eyes for him to listen and realize what he’s done. And the last scene, in the car, all the emphasis on his face....once again, he can do so, so much with a look, with his eyes. Someone called out the beautiful last shot in the film, and of course, it’s Arvin’s sleeping face. And it was so beautiful (and devastating, to think of him enlisting. Tom draws so much sympathy that you just want Arvin to have a normal life so badly. He deserves it, he does, but will he get it?)

-Last thing I’ll say, I really loved how, despite turning his back on religion, that God seems to be protecting Arvin the whole time. He’s terribly afraid confronting the preacher and that could have easily gone badly, especially when he tosses the book, but Arvin was somehow able to get a shot off and get the upper hand. And with Carl and Sandy, he senses something is off immediately once they pull off the road, and he would have absolutely been killed had Carl not switched out Sandy’s bullets for blanks. And in the confrontation with Lee, he once again shoots at the same time as him, shoots without looking, and manages to come out unscathed and on top. A few spoiler reviews pointed out that the last person that picks Arvin up is supposed to be a Jesus-like figure, almost like he’s finally been saved. It hurts that everyone around him that he loved is almost forsaken by God, but he himself is protected. It’s such a complicated commentary on religion throughout the entire piece, but it’s so interesting and engrossing.

So I’d recommend this movie to anyone that loves movies, loves Tom, can deal with a gritty story that takes its time laying out all the chess pieces. It is definitely heavy subject matter but it doesn’t go overboard with the horror as it easily could have. Yes, there are triggers to look for, but the critics hugely over exaggerated how awful it was. I can probably go get time stamps for certain things if people wanna ask me after reading this, but if you can get through a Tarantino film or any HBO drama, you can do this. And Tom’s performance is one for the ages and not one that deserves to be passed over or downplayed. It is beautiful and heart-wrenching—a magnificent turn that displays his monumental ability to reach out and guide you into any world he decides to make his own.

I loved The Devil All the Time.

[gayregis]

right away sorry if this gets too ranty I've just been Thinking lately and i feel like twn is such a good example of like. this idea that Real and Good film and television can only be made by Hollywood i guess? like there's even this polish saying that roughly translates to "you praise the foreign and don't know your own" which gets made fun of a lot but also. it's very true imo. like i still wonder what could've been if actual good polish filmmakers were entrusted with making a new witcher (1/?

and it would've been such a good opportunity for like. one showcasing that there Can be good art and entertainment made locally and two some genuine cultural exchange. like i know its too big of an idea for Capitalism™ but if there was a well made polish-language show on international Netflix like. idk i feel like maybe that could spark some interest in like broadening peoples horizons and changing their views on what fantasy looks like etc and its just frustrating that there wasnt even a chance

i really agree. i have been dreaming recently about what my ideal "visual adaptation" of the witcher would look like, and what i've come up with essentially is something like the polish audiodramas set to 2D animation by fans of the witcher. subs, not dubs, i guess?

audiodramas

gilthoniel1173 on youtube has uploaded many select clips of the audiodramas, translated them and set them to pictures. amazing work and i highly recommend this.

i really value the majority of sapkowski's prose, though there are faults with the witcher, his prose really has a marvelous quality to it and i am trying to think of a way to keep this intact. something like the audiodramas in which there are narration may be the best way to go, with subtitles so that

animation

it's the sort of thing i think about like, hey, if i had netflix's budget (approx. $70 to $80 million, [dies]), how would i make the witcher adaptation?

disclaimer: i hesitated to @ artists because i feel like it sends the message that i am saying, "hey you, specifically, should do this idea for free, also btw, i only see you as a witcher fanartist and nothing more :)" this is not my intention, what i want to do here is just want to bring light to these artists in the community and the work they have done, both witcher-related and original work (and i hope that i am in no way defining them as 'only-witcher' artists). additionally, this is in no way suggesting that i don't want to involve any artists i did not mention or that i do not adore the work of other artists in the witcher fandom, these are just the immediate two i think of when i think of animating the witcher.

i imagine it in the style of @paticmak , @astrolunos , @johix because they have done just such gorgeous art of the witcher... <3 (i hope everyone reading knows of these artists already, but if you do not, please check out their work and support!)

paticmak's cherry vodka, an original animation which you should watch: [x]

paticmak's witcher fanart: [x]

astrolunos' animations, including geralt and ciri from sword of destiny and yennefer and ciri from blood of elves: [x]

astrolunos' witcher fanart: [x]

johix's jadýrko, an original interactive story which you should check out: [x] [x]

johix's art (some ship and ns/fw): [x]

specific witcher pieces from these artists that i think about:

[paticmak / "The witcher drawings redraws and sketches"]

[astrolunos / slavic-inspired outfits]

[astrolunos / "yen and ciri’s room, ellander"]

[johix / geralt and dandelion at beltane (ship)]

other major inspirations in my dreams of this:

studio ghibli movies (spirited away and howl's moving castle)

independent animators like felix colgrave (double king)

laika studio animations (kubo and the two strings)

gobelins studio (sundown)

embracing the roots, introducing diversity

my main point in this section is that i believe the polish & eastern european culture of the witcher is essential to it, at the same time i also value diversity and uplifting people of color. i do not believe that these two concepts are in conflict with one another! a discussion simply needs to be held, which is something that netflix did not do because it had few eastern european voices on the set, and kept the voices of color it did have down.

something netflix failed to do is acknowledge the witcher's cultural origins... at all. really, at all. in the writing, in the dialogue, in the set design, in the character and fashion design... and they had the opportunity to do this. this is massively disappointing and thoughtless.

my goal would be to bring polish & other eastern european writers who are fans of the witcher to work through the prose to tell the story. i would also like to have female and lgbt voices in this because the witcher has some elements that are...! disconcerting, let's just say. as we saw with lauren, having a woman in charge doesn't immediately make things not misogynist anymore, somehow she added to the misogyny of the witcher. but i think this is still a step in the right direction. additionally, this writing process would NOT look like writing fanfiction. it would really be going through and working with the artists and translating the prose, deciding what should be kept and what should be left out (some things like forest gramps should be left out, wouldn't you agree?).

new scenes could be added, but they would just have to be done for a reason. i believe the 2002 hexer did this somewhat-successfully in scenes such as this one, in which they develop relationships between characters just that little bit more and add to the pathos of the witcher (which is quite direct and does not "loiter" upon many things!)

i would also really value the voices of set designers, fashion historians, food historians, and cultural anthropologists who are from + study poland & eastern europe because i believe the history and culture should be integrated into the witcher and appreciated, demonstrated in a positive and celebratory light to the world, without doing so in a cultural appropriation-like manner (in which elements are just taken without any knowledge of where they are from and what context they hold). also, yes, the witcher is not a historical fantasy - but its setting is inspired by history and it would be rewarding to see a visual fantasy universe that is not based in english culture!

