#also nothing in the trailer will make narrative sense when we actually see the season and realise what all the scenes meant

[blakbonnet]

what realistically are you hoping to see in the trailer?

Dramatic music starts playing

Builds up in crescendo

Record screech sound

Stede saying something stupid

Cut to a fight scene

Closeup of Ed's hands touching the plant stede left behind

Fire and running scene

Jim saying something insane

Cut to cannons going off

Buttons moonbasking as an armada approaches

Trailer starts fading to black

Ed's voice whispering something profound

S2 release date flashes on the screen

[o0anapher0o]

Some thoughts on DM post season 2

I could be firmly stuck in delululand but I still think a version of 'dm happened in the past‘ is still possible:

In regards to the time frame nothing has really changed imo. Daniel doesn’t remember,  we’ve been there, and I don’t see Louis not knowing about it as an obstacle. Jacob has said in an interview that he thinks L&A probably spent a lot of time appart and I fully agree. Especially post San Francisco/post memory meddling (we have no reason to believe that happened when and how Armand said it did, but once he could be sure Louis wouldn’t try to kill himself again) they probably needed a bit of a break from each other and Armand might still have been chewing on the things Louis said during the fight and trying to figure out what exactly made Daniel so fascinating.

I also really really refuse to believe that Armand changed Daniel simply out of spite and pettiness. Especially after they explicitly made a point of mentioning that he has never done that before and is really not into the idea. Daniel not remembering changes their dynamic, yes, but more from Daniel’s perspective than from Armand’s.

From a more Doylist point of view, I can’t imagine Rolin would just give up on Luke and his dynamic with Assad.

Plus, if they’re actually going with what the SDCC trailer teases, namely that Daniel interviews Lestat, there is another reason to keep digging into Daniel’s past. Rolin said he didn’t want Daniel to just sit here and ask „what happened next“ so he needed to introduce some narrative stakes for Daniel.  The same goes for his interview with Lestat.  For their dynamic to be interesting Lestat needs to have something he can get under Daniel’s skin with. And while Louis might not know about Armand’s relationship with Daniel it would make sense that Lestat would (he kept in contact with/kept an eye on Armand over the years and unlike with Louis Armand wouldn’t have a reason to hide his human from Lestat).

[lucianalight]

You say the show characters weren't divided to "good" and "evil" but they are still stripping people and putting collars their necks which personally I find pretty messed up. This is my problem and why I can't bring myself to watch season 2 because everything I end up seeing seems like the TVA is still doing horrible things and not treated with the weight it should. Like, there's torture scene, but it's supposed to be okay because turns out it wasn't really physical? Like thats still torture that crosses the line way past grey in my opinion.

It's these two images for me is why I can't be asked to see any of the TVA as just grey especially it's asked while Loki is still called a villain. He didn't do a fraction as bad as they did.

If what I saw was Mobius owing up to being wrong about believing in the TVA and how his glorious purpose hurt people instead of seeing Loki say he invaded New York because he was mad at Thor and Odin, maybe I wouldn't still mad at the show

The actions are wrong, it doesn't matter who they're against what justification they have for using them. I rather have a story the condemns those actions and finds a better way than one that keeps the system with only a promise that now they'll only target the bad people

What I've been trying to say and said before in my s2 review, is that the narrative is neutral this time. It just shows you the story and leaves you to decide for yourself how you want to judge characters and their actions. That's sth very important for me in a story. I always have an instant knee jerk reaction to any blunt sort of message/framing even if it's a good one. I hate it when I feel like the writer is holding up a sign and telling me "look look it's a bad/good action or you should love/hate this character". No, thank you very much I can think for myself. The writer's feelings towards the characters can also bleed through so you understand when a character is treated by distaste and another with adoration.

These were the most important issues I had with s1. Because it stopped me from doing what I love most, in-universe analysis. Sth the fandom were doing before TR. No one told us, what happened to Loki before Avengers, we were shown clues. No one told us the reasoning behind every sentence of the characters and what they meant. But we analyzed every single action and expression. We put the pieces of puzzle together and built the picture. I was happy doing just that, until with TR the in-universe analysis didn't make sense so we had to look what caused it from out-universe pov.

Now with s2 having that neutrality I want, I don't care what the creators wanted to say as long as the characterization and actions make sense and are consistent with how I see the canon material. That's why Loki's line about New York didn't make me angry.

That hatred and dismissal toward Loki we felt in TR, IW and S1 is also gone. So having that irritating narrative of s1 out of the way and a better writing, the characters look grey to me. Which means like any other human they do bad things and good things. I didn't got the feeling that any of wrong actions are framed as sth good. Not putting collar on people(they were actually uncomfortable), not the torture scene(which I hated as I explained in my review) and not what TVA was doing all this time. In fact one of the few instances of framing in the narrative is that their atrocities were acknowledged.

The promotions of S2 were terrible though. I have no idea what they were thinking. None of the trailers were interesting and who would buy TVA merch? They're not even aesthetically beautiful and why would anyone want one of those creepy posters anyway? Although that's what happens when you sideline your main character in s1 and then you have nothing except creepy totalitarian merch for promotion smh. So yeah I get what you mean.

The ending also wasn't like now they're targeting the bad guys. It was shown that they won't interfere with what happens in timelines unless one of HWR's variants start a war and their intervention was needed. I haven't watched ant-man 3 but I assume they were referring to it when they said one of his variants made trouble but it was handled and their intervention wasn't needed. So they just intervene when the people of a timeline can't handle sth themselves. I also got the impression that they were changing their whole system to sth new.

In the end I hope it's been clear that by posting about the series, I'm not insisting, encouraging or recommending others to watch it. Because I know what Loki means to us. And Because I've seen many of my mutuals didn't like s2. Some did. S1 still makes me as angry as the first time I watched it but I liked s2(that doesn't mean I won't criticize it though). No two people are ever gonna agree with each other on everything. So it's ultimately a choice everyone need to make themselves.

[sir-adamus]

not reblogging the version of the post with the rwby fairy tales chapters because of the OP, but looking at it

1st chapter being Grimm Child, makes sense, it’s Halloween, it’s a spooky story. give ya nightmares, wanna see AMVs with it

Hunter’s Children, not much to say about that, it’s a fine story, it gets to show off new Grimm we’ve not seen before. mainly a depiction of sort of proto-Huntsmen and Huntresses before Oz turned it into a formalised thing following the Great War, and another depiction of Remnant’s rule of four

The Shallow Sea is interesting because the trailer kinda indicated they were going with the Judgment of Faunus but it’s possible the version the show is presenting may be a conflated version of the tale that combines elements from both stories (like how the Grimm Child is a spooked up, hyperbolic depiction of an attack by a Chill but with the possessed appearances conflated with a different fairytale that we don’t see about a white witch living in the woods - Salem). one thing i’m worried about is people are gonna take this one literally with the depiction of a god (who... it’s mythology guys, probably wasn’t ever real in the history of Remnant after Tweedle Dick and Tweedle Douchebag flew the coop) and the island, and thinking the island is the one RWBY, Jaune and Neo are on, when it’s very clear from the tale (and the fact that the Shallow Sea is also like, an actual place in the World of Remnant) that it’s Menagerie

The Indecisive King - again not much to say, fine story, bit of a love story in it. another worry about people taking this one too literally with the Crown - the story features a crown which seems to show people the consequences of their choices, resulting in the eponymous King becoming indecisive (and as a result, negligent). the problem is i think people are gonna take that as an accurate depiction of how the Crown of Choice works when it’s a fairytale; it’s not an accurate depiction of whatever events it’s fictionalising (like how The Two Brothers story portrays them as far more benevolent and passive than they actually were, or how the Story of the Seasons is actually a story of a wizard giving his power to four girls and placing an impossible burden on their shoulders conflated into a fable about the passing of the seasons and teaching a moral at the end, which was unlikely to have actually been the case when Oz decided he needed to throw more children to Salem’s wolves)

The Girl in the Tower - okay we’ve seen this one, but this is a depiction of it separated from the Two Brothers, and if it’s like the book, the end is gonna have Ozpin’s commentary, trying to twist the story into a diatribe against Salem to depict her as having always been manipulative (which, dude, not a good look in a story about a girl locked away by her abusive and cruel father and wanting to escape). also people are already bringing up the sigil in Salem’s tower again as “evidence” that Jaune is somehow related to her and just... i was already sick of it the first time. there is literally no way they’re related, for several reasons; 1) Salem has absolutely no reason to continue the use of that symbol as it’d be a reminder of her shitty father, and she’s the only human from that iteration of humanity. 2) Salem’s only children died. so. y’know. unless you think those literal children already had kids, it’s kind of impossible. 3) it’s been millennia. even if they were somehow related, it’d be so distantly that the same would be true for almost everyone in the show. and 4) there’s literally no fucking reason for it, it adds nothing. it has as much narrative weight as “Qrow is Ruby’s real father” or “Ruby’s gonna lose an eye”, it’d add nothing but cheap drama that contributes nothing to actual characterisation or character trajectories (and really just involves transposing beats from a different characters’ narrative where these things are important and transposing them onto a character where the presented issues are completely irrelevant, tl;dr - stop trying to make Jaune more important than he already is

The Warrior in the Woods - again, another proto-huntsmen and huntresses story, with the “twist” (not really because the story itself doesn’t put much focus on it, it’s a subtle thing that only means something if you already know about the silver eyed warriors) of the eponymous warrior having silver eyes, not really much to say, i think they probably chose this one last as a way to just tie into the legacy of heroism that Ruby is the current generation to inherit to tie things back to her and the show as we head towards volume 9

[shimmershae]

My thoughts on Episode 7--Promises Broken

Placed behind a cut for those of you that would rather escape my babbling, lol.  You’re welcome.  

The episode opens with Maggie, Elijah, Father Gabe, and Negan.  

Right away I can’t help feeling disappointed because the emotional core of last episode (Kelly and Connie’s reunion and the aftermath) seems like it’s being ignored and punted further down the road so we can waste another hour getting piece meal progress on the Reaper front, but I’m going to try to push my misgivings away and enjoy this episode for what it is, so.  

“Daryl just told us to go home.”  

And save your hides and keep the rest of the community safe?  I can’t argue that Negan might have an actual point here, lol.  But Maggie sure can.  

Not gonna lie.  When Negan came back with “I think he was being subtle. He said they were armed with lookouts” I had to LOL.  

“We will never be even.”  I mean.  Maggie been frustrating me with her stubbornness in this suicide mission, true.  But she right.  They will never, ever be even.  

“Ya’ll know Blackbeard, too?”  I admit it.  I laughed.  A little.  

Okay.  I don’t know if this bodes well for this episode or not, but the cold opening in this episode?  Was the most underwhelming cold open of this season.  

At least the opening credits still give me that old familiar rush of the heyday of TWD.  

Fake Stephanie and Eugene are on Walker clean up duty.  Hmm.  I think I’m going to refer to Fake Stephanie as Fifi until she gets a real name for brevity’s sake.  

Fifi handles herself surprisingly well with the Walkers.  Is she one of Mercer’s stormtroopers working undercover maybe?  

Somehow I doubt it’s true that our friends can trust “Lance” but whatever, lol.  

I hate to admit it but I’m already kind of bored with this episode.  We’re barely over 6 minutes in.  

I didn’t recognize Princess without her fluffy pink coat!  

Zeke is definitely struggling.  

I do like that these two  have been paired up.  They have taken to each other quickly and already have a good rapport.  There’s something endearing about their scenes together.  

“Never been afraid of hard work.  Kinda anti-friends who die from stubbornness.”  Have I mentioned lately how much I love Princess?  Because I really, really do.  

So it’s been days.  Has it been days that Maggie and Negan and Co. have been outrunning the Reapers?  I’m talking since they left the safe house.  Does that mean that it’s also been days since Kelly and Connie’s reunion?  This timeline is so slow and yet they keep telling us it’s been days and making me think we’ve been missing time.  Like I can’t even.  

You know Carol’s “Pookie is in danger” senses have to be big-time tingling by now if it’s been DAYS.  

Also?  Alden almost certainly has to be dead.  

But I digress.  They obviously don’t want us getting hung up on the apparent time warp between ASZ, Meridian, and the Commonwealth.  It’s like the Bermuda Triangle of the ZA.  

“A person with your pedigree...”  

Okay then.  Commonwealth is full of uppity assholes.  Good to know.  

Yumiko looks classy!  I say that in my best Princess voice, lol.  

Well.  At least they’ve given Daryl Dog back.  Has Dog come to his senses though?  That is the question.  

Daryl sharing a smoke with the enemy to gain some intel.  Or maybe just the keys to food storage.  

So.  Another redshirt (Elijah’s sister’s friend) we don’t know bites the dust.  Meh.  Including that tidbit in the trailer was purposefully misleading, lol.  Not that I want people to die, but still.  

“But the one?  He’s mine.”  Let’s take bets.  Was it Carver Elijah has a beef with because it just seems like it was.  Could also be that his name is the only one I know, lol.  

Where is Maggie sending our hobbled Father G?  

“I kept my mask for practical and sentimental reasons.”  Negan?  You almost had me.  He really can’t help his inherent asshole-ishness can he?  

But seriously.  Yuck at what they about to do because I assume Alpha and Co. at least cured the nasty skins.  

I wish I could say I give a damn that they’re attempting to give Leah some more likeable layers but it’s a cheap cheat so naw.  

There’s that damn river that symbolizes the great divide between Daryl and his love and his family.  At least it’s pretty.  

I’m with Daryl.  Is Pope just looking to cleanse the earth of those he doesn’t feel belong or what?  Wheedle the truth out of her, Daryl.  

“You never needed anyone to make you strong.”  

Think our guy has ever said this to his real girl?  

It’s kinda funny that the Whisperer flunkie is now the herding Whisperer tutor.  

Is that the Reaper’s version of a priest?  Sorry.  I swear.  I’ve been trying to pay attention during their scenes.  But my mind wanders because it feels like Woodbury and the Sanctuary all over again.  The Whisperers at least were elevated by Samantha Morton, Ryan Hurst, Thora Birch, and yes, Jeffrey Dean Morgan.  Like I love Norman Reedus and the character he’s crafted in Daryl but he’s not enough to have me enthralled with Leah and these dudes.  I don’t care if they were all Calendar pinups before the ZA.  

Truly.  A+ casting with Yumiko’s brother.  

Yeah.  Something’s definitely fishy about Tomi’s reluctance to go back to his old life in the Commonwealth, but the desire for a slower, less stressful existence is definitely relatable so I’m not going to hold that part against him at all.  

What did Maggie say after Elijah asked if Negan had changed?  Because I replayed it a handful of times and still don’t know.  

This Lancy Hornsby dude reeks of slimy politician.  

Too much one on one Daryl and Leah in this episode.  Without any kind of chemistry at least these two drag each other and their parts of the episode down.  Leah’s character is a fail for me and it has nothing to do with shipping reasons.  She’s just not believable or authentic to her role as a mercenary.  

“If I could do it all over again, I’d have killed every single one of you.”  Damn.  Well.  He’s being true to himself, I guess.  Unapologetically Negan.  

Again.  I can’t say Negan’s wrong exactly but shit does he deliver some uncomfortable truths.  

Princess’s childlike delight over treats is <3.  

Look at Eugene running toward danger!  OG Eugene would never.  Abe would be so proud.  

Eugene and Fifi actually work pretty good together but it all feels so staged.  I feel sorry for our guy.  

“This guy was being, well, an asshole.”  LMAO @ Josh’s delivery. The asshole definitely deserved that punch and his date deserved to be eaten.  

Real Stephanie is so pretty.  

Aww.  She’s concerned about Eugene.  

Oh shit.  Eugene punched Pamela Milton’s little entitled prick of a son.  This feels like the ASZ Monroes all over again.  Sorry.  I can’t remember their names.  

Poor Eugene.  Have I said that already?  

Is this Lance Hornsby guy the lesser of two evils or...”  

All the chances you’ve gotten, hmm?  Seems to me they’ve been set up for some failure too, though.  

Maggie and Negan leading a herd where?  Meridian?  

That poor woman.  Just wanting her family safe and spared of seeing her meet her maker.  

f

So Leah’s not completely cold.  Okay.  Doesn’t mean she’s able to be saved though.  

At this point, Kang is just  yanking Daryl’s chain and ours in the process.  

Even hidden behind that skin mask, Elijah made me tear up when he saw his sister.  

No previews?  What a copout.  

Not Kang correlating Maggie and Negan to child and coach, lol.  

The narrative they keep pushing about the villains having families and FEELINGS doesn’t change much for me, Angela.  Gracie was the only innocent in that outpost Team Family attacked.  I’m not saying they should have done it but stop trying to make the bad guys sympathetic.  It isn’t earned.  

Interesting how she mentions Gabe is trying so very hard to hold onto faith.  

If Leah’s the frog boiling in that pot?  They better be serving frog legs to the starving community she’s hunting.  Just saying.  

Overall impression of this episode?  

It was boring.  No seriously.  

I wish I could say I liked it better but it was just meh.  I can’t even muster up any words because I just feel blah about it and that’s not a good feeling to have going into the first final (mid?  half?  tri?  I don’t know what to call it) episode of the season.  

Withholding the previews further adds to the doldrums because what is there to actually be excited about here after that episode?  At least try to pique our interest, Angela.  

[popwasabi]

“The Mandalorian” S2 is a power fantasy with mini Star Wars trailers

The term “Plot armor” is often used by readers and viewers to describe the myriad of ways writers keep their heroes away from any real danger no matter what choices or actions they make in the narrative. It’s typically a derisive phrase for the way a writer’s hero seems to escape death no matter what is thrown at him for the sole purpose of moving the plot forward.

In Disney+’s “The Mandalorian” this term takes a far more literal description in the form of our main anti-hero, played by Pedro Pascal, in his beskar armor which seems to be, by all accounts the most indestructible material in the galaxy far, far away.

(I mean, it still looks really cool too, of course.)

The result of this narrative decision in this series is that action scenes often don’t have real tension to them. In another series you might be able to reasonably believe the hero might be in danger with blaster fire shooting all around them but with beskar it’s almost comically not the case at all. Stormtroopers fire laser blast after laser blast at The Mando and each time they bounce harmlessly off him as if he were fucking Superman. It makes scenes feel devoid of stakes and danger no matter what situation they are in.

The show thus becomes a power fantasy, as action scenes serve as extended highlight reels for the Mando. Where season 1 of the show mitigated the power of the Mando’s plot armor by putting him more often in situations where his beskar alone wasn’t enough to save the day, season 2 goes mostly full power fantasy as The Mando rarely runs into a situation he can’t just quite literally walk through.

(“Aim for his armor, men! That’s his weak point!”)

This isn’t to say the season wasn’t without its high moments or even that it wasn’t enjoyable plenty of times but the series’ devotion to fan servicey action and callbacks to “Hey remember ____” makes it a fairly shallow story. At least for myself.

Season 2 of “The Mandalorian” continues the story of Din and his small Yoda-like companion, The Child (later known officially as Grogu), as he looks to complete a quest to return the burgeoning Force wielder to the Jedi. As he seeks to reunite The Child with the ancient Order, he encounters other Mandalorians who are on a quest to retake Mandalore and right on their tail is the nefarious Grand Moff Gideon who is still bent on capturing Grogu for whatever it is he has planned for the Empire.

Let me start this review by saying power fantasies aren’t inherently bad to watch or read. They can be good, cathartic junk food for the soul and can also be compelling, artistic, or even deeply metaphorical in their own way. A movie series like “John Wick” for instance is a power fantasy that aims to reinvent the wheel in action film-making with Keanu Reeves performing perhaps the best gun kata of all-time onscreen. Another film like Paul Verhoueven’s “Total Recall” can satirize the power fantasy to show how ridiculous it is in concept.

So, making your hero an unstoppable killing machine isn’t necessarily always a bad thing if used properly.

(Seriously, this is one of the smartest action films ever made. Don’t @ me.)

Now that that’s established, however, “The Mandalorian” season 2, despite some strong moments here and there, is a power fantasy that lacks these elements for a more interesting narrative. If you believe killing dozens of stormtroopers onscreen while never suffering so much as a scratch for eight episodes equals compelling storytelling then boy does Disney have a series for you.

Through the first four-ish episodes, the new season is mostly just fine and even quite enjoyable. We have the Mando getting a fun side quest with Timothy Olyphant on Tatooine where they get to wrangle a sand worm in a callback to the Westerns that inspired much of the franchise’s aesthetic. The Mando gets to escort a frog lady to her home planet to give birth to some tadpoles and they run into some actual danger in this episode in the form of kyrnknas/space spiders. And we get the return of Bo Katan from Dave Filoni’s “Clone Wars” and “Rebels” cartoon series, with Katee Sackhoff herself reprising the role in a fun Mandalorian team-up episode.

(I’m just so happy to see my girl, Starbuck, again more than anything honestly ;_;)

But the wheels started officially falling off for me in the next episode.

Episode 5 marked the live-action debut of fan favorite Ahsoka Tano, played by Rosario Dawson, and she meets the Mando by getting the jump on him with her lightsabers. In virtually any other situation we have been told lightsabers can cut through virtually anything. Now, beskar has been shown to be plenty durable throughout the series so far but lightsabers? Surely not.

Well…

It is an overall good episode despite this but it marked the point for me where I badly wanted The Mando to just go the rest of the series without it. Obviously, the writers aren’t going to actually kill our hero, afterall The Mouse needs more money and he can’t have it unless we get 50 more Mandalorian episodes and spin-offs, but at some point I gotta feel like there’s a possibility at least that our hero might actually die or at least is in danger. It is actually super funny to me each time The Mando ducks or seeks cover in a shootout when I know, and the viewer damn well knows, he can literally walk right into the middle of it and shoot all these motherfuckers at his own leisure cause his actual plot armor is the stuff of adamantium and vibranium combined.

Episode 5 is mostly good though, it’s a nice callback to old school samurai flicks and for an old fan like myself it was enough to ignore beskar again saving the Mando’s ass.

(This was cool...This...was...cool.)

If episode 5 marked the point in which the wheels began to come off though, episode 6 is where the show really spun out into the ditch for me. Perhaps, this series worst episode, personally, episode 6 reintroduces fan favorite and series inspiration Boba Fett back officially into the fold and the result was perhaps the most self-indulgent entry of the series.

(I mean, it was directed by Robert Rodriguez so...)

Boba arrives to demand his beskar from The Mando who promptly tells him “no” before they are ambushed by a platoon of stormtroopers. Alongside Ming-Na Wen’s Fennec Shand, the three do battle with the stormtroopers with ridiculous ease. I’m aware that stormtroopers exist to be on the highlight reel of our heroes in this franchise and have a long history of not being able to hit the broad side of a bantha but again, I can only watch these guys die by the dozens onscreen over and over again while our heroes get away without suffering even a bruise before it starts feeling boring and repetitive.

It only gets worse once Boba actually puts on his armor. In a sequence that I would describe as “gratuitously” fan servicey, Boba wastes just about every last stormtrooper in this scene culminating with him destroying their two get-away vehicles in a single shot with a rocket. Considering he was killing them with ease just moments before with nothing more than a battle club and a bathrobe, it seemed almost hilariously needless that he donned his iconic armor.

(It would be tempting to say the stormtroopers fought as ineptly as the Putty Patrol here but even the Power Rangers have struggled a few times against these guys...)

I get that Boba is really important to a lot of fans, based on their perceptions of him in the original trilogy and subsequent books and graphic novels that came out in the following years, but here’s a hot take; this series didn’t need him in it. Maybe they didn’t need to keep him rotting in the Sarlacc Pit but this episode, alongside Ahsoka Tano’s feels more like marketing choices for the story rather than narrative ones. I’ll concede that there is a bit more substance to having Ahsoka there to commune with Grogu but their additions to the plot don’t actually show much of anything about the Mando outside physically helping him in a fight.

The way they tease, in both cases, stories that exist outside the internal narrative between Ahsoka’s search for Admiral Thrawn and Boba taking over Jabba’s palace at the end of the final episode, it feels like Disney threw in mini trailers for fans to nibble on at the expense of telling the Mando’s own story and letting it stand on its own like the first season.

The choice to have these characters shoved into this season again appears to be market driven not narrative. Once more, I get that these characters are important personally to many fans, but the appearance of these characters alone DO NOT equal good storytelling.

(Me when a fan tells me “But Boba was such a badass in *obscurely titled EU book that a handful of general audiences have read*! He deserves this moment!”)

The final episode of the season is truly encapsulating of all these issues “The Mandalorian” has, however. Moff Gideon, played by the always sharp Giancarlo Esposito, has Grogu imprisoned aboard his ship. The Mando and his friends plan a rescue mission to save him and, just like nearly every episode before, it is stupidly easy for our protagonists.

The crew of five, again, walk through every Imperial on the ship. I don’t mean this metaphorically by the way, I mean this literally as Cara, Fennec, Bo Katan and Koshka Reeves (played by WWE’s Sasha Banks) without a single moment of real adversity just blast through every stormtrooper on the ship and never get hit once in the process.

A good action scene needs an element of danger, a sense that our hero might actually not come out of this alive even though we all know they will. An action scene without this has no tension and without tension it becomes booooooooring.

(Even John fucking Wick is capable of bleeding, guys...)

The finale had a chance, however, to add real stakes and danger to the scene in the form of this season’s new enemy; The Dark Troopers. These Imperial battle droids were foreshadowed as these super soldiers at the end of episode 4 and seemed to be billed as a real dangerous match for our heroes to faceup against. When the Mando finally gets himself face to face with one he finds they are not as easy to kill as the nameless stormtroopers from before. To see The Mando briefly face real adversity for a change snapped me out of my cynical mood so sharply for a moment I thought I had turned on another series by accident.

But of course, danger never lasts long in this series as The Mando’s armor again saves him first from getting pummeled to death by the droid’s super fists then he uses his plot spear, cause of course he has one of those too, to finish the job.

Danger over.

Moff Gideon doesn’t fair much better in this episode. This villain who had been built up for two seasons as this calculative monster gets stopped rather easily with Mando and his friends barely breaking a sweat. This character feels wasted because of this, even though I’m sure Giancarlo Esposito will return in the next season. He just feels about as much like a pushover as the nameless stormtroopers in this series.

The episode had one more chance though to show these Dark Troopers meant business toward the end as we found the heroes cornered on the command deck with nowhere to run and a dozen of these droids ready to blast and pound them into the floorboards. But help arrives in the form of a Deus X-Wing Machina.

Without having to face even one Dark Trooper, Luke fucking Skywalker arrives on the ship and kills every droid without breaking a sweat. It plays as inspiring in the moment but again I just found myself bored and irritated. A chance to see the series heroes actually use their wits and show their creativity in a moment of true danger thwarted to please fan boys.

I get that Grogu called out to him in episode 6 but creatively this felt like an extremley lazy way to solve the heroes’ dilemna.

(“Hello my name is Jedi. I enjoy doing...*computes script* Jedi things.”)

This season wasn’t all bad. It certainly had nice production value that made each alien world pop and beautiful to look at. Every actor and actress played their parts expertly well, with what they were given, and made for interesting characters at times. There are also nice homages to both Western and Samurai cinema throughout the season that fans of both will appreciate. And Pedro Pascal is just so good on his own, especially in tender moments with Grogu, that you forget that his character is kind of a Gary Stu.

But the main crux of the issue here that I’m trying to get across is the reason you need to remove the plot armor of your heroes is not just because action scenes need tension and stakes, it’s that when faced with danger these scenes reveal who these characters are. I used to believe that the reason Mandalorians and Jedi had such a fierce rivalry in the lore despite the obvious advantages of wielding the Force was because these famed bounty hunters were just that fucking good at killing. That despite being, on paper, normal people they had great martial prowess, athletic skill, and the tactical wit to outsmart people who can literally sense their feelings. But now with beskar and the way this series is written, it appears the Mandalorians were challenging warriors just because they happened to harness the most OP armor building material in the galaxy.

It makes you wonder how the fuck they were conquered to begin with…

(Maybe they just needed more knee rockets...)

This takes away from the mysticism of the Mandalorians for me. It makes The Mando less interesting to me in the way he fights. Yea he can shoot really good too but really it’s the armor that makes him the fighter that he is and I find that kind of boring. We occasionally get this character to remove the armor during the series, including a whole episode that was easily one of the best of the season, and in every case he’s more interesting once the helmet comes off. I get that fans hold a lot of reverence for that armor, yea it still looks really cool, but making it this impenetrable super material doesn’t add anything to the story.

If anything, it takes away from it.

(Plus how could you not love Pedro Pascal when he’s out of armor? uWu)

I wouldn’t go as far as to say I hate season 2, even though I spent 2000 plus words just now lambasting it but I guess I just want to say I am unimpressed more than anything. I feel like I’ve seen better Star Wars be it in the movies, cartoons, books, video games, etc and I’ve certainly seen better action in the franchise as well.

Considering fan reaction so far appears to be overwhelmingly positive, I am definitely in the minority here and you are welcome to enjoy this series as much as you want in spite of how unimpressed I am with the season. But considering all I have seen of this fandom the last few years, regarding complaints about fan service (“Rogue One”), easily defeated/underdeveloped bad guys (“The Last Jedi”), and Mary Sues (The sequel trilogy in general), I have to ask again what is it actually that fans like or don’t like about new entries in the franchise? It’s not that there isn’t valid criticisms there and “The Mandalorian” is enjoyable in sincere ways too but it has many of the issues I hear commonly said of more divisive entries in the Disneyverse. So why does it get a pass?

I’ve been told it’s not worth my energy to talk too derisively about the fans in one of my earlier write-ups, so I’ll leave it at that but it does make me wonder.

(“Rogue One” admittedly has a simarily self-indulgent action sequence though haha...)

Season 2 of “The Mandalorian” isn’t the worst piece of Star Wars media ever created, far from it, and for most part its solid enjoyable Saturday morning cartoon theater but if the series wants to really take steps to become more compelling in the future it might be good to stop bubble wrapping their heroes in plot armor. Literally.

Until then this is the way…I guess…

Me getting ready for the backlash...

[uservillanelle]

Killing Eve ― 3x04 (Review)

Last episode was... something else for me. Episode 3 will ALWAYS have a special place in my heart because of Villaneve’s kiss and all that, but this episode. It has to be my favorite this season and if they keep up like that... not only will we have a PERFECT season, but it will be impossible for me to pick a favorite episode. I’ve watched it probably close to 10 times already and I’m not going to wait any longer. We have bunch of stuff to discuss! So let’s start!! (This will be a LONG review, so I apologize in advance lol!)

The Titles

It’s so interesting that they chose this season to experiment with episodes. Back in episode 2 we had the very first additional credits sequence which I, personally, liked a lot. However, maybe they didn’t like it as much? Since they didn’t use it anymore. I wonder why they haven’t placed the credits sequence in the premiere instead? It would still be unpredictable gesture, so I’m still wondering about it.

ANYWAYS! By titles, I meant the NAME titles this episode. The past two seasons we were used to having titles that indicate the names of PLACES e.g. RUSSIA, LONDON, TUSCANY ect. They are still doing that, in different way, the letters are smaller now and they use this interesting “blinds” effect that the letters appear and move like blinds would if we opened/closed them? Really nice touch, I must say. It’s something different, something we haven’t really seen before in the show. 

Now the names. I’ve read a couple of people saying something like “why the name titles? we obviously know who the person is? so what’s the point of that?!” I found that quite funny lol! I mean, YES, we know exactly who they are but that’s not the reason why they’re using those name titles. Name titles, in this case, are to show us WHO the show is focusing on for the time being. That also means that the normal sequence of events will be disrupted since there won’t be any scenes switching between different characters. For some reason I felt like something like this happened before but then I remembered that something like this was used in another show called Dare Me! That’s why it felt so familliar and Killing Eve is exploring that type of narrative and honestly, I dig it. Yeah, it might get confusing for some people, having to bounce back and forth between the timeline and the events, but it’s perfect for those of us who has a sharp eye for details. It’s for the viewers who analyse and put pieces together. It’s exactly what Eve is doing at the end of the day with all the kills, isn’t it? So thinking about it, makes it all even more fascinating. Damn. I’m REALLY falling for the show... aren’t I?

The titles makes it SOO much easier for me to write these reviews as they basically tell which character they are focusing on right now and that’s what I did in my reviews lmao! I’ll just follow the characters in the episode so I’m sure you guys will be able to catch up with me with no problems!

Niko

So... THE MUSTACHE IS GONE. 

I didn’t see it coming. The way they released all those trailers/sneak peeks featuring Niko made it seem like he was finally getting his fresh start and like, I had a feeling we might even get an episode fully focused on him and maybe Eve or something? So, that’s how well they mix things up. My mind, yet again, has been BLOWN. 

Before we talk about the elephant in the room, I just want to say that Niko was a good person. I might not have been a huge fan of him, but I felt IT. Speaking of fans, I think it’s normal to NOT like him because he is playing the boring husband type and obviously he stands between Villaneve. But other than that, he IS a good, ordinary person. It’s a fact and Eve knows it. Niko keeps Eve grounded, safe, STABLE. He is all those things she found boring before in season 1 and didn’t appreciate enough I feel, because she was too used to them as all of us are. 

He gets to play the part of a normal, ordinary man who got scared when he found out that his wife is chasing an assassin, who soon enough possibly murdered Eve’s colleague and a dear friend. Yet, it didn’t seem to slow Eve down nor did she notice any of the red flags in front of her face that straight up screamed DANGER. I think most of us would’ve reacted to things like that the way Niko did. Yes, we would’ve been a boring man/woman who the viewers hate, because they crave for danger and psychotic obssession filled with hatred and lust and a LOT of craziness. It’s what we crave now, watching the show and WAITING for Villaneve to happen. 

This morning I’ve been watching a few of reactions of the episode and I got to explore different perspectives of people reacting to the same thing. I love that. I want to know what other people see in things, you know? And so... one of the people made a point about KE writers killing off whoever they want, probably to surprise the viewers as they probably don’t know how else to drive the story. Meaning that Kenny or Niko didn’t have to die. But that’s the whole point... one thing is to claim that they are doing whatever they want with the show, but another is to actually COME UP with ideas for a decent, I mean.. not even decent, AN AMAZING plot that people would be shocked and amazed by at the same time. You can only go this far without having to touch any of the main characters, you know? There comes a time when you have to make big, serious choices in terms of the story and this season Suzanne is GOING FOR IT. Like I mentioned in my previous post here, the first two seasons were amazing, but it only NOW feels like things are getting real. Suzanne took over and she’s getting shit done. She’s taking this responsibility and making huge important choices that will shift the main plot AND Villaneve in certain direction and so far it’s going sooo smoothly and brilliantly. 