i think the witcher community is really vast and holds many opinions... this is both a good and bad thing, because "the witcher fandom" includes both people of color and like, white supremacists. i will say that i wouldn't want the latter working on the project, just saying. i would like to see designs of color for the cast of the witcher (i have done a few but hesitated to post them, lol) and sensitivity readings, NOT just diversity for views like netflix performed, but diversity that empowers, makes sense, and isn't "people of color are in this, they are either white-passing or just there to support the white characters." ... i also would like to think about how we approach diversity, as in, designs/casting of color should not be relegated to insignificant or evil characters, the good protagonists could be people of color. i would also like to think about and avoid problematic tropes such as when white characters in a media teach and "civilize" a young person of color, or when "monsters" or non-human characters are cast as people of color... i think people of color should be given roles in which they are in control, powerful, desirable, and good. we need to think about the message we send. in the end, my goal would be "genuine cultural exchange" as you said.

additionally: i think involving jewish and indigenous (broad terms, but i mean them to be broad) voices specifically in conversations about writing would be significant because sapkowski made some decisions in the witcher which can come off as offensive to these groups in particular (regarding the parts of the story about elves, dwarves, gnomes, dryads, and specific characters such as yennefer and regis).

music

honestly, not many thoughts here! can we really get any better than the soundtrack of the witcher 3? cdpr has many faults, but their music is not one of them in my opinion.

afterthoughts

i was displeased to learn that alik sakharov left twn because of not being appreciated and instead being fought on his writing, but i feel a project like this would actually value input like his instead of kicking him out and citing "creative differences"

what is really the most significant thing to me is good writing and ciri's relationship with her parents, because i believe these being taken away is one of the things which was most painful about netflix's "adaptation."

[talesofafangirlwithadvr]

May 2021 Picks

I can’t believe that I’m currently writing this while still in the month of May! That’s a record for me. (Now let’s just see if I post it before June...Wishful thinking...) I feel like I’ve watched a good amount of stuff this past month and these are just some of the highlights. I’m going to include stuff that I loved and some other stuff that I didn’t love that much, but want to vent a little about. So, let’s get started!

The usual spoilers are expected...

SHADOW AND BONE

This watch actually happened at the end of April, but I felt I needed to include it in my May wrap up. To date, this is the fastest Netflix binge I’ve watched. I always try to drag them out a bit because otherwise I’m sad it’s over (especially if we don’t know if the show is renewed or not). But with Shadow and Bone, I couldn’t do that. I was longing for the next episode and couldn’t stop thinking about it. I think we watched it in about 2 days right when it was released (another record for me). I didn’t have any background going into the show. Just a few details from my sister who loved Six of Crows and read the first book in the Shadow and Bone series. She didn’t spoil anything for me, she would just mention when it was a match to the source material (which was impressive how well it did that. We’re not often that lucky with book to screen adaptations). [Side note: I have now started to read Six of Crows. Loving it so far.] I really enjoyed the characters and how they fused the two plots together. I know that the Mal and Alina relationship is much stronger than the books, and I think they did a fantastic job of you rooting for them. I think that’s a great way of proving that the film adaptation can sometimes strengthen the source material. I honestly liked all the ships (other than Alina and the Darkling. Of course, it was great to see Ben Barnes though). I’m excited to explore more of Kaz and Inej AND Nina and Matthias more in the book. (Stay posted for more on that as I read). Lastly, I just want to say how much I loved any scene that the stag was in. I don’t know if it was because I watching this late at night, but there were times where I felt like I could cry seeing it. (That might sound dramatic and I’m shocked I felt this way too. I can’t explain it, so I hope others left that way too.) 

Highly recommend this one! I really hope there’s a second season.

THE NEVERS

This show really snuck up on me and I’m so happy I watched it. I’m also happy that there’s more episodes coming for the second part of season 1. (Now I just want to know when that’s happening.) I love the fusion of the historical genre and fantasy (as I’ve mentioned many times before). I think the characters are great and I like that we got more insight into this world in the part one finale. Although, I was definitely confused watching it. Because we were apart of the future plotline for a good chunk of the beginning, I felt like I was watching the wrong show. I also understand the sci-fi component of the touched abilities coming from an alien presence, but I was also kind of hoping for something else too. (I don’t know what, but I was expecting something a little more different.) I really liked learning about Mrs. True’s backstory and filling in the gaps that were missing. Penance Adair has quickly become a character I would do anything for. I started watching Starz’s Death and Nightingales for Ann Skelly and while it has been good, it’s definitely not the Nevers (which I knew it wouldn’t be, but you can’t help compare when you just watched her as Penance). 

I highly suggest this one if you’re looking for a period piece with an HBO flair (it’s not a Victorian Game of Thrones, but I compared it to someone like that because of the type of detailed world building.) ALSO if you want to revisit some of your favorite British actors as many familiar faces make an appearance then you should watch this show. I also LOVE the soundtrack and have been listening to the playlist nonstop on Spotify. 

JUPITER’S LEGACY

Okay, so we’re now taking a jump to one of my watches that I didn’t enjoy. I wanted to include it on my list because I devoted a good amount of time to it and have some things to say. For a little bit, I thought about giving up on it, but then there would be moments where it looked promising. Overall, I did not enjoy this one. I was not a fan of the parallel storylines of the past and present. Mainly because I felt that they didn’t mirror each other well and that we were either in one or the other for a good amount of the episode. Why not have an episode just dedicated to the past? I read that it’s based on a graphic novel series, but had no knowledge of it going in. I knew it would not be a comedy, but felt it took itself very seriously. I wanted some lighter moments to balance out all the dark plots. I also couldn’t stand Chloe. I felt there was too much of her and I wanted to see a more redeeming development for her. I thought we were going to get there, but then we didn’t (or at least it wasn’t as big as I thought it should have been.) 

If there is a second season I will not be watching. 

PIRATES OF THE CARIBBEAN 

I’m doing a bit of a throwback now. Believe it or not, I haven’t seen all these movies. (Well, now I have, but at the start of the month I was missing movies 3 and 4.) I was in the mood for watching a series of movies and really enjoyed the Marvel Rewatch I did last year, so this felt like a good choice. I enjoyed watching them, especially along with my sister. For the most part I liked parts of all of them just the third and last one dragged the most for me. There’s definitely parts that repeat with similar storylines in each one. I think it’s ironic because any time I read a book that takes place on a ship, I can’t get into it, but watching I’m completely fine with it. I heard there’s talks of a sixth movie and I would watch it if it was released. 

THE MIGHTY DUCKS: GAME CHANGERS

One throw back to the next. After watching each of the Pirates movies, my sister and I moved on to marathoning the Mighty Ducks movies. These were classics to watch when I was growing up, so it was great to re-live them before watching the new show on Disney Plus. I tried waiting a while to watch the series, this way we didn’t have to wait weekly for a new episode. (Just had to do that for the last two.) I REALLY enjoyed this series. So much more than I was expecting to. I wasn’t expecting so much heart and great acting from this new group of actors. I loved seeing Emilio Esteves once again as Gordan Bombay. While he’s a different Bombay than where we left him at the end of D:3, you quickly learn what has changed him. It’s interesting seeing the Mighty Ducks team as the bad guys. Before watching the show, I thought this would bother me, but it really didn’t. I loved all the throwbacks and Easter eggs and of course freaked out for episode 6 with the return of some of the original ducks.

I really hope that this show gets picked up. This way we can continue to make references from the franchise and without the restrictions from COVID more people can come back. (I’m looking at you Joshua Jackson.) 

RAYA AND THE LAST DRAGON

I’m so happy to add this movie to my May Picks. I just watched it a couple of weeks ago after it came out on Blu-ray. (Ironically, you can still go see it in some movie theaters in my area.) This was a highly-anticipated one for me. I was excited to learn more about the characters and get into the mythology. It did not disappoint. Similar to Mighty Ducks: Game Changers, this film has a lot of heart. I really liked Raya and so many of the secondary characters. There were a lot of laugh out loud moments. Awkwafina was a fantastic choice for the last dragon Sisu. Her voice was perfect! I loved the animation. I remember hearing that they had to film a good amount of the actor’s recordings at their homes and I think that’s amazing. You wouldn’t have known unless you watched the bloopers on the special features. Definitely add this one to your list!

THE GREAT POTTERY THROW DOWN

Such an addictive show. A must watch for anyone who is a fan of The Great British Bake-off and Netflix’s Blown Away. A friend mentioned this show to me at the start of the month and I instantly got hooked. I know nothing about pottery, but now feel that I do. Originally airing on the BBC, HBO Max is now streaming this pottery competition show. It follows ten home potters as they compete for the top pottery win (maybe money. I can’t remember, but there’s a great trophy). This is the kind of show where I feel apart of the cast and am sad to watch them go. I really clicked with season 1 and season 2 took a little bit, but I grew to love that group too. Now I’m on the finale and am very excited to see who wins it all. 

If you need a feel-good, quick watch then you should look no further!

DC’S LEGENDS OF TOMORROW

You’ve heard me say it time and time again. This show is the best in the Arrowverse. I gave up on Supergirl years ago and while I stuck it through with Arrow, I don’t know if I’ll be doing that with the Flash. (I have been behind watching recently, and when I do watch I tend to fast forward most of it because I lose interest.) This season came back at the start of May and has aliens as the main adversary. Currently, I have liked some episodes more than others. I’m not sure if this is because of the alien plot, that I miss some of the OG cast, or I need a break from superhero shows. I also miss Sara being apart of the core group. Last season, she was away for a bit too and while I love Ava’s leader role of the legends (and have gotten really used to it), I want to see them working together. Especially now that they’re engaged! (Well, Sara doesn’t know Ava said yes yet, but I need them to be reunited.) Interested to see where we’re headed for the rest of the season.

Last thoughts....

I’ve been sharing a lot of my Nancy Drew reactions after watching the new episodes, so you can definitely find those on my page. I CANNOT WAIT for this finale tomorrow night. SO MUCH HAS TO HAPPEN TO WRAP EVERYTHING UP! I know Nancy has to be okay (because the show’s been renewed for a third season), but who knows what’ll happen. I am also desperate for more Nace content.

Kung Fu is another show on the CW that’s been killing it recently. I cannot believe that bombshell that Nicky’s mom revealed at the end of the last episode. What! How do we move forward? Also, can Nicky and Henry please make-up? I’m not sure my heart can take it. 

I’ve missed you in the month of May. Can’t wait to watch more new episodes.

Just started season 2 on Amazon Prime Video. Just the historical/period piece, mystery I needed. I also love me some James Norton. (Although, I’m kind of done with the will they won’t they with Sidney and Amanda.)

Time for another Disney Plus telenovela. 80 episodes seasons; I’m back! 

[thatcrazycrowgirl]

Movie Tag Game!

I’m suuuuper late with responding to this, but I was tagged by @nemo-my-name-forevermore​​ a while back and finally got around to finishing it. lol Thanks for the tag, dearie! This was fun to answer! ^_^

My favorite movies, (in no particular order):

1. 1776 (1972)

This film is near-perfection with the casting, the writing, the music, and even the lighting. The cast’s chemistry is fantastic, and script has both a lot of wit and intelligence in it. I literally never get tired of watching this one.

2. Singin’ in the Rain (1952)

Come on, what can I say about this fantastic movie that hasn’t already been said? I loved it as a kid and I still love it now. Watching Gene Kelly dance never fails to make me smile.

3. Beauty and the Beast (1991)

My favorite Disney movie and the very definition of a “modern classic”. Like with my previous entry, what praise can I heap upon this film that hasn’t already been said? The animation is beautiful, the musical score is iconic, and the script and voice work are amazing. I just simply adore it!

4. Clue (1985)

Even to this day, I’m still uncertain how so many movies based on board games/toys fail so spectacularly, but this one manages to actually be good. Perhaps it’s due to the smart script and fantastic cast of comedic legends. But nevertheless, I still consider it a perfect example of blending physical and verbal comedy. Not to mention, it’s just so much fun! If you’re looking for a movie to watch with a bunch of friends some evening just to have a good time, I would highly recommend this one!

5. The Brothers Grimm (2005)

This film is a fucking trainwreck, but damn if it ain’t a good time. It was my favorite film as a teenager, and even now, it’s a trainwreck I would still gladly ride again and again. (And believe it or not, it was THIS film that got me interested in researching fairy tales and the real Grimm Brothers in the first place.)

6. The Phantom of the Opera (2004)

Another film that has its flaws, but has a special place in my heart. You can’t deny that the film is beautiful to look at, and hearing the musical’s score with a 100-piece orchestra truly makes this a treat for the eyes and ears. (I still remember hearing/seeing the overture in the movie theater. It was mind-blowing.)

7. Cinderella (2015)

Just an overall feel-good movie. Very few films nowadays inspire me to want to be a better person the way this film does. In my opinion, it shows a very good example of how allowing yourself to soften your heart at times and learning to trust that things will work out for the best, even when a situation is out of your hands is not a bad thing. (Also, I don’t care what anyone says, I still stand by the opinion that this was one of the few Disney live action remakes done right.)