I mean, yes, Niko deserves to start over and have a nice life but the moment Villanelle found out about Eve... Niko’s fate was decided for him whether he liked it or not. And having him simply disappear from Eve’s life AND from the show as if nothing... I’d see it as waste of character’s potential. So instead of not having Niko around but have HIM affect the story in such a profound way, I think killing him off was a great idea. This way... his character gains so much more meaning and it helps to drive the main story forward, but most importantly it will change and affect Eve in ways we have never seen before. So, I think I’ve read somewhere that Owen McDonnell (Niko) wanted his character to go out with a bang, and he truly did. Yes, it was a very brutal, shocking death but it was definitely a very strong one.

Now, the soundtracks STRIKE yet again. I’m talking about Niko’s soundtrack, Dear Diary by The Moody Blues is soo well fitting for his character while showing him trying to start over with his life. It carries this... sort of bittersweet feeling, but at the same time it’s so... freeing? And the lyrics speak his story without Niko having to say anything at all. 

“ Woke up too late. Wasn't where I should have been For goodness sake, what's happening to me?” 

Yeah, he WOKE UP a bit too late and realized that the life he had wasn’t really for him anymore.

“So many people by the score Rushing around as senselessly They don't notice there's people like me”

And we basically see him drive through the town and watch people going with their lives and not really notice him for who he is now, for what he had to go through. Probably none of them had to go through so much trauma and had their lives in danger the way Niko has.

“If they weren't so blind, then surely they'd see There's a much better way for them to be”

Perfect description for Niko the previous two seasons. Now that he’s “woken up” I wouldn’t be surprised if he thought that way. Again, this show picks the soundtracks for a reason and I’m not sure if in first two seasons the songs described and spoke instead of characters, but this season they are really going for it. 

Eve

Oh boy, where do we start?

So... from now on Eve spends her nights at Bitter Pill office. I mean, after being shot by a crazy assassin girlfriend, who, found out where Eve’s living now, it’s more than understandable for her to NOT want to stay in her apartment any longer. But staying in the office is not the best idea either. I mean, she still can go back to her apartment to clean up and all that? Guess not this day. Which happens to be her BIRTHDAY. I was convinced that Villanelle sent her the cake of a bus was only to remind her off their mindblowing kiss, because let’s remember back in 1x04 Villanelle had just murdered Bill and threw a birthday party to Konstantin. And it wasn’t his birthday. Yes, she tried to get on his good side, but I really thought this would be yet another example of Villanelle’s behavior. Turns out.. it IS Eve’s birthday... and my mind is blown yet again. I NEED to know what day is her birthday. Like, seriously?! And.. Niko hasn’t messaged her despite it being her birthday. Like.. you two have huge issues still, but hello? It’s your wife’s birthday... or maybe he forgot? But here is Villanelle not forgetting about Eve’s special day... and the fact that it’s a goddamn bus... WE GET IT, VILLANELLE, YOU’RE A HOPELESS ROMANTIC.

Before the cake arrives, we have a scene of Eve cleaning up in the bathroom, checking out her bruise and then the moment with Bear. Everything made total sense. Eve brushing her teeth, smelling herself, probably aware that she’s in desperate need for a shower, then again smelling her hair until Bear points it out for her. Yes, SMELL is the reoccuring theme in Killing Eve. So that was alright. Everything was going smoothly UNTIL Bear spotted the UNDERWEAR. Now, I did some digging to find a confirmation that it indeed was underwear and not some random piece of clothing or whatever... and in one of the recaps online they did say it was underwear. My question is... WHY? Why did they include THAT specific bit? The fact that Eve needs a shower was established more than ONCE, out loud and through a solo scene in the bathroom. So it got me thinking... and by thinking, I almost immediately got an idea... If it’s still not clear for you, let me remind you just how the last episode ended... with Eve sitting on her bed listening to Villanelle’s recording with her eyes closed. And now... the underwear being spotted and throwin in a bin and all the smell? Okay, I’m so going to say it now. Eve masterbated while listening to Villanelle’s voice. Okay. To me it happened and the underwear bit is a confirmation of that. And if that’s not the case... please let me know because I NEED to know what the hell did that bit mean. But until someone does that... I already know what happened and I’m happy with it. 

Now the cake moment. So not only does Villanelle know where Eve’s apartment is but where she works?! This gurl is putting some EFFORT for her girlfriend and on top of that buying a very expensive cake which Eve threw off the rooftop moments later. The reason for that is.. Villanelle. Duh. I was completely mesmerized by that scene. Again, THE SOUNDTRACK. I love, love, LOVE this score that was playing during the scene. It’s probably another new addition to Unloved album, but if anyone has seen it somewhere or has a link, please let me know!! The lyrics do all the work in this scene too...

“Set me free”

It all started in season 1 episode 7 when Villanelle told Agniya that she’s free to go and do whatever she wanted to. She replied with “I don’t want to be free” so she was killed off. Now, Being FREE has been mentioned SEVERAL times this episode. Including the lyrics in the soundtrack AND Sandra Oh talking about Eve trying to FREE herself from the Twelve and basically from the life she has been living before. Such a huge theme for Killing Eve. What does it mean for Eve to be free? Is it the same thing as it is for Villanelle? Again, in the scene with the accountant’s wife, Bertha, Villanelle tells her “You’re free now. You can be whoever you want.” and the other replies only with “But.. I don’t want to be free”. What an iconic parallel. So, for Villanelle, being free is being alone, as it seems. And in this case Eve is desperately clinging to Niko because she, like Bertha, doesn’t want to be free. Or more like.. she THINKS she doesn’t want to be free. So all those small gifts coming from Villanelle including the cake tells Eve that she CAN be set free. And.. as we can see from how the episode eneded.. Eve is now finally FREE. 

She opens the box soo carefully, not knowing what to expect from Villanelle and then sees the cake. Immediatelly gets flashbacks to their moment in the bus and how they fought and most importantly, KISSED. And next thing you know... we see how a gush of air blows in her face with the sound of someones BREATH. The sound of it is soo familiar. We know exactly who it is. Villanelle, breathing in Eve’s face. And for a second she closes her eyes. Gives into it... into Villanelle but then something shifts, the struggle within her continues to take over and she grabs the cake once she gets emotional and throws it off the roof. Only to instantly regret it afterwards. The complexity of this scene and of Eve’s character is just.. on one hand she hates feeling like this now that she knows she has feelings for Villanelle, but on the other hand she likes it... she admits it and a part of her just wants to give in. We saw the same thing, only reversed feelings, in previous episode. She finally gave in and kissed Villanelle only to headbutt her right after, once she realized what she did and how WRONG it’s supposed to be. Here, she gives in for a moment.. closes her eyes and then realizes how fucked up that is and what a terrible person and WIFE she must be so she throws it off and THEN the feelings for Villanelle comes back... I just have to say.. I’M LOVING THIS! I hope that at the end of the season Eve WILL fully accept her feelings for Villanelle and become new version of herself, new version of Eve who is FREE. And I can’t wait to see what kind of person will independent Eve be like.

Next. Eve and Jamie. I’ve seen pictures of them in Jamie’s house and I did NOT like that atll. I still have a feeling something might happen between them and god, do I hope I’m wrong. But that scene as they were just chilling in his living room was so great for Eve because she needed someone to have this frank conversation with. She has been focusing on herself lately so much that she didn’t think other people did mistakes or terrible things like she did until Jamie proved her wrong. FINALLY we are getting some information about the dude. Even if it’s not pretty. At least it’s the truth. Eve really needed to hear it and especailly the ‘choices’ part. Someone had to remind her that SHE is in control of her own life and it all depends on the choices she makes at the end of the day. 

Speaking of choices, as soon as Eve gets a reply from Niko, she gets hopeful and goes even as far as to meet him. I appreciate that she is putting so much effort in trying to fix things between her and Niko, but at the same time I feel she’s only doing this for herself... meaning, that she doesn’t want to lose the person that keeps her somewhat SANE still and used to ground her. And in the middle of this, she gets so distracted with this thing with Niko, she doesn’t even realize that it’s not actually Niko who’s messaging her and really, I don’t blame her for not realizing it, I, myself, the first time watching didn’t catch the sight of Dasha in the beginning and yeah I was also played like Eve. But this is where I noticed a nice similarity/parallel between Eve and Villanelle. Eve’s all distracted with Niko and desperate to patch things up, she’s not realizing how someone else might be manipulating/using her. DASHA is doing exactly that. And she does the same thing with Villanelle at the same time. Now, Villanelle is all about family this season, whenever she hears about family, suddenly she’s distracted and the same is with power. I mean.. is she really that naive to trust Dasha again? It looks like Villanelle believes everything Dasha tells her, or almost everything. And so Dasha gets to manipulate her into doing what she wants her to do.

Gotta mention the teddy bear Eve found in one of Jamie’s rooms she’s staying at. Literally the previous night Villanelle sent her a teddy bear with recording and even here... at some strangers house she finds a teddy bear. Seems like she can’t get away from Villanelle no matter how much she tries. “What do you want from me?” She’s asking Villanelle because she clearly isn’t leaving her alone. 

The last scene with Eve witnessing Niko’s death... all I can say is GIVE SANDRA OH A GODDAMN EMMY ALREADY!!! Her seeing Niko suddenly being stabbed with a fucking pitchfork in the neck forced her to freeze and stare in terror and that chuckle of disbelief that followed afterwards.. as if saying “am I dreaming? Is this really happening? It can’t be” because Kenny JUST died... what are the fucking odds someone just stabbed Niko in front of her eyes?! I would lose my SHIT... and Sandra expressed it so beautifully... her slowly approaching the scene but then has that massive lump in her throat and she can’t breath and next second she’s losing her balance and falling to her knees in complete defeat and just stares at his body... powerless to do anything about it. This scene and the scene where Konstantin tells Villanelle that Eve is alive.. these two scenes HAVE to bring Jodie and Sandra EMMY’S because thats ART of acting and pure talent and I can’t imagine them NOT getting the awards they deserve. And they deserve EVERY single one. 

So there is literally NO ONE left for Eve. Bill’s long gone, Kenny as well, now Niko. I think that will be the last straw for Eve. I really don’t know how she will be able to come back from this or.. keep going. She’ll have to do it to avenge the people she loved. But she really has no one except Villanelle now. And I think.. yeah, Villanelle will also only have Eve when she’s done with her “family” and realizes that Konstantin/Dasha were playing her and Eve all over again. 

Konstantin

You’re in some DEEP shit, mister.

Question time. Why Konstantin went to visit Irina? What was the point of doing so? Was it only so he could ask about the German car that his wife’s boyfriend owns? Or was it purely on Irina’s part? Because the conversation they had proved once more that Konstantin is NOT fooling anyone. Everybody knows he’s working for himself. Eve pointed it out during Kenny’s funeral, then Villanelle with “You’re full of shit” and now Irina, paralleling Villanelle by saying “you’re full of shit” and walking off. This girl has grown so much and she’s soo mature already and smart and a fucking badass! I missed her. And by putting her father in his place she mentioned ending up “dead” .. you know what that sounds like to me? FORESHADOWING. It is exactly that, isn’t it? For Irina to straight up tell him his future if he doesn’t stop whatever he’s doing. And I guess he won’t stop.. or will he?

So... was it him who stole those 6 millions? I thought it was Sergei... but it kind of seemed like someone set him up. Was it Konstantin? Because when he went to visit Bertha and she mentioned about how her husband worked out who took the money... and Konstantin’s face during that scene... he is literally shitting his pants lol! That makes me believe he had something to do with this and he defintitely has... but what exactly did he do? And now that Bertha knows about the email and some information about it, Konstantin doesnt hesitate to reach out to Villanelle to ask her to get rid of the accountants wife only to save his own arse. Once again.

Next up: Konstantin’s relationship with his DAUGHTERS. Am I the only one who sees that Konstantin is treating Irina AND Villanelle the same way?! They basically have the same dynamic. Both Irina and Villanelle curse at Konstantin, have their small tantrums with him and can put him in his place. And both of them have already done so. And let’s not forget... the producers ALSO call Villanelle and Irina his DAUGHTERS so it’s confirmed. Everybody knows it. And recently I saw a BTS video of this latest episode about Konstantin and hearing Jodie then say “then there’s Konstantin’s REAL daughter” and then there’s dramatic close up on Villanelle LMAO! The jealousy and the way they edited it... damn. Okay, let’s just agree Villanelle is Konstantin’s daughter. 

Now, did he visit Geraldine?! Because when we saw Carolyn drive back home, she saw Konstantin walking from the same direction her place is located. And her daughter was home at the time... so did Geraldine lie about Konstantin not visiting her and being there or she didn’t even know when Konstantin sneaked inside? I’m getting really suspicious now.

Villanelle

GO AWAY, HICCUPS

Villanelle? Listening to MUSIC? What did I miss? Back in season 1 she was interested only in national anthems. Now she’s listening to other kind of music?! Music to me is EVERYTHING, it’s a massive escape, it’s something that helps me get through every day and it evokes FEELINGS. It is associated with feelings so much and what does it say about Villanelle? That she has FEELINGS. The layers are slowly being peeled off her as Oksana is coming out and I can’t wait for the next episode. I’ll write another small analysis/discussion about Oksana and Villanell soon as I feel this deserves a separate discussion.Going back to the topic of music, at the end of the episode Villanelle arrives HOME and is wearing headphones indicating that she probably was listening to music on her way there. I’m sensing BIG changes. Villanelle is truly progressing and developing and we are getting to witness it!

Okay. the part we all have been waiting for. THE HICCUPS. The very first time they start is EXACTLY after Konstantin mentions “FAMILY” Villanelle is really invested in her family now and was in previous episode so now knowing that Konstantin found them probaly quickened her breathing and she got nervous/excited. The hiccups are involuntary contractions. You can’t control it. And at the same time they tend to be constant. We have never seen Villanelle have them before. And they only start after she hears “FAMILY”. This reminds me of a scene in 1x02 where Konstantin tells Villanelle Eve’s name for the first time and then suddenly the champagne’s bottle pops. It’s a sign. And the hiccups seemed to stop for a short period of time, right until Bertha approaches Villanelle and tells her that she wants to be a FAMILY and hugs her. Seconds later hiccups come back. The concept of FAMILY must be very foreign to Villanelle. It’s something she never really had and so now learning about her family, something so unknown to her, is affecting her body. And the way I see it... the hiccups are like a constant reminder to her, that yes, she never had family and that she’s finally interested to find that family again. So the hiccups symbolize the LOSS of something she never had. In this case, her family. Because we see her get off the train at the end of the episode and she reaches out to touch her neck. This scene for me has so many different meanings it’s sooo fascinating? And one of the meanings, probably the main one, is that she reaches out to her neck once she realizes that hiccups are finally gone. And that is exactly when she’s back at HOME. Back where her FAMILY is. So it’s like... she’s no longer alone, the void from before has been filled because she found her family now. 

Now, the very first time I watched the episode and that last scene.. I was like “shit, did she, by any chance, feel Niko’s pain?!” I mean that’s IMPOSSIBLE. Because Niko has just been stabbed in the neck with pitchfork and yeah it just occured to me. But then... I realized that maybe it’s not Niko’s pain she’s feeling but EVE’S. We see Eve freeze and struggle to breathe and have lump in her throat and that’s when Villanelle stops having her hiccups and she has this MOMENT. Almost the same moment as Eve had when she felt Villanelle’s BREATH on her face.The connection thesr two have... I mean.. VILLANEVE IS ENDGAME, OKAY?!

We got a tiny problem now. Dasha FRAMED Villanelle. It got me thinking.. this is basically a betrayal. And could that mean.. that maybe Dasha did something similar to Villanelle in the past? Like, framed her with some kill? Could it be that huge thing that happened between the two of them? I hope we will find out at some point this season. And I mean.. the way Dasha killed Niko is NOT Villanelle’s style at all. Villanelle had PLENTY of chances to kill Niko herself and she didn’t because she knew well enough that if she hurts Niko, Eve will never forgive her for that. So she didn’t. But Eve doesn’t know that. She wasn’t a part of that conversation Villanelle had with Niko and Gemma. What Eve does know... is Villanelle’s handwriting. The iconic “Sorry Baby” should be a perfect example. Let’s not forget the postcard Villanelle sent to Eve in Amsterdam. Yes, Carolyn took it, but maybe... she’ll give it to Eve once she knows what happened? I mean there is NO way Eve will believe that crappy note is Villanelle’s. Not even her handwriting. Plus... if Villanelle wanted to kill Niko, I don’t think she would’ve done it in front of her eyes. And even if she did... I think she would have wanted Eve to SEE her do it. At the end of the day, Villanelle wants Eve to know about each and every kill she does. And Niko wouldn’t be an exception. She’d leave a PERSONAL note/message for Eve. What did Dasha leave?! “Still Got It”? Really bitch? Is that a note to Eve or Villanelle? If it’s to Villanelle... you just prepared your grave, Dasha. I can only imagine Eve finding out it was Dasha and ending up killing her to avenge her husband. And Villanelle being there to gladly assist her with everything she needs.

Carolyn

Never thought frog sounds could be this relaxing

She’s still dealing with Kenny’s death. In her own way. I mean, I understand Geraldine completely when she confronts her mom and basically tells her that she wants them to talk about Kenny’s death. If I was in her place, I would want to talk about it too. But Carolyn doesn’t seem to operate in that way. Plus, she dropped the line “there are things you don’t tell me, that are for quite different reasons” and she means it about Konstantin. She saw him leave her house. Geraldine said nothing about it. So... is she working with Konstantin now? What’s happening?