8. Treasure Planet (2002)

I was obsessed with this film as a teenager. A neat retelling of the classic RLS story with some awesome worldbuilding and an amazing soundtrack. Right up there with “Beauty and the Beast” as one of my top favorite Disney movies, this one is truly an underrated gem! (Also, it’s 2021 and I’m still waiting for my solar surfer. Come on, science, get on this!)

9. A Royal Affair (2012)

Hands down, one of the best recent historical films I’ve ever seen. It’s well-acted, well-paced and gorgeous to look at. Another detail I appreciate is that all three of the leads are sympathetic in some form or another, so it doesn’t fall into the lazy trope of “demonizing” one-third of the love triangle, for the sake of the main couple. It’s mostly in Danish, but if you love historical romances and don’t mind reading subtitles, it’s a recommended watch!

10. Copying Beethoven (2006)

This film means so much to me, I can’t even describe. Even back when I first saw it at 13 years old, it touched me somehow. No, it’s not the most accurate to the composer’s life, but it’s one of the biggest things that got me interested in Beethoven and his music, and I will always appreciate this movie for that.

[solar-pxwered]

A List Of Norman Reedus Movies/Shows I Have Seen And My Opinions On Them

1. The Boondock Saints

The Best. A classic. Bloody and inappropriate and if I remember my count correctly, contains 194 “fucks” or variations of it (this movie certainly illustrates the diversity of the word). Terrible Irish accents. A KICKASS soundtrack. Willem DeFoe crossdressing. Dropping toilets on people’s heads. Over the top action sequences. Cheesy dialogue. Campy as fuck. I freakin’ love it.

2. The Boondock Saints 2: All Saints Day

Some people didn’t like this one as much as the first one, and I admit that I wasn’t as fond of the new detective in this one as I was of Smecker...but, overall, I really enjoyed it and I drove 2 hours to see it in theaters. I love Romeo more than Rocco. The humor was on point. It was nice to see the original actors for Doc, Dolly, Duffy and Greenley. There was more terrible Irish accents, another KICKASS soundtrack, cheesy dialogue, over the top action sequences, still campy as fuck. I freaking love it.

3. The Walking Dead

Cannot even describe how much I love this show. I have ALWAYS loved zombie related shows and movies so this show was right up my alley from the very beginning all the way back in 2010. I watched it religiously every Sunday. I adore this roller coaster ride of a show and I especially adore Daryl, Carol and Jerry. This show has it all: Comedy, drama (hella lots of that), tragedy and triumph...and it never fails to pulls me in and hold my interest.

4. Mimic

Honestly, I saw this a LONG time ago and I hated it because...well, because I have a cockroach phobia, ok?! Don’t judge. Norman’s part was pretty small, not one of his lasting impressions on me.

5. Six Ways To Sunday

This is a weird one. It’s about an overly innocent 18 year (played by Norman) who gets involved in the Mob and develops an alter ego that’s violent and his complete opposite. There’s murder, prostitutes and good ol’ fashioned mother-son incest and it wasn’t a movie I suggest for the lighthearted or anyone with those sort of triggers. 

That being said, I watched the whole thing and didn’t hate it. It was just uncomfortable...as seems to be a theme with Norman Reedus movies.

6. Dark Harbor

This fucking movie...

Ok, so, I’ll be straight with you: I really enjoyed this dumbass movie. It had me guessing right up to the very end and it took me on a very strange ride along the way. 

If watching someone sexually feed a woman a poisonous mushroom, lots of dark eyed staring scenes or Norman Reedus making out with Alan Rickman is your thing, then go for it. 

7. Let the Devil Wear Black

It’s modern Hamlet. What else is there to say? If you like Hamlet, you’ll like this movie. If you like pre-car accident, baby face Reedus with the black hair, you’ll like this movie. I liked it.

8. 8MM

You know what the best thing about this movie is? Nicholas Cage. He steals the damn show no matter what movie he’s in and no one can even deny that fact. Norman’s part in this one is pretty small too but I liked this movie anyway because...well, Nick Cage. Enough said.

9. Bad Seed

I honestly can’t remember how this movie ends, all I remember was that it wasn’t at all how I expected it. I liked this movie because it’s a psychological thriller and that’s my most favorite genre of all time. The movie’s premise is a guy suspects his wife of having an affair and comes home one night and finds her murdered so he goes after her lover (Reedus) to try and kill him because he believes he was the one who killed her. It’s a cat and mouse chase sort of thing...now I need to rewatch it because I can’t, for the life of me, remember how it ends.

10. Gossip

Ok, no JOKE, this is the best movie I ever randomly discovered and I can’t believe how many people have never heard of it! It’s got some big names in it (Lena Headey, Norman Reedus, James Marsden and Kate Hudson to name a few).

It’s a psychological thriller/mystery drama in which three friends start a rumor at their school as a social experiment for their class. The rumor grows, however, and suddenly it’s out of their hands and spiraling out of control. People start getting hurt, reputations get dragged through the mud and then it escalates to the point of someone losing their life. The three main characters {Reedus, Headey and Marsden) try to figure out the truth behind the out of control rumors and discover more than they ever imagined, or ever wanted.

I HIGHLY recommend this movie. I really, REALLY do. The ending is one of the best twists I’ve seen in a LONG time.

11. The Beatnicks

This movie is so weird. It’s like...it’s just really weird. It revolves around two beat poets who find a magic box that somehow magically helps them get good at being poets but it’s like...an evil box and so they decide to only use it once and then get rid of it. Yeah, it’s a weird movie. Not my highest suggestion.

12. Blade II

Ok, if you’ve never seen the Blade Trilogy then I just don’t even know what to tell you. 

My favorite of the three movies, Blade 2 gives us the glorious Reedus character of Scud, the pot smoking, horrible-shirt-wearing, mechanical genius and Blade’s sidekick. Not only is he precious and adorable, the movie in all is enjoyable and has a fun rave-esque soundtrack. 

The one thing I hate? *SPOILER ALERT* Scud’s scummy betrayal.

13. Tough Luck

This is another one of those movies that I liked but it’s just so freaking weird. 

It’s a psychological drama where a down on his luck con artist, Archie (Reedus), tries to rip off a carnival worker and gets caught. As punishment, he’s hired to work at the carnival  to pay off the debt. He gets involved in a scheme to murder the owner’s wife, but falls in love with her in the process.

Things go to shit. He gets the short end of the stick. More plots and lies develop. It’s all twisted until the end and the answers fall into place.

I really like this movie, it’s one that I kept and still have my copy of. 

A word of warning though, never leave this movie on your movie shelf for your father to find and watch while you’re away at college, resulting in your mother calling you and asking you why you have such a nasty movie. Because the sex scene at the end is OUTRAGEOUS. I mean, it is the FUNNIEST fucking sex scene I have ever seen in my life and I can’t ever watch it without cringing and laughing. My mother, however, didn’t think it was funny at all and my father was too shocked to even form a sentence.

I highly suggest this trippy as hell movie.

14. Octane

Ok, to be fair, this movie is actually alright, although Norman’s character gets the shittiest death possible. I mean, imagine dying because some psycho vampire kisses you and bites your tongue out. That’s one shitty death.

But, overall, this is a good thriller. Johnathan Rhys Meyers plays the villain and he’s always pretty quality. The story is basically a teenager has a disagreement with her mom and gets picked up by this drugged up, blood sucking, vampire wannabe cult and indoctrinated joining them. Her mother joins up with a tow truck driver (Reedus) whose daughter was also kidnapped years ago and who has been hunting the cult down ever since. 

It was a cringe filled, yet interesting, movie and I didn’t hate it.

15. John Carpenter’s Cigarette Burns

This is John Carpenter....OF COURSE I liked this one. 

I won’t say what it’s about because that would ruin the story, but it’s part of an anthology and John Carpenter loved Norman’s role so much he STILL talks about it today and suggests Norman to people in the industry.

It’s a good one if you’re into horror shorts or anthologies or the genius of the legend that is John Carpenter.

16. A Crime

I had completely forgotten about this movie until I started making this post, but now that I remember...I REALLY liked this one!!

This is a pretty sad one, but it was very good and Norman’s acting in it is absolutely wonderful. His character’s wife was murdered and the suspect was never found so his neighbor, who really likes him, creates a fake culprit so that he can finally get some closure. 

This is a good one. I suggest this one if you’re in the mood for a strange sort of romance movie that has underlying thriller tones.

17. Moscow Chill

I remember watching this one, and I remember enjoying it, but I honestly can’t remember anything about it except that it’s a Russian film in which Norman plays a computer hacker who gets hired to hack into a Russian bank and gets caught and put in prison. But I honestly can’t remember what happens in detail.

If you like foreign movies with hacking and subterfuge plots, then give it a try because I do remember enjoying it while I watched.

18. Red Canyon

This one is kinda fucked up. Imagine Daryl Dixon mixed with Breaking Bad mixed with Deliverance and you’ve pretty much got the story...

A brother and sister return to their mother’s hometown to settle things and put their horrible past behind them...but upon returning they end up reliving the nightmare all over again.

It’s a good thriller/horror watch, but there are scenes of sexual violence so if that’s not something you can handle, then don’t watch this one.

19. Hero Wanted

This. Is. A. GOOD. Movie.

Cuba Gooding Jr. is the lead and he does an AMAZING job. Gooding’s character is a garbage man who falls in love with a girl who never takes any notice of him. To get her attention, he stages a heist in which he is supposed to jump in, save the day, and win the girl...only the heist turns out to be real and he is shot and the girl is also shot in the process. He sets out for revenge and gets in way over his head.

Norman’s part in this isn’t very big...but HOLY SHIT, was it impactful. His character didn’t have a lot of screen time, in comparison to a lot of other people, but he had a solid backstory and reason for being involved and MY GOD did I cry about it. This was actually the first movie of his I watched AFTER discovering Boondock Saints and it solidified my love for his acting abilities.

A very good watch. Highly suggest.

20. Messengers 2: The Scarecrow

This one is pretty ok, actually, as far as lame horror movies go. 

The plot is simple: Blonde, beardy, corn farmer Norman gets slowly driven insane by the haunted scarecrow in his field that he thinks putting up is a good idea for some damn reason. He starts to get more and more violent and rapey as time goes on until his family is forced to take up arms against him.

It’s not bad. Second part in what I THINK is a trilogy? I’ve only ever seen the first two. If you like horror movies then this one is a good watch. As I mentioned though, there is an attempted rape scene in this one so just be aware.

21: Pandorum

It’s an alien movie. Astronauts run into a species that is stronger and hungry for tasty humans. Shepard (Norman’s character) doesn’t make it out alive. If you’re not in the mood to see Norman get LITERALLY gutted or other characters get nommed by aliens, then don’t watch.

If you ARE, then go ahead and watch, because it was pretty alright.

[canonicallysoulmates]

Here are my thoughts and opinions on the first season of Loki.

First of all, if you have not re-watched this season I highly recommend it. It’s only 6hrs, pick a day, get some snacks, binge the whole thing especially if you weren’t a big fan of it the first time around because re-watching it I noticed some things that I hadn’t before but I also found myself liking some things that I hadn’t the first time around. Which is why I recommend re-watching it, cause maybe it’ll be the same for y’all and you’ll find some new things to love, and end up enjoying some things you hadn’t before. It’s really a different experience to watch the whole thing together than when you watch week to week which makes sense cause MCU shows are meant to be movie-esque.

Now, I’ve spoken pretty positively about this show almost on the daily so let’s switch it up and start with the negatives aka the things that I personally didn’t like because while I enjoyed a lot of this show there are things I wasn’t a fan of and things that did irk me a lot; the first thing is very much a pet peeve: the title sequence, I’ve mentioned it before in passing but it reminds me too much of Gravity Falls and Bill Cipher, I gave it 6 episodes, 12 if you count the re-watches, and I just don’t like it at all, I get what they were going for but I don’t think it fits the show and I’m hoping they change it for s2.

But that’s a small thing, I can deal with that, the two (technically three) big things I didn’t like - and I think this is why episode 1 is my least favorite and to me the weakest of the season - is the way the show completely ignores Odin’s abuse and the effect that had on Loki, and the way he’s written in the first three episodes. I will go into detail.

I have no shame in admitting that I am pretty forgiving when it comes to this show and its flaws but the one thing I cannot forgive is how it not only ignores Odin’s abusive behavior but tries to paint him as a loving father and like Loki was the one in the wrong using the most insulting way possible which is that scene in Ragnarok where Odin tells his sons he loves them as if an ‘I love you’ undid years of abuse and bad parenting; it shouldn’t surprise me that they did this because the mcu does have a history and a pattern of being abuse apologists like portraying Thanos killing Gamora to get the soul stone as him loving her, or completely ignoring the horrible father that Howard Stark was. But it still really pisses me off that this show in which a big theme is exploring Loki psychologically and emotionally doesn’t even make mention of what a horrible father Odin was! And it tries to make it seem that just because Loki heard his father say a version of him that he loves him, that Loki suddenly thinks of him as a loving parent (referring to that line in episode 5 where he’s talking to Sylvie and says he has betrayed everyone who has loved him and mentions his asshole of a father instead of his mother!). I didn’t need them to go into details about this, but I did want them to call abuse abuse, and acknowledge Odin was a bad father. To me this is the biggest sin so far of this series. It doesn’t surprise me but it does disappoint me.