The dynamic between Carolyn and Konstantin though. Both of them are double agents and ready to betray one another at any given time despite knowing each other for YEARS. One minute they are working together as they were in season 2, then now Konstantin is doing his own thing, and even maaybe going behind Carolyn’s back with her own DAUGHTER?! I don’t believe this. I don’t think Geraldine knows about him visiting the house.. or does she?!

She comes back home, lies down and turns on frog sounds to relax herself while grabbing a pillow to press against her own face. Makes me wonder if she did it because she kept on repeating that she MISSES Kenny’s smell, but why would that pillow smell like him? So maybe she only wants to run away from the world and shut off by grabbing the pillow? Though for a moment or two I really got worried she might be suffocating herself lol! Careful with grief, Carolyn!

Dasha

The old hag of the hour. 

You fucked up, Dasha. BIG TIME. But before we get into the killing, I have to mention the scene where she meets the Lady of the Twelve. That’s what I will call her from now on. So, she’s either a keeper, or someone higher. I don’t think she is one of the Twelve, but she might be very close to them. Probably an assistant or something? Because she obviously has the power to HANDLE the HANDLERS. In this case, Dasha. I mean, I only saw her once and I already have the hotts for this lady, but she’s one of the bad guys and... WHEN DID THAT STOP ME BEFORE? I’m literally in love with a psychotic assassin LOL! 

Can I just point out the fact that the Twelve KNOW about VILLANEVE??? Apparently they have spies EVERYWHERE, like Eve said back in season 1 episode 3. “They are completely invisible and they could be literally everywhere”. That explains someone spotted Villanelle going around London, buying expensive ass perfume only to visit and fight with her girlfriend. And the Twelve know it. That’s a HUGE thing. They are treating it like a huge thing and they do not like Villanelle chasing Eve. That makes me think... so why would Konstantin let Villanelle know that Eve is alive if he is also working for the Twelve?! The same is with Carolyn and Eve!! Like?? Who is working for who now and who is betraying who?! I need explanations and QUICK!

Now Dasha proposing she can kill Eve... is this yet another foreshadowing moment? I know, the lady told her NOT to do it, but I have a feeling Dasha will try to hurt Eve at some point... and I hope Eve will be ready for it. As much as I would LOVE for Villanelle to save Eve.. I want Eve to handle Dasha by herself and take her revenge. I want dark!Eve at the end of this season. Am I asking for too much?! She already killed once. Might as well do it twice lol!

 So Dasha is supposed to “drive a wedge” between Eve and Villanelle. And when I realized Dasha stole Niko’s phone and was texting Eve to come to him... my first thought was “Okay, so is Dasha really trying to bring Eve and Niko back together?!?” But that is complete NONSENSE! I mean, I don’t think even a professional therapist will be able to bring them back together OR let alone recommend them to try to fix their marriage so how in the HELL would Dasha do it? It didn’t make sense.. but how else can she really fuck up Villaneve? Apprently by getting rid of Niko!! Dasha, sweetie... you ONLY BROUGHT THEM CLOSER BY ELIMINATING THE ONLY OBVIOUS OBSTACLE IN THEIR WAY!!! The hell was she thinking?! Does she really believe Eve will fall for her bullshit? Or does she expect Eve to find out it was HER and that’s when Dasha gets to kill Eve?! I don’t think she’s that smart. Either way... Dasha is done. I can totally see her dying this season, or possibly somehow magically escaping but I doubt it. Eve and Villanelle will deal with this bitch and it will be SOO delicious to watch them get their revenge.  

Overall Thoughts

JESUS. This was a LONG ass review. I honestly apologize, but if you reached this point, THANK YOU SO MUCH!! You’re all amazing for spending your time reading my nonsense lol! It’s just that this episode had soo many great things worth discussing and so many symbols and meanings that make the show so complex and fascinating and god... I could talk about it for hours. I probably spend around 3-4 hours writing this so yeah, the proof that I have a serious fixation lol! 

But like I said.. this episode is my favorite this season. Perfect. I can only imagine how great the next 4 episodes will be. Also, can’t believe we are already halfway into the season. It’s crazy how quick the time flies!

And as always, if you have any thoughts/reactions/predictions you’d like to share don’t be afraid to message me or drop in my askbox!! I’m always up for discussing things like that!! 

[carols-review-box]

My Thoughts on Ginny & Georgia: Season 1 

These are my thoughts.

Right off the bat, I want to address that this is, by no means, a comprehensive review. I’m not even sure if it can be called a review. These are just my thoughts on the show, and it may or may not cover everything (in fact, it most certainly won’t cover everything), and I’ll try my best to write it out in an organized manner, but I can’t make promises. (Though, in all fairness, this is just a blog for my own entertainment, and I don’t expect anyone to actually read it.) 

Now, moving on. Ginny & Georgia, season 1. Where do I begin? 

First Impressions 

I first encountered Ginny & Georgia on Netflix when the website decided to auto play its trailer while I was scrolling through it. I watched--almost begrudgingly-- a short, 1 minute clip of Ginny complaining to her teacher about how all the books on the curriculum were written by white men. While I understand where Ginny was coming from, and while I understand that a lot of high school literature is written by authors who sometimes are not representative of their audience, Ginny’s introduction just came off as obnoxious and annoying. I thought, “Imagine moving to a new school, and that’s the first thing you say to the teacher.” I rolled my eyes, wrote the show off as another try-hard feminist woke piece (or something like that), and didn’t think I’d watch it. 

Well, at some point, I obviously decided to give the show a try. And by the middle of the first episode, I was actually really surprised when Ginny didn’t turn out to be insufferable in the beginning. I say in the beginning-- because her character really slides downhill past a certain point.

Plot 

Throughout the entire show, I was probably a thousand times more interested in Georgia’s plot than Ginny’s. 

It makes sense-- Ginny’s plot is... well, pretty much a generic teen soap opera that I’ve seen hundreds of times before. There are some unique themes to her story that I’ve rarely seen portrayed in other shows, like her experience as a biracial person, but other than that, it seems to be your run-of-the-mill drama. 

On the other hand, Georgia’s plot is fresher. I haven’t personally seen any black-widow narratives (if Georgia could be called that), so I was intrigued and curious by how her story would play out. Not to mention, I liked Georgia’s love interests far better than Ginny’s, but maybe that’s just my personal taste.

In comparing these two plots, I do feel like the writers did Ginny wrong. Georgia is given an interesting storyline with a relevant backstory and plot points that actually make sense, whereas Ginny’s story is mediocre, we rarely get to see her side of the past, and half the stuff that goes down in her life is either unrealistic and overdramatized or it just makes no damn sense. 

Characters 

I could probably talk a great deal about the characters in this show. I have the most to say about Ginny (75% of it is criticism, honestly), so I’ll dedicate an entire section to her later. For now, I’ll start with these characters:

Georgia: Georgia, oh Georgia. To put it simply, Georgia is a psychopath hidden behind a large smile and a buzzing Southern accent. For the first 5 episodes, I was so fooled by her act (and her beauty) that I forgot she’s a literal murderer and most likely not a good human being. But I guess that’s, in part, what makes her very interesting to watch. 

Hunter: I literally felt nothing but a mixture of boredom and pity whenever Hunter was on screen. For the first 8 episodes, he is just an extraordinarily boring character-- and his boringness is used as a justification by Ginny to cheat on him (that’s where the pity part comes in). I enjoyed how how he got more character in the ending episodes, and I could understand his struggles when he fought with Ginny (in that scene). But if he wasn’t dating Ginny, then he would’ve been a completely forgettable character.

Marcus: Marcus ALWAYS looks like he’s high. I don’t think there’s a single scene in the show where he doesn’t look like he just smoked something. He also has little personality, other than being the “bad boy.” I guess his hotness makes up for it, or something?

Maxine: While I enjoy Max overall, I think she can be really annoying, talkative and insensitive at times. Emphasis on the last part, because she does this irritating thing where she says something racist, and then asks if she just said something racist. 

Abby: Out of the friend group, I feel like Abby is the most dramatic without being overdramatic. She experiences things that a regular teenager would. However, she can be a bad friend at times, and I don’t like how the characters gives her a pass on some questionable choices she makes. 

Paul: I like Paul. It is a little bit hypocritical of me to say Paul is a good character when he basically has the same exact personality as Hunter, but I’m going to say it: He’s a good character.

Zion: Zion is smooth, and I enjoy his little wisdom bits with Ginny. But he was introduced too late into the show, and I can’t see him being a good fit for Georgia. 

Joe: I love Joe. Just like some of the other characters, he is kind of plain. Kind of vanilla, daresay boring, but for some reason, I love him. Maybe it’s because of his adorable connection with Georgia. Maybe it’s because he offers some much-needed comedic relief in this overdramatized show. Maybe it’s because he has attractive qualities, like running a “successful” business, or maybe he’s just my type. For many, many episodes, I wanted Georgia to get together with Joe the most. 

Austin: I forgot Austin existed for half the time. Like, I know the kid stabbed someone, but in the grand scheme of things, he’s just so forgettable.

Character: Ginny

Ginny. Ah, where do I even begin with Ginny? 

First, I’m just going to say this: I know the writers intended to depict a biracial person’s experience in America through Ginny. I’m not biracial myself, and I don’t fully understand the issues that biracial people go through, so I’m not going to comment too much on how the authors managed to fuck up. I say “how” and not “if,” because a lot of biracial people have said that Ginny & Georgia is kind of a bad example of their life, and also because even I can see the problems with the show from a mile away. 

Getting that out of the way, I’ll start with Ginny’s overall character. 

One would think that a character who is depicted as-- for a lack of better words-- as “woke,”... as in, a character who is supposed to have better moral values than others (the definition comes from the word’s general connotative interpretation from leftist media), would be a good human being. But time and time again, we see that Ginny is everything but. 

These are my biggest issues with Ginny’s character:

1) She acts like she’s better than everyone else, but also like she’s super oppressed. I know these two personality traits aren’t mutually exclusive, but they’re not a good combination either. 

2) She thinks she’s the only person in the entire town who has real issues. Other characters confront her about this, and she eventually mellows down, but it’s astounding to me the amount of people she had to offend before she got the point.

3) She can be really ungrateful and rude towards her mom. I know Georgia is not a perfect mother-- not even close-- and she can be genuinely crazy at times, but Ginny is very rarely appreciative of her mom’s efforts. 

4) Despite Ginny’s intelligence, she is not smart. She commits a bunch of dumb mistakes. Now, some of these can be attributed to her just being a teenager-- like having unprotected sex, sending nudes, being peer pressured into stealing, etc. Whereas other choices-- most notably cheating on her boyfriend-- are just a product of her shitty personality.

5) There is a really bad implication concerning Ginny’s views on race. I can probably talk a lot about race in this show, but true to my word, I’ll keep this short and talk about the one thing that really bothered me: Ginny ignores the black kids. There’s a line in the show where Ginny says she’s too white for the black folks and too black for the white folks... and she uses this to justify never having any friends or not fitting in. But when she gets to Wellsbury, she’s accepted by everyone, including black people, yet she chooses to ignore them. She only sits with them near the end of the show when her friend group kicks her out. And she looks miserable. 

Ginny likes to complain a lot about her white side, but all things considered, I think she has an issue with her black side instead. I don’t know if this is representative of the biracial experience, but I imagine this can’t be a good thing to portray on screen. 

I know it’s crazy of me to say this right after I just ripped Ginny apart. However, despite everything, I actually like Ginny as a character. Do I like her as much as I like Georgia or Joe? No, but she swings more good than bad. What can I say? She’s entertaining (in the same way that Cheryl from Riverdale is entertaining). She’s at least somewhat relatable, and I wouldn’t have watched the entire season if I truly found her to be unbearable. 

That being said, Ginny does have a lot of potential to grow, and I sincerely hope the writers do her better in the next season. 

Themes 

*At some point in the future, I may add more to this section.  

Family: Despite a significant portion of this show being terribly unrealistic, I appreciate the show’s overall depiction of family and separation. For one, the show represents families who aren’t stereotypically nuclear. Our main protagonists are a single mother-daughter combo. The Bakers next door have a deaf father and a mother who doesn’t fit into a perfect mold. There’s a biracial family (Hunter) who connects far more with their American side than their Taiwanese-- so much that Hunter and his sister don’t even speak a lick of Mandarin. The small details and nuances which are added into the show makes them far more representative of the general American population. 

Conversations: This show gives conversations that are far overdue in media. While Hunter and Ginny’s fight scene is 98% pure cringe, the remaining 2% of it is an important reminder on being biracial (or a person of color) in America. Many of us struggle with our racial identity, and it’s unproductive to compare who has it worse. 

Overall + Rating 

To me, the first season of Ginny & Georgia is a 6.5/10. (Five being the average; so this would be a little better than average). While it showed a lot of potential at the beginning, the show eventually devolved to nothing more than a standard melodrama-- even on Georgia’s part. It tried hard to be another Gilmore Girls but ended up falling quite short. I am looking forward to its second season though; and hopefully, it’s much better than the first. 

[buckevantommy]

'(Un)Happiest Season' review

Simply put, it wasn't enjoyable as a romance or a comedy or a Christmas flick. It failed on many fronts, but this reviewer from Salon.com puts the thing into words for Happiest Season's main failings: 

What's bad: There were two main criticisms of "Happiest Season." The first being: Can't LGBTQ audiences have a holiday movie where the main plot isn't about mining the anxiety and trauma associated with coming out, being closeted and casual homophobia? Then there's the fact that Harper really is just kind of the worst. After pushing Abby back in the closet, Harper ditches her in a town where she doesn't know anyone to go drink with her ex-boyfriend until two in the morning, then proceeds to call Abby "suffocating" when called on it. It's a pattern of s**ty behavior that is pervasive and present throughout the movie, so her redemption arc doesn't feel super genuine. 

Why can't we have main queer characters in Christmas movies without their presence being all about their queerness? We want fluffy festiveness, dammit! They could've made Harper less selfish and more attentive while still playing into the *I'm not out yet Because Reasons so we need to hide our gay relationship* trope, but they didn't. Who knows why, but what a waste. 🎄👩‍❤️‍👩☃️

^ Look at that trailer and tell me you don't expect Misunderstandings with fun and tropey antics + Domestic Christmas Shenanigans + Comfort for Hurt! You will be sorely disappointed. 😞 

NOTE: The flick does have a few good moments. And it's probably worth the watch just to see what's missing/mishandled when it comes to queer characters and queer romances in mainstream movies. 

But it's not really fun or funny or heart-warming - where are the snowball fights? Insightful conversations? Christmas elements like eggnog/spiced wine, candycanes, mistletoe? Where are the many colourful side characters and the hungover brunches? We get one scene of ice-skating for a few minutes and it's wasted on sibling rivalry bs rather than, say.. Abby and Harper skating together but not being aloud to touch—omg the tension!! 😍 

There's just not enough comfort for the hurt Abby (Kstew) goes through; the film wholly lacks those warm-n-fuzzy Christmas vibes; there's just way more wrong with it than is right with it - which sucks, because this had the potential to be such a great movie if only Harper was written as less ignorant/selfish and we'd gotten more enjoyable family interactions and more festive fun - like a celebration in town. Instead we get a few limited shots of the adorable town, a crappy bar, and an OTT fancy Christmas party for performative rich white folk on a career path for power and "perfection" (ie. wholesome family values). 

The story they went with was definitely better suited for a dramatic film, so in a romcom setting it really didn't work. Plus the side-characters were flat; we needed more depth from the supporting characters, more meaningful interactions. 

^ Look at those intro credits!! Look at all the domestic happy moments and tell me you don't want to see a movie filled with such fluffy festive goodness!! Well, if you don't want to see such moments, don't worry because you won't. I naturally thought we were going to get this kind of romantic-and-non-romantic happiness dispersed throughout the entire film, but no. Not a one. There's 5 minutes of Happy Couple at the start, and that's it 📸☹️ (unless you count a photo collage of the happy ending and year that follows stuffed into the end credits). 

BTW: That intro song is the most Christmasy song in the whole movie. The soundtrack features modern pop songs which 1) don't help set the festive vibe and 2) are really fucking annoying; the song choices are grating, not pleasant, not enjoyable, and they overpower the scenes with a whole lotta noise. I really wish we'd gotten more tunes like the one above. 🎶 

About the image below—Abby is actually miserable the entire time, getting worse by the day, barely a smile seen on her.. while Harper is the one schmoozing her family and contacts with teeth bared, so.. this image isn't what you'll get, just fyi:

(also: the only POC actors they had were the perfectionist-stone-faced-bitch's husband and his girlfriend - wife + hubby being secretly separated.) 

The things that the Salon reviewer liked are the same things I did (see below), but imho even those elements weren't enough to save this film from being: 

an infuriating 102 minute-comedy of errors buoyed by a healthy dose of gaslighting 

More cons of the flick are pointed out by denofgeek.com: 

Some of its issues come from the structure of the film, which shoehorns very real queer struggles into wacky rom-com tropes too fluffy to contain the stakes at hand. Meanwhile the choice to have one half of the lead couple be so aggressively and repeatedly cruel—while her high school ex Riley, played by the ever-perfect Aubrey Plaza was standing right there having all the chemistry in the world with the other romantic lead—was a fatal one.