Connected to this, and in episode 1 we stay, is the “psychological exploration” of this character. I know after episode 1 a lot of fans were all “omg Loki finally got some therapy 😭” and then there’s me in the corner, shaking my head and saying no he didn’t, not at all, not even close. There was no therapy. And there was zero character exploration. I like Mobius but he is no Linda Martin.

All that happened was Loki being shown the consequences of his actions and being directly asked multiple times if he likes hurting people which of course he doesn’t, that’s not therapy at no point did Loki’s trauma get addressed, at no point did Loki get walked through that stuff or asked why he is how he is or what happened to change him from someone who was just mischievous to someone who caused harm.

Sorry to burst y’alls bubble but Loki did not get therapy in episode 1. Change Mobius lines about how Loki is just meant to cause pain and suffering and death for “imagined slights” and you’d have pretty much the same as every other MCU movie. At most what he got was an intervention to help him realize he didn’t want to be a bad person. Intervention and therapy are not the same thing.

And again, not surprised. If the mcu doesn’t properly explore their main, multiple movie having characters trauma and issues why were we expecting them to do it with Loki? Gotta keep those expectations in check. And in part I understand that the writers had a limited amount of time and they wanted to jump right into things but if they were gonna have only one episode with an emphasis on this they could have done a much better job while still jumping into the main story and moving on to character growth. To me this is the second biggest sin. And why episode 1 is ultimately my least favorite.

Last but not least, and something I can be more lenient and forgiving about but I still don’t like is the way Loki was written in the first three episodes. The way he was written was more comical to the point of borderline clown-ish sometimes which doesn’t match his personality at all, and don’t get me wrong there are times when it works but for the most part it just comes across as weird, like the writers were trying too hard to be funny and lighthearted at some points and it just doesn’t work, it ends up with him being a joke.

I’ll use a scene that I absolutely adore as a small example: Loki singing in episode 3. It’s one of my favorite scenes of the season, absolutely live for it, it lives in my head rent free in the VIP section but it’s a very flawed scene because Loki would never. Getting drunk on a mission is what Thor would do, not Loki, that is Thor through and through so as much as I love that scene, it is a flawed, ooc Loki scene.

The good thing is the show does improve in how it writes him in the last three eps, they stop trying so hard with the comedy, he’s more serious, more badass, he still has funny moments for example his reaction to Alligator Loki was hilarious but it’s more natural and fitting. So hopefully, in season 2 it will be the same writing team, and there will be more consistency and he’ll be written less comically and more badass.

Moving on to the positives, there are a lot of things I thoroughly enjoyed, starting with having Loki back on my screen and the center of attention- my baby, my darling, my love 💚 I’m so glad that he (and Tom!) is finally getting the attention, and love, and praise, and recognition that he has been deserving of all these years!

It gave me some of my favorite Loki scenes like I mentioned Loki singing it may be a flawed scene but I loved it nonetheless, it had some really cool fight scenes especially towards the end, it gave Loki a friend! A real friend! My baby is all grown up! 😭💚

The cinematography was beautiful, like you can say a lot about this show but you cannot deny that visually it is stunning and the directing was amazing. The soundtrack was pretty good too, I mean c’mon, ‘I need a Hero’? Iconic.

This show gave us Alligator Loki! How can one not love that! It kick started what looks to be the coolest aspect of Phase 4, it gave us bi, genderfluid Loki (which also brought out some of the ugliest sides of this fandom but this ain’t the time or place for that conversation 🙃), it gave me a new favorite character in Sylvie absolutely love her 💛

It gave me hope that the sun will shine again on Thor and Loki! That they’ll cross paths once again at some point and be reunited! And when they are, we better get that hug!

It gave me my new OTP in the form of Loki x Sylvie, they have great chemistry, and they’re super cute together, and they’re so good for one another and I just love them so much; I know it’s a “controversial” ship but I hope they stick to it and we get more of them in s2 because they are the best couple Marvel has ever given us they are passionate and cute and angsty, and they have the foundation for the most epic love story.

In conclusion, was Loki season 1 perfect? Was it everything I wanted? Nope. But ultimately, it gave me more that I enjoyed than not- also, I can tell this was something that was done with a lot of love and joy and effort put into it which as someone who has loved a show where the writer’s room noticeably didn’t give a rat’s ass, I can appreciate a lot.

Overall I’m very happy with the first season; I love this show, flaws and all, and I can’t wait for s2!

[dying-suffering-french-stalkers]

Hey! I want to get into Lupin III (the media, not the dude specifically). Can you give me some pointers where it’s best to start?

Hello Anon, I tried to answer this at length like three times but my laptop kept restarting hhhhhhhhhhh. Anyway, here's the much less polished typed-entirely-on-mobile version!

I recommend starting with two films: The Castle of Cagliostro (1979) and The First (2019), in that order. The former was Hayao Miyazaki's directorial debut and is many people's first exposure to the franchise. It's a truly beautiful film that inspired scores of animators and it established many hallmarks of the franchise going forward (including the iconic yellow Fiat). The latter is the newest film in the franchise, features the best 3D CG animation I've ever seen, and (in my opinion) is probably a better introduction to the main characters than Cagliostro, but since it borrows heavily from Cagliostro anyway, you really should see that one first. I recommend watching the subtitled Japanese version of Cagliostro (though I'm partial to the 2000 Manga Entertainment/David Hayter dub as well) and the English dub of The First (if you're an English speaker).

The same dub team who did The First is better known for their English dub of the Part 2 anime series. There are currently five animated Lupin series, or Parts (plus a spinoff miniseries but that's for later). (They are sometimes referred to by the jacket color Lupin wears in each (Green/teal = 1, Red = 2, Pink = 3, Blue = 4 and 5), though this can get wonky since the movies kind of just do whatever. There are sometimes tonal differences between jackets but don't worry about it.) Part 2 is considered the "classic" series, as it was the longest-running and most popular. It ran from 1977-1980 and consists of 155 episodes, two of which were guest-directed by Hayao Miyazaki and the first 79 of which were dubbed into English in the early 2000s. If you're an English speaker, I'd say the dub is ESSENTIAL viewing. That said, since this is a long-running comedy series from the 1970s, sometimes there's Bad Shit in there and there is NO SHAME in just skipping episodes you don't vibe with. There's no overarching plot in Part 2, so you won't miss anything if you see something Yikes and go "Absolutely not doing that today"; I know I skipped several. Don't be afraid to skip around or start another series while working your way through this one; I'm a long way from finishing it myself. This series is currently on Amazon Prime and is also free (with ads) on Crunchyroll, no account required. Amazon only has the dub, so if you want to keep watching the rest of the subbed episodes, you'll have to switch over to Crunchyroll or whatever.

I also recommend checking out Part 1, though I haven't yet finished it either. I highly recommend episodes 5 and 7 if nothing else, since they show Goemon's introduction into the gang. The style for this series is SO cool, I'm frankly obsessed with the visuals and the character design.

After you've checked out some episodes of those shows, there are about a billion movies and TV specials you can watch! Three of the most popular ones are The Fuma Conspiracy (GREAT animation, very Miyazaki-esque though he wasn't involved, focuses on Goemon), Tokyo Crisis (LOVE the dub for this one), and Farewell to Nostradamus (mediocre plot imho but it has some fun action sequences).

The other most well-known Lupin movie (and the first one to be released, just a year before Castle of Cagliostro) is The Mystery of Mamo (1978). This is probably also required viewing, but uh. Imma keep it real with you, Chief: I have a REAL love-hate relationship with this one. The visuals are fucking PHENOMENAL, I cannot stress how cool this movie looks, but the plot...........sure is a thing that happens. I love the action sequences and the animation but I really don't care for other elements of this movie. I know a lot of people really like this one, so maybe you will too, Anon, but there's too much stuff in there that rubs me the wrong way for me to give it a shining recommendation. It's easily one of the most batshit movies I've seen, and it's got about 3 different English dubs to choose from if you decide not to watch the subbed version.

If you find that you like your Lupin content on the Darker and Edgier side, you might want to check out the miniseries The Woman Called Fujiko Mine (both dub and sub are great, but I really like the dub). It's...uh...kind of A Lot and I'd for SURE look up some episode descriptions or content warnings beforehand. I'm slowly working on a lengthy review/rant of my own with my likes and dislikes. The visuals are wildly different from any other Lupin series and it has a great soundtrack. Suffice it to say, when it's good, it's great, but when it's bad, hoooooooo BOY. Having a series focused more on Fujiko is really neat and we get some cool backstory elements for the other members of the gang (especially Jigen, surprisingly).

I have seen a number of other movies that I'd be glad to discuss with you over DMs, but this is about where my knowledge ends. I'm still in the process of watching the various shows & movies myself. I've heard good things about Part 4 and (again, subjective!) not-so-good things about Part 5; regardless, I know that Part 5 is definitely not the series to start with as it tries to get very Meta™. Part 3 has a very different visual style and a small, dedicated following, but I haven't checked it out yet.

In short, my recommendation is: The Castle of Cagliostro, The First, as many episodes of Parts 2 and 1 as you like, some movies, then branch out as you please! Feel free to DM me for more specific info.

[hopeymchope]

Godzilla Singular Point

I came into Singular Point with some trepidation because Godzilla’s history in anime is both very recent and extremely bad. The three anime movies released between 2017 and 2019 are easily the worst work of famed writer Gen Urobuchi and honestly contain more bullshit than I can even get into here. Those movies and this series were both Godzilla anime properties commissioned by Netflix, which didn’t get my hopes up very much. Thankfully, Singular Point is a very different beast from the anime trilogy. One could argue it’s very different from most Godzilla media, actually — at least from my perspective. And I’m still a pretty entry-level fan of Toho’s Big G, all things considered.

Let me just warn you right up front: This smartphone-based virtual assistant is basically the breakout star of the series. 

When you think “Godzilla,” you probably don’t think “incredibly dense sci-fi concepts,” but with the big G’s first-ever anime series, the writers clearly set out to change that perception. Before the first kaiju even appears, the lead characters are plucked from obscurity and dropped into a mystery that involves fourth-dimensional time travel, physical objects that look different from all sides, theoretical math concepts, self-propagating A.I., and a whole lot more. And it’s NEVER made clear how all of it connects to the rampaging kaiju! Although we spend a lot of time investigating a red dust or sand that is very obviously tied to the monsters in SOME way, no one ever makes a connection that explains the relationship. Maybe we’re supposed to wait for a later season to connect the threads... but let’s get into the idea of “another season” later.

I like to think of myself as someone who typically enjoys hard sci-fi, but even with the characters spending loads of time trying to explain the high concepts driving the story, I was never able to fully wrap my head around what was going on in the mystery at the center of GSP. I rewound and rewatched a few explanations, but I still walked away feeling lost. I eventually settled on some vague, loose understandings of most of the ideas mentioned, but those understandings were subject to being ripped apart in subsequent scenes when I was shown or told something completely at odds with what I thought I knew. I can’t say I was ever bored with the thick, dense scientific concepts on offer — trying to find purchase with these far-out ideas kept me glued to the screen — but damn, I sure wish I was able to comprehend them.

What do we want?! DENSE SCIENTIFIC DISCUSSION AND DEBATE! When do we want it?! AFTER THOROUGH RESEARCH, TESTING, AND PEER REVIEW!

Another weird thing about this show is that the lead characters remain in separate locations and on separate tracks for the entire duration. We have Yun — a mechanical engineer and programmer who has an amazing grasp on physics and human behavior. And we have Mei — a grad student who is deeply invested in theoretical science, UMAs, cryptids and other far-flung concepts. Both of them are basically geniuses in their fields, and even though they take opposing views of just how flexible reality is, their shared ability to think “outside the box” becomes the crucial component in solving the mystery at the core of the series. Because they don’t even know one another (despite being separated by like, ONE degree), they only ever interact via text messages and behind screen names, which feels pretty damn weird. At least  I immediately liked both of them, with Yun being the standout to me because of how his lowkey reactions to crazy shit generates a lot of humor.

This soundtrack cover LIES; you will never see these characters in a room together like this. 

Alas, we don’t get to know the characters a whole lot beyond what we learned of them in the first two episodes. It’s not long before they’re trapped in a series of complicated exposition dumps, endlessly attempting to explain the high concepts of the show to other characters as well as my dumb ass in the audience. The fact that I liked them in the first couple of episodes carried me through more than half of the show, but I was always hoping to see them share more of themselves or just display more emotion. Anime as a medium excels at emotional storytelling. But despite the major, world-altering events the characters are constantly warning us about, none of them seem to have many emotions about said events. 