It really was a dramatic plot idea crammed into a fluffy narrative. You can see the conflicting genres fighting to stay alive and they both die a slow, agonisingly dull death throughout the film. The whole *Abby being converted to loving Christmas by Harper inviting her to spend the holidays with her family* thing, only to have Harper force their relationship + Abby into the closet. Straight conversion much? I'm 100% sick of heteronormative bs in my queer Christmas films. 

For the most part, when you're not feeling for Abby's harsh treatment by her would-be fiance and everyone but Riley ignoring her completely, you will be bored af from the lack of festive cheer - not just twinkle lights and boisterous seasonal music, but those good ol' homey family Christmas vibes. With the Harper house + family members, everything's a performance, so that lack of sincerity and warmth makes for a depressing viewing experience: 

^ Jane (one of Harper's 2 sisters) is the only character allowed to be consistently genuine in the narrative (aside from John, but he's restricted mostly to phonecalls, and Riley - but even she's keeping Harper's secrets). Jane is the only character who is naturally vibrant and reminds us of some of the reasons we get excited about Christmas movies: to feel joy and to enjoy the company around us during the holiday season! 🎄☃️🥳 But rather than give us a fun day out with Jane + Abby, we get Abby + the second sister (i don't even remember her name, just BitchFace) which leads to more bad treatment of Abby - this time by two spoiled af no-smile rich kids. *le sigh* Jane carries the spark of honest joy for the entire Harper clan and that is TOO MUCH to expect of one character, let alone a side-character. 😪 

There are so many ways the story could've been tweaked to make more sense and be somewhat enjoyable, including: 

The orphan!Abby thing is just bad. Rather than give Abby a voice, chances to let her personality shine, almost everyone interacts with her to merely briefly express their condolences for her long-dead parents 🙄 

Abby is a pet-minder, ie. she's an animal lover, yet at no point do we see her interact with animals! Not a dog or cat or hamster, no reindeer at the petting zoo, nothing. 🐕🐈🦎🦜🐠

Riley + Abby getting together (even just a kiss) 👄 

Abby + Harper separating so Harper can get her shit together - and then we get several flashforward shots of them separately living their lives (Harper especially), and then meeting back up again - maybe the next holiday season, after some much-needed time apart 🏃‍♀️🤸‍♀️ 

side characters who engage with Abby in a sincere, meaningful way instead of ignoring her (again, we got Riley, but she was outside of the family dynamic) 😊 

MORE FESTIVE CHEER! where were all the staple Christmassy passtimes, the smile-inducing season-specific experiences??? 🎉 

More from denofgeek: 

Where the script gets into trouble is that it doesn’t distinguish between Harper being closeted and her poor treatment of Abby. The two are separate issues and treating them as one does no favors to Harper, nor others struggling with the closet. As Dan Levy’s beautiful monologue late in the movie alludes to, the closet is a safety mechanism—but it’s not a free pass to treat people like garbage. [...] 😟🏳️‍🌈

Even a brief conversation teasing out that being in the closet doesn’t justify how Harper acted, and that plenty of people in the closet don’t treat others like trash, would have been important. Instead once Harper is out (which the movie takes pains to make clear only happened because Harper’s sister Sloane outed her), and a gesture so small it could never credibly be called grand is made, all bad behavior is washed away. [...] 😤🙅‍♀️ 

The jarring underlying issue is that 'Happiest Season' attempts to apply the standard rom-com and made-for-TV-holiday-movie tropes to queer life. So Abby having to go back into the closet isn’t framed as a painful regression or being forced to deny an essential part of herself, but rather a fun twist, in the vein of “but the guy she insulted on the plane is the owner of the ornament factory she has to impress to win the Christmas contest!”🚪😒 

All of Harper’s behavior adds up to making her feel like something the audience wants Abby to be free of, not someone Abby should be fighting for. Once Riley tells Abby about Harper’s cruelty in high school, where Harper outed Riley and mocked her rather than standing up for her or finding an excuse that protected them both, it becomes incredibly difficult to root for the lead couple to get back together, or for Harper at all. 👏💃 

With this information, Harper’s other transgressions go from frustrating to part of a larger pattern. Sadly, it’s a pattern Harper repeats when her sister outs her and she throws Abby under the (lesbian) bus. 🤬 

FAVE THINGS: 

all interactions between John (Dan Levy) + Abby (he's witty, honest, and 100% the most entertaining element of the entire film; i wish we'd gotten more of him) 😆 

Riley (Aubrey Plaza, Harper's ex) + Abby's scenes together because CHEMISTRY, both between the characters and the actors 👩‍❤️‍👩

Notable between Abby + Riley scenes include 3 instances of Riley comforting Abby's hurt: outside at the fancy party (Abby feeling excluded/ignored/not worth anyone's time due to the way they treat her even though they don't know she's gay), at a gay bar in town (sandwiched by scenes where Abby's made to feel like crap by Harper), and at the fancy home Christmas party where Riley gets Abby something stronger to drink after hearing Abby was going to propose to Harper (but it's been a helluva shitty week and those plans are dead) 👭 

Every scene with Riley was blessed relief from the hurt and discomfort and boredom of the rest of the time with Harper's family. 🤩 

Sister Jane, for being a genuinely fun character 🤗 who was written starkly different to her family and treated somewhat like an outcast 

Aubrey + Kstew killin it in various pantsuits 👀 

In contrast, Riley connects Abby to queerness, bringing her to an LGBTQ bar to decompress and enjoy a Christmas-themed drag performance. It’s the most relaxed and comfortable Abby is on screen since the opening scenes, a chance to glimpse Abby’s authentic self before Harper summons her back to heterosexuality, and where she once again ignores and disappoints her. Riley actually talks to Abby at the various holiday parties whereas Harper keeps leaving her to please her family, especially her father. It’s not hard for the natural chemistry between Plaza and Stewart to take over

I wouldn't watch this film again. For a hopeful Christmasy love story I'd just watch all Abby + Riley's scenes: 

In closing, here's a batshit article title from observer.com that just makes you go, huh? 🧐:

‘Happiest Season’ Isn’t Happy, But That Doesn’t Make It a Bad Rom-Com

Um.. yes, yes it does. 

Rom-Coms are supposed to be fun, light-hearted stories about love even when the plot deals with lying - The Proposal, Sweet Home Alabama - so a movie that leaves you hurting more than comforted in sympathy with one of the main characters because the (apparent) love of their life is treating them like shit, then it doesn't deserve to be in the genre of Rom-Com. 👩‍❤️‍💋‍👨💞🎬

In summary, Abby and Harper got 5 minutes of happiness in the beginning, and an eventual happy ending after a super rocky middle. The journey was painful and unenjoyable, and it made their happy ending unbelievable and, for Harper, undeserved because of her behaviour through 90% of the story. 

In short: it was not, in fact, the happiest season. 😕👎

[aion-rsa]

Summer Movie Preview: From Black Widow to The Suicide Squad and Beyond

https://ift.tt/3fnRIQl

The summer movie season has returned. Finally. Once something we all just took for granted, like handshakes and indoor dining, a summertime season stuffed with pricy Hollywood blockbusters and cinematic escapism suddenly feels like a long lost friend. But, rest assured, the summer movie season is genuinely and truly here. It’s maybe a little later than normal, yet it’s still in time for Memorial Day in the States.

This is of course happy news since many of the big screen events of this year have been 12 months or more in the offing. A Quiet Place Part II was supposed to open two Marches ago, and In the Heights is opening almost an exact year to the day from its original release. They’re here now, as is an impressive assortment of new films. There are genre fans’ long lost superhero spectacles, with Black Widow and The Suicide Squad leading the pack (and Shang-Chi closing out the season unusually late in time for Labor Day weekend), and there are also horror movies like The Conjuring 3 and M. Night Shyamalan’s Old, aforementioned musicals, family adventures in Jungle Cruise, psychedelic Arthurian legends via The Green Knight, and a few legitimately original projects like Stillwater and Reminiscence. Imagine that!

So sit back, put your feet in the pool, or up by the grill pit, and toast with us the summer movie’s resurrection.

A Quiet Place Part II

May 28 (June 3 in the UK)

Fourteen months after its original release date, the first movie delayed by the pandemic is finally coming to theaters for Memorial Day weekend. And despite what some critics say (even our own), most of us would argue it’s worth the wait. As a movie about a family enduring after a global crisis that has left their lives in tatters, and marred by personal tragedy, A Quiet Place Part II hits differently in 2021 than it would have a year ago. And it’s undeniably optimistic view of humanity feels like a warm balm now.

But beyond the meta context, writer-director John Krasinski (flying solo as screenwriter this time) has engineered a series of intelligent and highly suspenseful set pieces which puts Millicent Simmonds’ Regan front and center. Also buoyed by subtle and affecting work by Emily Blunt and Cillian Murphy, here as a neighbor they knew a few years and a lifetime ago, this is one worth dipping your toe back into cinema for, especially if you liked the first movie.

Cruella

May 28

We’ll admit it, we had the same initial skepticism you’re probably feeling about a Cruella de Vil origin story set in punk rock’s 1970s London. But put your cynicism aside, Disney’s Cruella is a decadent blast and the rarest of things: a live-action Disney remake that both honors its source material and does something creative with it. Neither a soulless scene-by-scene remake of a better animated film, or a lazy Maleficent like re-imagining, Cruella more often than not rocks, thanks in large part to its lead performance by Emma Stone.

Also a producer on the picture, Stone takes on the role of Cruella de Vil like it’ll be on an awards reel and absolutely flaunts the character’s madness and devilish charm. She also finds an excellent sparring partner via Emma Thompson, young Cruella’s very own Miranda Priestly. Once these two start their verbal battle at the end of the first act, the movie is elevated into an electric period comedy (with plenty of heavy handed period music). It’s a pseudo-thriller for all ages, enjoying some very sharp elbows for a kids movie.

The Conjuring: The Devil Made Me Do It

June 4 (May 26 in the UK)

The latest big-screen adventure for real-life ghostbusters Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga) sees the two drawn into the unusual case of the first ever U.S. murder trial where the defendant claimed he was innocent because he was possessed by a demon. This is the eighth movie in The Conjuring expanded universe—director Michael Chaves has already made a foray into this supernatural world with The Curse of La Llorona—and as with all the main Conjuring films, the hook is that it’s (very loosely) based on a true case that the Warrens were involved with.

Peter Safran and James Wan are back on board as producers, although with this being the first time Wan isn’t directing one of the main Ed and Lorraine investigations, we’re a little cautious about this return to the haunted museum.

In the Heights

June 11 (June 18 in the UK)

Lin-Manuel Miranda’s first Tony award winning musical is getting the proper big screen treatment in In the Heights. A full-fledged movie musical—as opposed to a taped series of performances, a la Disney+’s Hamilton—In the Heights is like a sweet summer drink (or Piragua) and love letter to the Latino community of New York City’s Washington Heights neighborhood.

Read more

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Best Movie Musicals of the 21st Century

By David Crow

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The Conjuring: The Devil Made Me Do It and the Perils of Taking on a Real Life Murder

By Rosie Fletcher

Closer in spirit to the feel-good summertime joy of Grease than the narratively complex Hamilton, this is perfect multiplex escapism (which will also be on HBO Max if you’re so inclined). Directed by Crazy Rich Asians’ Jon M. Chu, In the Heights has a euphoric sense of movement and dance as it transfers Miranda’s hybrid blend of freestyle rap, salsa rhythm, and Caribbean musical cues to the actual city blocks the show was written about. On one of those corners lives Usnavi (Anthony Ramos), a bodega owner with big dreams. He’s about to have the summer of his life. You might too.

Hitman’s Wife’s Bodyguard

June 16 (June 21 in the UK)

You know Hitman’s Wife’s Bodyguard is a throwback when even its trailer brings back the “trailer voice.” But then the appeal of the 2017 B-action comedy, The Hitman’s Bodyguard, was its very throwback nature: a violent, raunchy R-rated buddy comedy that starred Samuel L. Jackson and Ryan Reynolds, who exchanged quips as much as bullets between some genuinely entertaining stunts.

Hopefully the sequel can also be as much lowbrow fun as it doubles down on the premise, with Reynolds’ Michael Bryce now guarding Samla Hayek’s Sonia, the wife of Jackson’s Darius. All three are on a road trip through Italy as they’re chased by Antonio Banderas in what is sure to be a series of bloody, explosive set pieces. Probably a few “motherf***ers” will be dropped too.

Luca

June 18

Pixar Studios’ hit rate is frankly incredible. With each new film seemingly comes a catchy song, an Oscar nomination, and a flood of tears from anyone with a heart—and there’s no reason to believe that its next offering will be any different. Luca is a coming-of-age tale set on the Italian Riviera about a pair of young lads who become best friends and have a terrific summer getting into adventures in the sun. The slight catch is that they’re both sea monsters.

Read more

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How Luca Became the First Pixar Movie Made at Home

By Don Kaye

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Pixar, Italian Style: Why Luca is Set in 1950s Italy

By Don Kaye

This is the feature directorial debut of Enrico Casarosa, who says the movie is a celebration of friendship with nods to the work of Federico Fellini and Hayao Miyazaki. The writers are Jesse Andrews and Mike Jones—Andrews is new to Pixar but has experience with coming-of-agers, having penned Me and Earl and the Dying Girl, while Jones co-wrote Soul. Jacob Tremblay and Jack Dylan Grazer voice the young boys (sea monsters)—13-year-old Luca and his older teenager friend Alberto—with Maya Rudolph as Luca’s sea monster mom. After a year of lockdown, this could be the summer movie we all need.

F9

June 25

You better start firing up the grill, because the Fast and Furious crew is finally ready to have another summer barbecue. And this time, it’s not only the folks whom Dom Toretto calls “mi familia” in attendance. The big new addition to F9 is 

John Cena as Jakob Toretto. As the long-lost little brother we didn’t know Vin Diesel’s Dom had, Jakob is revealed to be a superspy, assassin, and performance driver working for Dom’s arch-nemesis, Cypher (Charlize Theron). Everything the Family does together, Jakob does alone, as a one-man wrecking crew, and he’s coming in hot.

Fans will probably be happier, though, to see Sung Kang back as Han Seoul-Oh, the wheelman who was murdered in Fast & Furious 6, and then pretty much forgotten in The Fate of the Furious when his killer got invited to the cookout. It’s an injustice that brought veteran series director Justin Lin back to  the franchise to resurrect the dead. So it’s safe to assume he won’t be asking Cypher to bring the potato salad.

The Forever Purge

July 2 (July 16 in the UK)

We know what you’re thinking: Didn’t The Purge: Election Year end the Purge forever? That or “are they really still making these?” The answer to both questions is yes. Nevertheless, here we are with The Forever Purge, a movie which asks what happens if Purgers just, you know, committed extravagant holiday crime on the other 364 days of the year? You get what is hopefully the grand finale of this increasingly tired concept.

The Tomorrow War

July 2

Hear me out: What if it’s like The Terminator but in reverse? That had to be the pitch for this one, right? In The Tomorrow War, instead of evil cyborgs time traveling to the past to kill our future savior, soldiers from the future time travel to the past to enlist our current best warrior and take him to a world on the brink 30 years from now.

It’s a crazy premise, and the kind of high-concept popcorn that one imagines Chris Pratt excels at. Hence Pratt’s casting as Dan, one of the best soldiers of the early 21st century who’ll go into the future to stop an alien invasion. The supporting cast, which includes Oscar winner J.K. Simmons and Yvonne Strahovski, Betty Gilpin, and Sam Richardson, is also nothing to sneeze at.

Black Widow

July 9

The idea of making a Black Widow movie has been around since long before the Marvel Cinematic Universe first lifted into the sky on Tony Stark’s repulsors. The character has been onscreen for more than a decade now, and Marvel Studios has for too long danced around making a solo Widow, at least in part due to the machinations of Marvel Entertainment chairman Ike Perlmutter.

Read more

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How Black Widow Could Build The MCU’s Future

By Kayti Burt

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Upcoming Marvel Movies Release Dates: MCU Phase 4 Schedule, Cast, and Story Details

By Mike Cecchini and 1 other

But the standalone Black Widow adventure is here at last, and it now serves as a sort-of coda to the story of Natasha Romanoff, since we already know her tragic fate in Avengers: Endgame. Directed by Cate Shortland (Berlin Syndrome, Lore), the movie will spell out how Natasha (Scarlett Johansson) kept herself busy between the events of Captain America: Civil War and Avengers: Infinity War, primarily with a trip home to Russia to clear some of that red from her ledger.

There, she will reunite with figures from her dark past, including fellow Red Room alumnus Yelena Belova (Florence Pugh), Russian would-be superhero Alexei Shostakov, aka the Red Guardian (David Harbour), and Melina Vostokoff (Rachel Weisz), another survivor of the Black Widow program and a maternal figure to Natasha and Yelena.

It’s a chance to say goodbye to Nat and see Johansson as the beloved Avengers one more time. But this being Marvel, we suspect that the studio has a few tricks up its sleeve and in this movie about the future of Phase 4.

Space Jam: A New Legacy

July 16

In the annals of synergistic branding, Space Jam: A New Legacy might be one for the record books. A sequel to an older millennials’ 1990s touchstones—the thoroughly mediocre Michael Jordan meets Bugs Bunny movie, Space Jam—this sequel sees LeBron James now trapped in Looney Tunes world… but wait, there’s more! Instead of only charmingly interacting with WB’s classic stable of cartoon characters, King James will also be in the larger “WB universe” where the studio will resurrect from the dead every property they own the copyright to, from MGM’s classic 1939 The Wizard of Oz to, uh, the murderous rapists in A Clockwork Orange.