Further complicating matters is how, when major events finally occur in this show, they are often kept off-screen. One character shockingly dies, but the portrayal of that death is so piss-poor that I didn’t even realize it’d happened until someone mentioned their death in the next episode. After that vague death, I was particularly sensitive to anything that looked like it might possibly be lethal. Yet a later event that is played up as a tragic, fatal occurrence ends up... fine, somehow? It’s not clear how the character survives, because — even after one of our heroes is left screaming their name in despair as they seemingly die — nobody ever talks about or explains how he’s just fine a couple of scenes later. And near the end of the series, there’s a major transformation that occurs for one of the characters, and we never see it happen nor do we understand HOW it happened. It’s just that suddenly, this character is extremely different due to off-screen reasons that are only vaguely verbalized.

I guess these two really bonded at some point for some reason? And what you are seeing here is literally the height of emotion shown in the entire show.

Even though the overarching story of the series so far pretty clearly wraps up in episode 13, we then get a post-credits tease for a potential second season. So the question becomes: Would I watch that?

Well... Godzilla Singular Point is a series with a lot of issues that kept me at arms’ length from it — tons of extremely confusing dialogue, highly frustrating choices in direction that lead to baffling storytelling, characters who are mostly exposition-dumping — and yet there’s still some foundational work here that I appreciated a lot. When the action occurs, it’s pretty cool/fun. And when urban destruction occurs, it can be awe-inspiring. The human characters, though little-explored, have likable and interesting foundations to them that could be expanded upon. And I didn’t even mention the soundtrack, which features a variety of musical styles combined with the classic Ifukube theme music and an OP that is an absolute banger. (I have a weakness when it comes to music; a good soundtrack can carry me through even the blandest series sometimes.) Even the core idea of centering a Godzilla series around hard science and mathematical concepts is a compelling one, I think! I just hated the execution of it; they went waaaaay too far on poorly explaining incredibly complex, mind-bending concepts for my pea brain to handle it. They spend so much time trying to explain things, yet somehow they never succeeded for me. 

Ultimately, I’d probably give the show another chance. But if I do give another season a chance, it’ll be on probation. I wouldn’t watch the entire season unless I could see within four episodes that they’d definitely improved things.

Would I recommend that anyone watch the series as it currently stands? I mean... not really? I guess if you really dig complex math, hard theoretical science, and/or Toho’s stable of monsters, then maaaaaaaaaaybe give it a shot. But otherwise? Naaaahh. It’s not good enough at anything to make it stand out from the anime crowd. I didn’t hate it like I hated the Godzilla anime films, but Singular Point is still something that both casual viewers and most fans can comfortably ignore for the time being. It’s not a complete disaster, and it’s not without its highlights... but it’s definitely disappointing in my opinion.

OKAYOKAYOKAY, so let’s talk about the kaiju for a bit! 

Below will be SPOILERS revealing all of the kaiju that appear in Godzilla Singular Point and giving my feelings on them. 

Godzilla — It’s interesting to see a version of Godzilla that borrows some ideas from Shin Godzilla. Shin G has been incredibly unique until now, but this Godzilla manages to fold some of Shin’s distinctive aspects in with the more classic/typical versions to build a fun new depiction. Be forewarned that Godzilla doesn’t show up until the series is halfway over, and he doesn’t get a ton of screen time, either. He’s used quite sparingly and kept in hazy settings, often framed from the neck-up when they show him. It’s a little frustrating that they felt the need to shroud him so much, but I respect the fact that whenever Godzilla is shown, the destruction he causes is on a scale far beyond anything that the rest of the kaiju ever do. He is pure devastation. 

Rodan — He’s easily the biological kaiju with the most screen time in Singular Point. Rodan is first introduced as one gigantic pterosaur, but if you’ve seen ANY trailers for this show then you already know that his depiction transitions into an asston of smaller pterosaurs, all of whom are also called “Rodan.” (Apparently the word Rodan is both singular and plural, like the word “buffalo.”) Although he looks kind of cool at first, pretty soon Rodan showing up isn’t special or threatening anymore. Rodan appearances go from “a big goddamn deal” to “some bland background noise” before the series is even 1/3 finished. The design might be a little too far removed from the original for my own taste, but even if I didn’t think that, I wouldn’t be able to care for this Rodan simply because he’s rendered so unimportant and unimpressive.

If you go out in the woods today, you’re sure of a big surprise... 

Anguirus — Now check this guy out! Anguirus gets one of the coolest fights in the show and also demonstrates some powers that are well beyond anything we’ve seen him do before. Because he sticks to unpopulated areas, we never see him do much damage to Japan, but he is definitely holding all the attention when he’s on-screen. He’s a highlight for me — a total badass who is very unique in his abilities. And the stated origin for his name is goddamn adorable.

Manda — Yup, Manda is in this series... but I don’t have much to say for him. It seems like the creators of the anime didn’t have much to say about him either. His role amounts to little more than a repeated cameo, and in most of those cameos you only ever see his tail. When we finally see his full body, it’s done so briefly and kept at a distance, leaving me with no real impression. I had to look up his design online and... yup, that sure looks like Manda. Final score: MEEEEHH.

Kumonga — I definitely did not see this appearance coming! Kumonga is much smaller here than you may be used to, but she gets to star in the most suspenseful sequence in the series and easily earns the most exciting cliffhanger moment at the end of an episode. I was utterly glued to the show during her screen time, which comes with a lot of icky twists. Good ones! I honestly like Kumonga here more than I ever have previously.

NEW PHONE WHO DIS

Salunga — Uh, who? This is the one monster that isn’t based on a classic Toho kaiju but instead is a brand-new creation. I suppose that everybody who touches the Toho Kaiju franchise wants to make their own mark on it in some regard. But a big part of the fun of this series for me personally was the anticipation of seeing new interpretations and designs of classic Toho monsters. And so, given that he kind of resembles both Baragon and Gabara, I never stopped wishing they’d just used one of those guys as the basis and namesake. Taken on his own, however? He’s... pretty neat. Not unique or exciting, but solidly above par.  He resembles a cross between a lizard/dinosaur and an ape, plus his head has some nifty coloration. 

Our Jaguar!

Jet Jaguar — I guess Jet Jaguar isn’t exactly a kaiju in the traditional sense because he’s a Giant Robot. However, if you want to consider him one, then I wager he probably gets even more screen time than Rodan! We meet him almost immediately when the series begins. Initially an odd pilot-driven robot that was constructed at the whim of a quirky old factory-owner with too much disposable income, Jet Jaguar grows and changes over the course of the show, ultimately undergoing a transition in episode 7 that makes him pretty damn impossible to dislike. In fact, I utterly adored him by then. This is definitely the best Jet Jaguar I’ve ever seen. His design is recognizably similar to the original yet utterly distinct, too. Like many of the other kaiju here, he’s not nearly as big as he was when he was first introduced to the movies, but his size is ideal for battling the smaller-scale monsters that we spend most of the series on.