… yay for easter eggs?

Old

July 23

Though he might be accused of being a little bit hit-and-miss in the past, the release of a new M. Night Shyamalan movie should always be cause for celebration. Especially one with such a deeply creepy premise. Based on the graphic novel Sandcastle by Pierre Oscar Levy and Frederik Peeters, Old sees a family on vacation discover that the beach they are on causes them to age extremely rapidly and live out their entire lives in a day.

This is surely perfect fodder for Shyamalan, who does high-concept horror like no one else. The cast is absolute quality, featuring Gael García Bernal, Hereditary’s Alex Wolff, Jo Jo Rabbit’s Thomasin McKenzie, Phantom Thread’s Vicky Krieps, Little Women’s Eliza Scanlen, and many more. The trailer is pleasingly disturbing too as children become teenagers, a young woman is suddenly full-term pregnant, and adults seem to be decaying in front of their own eyes. Harrowing in the best possible way.

Snake Eyes

July 23 (August 20 in the UK)

Snake Eyes will finally bring us the origin story of the G.I. Joe franchise’s most iconic and beloved member. Henry Golding (Crazy Rich Asians) stars in the title role, with Warrior’s Andrew Koji as his nemesis—conflicted baddie (and similar fan fave) Storm Shadow. Expect a tale heavy on martial arts badassery, especially with The Raid’s Iko Uwais on board as the pair’s ninja master. Samara Weaving will play G.I. Joe staple Scarlett after her breakout a few years ago in Ready or Not, while Úrsula Corberó has been cast as Cobra’s Baroness. Robert Schwentke (The Time Traveler’s Wife, Red) directs.

Jungle Cruise

July 30

Jungle Cruise director Jaume Collet-Serra is best known for making slightly dodgy actioners starring Liam Neeson (Unknown, Non-Stop, Run All Night) and half-decent horror movies (Orphan, The Shallows), so exactly which direction this family adventure based on a theme park ride will take remains to be seen.

Borrowing a page and premise from Humphrey Bogart and Katharine Hepburn in The African Queen (1951), Jungle Cruise stars the ever-charismatic Dwayne Johnson as a riverboat captain taking Emily Blunt’s scientist and her brother (Jack Whitehall) to visit the fabled Tree of Life in the early 20th century. Like the ride, the gang will have to watch out for wild animals along the way.

Unlike the ride, they’re competing with a German expedition team who are heading for the same goal. A solid supporting cast (Jesse Plemons, Édgar Ramírez, Paul Giamatti, Andy Nyman) and a script with rewrites by Michael Green (Logan, Blade Runner 2049) might mean Disney has another hit on its hands. Either way, a lovely boat trip with The Rock should be diverting at worst.

The Green Knight

July 30 (August 6 in the UK)

There have been several major Hollywood reimaginings of Arthurian legends in the 21st century. And every one of them has been thoroughly rotten for one reason or another. Luckily, David Lowery’s The Green Knight looks poised to break the trend with a trippy, but twistedly faithful, interpretation of Sir Gawain and the Green Knight.

Dev Patel stars as Sir Gawain, a chivalrous knight in King Arthur’s court who takes up the challenge of the mysterious Green Knight (The Witch’s Ralph Ineson under mountains of makeup): He’ll swing a blow and risk receiving a returning strike in a year’s time. Gawain attempts to cheat the devil by cutting his head clean off, yet when the Green Knight lifts his severed head from Camelot’s floors, things start to get weird. As clearly one of A24’s biggest visual fever dreams to date, this is one we’re highly anticipating.

Stillwater

July 30 (August 6 in the UK)

The Oscar winning-writer director behind Spotlight, Tom McCarthy, returns to the big screen with a fictional story that feels awfully similar to real world events. In this film, Matt Damon plays Bill, a proud father who saw his daughter Allison (Abigail Breslin) go abroad to study in France. After she’s accused of murdering her roommate by local authorities, the deeply Southern and deeply Oklahoman father must travel to a foreign land to try and prove his daughter’s innocence.

It obviously has some parallels with the Amanda Knox story but it also looks like a potentially hard hitting original drama with a talented cast. Fingers crossed.

The Suicide Squad

August 6 (July 30 in the UK)

You might have seen a Suicide Squad movie in the past, but you’ve never seen James Gunn’s The Suicide Squad. With a liberating R-rating and an old school vision from the Guardians of the Galaxy director—who likens this to 1960s war capers, such as The Dirty Dozen or Where Eagles Dare—this Suicide Squad is absolutely stacked with talented actors wallowing in DC weirdness. One of the key players in this is Polka-Dot Man, another is a walking, talking Great White Shark, voiced by Sylvester Stallone. The villain is a Godzilla-sized starfish from space!

Read more

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By Kayti Burt

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So like it’s namesake, there’s probably a lot of characters who aren’t going to pull through this one. Even so, we can rest easy knowing that Margot Robbie’s Harley Quinn will be as winsome than ever, and the likes of Idris Elba and John Cena will add some dynamic gravitas to the eccentric DC Extended Universe.

Free Guy

August 13

Perhaps pitched as The Truman Show for the video game age, Free Guy stars Ryan Reynolds as an easygoing, happy-go-lucky “Guy” who discovers… he’s a video game NPC living inside the equivalent of a Grand Theft Auto video game. This might explain why the bank he works at keeps getting robbed all the time. But as a virtual sprite who’s developed sentiency, he just might be able to win over enough gamers to not shoot him, and make love not war.

It’s an amusing premise, and hopefully director Shawn Levy can bring to it the same level of charm he achieved with the very first Night at the Museum movie.

Respect

August 13 (September 10 in the UK)

Before her passing in 2018, Aretha Franklin gave her blessing to Jennifer Hudson to play the Queen of Soul. Now that musical biopic is here with Hudson hitting the same high notes of the legend who sang such standards as “(You Make Me Feel Like) A Natural Woman,” “Think,” “I Say a Little Prayer,” and of course “Respect.”

The film comes with a lot of expectation and a lot of pedigree, with Forest Whitaker and Audra McDonald in the cast. Most of all though, it comes with that rich musical library, which will surely take center stage. And if movies like Bohemian Rhapsody and Rocketman have taught us anything, it’s that moviegoers love when you play the hits.

Reminiscence

August 20 (August 18 in the UK)

Lisa Joy is one of the most exciting voices on television today. One-half of the creative team behind Westworld, Joy steps into her own with her directorial debut (and as the solo writer) in Reminiscence, a science fiction film with a reliably knotty premise.

Hugh Jackman plays Nick Bannister, a man who lives in a dystopian future where the oceans have risen and the cities are crumbling. In a declining Miami, he sells a risky new technology that allows you to relive your past (and possibly change it, at least fancifully?). But when he discovers the lost love of his life (Rebecca Ferguson) is cropping up in other peoples’ memories, which seem to implicate her in a murder, well… things are bound to start getting weird. We don’t know a whole lot more, but we cannot wait to find out more.

Candyman

August 27

Announced back in 2018, this spiritual sequel to Bernard Rose’s 1992 original is one of the most exciting and anticipated movies on the calendar. Produced by Jordan Peele and directed by Nia DaCosta, the film takes place in the present day and about a decade after Chicago’s Cabrini-Green housing projects have been torn down. Watchmen’s Yahya Abdul-Mateen II plays an up-and-coming visual artist who moves to the now-gentrified area with his partner and is inspired by the legend of Candyman, an apparition with a hook for a hand, to create new work about the subject. But in doing so, he risks unleashing a dark history and a new wave of violence.

Tony Todd, the star of the original movie, will also reprise his role in a reboot that aims to inspire fear for only the right reasons.

The Beatles: Get Back

August 27

Director Peter Jackson thinks folks have a poisoned idea about the Beatles in their final days. Often portrayed as divided and antagonistic toward one another during the recordings of their last albums, particularly Let It Be (which was their penultimate studio recording and final release), Jackson insists this misconception is influenced by Michael Lindsay-Hogg’s 1970 documentary named after the album.

So, after going through the reams of footage Lindsay-Hogg shot but didn’t use, Jackson has crafted this new documentary about the album’s recording which is intended to paint a fuller (and more feel-good) portrait of the band which changed the world. Plus, the music’s going to be great… 

Shang-Chi and the Legend of the Ten Rings

September 3

The greatest fighter in Marvel history finally hits the big screen with Shang-Chi and the Legend of the Ten Rings. Simu Liu (Kim’s Convenience) takes on the title role of a character destined for a bright future in the MCU. Marvel fans might note that the “Ten Rings” of the title is the same organization that first appeared all the way back in Iron Man, and Tony Leung will finally bring their villainous leader, The Mandarin, to life. Awkwafina of The Farewell and Crazy Rich Asians fame also stars. Directed by Destin Daniel Cretton (Short Term 12), this should deliver martial arts action unlike anything we’ve seen so far in the MCU.

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The post Summer Movie Preview: From Black Widow to The Suicide Squad and Beyond appeared first on Den of Geek.

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MCU Phase 4: S.W.O.R.D and the Collapse of the Multiverse

I’ve been seeing a lot of theories about Phase 4 floating around, and with the finale of Agents of SHIELD, I reckon I’d collate all the theories here, as well as add in a few of my own theories, and get a feel of what Phase 4 might hold for us.

WARNING: contains slight Agents of SHIELD S7 spoilers.

1. Leaving Endgame: unresolved issues

The infinity Saga (Phases 1-3) ended with Avengers: Endgame. Regardless of how you feel about the narrative, the film wraps up the story based around Thanos’ encroachment on earth. So that should leave no loose threads, right? No world-bending problems left to resolve?

WRONG.

Avengers: Endgame actually left a lot of paradoxes and loopholes. There are objects remove and added into different points of time, characters killing their past selves, etc.

These problems with their Time Heist can’t just be left there, unattended. These paradoxes also can’t be brushed aside simply with a “new timeline” theory. As we learnt in Agents of SHIELD Seasons 5&7, while time can indeed be changed, there will still be paradoxes, which will result in anything from confusion to deaths and destruction.

Are the Marvel execs that stupid? That they would painstakingly explain the logistics of time travel to the audience in the film, then blatantly break all their own rules? Even mass-market films aren’t that stupid. Especially not ones by a studio that is known for planting Easter eggs and somehow planned a whole 10-year, 22-film franchise.

Rather, I believe this is a pantomime moment. Remember, the Thanos storyline--the Infinity Saga--may be over, but the MCU is far from it. I believe they are leaving behind these gaping holes in the spacetime continuum, luring the audience to point at the screen and shout out the inconsistencies, to name the problems themselves. So let us peel back the story, and identify those time-travel and inter-dimensional problems ourselves.

2. Far From Home is our primer for Phase 4

Here’s the funny thing: Far From Home is classified as the last film of Phase 3, with Black Widow as the first film of Phase 4. But narratively, it seems odd to class FFH as part of Phase 3, stringing it with the rest of the infinity Saga. Apart from the plot thread with Tony Stark, what does FFH have to do with the main premise of the Infinity Saga?

This awkward position of FFH might make sense if we view it not just as part of Phase 3, but as that transition instalment between Phases 3 and 4. On the one hand, FFH continues its legacy from the Infinity Saga, by physically having Peter inherit something from Stark, arguably the lead star of the Infinity Saga. At the same time, FFH melds that with a whole new element that will bring us forward: the idea of dealing with threats from not just different points in time, but different realities altogether. Even though Mysterio isn’t really from another dimension, Pandora’s Box is now open. This idea has officially been introduced into the MCU, and as we will find out later, there are heavy suggestions of the MCU going in the direction of inter-dimensional threats.

FFH also bridges the past by reintroducing to us the idea of an overarching organisation governing or monitoring the actions of the superheroes. As mentioned above, MCU superheroes have been freelance superheroes since Apr 2014, with the fall of SHIELD in Winter Soldier. However, with FFH, we see a return of... well, some kind of SHIELD, with the intervention of Fury and Hill. Granted, this is not really SHIELD. Fury and Hill, as we find out in FFH, are impersonated by Skrulls. Regardless, an authoritative organisation has been reestablished in the MCU. The return of ““SHIELD”“ also gives FFH the feel of Iron Man 2/ The Avengers (2012), harkening back to the early days of the Infinity Saga, which I would say is rather appropriate for opening a whole new arc. And, as I will explore below, we might be seeing more of SHIELD in MCU’s future.

(Incidentally, is Peter Parker supposed to know that, for what it’s worth, Nick Fury is supposed to be “dead”?)

FFH is not the first time MCU has played with alternate dimensions, of course. The Ancient One has introduced the idea of borrowing powers from alternate dimensions going as far back as Doctor Strange (2016). But during that film, they have left it at a tease. However, it seems that we might finally be meeting alternate versions of our known reality.

3. Black Widow: Taskmaster is a little too familiar

While we still haven’t seen the Black Widow standalone (damn you coronavirus),  based on what we know from trailers, BW will likely follow FFH’s angle of bridging elements of the past (e.g. a secret organisation with Fury at the helm) while introducing elements from the future (alternate dimensions), But this time, Mama Spider is going to kick it up a notch.

Firstly, it seems that BW might be introducing a nemesis to the SHIELD-equivalent in Phase 4. In the Infinity Saga, the main villain--at least when SHIELD was a thing--was HYDRA. With the fall of SHIELD, the last of the HYDRA bases are also wiped out of the MCU at the start of Age of Ultron.

(If you go with Agents of SHIELD, Thanos is very very vaguely connected to HYDRA, what with him being known to/ part of(?) the Confederacy, who are working with HYDRA).

So what will be the main villain in Phase 4? BW trailers focus very heavily on reconnecting with the past, which reminds me of how FFH calls back to Fury being in charge of the big picture. But in BW, it seems that a reconnection is also made with shady characters. There is a lot of discussion about Natasha’s Red Room past, of other Black Widow graduates. There are grey areas, and the focus on reconnecting to the Red Room reminds me of the “the other Winter Soldiers” arc from CACW, as well as the Dottie Underwood arc in Agent Carter season 1. Will the Red Room be our new HYDRA? Or... are they just a smokescreen?

Because there’s the Taskmaster, and they are very strange indeed. We know nothing about the Taskmaster--their motives, their affiliations, their goals--but they already strikes an eerie chord with the audience. They seem to be an amalgamation of so many notable heroes in the MCU. Why would a villain just... happen to be a combination of so many MCU heroes? Or could the Taskmaster be paving the way to how the Madness of Multiverse “may reportedly feature alternate-reality versions of known MCU characters”?

First Mysterio, and now the Taskmaster. The threat in Phase 4 is gaining steam, and is gearing up to be a force that can only be defeated if the superheroes are once again brought together. The Avengers was initially designed by SHIELD, but were brought together by Loki’s invasion (and Coulson’s death). But where are they now? Who will take up the mantle of the fallen? Who will be there to unite the forces needed? 

4. SHIELD, TVA, and SWORD

For those who only watch the films of the MCU (like myself until recently), SHIELD has not been a legal organisation since April 2014, and has been completely out of the picture in the MCU since April 2015. However, the organisation has actually been hard at work behind the scenes since.

The actual events in Agents of SHIELD, being so separated from the MCU, are not strictly relevant to the discussion and prediction of Phase 4. What we need to know is that: following a series of events that turned them legitimate, then illegitimate, then legitimate again, SHIELD should be a legitimate organisation again by the time of FFH.

(Side note:

There is some debate as to whether Agents of SHIELD is still taking place in the same timeline as the MCU. I personally like to think yes, AOS is still taking place in the same timeline as the MCU. Some have argued that the Snappening never happened in AOS, and when Daisy stopped Talbot from destroying Earth at the end of Season 5, that launched AOS into a branching timeline. However, I would argue that they are in the same timeline because Daisy stopped Talbot. Based on the words of the alien Confederacy, it does not seem that the Snappening and Talbot are two inter-dependent events. If Talbot had cracked the Earth in half, it wouldn’t matter what the outcome of Infinity War was, because, well, there’d be no Earth. There’d be no Endgame. So in my opinion, Agents of SHIELD, as it closes in 2020, is in the same timeline as the MCU, at which point the Avengers would have been moping about losing half of Earth’s population. As for the fact that none of the AOS team got dusted... the OG6 Avengers also didn’t get dusted, and the AOS team was small. I think we can let that slide.)

(Besides, if timelines really are going to be fucked up, as we will see below, then it really doesn’t matter if AOS and the Infinity Saga are in the same timeline. They can just cross over into each others’.)

But SHIELD’s reach, after all, is limited. Even Fury did not have a handle on Carol Danvers as she spent 23 years (1995-2018) just roaming the Universe as a space vigilante. With the jurisdiction of the MCU heroes now extending beyond time, space, and dimensions, we will need authorities in space. Maybe some kind of... ambassadors from earth.

In the Agents of SHIELD series finale, Marvel threw us a bone. As the team part ways after their final mission together, Daisy, Sousa (yes that Sousa from that Agent Carter), and Kora take to space, as some kind of SHIELD representative. The showrunners teased the audience by having Sousa describe their little unit as the “Astro Ambassadors”, but the audience immediately know what to ask for: SWORD. SWORD, according the MCU Wikia, stands for Sentient World Observation and Response Department, and is a “subdivision of SHIELD”. In fact, I believe we will be seeing more of SWORD in Phase 4. And with the release of the latest WandaVision trailer, we know that SWORD with Monica Rambeau as one of its agents is definitely going to be a thing.

Even if, EVEN IF, SHIELD and SWORD aren’t going to be a thing in Phase 4, we still have another authority that will be very interested in all these alternate dimension business going on around Earthlings. In what little we know of the Loki standalone TV show, it seems the Time Variance Authority will be part of it. Time, space, dimensions, these will all be threatened in Phase 4.

5. Steve Rogers and Corrupted Timeline Theory

By this point, if we are keeping score, we know space and time in the MCU is fucked up. Timelines are messed up, left in paradoxes, and people are just travelling everywhere and anywhere they fancy. Loki. Natasha. Astro Ambassadors.

And then there’s Steve Rogers.

Since the end of Endgame, a theory has been gaining steam that the actual Steve Rogers is stuck in the Quantum Realm, and whoever/whatever Old Steve is, it is a corrupted version of him. Please click through and take a look at the brief post about how Steve may be trapped in the time stream. It is an excellent analysis on how Steve could be a central indicator to all these time/space/dimensional tomfoolery.

6. What to expect

Here’s what I think is going to happen:

Following the primer that is Far From Home, Black Widow will continue to push the idea of interdimensional threats a notch further. Things that should be resolved, things from the past, are coming back to haunt us. Things start to get uncanny. The Taskmaster’s powers are too familiar. It’s all a little eerie.

Meanwhile in Marvel TV land, things go from “still earthly” to downright insane. The Falcon and the Winter Soldier, in all likelihood, will be the most earth-based of the Marvel TV shows, kind of like how the Cap trilogy is the most earth-based, with the least amount of sci-fi invention compared with the Iron Man trilogy and Thor saga. However, since Sam Wilson and Bucky Barnes are the two people closest to Steve, one literally inheriting his mantle, it might be in this show that we see more signs of reality being corrupted through iterations of Steve.

WandaVision is a result of both anomaly!Steve, as well as the many timeline problems left in Endgame. In WandaVision, Wanda and Vision find themselves flung through so many alternate realities. The anomalies in spacetime catches the attention of the authorities, in this case, Monica Rambeau and SWORD. We officially have our overarching authority for Phase 4.

The madness in time and space goes even further when Loki, now armed with the Space Stone and somehow looking like his Thor 1 (2011) self again, just... Loki-s it all up. Making jumps. Causing chaos through human history. General Loki shenanigans. The disturbance that this causes alerts an authority higher than SWORD: the Time Variance Authority.

This is also an excellent time to reintegrate the Marvel TV Universe back into the MCU, after having them split off from the MCU in 2013 and 2015. There is a very special cameo in Endgame, an Easter egg reserved only for those who have watched the Marvel TV spin-offs. “James D’Arcy’s cameo as Edwin Jarvis in Avengers: Endgame marks the first time a Marvel Cinematic Universe character introduced in a television production has crossed over into the films.“ Of course, there is no promise that just because they have brought Jarvis from Agent Carter over to Endgame, that they will bring others into the MCU in a similar fashion. But with Marvel Studios/Disney+ branching officially into making their own TV shows (instead of collaborating with ABC/Netflix), we can expect more crossings between the TV shows and the films. With the door now open with Edwin Jarvis, characters from AOS can rather easily be integrated into Phase 4 shows. And, if Daniel Sousa, a character that was last seen in 2016, can somehow be brought forward in a miraculous time escapade, there is no reason why other Agent Carter elements can’t be.

Time, space, dimension, reality, are now all fucked up beyond recognition. The hints of alternate reality characters? They are now coming in full-swing. There will be “alternate-reality versions of known MCU characters“. Marvel’s What If? cartoon ties into this as basically some kind of MCU fever dream: what if skinny Steve had an Iron Man suit? What if Peggy Carter was Captain America? It’s all out of the window by this point.

Captain Marvel 2, being likely set between earth and space, can easily fit into this whole development. Arguably, same for Thor: Love and Thunder. The events in space can rather easily tie into all these inter-dimensional madness. (And if Marvel Studios stop being a coward, they will let Carol Danvers date Dr. Thor).

Fun fact: SWORD was apparently mentioned as early as a deleted scene from Thor (2011).

With the world on the brink of universal collapse, we finally enter Doctor Strange: Madness of Multiverse. In the first Doctor Strange film, we’ve only seen one alternate dimension: Dark Dimension (Dormammu). In the Madness of Multiverse? Get ready for the Actinaria Dimension. The Grass Jelly Dimension. The Flowering Incense Dimension. The Mandelibus Dimension. Btw I’m not making these dimensions up. They are all introduced in the Marvel Studios Visual Dictionary.

Endgame may have ended Thanos’ arc, but it is only the beginning for a whole new chapter of the MCU. Years ago... probably around the time of CACW, I read a meta that discussed how Marvel might be taking the MCU in the direction of a “collapse of the multiverse”. That was predicted to happen in Infinity War/Endgame. While the Universe did not implode in Endgame, the world also doesn’t... necessarily settle into peace at the end of Endgame. To borrow what a friend of mine said,

Aren’t the other timelines just as doomed as the OG timeline where the Thanos snapped ... and the stones [are] gone in the end?

Like if we assume that they came up with the same idea for every other fucked timeline, then we would just end up with even more alternate timelines, and even more fucked timelines

and it becomes endless

Is this why it’s called Infinity War lmao

As we learnt in Agents of SHIELD Season 7, if a timeline is mucked up, actions must be taken to help it settle, if not restore it to its original form, otherwise there will be grim consequences. Between the milieu of timelines created by the Avengers and the Agents of SHIELD, I think Doctor Strange has his work cut out for him in Madness of Multiverse.

Madness indeed.

-----

Further Reading

‘I’m a storyteller, I know when I am in one’ — John Watson, Series Four, and Authorial Intent 

Pantomime moments of the storyteller leaving gaping holes for the audience to point out are very common. In this piece, I explore how that technique is used in BBC Sherlock’s Season Four. While it looked like the showrunners are breaking all storytelling rules, they are doing it for a very sound reason.

Don’t Mourn — Avengers: Infinity War and the Five-Act Structure

Aka that time I wrote 7k words on the narrative structure of the Infinity Saga that is somehow still gaining clicks and reads on Medium.

[mikaorangeart]

@hbomberguy​‘s most recent video got me thinking about RWBY, and... Honestly, its overall character design ethos should’ve probably served as a sign that it was flawed from the beginning. But there’s still a running core of It-Could’ve-Been-Great-ness underneath. So, the other night, I decided to try and redesign the RWBY squad.

Allow me to explain. (Long spiel ahead. Brace yourself.)

Hbomb was right; most of RWBY’s problems arose from it being a Frankenstein’d-together amalgam of other anime with a thin, flaking layer of late-2000’s Deviantart-y paint on top. A lot of worldbuilding--like, so much so that the structural integrity of the narrative begins to fall apart--relies more on rule of cool than on giving a sense of setting. Monty Oum was a great guy, an excellent artist, and a phenomenal animator, but this is what happens when the other writers didn’t incorporate his action scenes organically into the rest of the plot.

(Disclaimer: I’m fully aware that the latter seasons have improved on all this, and I’ll admit that I haven’t watched any of the show beyond the midpoint of Volume 4. But, just hear me out.)

(Disclaimer 2: None of this is to say I, personally, am a more skilled artist than the people behind RWBY. I am 100% not, and the official character art is absolutely gorgeous. This is all about design.)

The character designs of Team RWBY in particular are a microcosm of this problem. They’re built around pure rule of cool, rather than any grounded sense of what the characters do. I have nothing against rule of cool, mind you, so much as it’s lain on a solid foundation. But my philosophy for character design is, first and foremost, that it has to make sense. It should reflect who the character is, what they do, any gimmicks that they might have, and how they fit into the rest of their setting. 

These don’t do that.

So let me break down my reasoning for each design here.

Ruby

Okay, I’m gonna be completely honest here: Ruby’s design is the one I have the fewest problems with. We can tell she’s got a Little Red Riding Hood gimmick. We can tell she’s got a bit of a flair for the dramatic; otherwise, why else would she have built a scythe that can turn into a gun? And I have no doubt that if I searched “gothic lolita” on Etsy, I’d find tons of dresses just like this. Ruby is a goth. That’s fine.

But here’s the thing: This is not an outfit suitable for running around with a giant scythe. The thing about lolita dresses like this is that they use petticoats to get that poofiness. (We can see a bunch of petticoat-like material in the model from the show.) And those things are heavy. Even with a short hemline like this, it’s gonna be more difficult to move around as much--and as fast--as Ruby does.

With my version, I tried to aim more in the fairytale-y “hunter” direction, giving her a vaguely Tudors-inspired tunic and some comfortable pants. To try and preserve the goth look, I gave her some striped stockings. I also made her outfit sleeker overall, so it looks even more dramatic when her cape billows in the wind.

Weiss

Reading through the comments of the White trailer reminded me of the line “It’s not a dress, it’s a combat skirt,” which is what sparked this entire post. That would only make sense if the rest of Weiss’s outfit were actually suited for combat. Which it isn’t.

She’s got this Queen Anne neckline-y cardigan with poofy sleeves, a very long ponytail, a poofy miniskirt with no visible bike shorts or tights underneath (girl, you are going to flash someone), and… *grits teeth* heels. I mean, she conveys this whole elegant snow queen vibe, but she looks more like a ballerina than an epee fencer. And an epee fencer is what she is. And anyone who has ever fenced epee (like me!) will tell you that some piece of that costume is gonna get in the way of that.

With my redesign, I tried to push the “fencer” angle way more. I gave her a full chest guard, shorter hair and tighter sleeves so as not to get in the way, flat heels, and tights. But I kept the combat skirt. ;)

Blake

Blake was, without a doubt, the hardest of these guys to figure out. Everyone else seemed to have somewhere I could start: Ruby is a monster hunter, Weiss is a fencer, Yang is a biker girl. But Blake?

I remember watching the Black trailer, then staring for ages at her art here. I still legitimately can’t tell what her outfit is supposed to be. The closest guess I had was lingerie, and considering that all these girls are underaged, that’s gotta be a YIKES.

Her weapon is the biggest oddball of the bunch, too. I have no idea what it is (sword nunchucks?) or how the hell it works. (Still sick as hell, though. Thanks, Monty.)

Eventually, I settled on a Harajuku street fashion-slash-parkour kind of look, with a bunch of belts to hold up that massive scabbard. I also emphasized the cat bits of her way more, and I know it was a plot point that she was trying to hide her Faunus traits, but shhhh.

Yang

If Ruby’s design makes the most sense for her as a character, then Yang’s makes the most sense for what she does. She’s this sunny, big-sisterly, hotshot biker girl. She’s got a cool leather jacket, cool shades, very warm yellow color palette. But… 

This is undoubtedly the most sexualized of the bunch. The jacket being unzipped in weird places, the shorts being ridiculously low-waisted… C’mon, guys. If you’re gonna do this, at least have the common decency to make her an adult.

Honestly, aside from that hot mess, I actually kinda love this outfit. So rather than focus on changing the outfit--all I did was zip the jacket up and adjust the waistline--I changed the body.

Yang was always given all this emphasis on her *ahem* hips, but the model itself isn’t that dramatically different from her counterparts. So I widened the hips, broadened the shoulders, beefed her up, and tada! Somehow, this feels much more Yang.

Conclusion

As a show, RWBY’s main problem was that it was Monty Oum’s cool fight scenes connected by a very thin plot, rather than fight scenes that grew out of the plot organically. The character designs of RWBY are similar: they’re action figures connected by a very thin world, rather than being grounded in the world by who the characters are and what they do. Once again: I have nothing against characters being action figures, and I have nothing against rule of cool, as long as it all makes sense. That is what I tried to address with these redesigns.

[wehavethoughts]

Jingle Jangle Review!

Jingle Jangle: A Christmas Journey David E. Talbert (2020) Netflix Original Movie Fantasy, Holiday, Musical, Children’s Movie

Rating: 5/5 Waves

“I think it’s time for a new story.” – Journey

This review CONTAINS spoilers for Jingle Jangle: A Christmas Journey

Summary: Jeronicus Jangle is a genius toymaker who has everything he’s ever wanted until betrayal and tragedy strike and rip away his magic and inspiration. Jingle Jangle follows his journey with his bright, spunky granddaughter to finding his way out of darkness and towards family, love and inspiration.

No content warnings apply for Jingle Jangle: A Christmas Journey

Last year was a mess and 2021 is already on thin ice, but one of the best things to happen to me this season was my girlfriend sitting me down and convincing me to watch Jingle Jangle: A Christmas Journey. While the trailer looked fun, especially since it was a musical Christmas story featuring a primarily black cast, I hadn’t prioritized watching it. I tend to feel that everything has already been made when it comes to Christmas movies and I don’t want or need another retelling of the same stories. If I need a bump of Christmas spirit around the holidays, I indulge in a classic and move on. Fortunately for me, she wanted to watch it and we needed a Christmas Eve movie.

I loved so much about this movie that I could write tens of thousands of words singing its praises, but I wouldn’t do that to you, so I will narrow my praises to the most important parts of this movie to me. At the top of the list is just how good this movie looks.

Jingle Jangle is one of the most visually appealing movies I’ve ever seen. From the set to the costumes to the choreography, every single shot of this movie was pleasing to the eye. The clothing was sharp and colorful in a way that I expected to get on my nerves, but it ended up stunning. Costume designer Michael Wilkinson described the fashion as “Afro Victorian”. The characters’ hairstyles are another part of the costuming that stood out. They were creative and fun while also adding dimension to the characters’ looks. And let me just take a minute to personally thank the creators of Jingle Jangle for allowing all of these black characters to have natural hair. I have never seen that in a movie and it almost made me cry. Both the clothing and the hairstyles mirrored the characters’ arcs and added depth to the narrative.

The beauty of this movie can mostly be attributed to its fabulous designers, but I also want to point out that everything looked and felt fabulously expensive. I could not find the budget of Jingle Jangle in USD, but with every set piece, CGI shot, song and outfit you could tell that someone who loved this project spent a whole lot of money on it. It is refreshing to see a story like this getting the financial backing to do it properly.

The visuals were so stunning, in fact, that even if the actual story had been terrible, I would still have been happy to just sit and watch it on mute. Fortunately, Jingle Jangle’s story was phenomenal; heartwarming and inspiring with just enough humor to keep it light without feeling overly juvenile. It also had such meaningful emotional themes that I cried at least three times (in a good way).

The emotional core of this movie is the relationship between Jeronicus and his granddaughter Journey. Jeronicus is a grumpy, disillusioned inventor who abandoned his aspirations after achieving his dreams lead to nothing but betrayal and heartache. Journey is a bright, talented child who wants to learn from her brilliant grandfather, but she realizes she has to reignite his belief in himself first. The story centers around belief in the impossible, like most Christmas stories, but instead of asking the audience to believe in something like Santa Claus, Jingle Jangle reminds the audience to believe in themselves and their own abilities. Personally, I’ve never felt more inspired than when a small child belted about how “The square root of impossible is me!” The story digs into how depression can destroy a person’s creativity and inspiration and sometimes what we need is other people believing in us so we can be reminded to believe in ourselves.

My whole deal is reviewing fantasy though, so I feel like I should mention magic. Like most things in the movie it is very pretty to look at. When Jeronicus and Journey use their magic it is glittery, dazzling and very obviously a metaphor for imagination and creativity. Personally, these characters could have probably just have been very smart, but having a visual to see them thinking in new and exciting ways was nice. Math-but-its-glowing as a magic system is not something I’ve seen much of recently, but I know just enough math words to delight in what is coming out of these character’s mouths when they talk about their inventions. This might be a difficult movie for haters of math or people who study it for a living. If hearing characters say things like, “Belief! It collapsed the wave function.” and “Take the circumference of spectacular, divided by the second derivative of sensational…” is a deal breaker for you, then maybe skip this movie.

Also, I should note that this movie is a musical. This came as a surprise to us the first time we watched it, but luckily we love musicals. The first time the music swelled and Jeronicus started singing we were swept away by the magic of the moment, delightfully surprised and in awe of the musical talent. Every single song in this movie is energetic, fun and refreshingly Black. Director David E. Talbert said that he was inspired by southern soul and gospel music as well as Afrobeat and other primarily black genres. The mix of inspiration creates joyful and fresh new songs for the holiday season.

As a whole this movie got my highest rating because the things I love about it outweigh the flaws. That being said, there are a couple pieces of the story that either didn’t make sense or it feels like they did not think all the way through. First of all, the main conflict revolves around the villain Don Juan, a toy matador who has been given sentience through Jeronicus’s miraculous inventions, not wanting to be mass produced. While the story tries to convince us that the conflict revolves around Don Juan’s narcissism, if you think about this plot point too hard you realize that our protagonist plans to mass produce and sell his creations that are clearly alive and intelligent. Obviously the movie doesn’t dig into the ethics of this, since Don Juan is more concerned about not being one-of-a-kind rather than worried that he is going to be bought and sold as a commodity, but it is a concerning angle that implies some very uncomfortable things about this universe.

Another piece that I found falls apart when you think about it too hard is the framing of the story within a story. Jingle Jangle is told a bedtime story being read by a grandmother to her grandchild (similar to the Princess Bride). The first scenes introduce us to a couple of cute kids who ask their grandmother for a Christmas story and in opening the book we get some spectacular CGI and animation to introduce us to Jeronicus’s world. While there is nothing inherently wrong with this method of storytelling, I found it to be unnecessary since the children listening to the story and the grandmother don’t add much as independent characters. Unfortunately, the story seemed to feel the need to justify these characters’ existence and so in a big reveal at the end we discover that the grandmother is Journey, Jeronicus’s granddaughter.

While seeing Journey with her grandchildren is cute, it leads to questions that I personally did not need to have at the end of this otherwise tied up narrative. For example, the children seem to have never heard of Jeronicus Jangle, Don Juan or Buddy 3000 (another important toy character), yet we are meant to believe that Jeronicus’s story happened in the universe that the children live in? Why wouldn’t they know stories about their rich and famous great-great-grandfather? Why had they never heard of Jeronicus Jangle when it is implied that the toys they have grown up with would have been his or his family’s inventions? By making the children related to the people in the story, the writers distracted me from Jeronicus and Journey whose story is much more interesting and heartwarming. Jingle Jangle is a movie that asks me to think and reflect, so I don’t feel bad poking holes in the story, but I don’t love that they left me hanging with all these questions.  

Additionally, there are also some things that I wish the writers hadn’t included in the movie at all. For example, they fridged Jeronicus’s wife almost immediately which was completely unnecessary and I hated to see that in a movie that got so many other things right. Also, having the only obviously Hispanic character (Don Juan Diego) be the villain in such a cartoon-y way left a bad taste in my mouth.

But Jingle Jangle still got my highest rating because as the sum of its parts, it was a fantastic story and I am so glad I got the chance to watch it. My very favorite part of this movie that has stuck with me even weeks after my first viewing is the relationship between Jeronicus and his family. There are sections of this movie where Jeronicus falls into the stereotypical absentee black father trope, but this story allows his character space to talk about what he did wrong, how he is hurting and Jeronicus learns to do better which is so important. I love the current trend in movies where parents apologize to their children because that can be such a healing experience and Jingle Jangle gives us that, but additionally, it makes the parent work for it and prove to their child that they are healing themselves. It offers hope to children struggling through painful situations like this and give parents an example of how they might be able to fix what they broke.

Overall, Jingle Jangle left me with a feeling of joy and contentment while inspiring me to remember what I used to love and rethink my self-imposed limits. The core message of this movie is a reminder that sometimes our lack of belief in our own skills is enough to stop us from achieving our dreams. Jingle Jangle reminds us to believe in our own capacity and lift each other up even when times are difficult. I don’t know if this movie will become a classic in the general consciousness, but it will certainly become a tradition in my family.

~TideMod

[yeah-oh-shit]

Sherlock S5/Dracula Meta

I’ve been thinking about this for a long time. I’ve never written any fan theories or meta before (although I have so many), so please bear with me. I know my theory is going to sound a little out there, but I here it is: I think BBC Dracula is actually Sherlock S5, or else that it is somehow going to lead directly into it without warning. 

Warning: this is going to be a long piece. I’m going to break this down as follows, because there are many different pieces of evidence to examine: 

TFP, the story and the episode

Gothic Horror, HOB, Dracula

Vision, Timing, 20/20

The Final Problem

The first one is a fan theory I read probably 6-9 months ago that sadly I can’t find anymore (if you know who this person is, please please comment so I can give credit!). Basically this person was talking about how the naming of the episodes typically has some tie to what occurs in the original story by that same name, but how TFP has nothing AT ALL to do with the original story. In the original story, Sherlock goes face to face with Moriarty, and we are all lead to believe that both he and Moriarty die over the Richenbach falls. In all reality, ACD had meant to kill off Sherlock in this story, and stopped writing Sherlock Holmes stories for ten years before bringing him back in “The Empty House,” due to the public outrage and demand for more stories. So, the logic follows that maybe the one thing that they have in common is that they are both pitted as the end to Sherlock Holmes (in the story, he is dead; in the show we are given [force fed] an ending, it's made to seem like the final piece). The author of this theory also pointed out the show runners in this way are comparing ending the series with TFP (no canon Johnlock) to ending the show with Sherlock dead. We are left with a straight-washed version of John and Sherlock, with Mary’s voice controlling the narrative and that narrative being: It Doesn’t Matter Who You Are. The chemistry between John and Sherlock has been more or less completely lost throughout S4, and so we are left with this empty, dead-feeling version of them that doesn’t feel true to the characters we know and love. Even casuals thought S4 sucked.. this is why. They metaphorically killed them/killed the show.

Before S4 aired, Mofftiss had said that if they pulled off what they had planned, it would be the biggest thing in television. Well, what we got in TFP doesn’t really fit that at all, does it? What could they be referring to: A secret sister? Not really that epic. Even if we find out that most of S4 didn’t take place (either EMP theory or some other way of explaining it) that isn’t really a new trope. The audience discovering that they have actually been seeing things that are inside the main character’s head the entire time has been done over and over (Sixth Sense, A Beautiful Mind come to mind off hand). So what could this huge, history making move be? The argument that the meta I read previously made was that the show will come back (from the dead) unexpectedly, with no warning. That it will be a revival and in that revival, we will get canon Johnlock. I can’t remember if OP explicitly theorized that Dracula is actually Sherlock S5, but I think so. 

Now, I was with this theory from the beginning.. there is just something that feels possible to me, despite the fact that it sounds far fetched. Dracula seems like a weird, random thing to do when Sherlock, Moftiss’s mutual obsession, isn’t finished. (Also creating an escape room to keep up hype is odd if the show is over, but I digress.) I just don’t believe Moftiss’s constant claims that they couldn’t get everyone together to film S5 because of schedules, that they wanted to take a break, that they don’t know if they will do more (when Moffatt has talked about wanting a 5 season arc before, not to mention John Yorke). And then there’s the fact that we know they have filmed scenes that we have never seen (Niagara Falls anyone?). All this evidence that S5 is definitely coming, combined with the fact that we haven’t heard anything about it but have heard about Dracula, sort of fell into place for me. Despite me being willing to buy into it, this theory still seemed a little far fetched. But wait, there’s more!

Victorian Gothic Literature, HOB, Dracula

A lot of people have been talking about how gay Dracula is going to be, and citing evidence of the connections between Bram Stoker and Oscar Wilde (Dracula was written directly after his trial and Dracula is read as having characteristics of Wilde) as evidence. This, along with the extremely homoerotic last clip of the trailer, certain parts of the text that read as queer coded (I haven’t read Dracula, so I don’t know much but have seen some things floating around that seem v gay to me), and what we know about queer coding in Victorian gothic literature in general, all make a convincing argument. Gatiss actually recently confirmed (more or less) that Dracula will be bisexual in the upcoming series. And while I’m all about gay vampires (I am a huge vampire fan, seriously I love Vampire Diaries and True Blood and was one of “those girls” during the middle school Twilight craze), there is something about Dracula being Moftiss’s first cannon gay show that feels both disappointing and incongruous.

I want to bring up the All Ghost Stories are Gay Stories meta by heimishtheidealhusband. Now, this meta was written in 2015, in anticipation of TAB. Its great and you should definitely check it out if you haven’t/don’t remember it. The part I am most interested in is actually the reading of HOB, which I will get to in a bit. The takeaways from the first bit of the meta are that monsters and ghosts (to a different extent) are representations of queer desire in Victorian gothic literature. I’m summarizing drastically here, but as queer desire was obviously unacceptable in Victorian times, writers would obfuscate it by creating an “other,” a monster or ghost, that represented the queer or “inverted” desire and also demonstrated the fear and horror that society had for homosexuality. So the monster becomes the representation of homosexuality (homosexual acts or desires) that is pursuing the protagonists. Oftentimes, the protagonists were originally obsessed with the monsters or the concept of them, before actually confronting them, but are terrified and frightened when it actually occurs (think Dr. Jeckyll or Frankenstein). This meta also specifically talks about Dracula and vampires as the most queerly coded of the Victorian monsters: “Think about your vampire tropes: Dracula sneaks into your bedroom at night, lusting after your bodily fluids. The victim, meanwhile, is paralyzed with fear, but also excitement. (Oh hi phobic enchantment, I see you there!) The tension mounts until there’s a climactic penetration of fangs into flesh. And lots of sucking. Then think about the fact that the one doing the penetrating and the one being penetrated can be - and often are - both male.” 

This all seems to bode great for our queer reading of the new BBC Dracula, yay! Vampires are clearly queer coded, and making it explicit makes sense and seems like a no-brainer. But I think it’s important to point out the ways in which this is also potentially (and likely) problematic. In Victorian times, there weren’t really many other options for portraying homosexuality. This is part of what makes what these writers did so brilliant - they were unable to show these desires as normal and healthy, because it was too dangerous and society didn’t see them that way (hence the use of the word “inverts” for homosexuals). Using the horror genre allowed them much more freedom to explore homosexuality, identity, and societal reactions to it, but also obfuscated the difference between reactions to homosexuality and the thing itself. In some of the stories, like Frankenstein, the monsters are actually misunderstood. Frankenstein’s monster only turns evil after experiencing society’s horrified reaction to it. However, in a modern context, I wonder about the message it sends to remake a Victorian story in a modern time and make the monster queer.

To flush this out a bit, I think it would be helpful to take a look at how Moftiss (and particularly Mark Gatiss) have played with this Victorian monster trope already, in Sherlock. Which brings us to HOB. heimishistheidealhusband points out that ACD’s original story “The Hound of the Baskervilles” would definitely fit into the scope of Victorian gothic literature, and their meta “All Ghost Stories are Gay Stories” does a particularly good job of breaking this episode down with the lens of Victorian gothic literature and queer coding. I am going to quote this reading here, and also also want to touch on the reading of this episode by Rebekah of TJLC Explained.

Here is what heimishtheidealhusband has to say about this episode: “Here’s why BBC Sherlock’s treatment of Hound is particularly beautiful. The creature – the hound – is our queer monster. In ACD’s Hound, the hound was indeed physically altered – he was painted in phosphorous to give him a hellish, glowing appearance. And the hound was actually the one to do the killing. In BBC’s Hound, there’s “the hound” – the monster that everyone is afraid of which is actually imaginary, and “the dog” – the real thing that actually exists. In other words, in this version, the “queer creature” in the horror story has been de-monstered. Homospectrality is being flipped on his head – rather than separating the man from the queer, they’re separating the queer from the monster. Because the dog isn’t inherently evil, it’s just the poison in the air that everyone is breathing that makes them fear it, and see a monster instead of an innocent dog. So in this treatment, if the dog/hound represents queerness, heteronormativity becomes a poisonous element in the air we all breathe.” 

This is why it is so important that Hounds is plural (as opposed to the original story “The Hound of the Baskervilles”). They are emphasizing the differentiation between the two dogs, the differentiation between the monster and the queer. Rebakah of TJLC Explained also points out that despite all the conspiracy theories, there is actually no monster inside Baskerville, but rather a rabbit that glows “like a fairy,” (let’s all take a moment to remember the skipping dance and sing-song voice Ben does in this scene, in case it wasn’t obviously queerly coded enough). It’s hard to imagine a less-threatening animal than a glowing bunny. 

Mark Gatiss has been very open about his love for horror and the gothic. He has studied the gothic writer M.R. James, and was involved with the BBC documentary about James that explored his “repressed sexuality.” He clearly loves and respects the genre, and is familiar with queer readings of Victorian gothic lit. In HOB, he chose to engage with the genre in a modern context, and to separate the monster from the queer. In doing so, he points out the inaccuracy and harm that coupling queerness with monstrosity generates. With this in mind, the choice to make Dracula feels like a step backwards, especially when you bear in mind that Gatiss has actually said that he isn’t really interested in gothic horror anymore. In an interview with Shadows at the Door in 2017, Gatiss stated: “I used to think nothing could exist without waistcoats and bubbling test tubes and now I’m actually more interested in modern horror; the gothic but in a modern context. I don’t think it has to be about the old and obviously I still love it but it doesn’t have to be about candelabra and castles. You can get the same feeling from modern methods, and in a way that is more frightening.”

All this isn’t to say that gothic horror or vampire stories isn’t still interesting and worthwhile as a concept, or that a canonically queer Dracula wouldn’t/couldn’t be badass. (I for one would love a Vampire Diaries remake wherein Damon’s character is a woman, but I’m off topic..). It doesn’t even mean that there can’t still be something complex or provoking in this representation for a modern audience. But it also feels dangerously close to repeating the queer coded (or even plainly queer) villain that we have all seen a hundred times from horror films and Disney movies. At best, still doesn’t seem particularly new or exciting, and at worst it could reinforce frankly problematic and dangerous stereotypes.

I am now going to analyze the actual trailer for BBC Dracula that was released a few weeks ago, because it is going to help me to illustrate this point. One thing that struck me most when watching it was just how horrific it really is. The 45 second long trailer includes: a fly that crawls into an eye, a bloody fingernail being ripped off, a blood covered hand, something that appears to be being birthed, a scary, old-looking Dracula with a bloody tongue, and bloody flesh that is being carved. There are at least 3 instances of mouths: the fangs at the very beginning, the mouth with bloody tongue, and the frame after the gunshot of a mouth that looks desiccated like a zombie, that only flashes for a split second. All in all, it’s not only scary, it’s quite disgusting. The three bloody or otherwise monstrous mouths that we see relate most strongly to the covert sexual tones of Victorian gothic literature (and also remind me of Moriarty’s oral fixation in TAB). These are some of the most disturbing of the images. While the intro fangs are pretty mild, the clip of Dracula’s frightening face and bloody tongue (which is followed immediately by the bloody flesh being carved) and the decayed mouth are both quite gruesome. If we apply the metaphors that we know from Sherlock, they are making some pretty damning connections. The mouths in-and-of-themselves could be read in a sexual way, but then there is the added fact that the decayed mouth appears directly after a gunshot, which we know has been tied to dicks/gay sex in Sherlock (and generally). The bloody flesh being carved on a table also recalls the food/sex metaphor in Sherlock, specifically reminding me of how disgusting the meal scene is in John’s wedding to Mary. Food and eating can be really disgusting, and this trailer makes a point to show us that. When we connect this back to the sex metaphor again, and give it a queer lens, we are once again being metaphorically told that queer sex is disgusting and horrific. 

Whether or not Moftiss are purposefully making these metaphorical statements, they definitely went out of their way to make this variation of Dracula particularly scary, horrifying, and gruesome. It’s always possible that they are just hyping up the goriness in order to get audiences excited. It’s also possible that they are highlighting the disgustingness of Dracula’s monstrosity as a means of engaging with the public perception of homosexuality or that they will complicate the narrative in some other way. But even if we give them the benefit of the doubt here and assume they aren’t trying to paint queerness in a bad light, this highlighting of the disgusting nature of Dracula’s monstrosity doesn’t seem to push forward any kind of unique, modern narrative. We have seen this, this is exactly what Victorian gothic literature is all about. They needed to explore homosexuality through its repression, to make it monstrous, because they lived in a time when there were few alternative ways to explore it (except for maybe the example of our sweet “bohemian” boys - check out this meta from artemisastarte to learn more about bohemianism and queerness in Sherlock Holmes). But in our modern day, is this really that exciting? Is this the kind of queer representation we want and deserve in 2019 (soon to be 2020)? To me, the answer is no, especially in light of the incredible and complex work they have done in Sherlock toward building a queer love story that is normalized, and completely removed from any conflation with monstrosity. 

The fact that Dracula is tied so heavily to Sherlock makes this distinction even greater. Gatiss said that they got the idea for Dracula from a still image of Benedict Cumberbatch on the set of Sherlock with his collar up. Supposedly it reminded them of Dracula and the BBC asked them if they wanted to make it. In an interview, when asked about Dracula in relationship to Sherlock, Gatiss called it a “stablemate” of Sherlock Holmes. I’m not really sure how we are supposed to take this, and he doesn’t explain at all (of course), but that would mean that they are in some way similar or connected. I think he doesn’t just mean that they both come from him and Moffatt, as that is rather obvious and was acknowledged in the question itself. Both shows are not only created by Moftiss, but written in the same format, produced by Sue Virtue, and shot at Hartwood Studios. They also really emphasize the connection to Sherlock in the trailer (which isn’t surprising because advertising), and also in the new Netflix description, which states only: “From the makers of ‘Sherlock,’ Claes Bang stars as Dracula in this brand-new miniseries inspired by Bram Stoker’s classic novel.” There isn’t even a background image, only a weird gray distortion on a black background.

Furthermore, there are also elements from Sherlock that point to Dracula, either directly or indirectly. In S4, when John is supposedly texting “E.” He asks “Night Owl?” and the response he gets is “Vampire.” It feels odd and out of place to mention vampires in this offhand way, as we have never really seen anything like this on the show. To be fair, a lot of S4 feels this way, but I believe that it is actually chock-full of symbolic meaning and that almost everything that we see that feels wrong or untrue to the show has a deeper meaning. What, then, is the purpose that this plays? Additionally, in the escape room (Spoiler alert for The Game is Now), there is a television in the first room (Molly’s lab) that is playing what is set to look like British news. In the newsreel at the bottom, they included the announcement that Mark Gatiss and Steven Moffatt are making BBC’s Dracula. Once again, this feels a little throwaway, or could be explained away as advertising (although the escape room is so fast-paced that having any time at all to look at the television, let alone read it, when it wasn’t explicitly part of the puzzles would seem rare). Once again, there is a subliminal connection made between these two shows that I would argue is purposeful. 

The decision to make a gothic show that so completely plays on this horror trope, and then to tie it both explicitly and implicitly to the show that they have already done, which has a very different messaging around the gothic as it relates to conceptions of homosexuality, seems odd. In and of itself, a Gothic exploration of queerness is possible, but feels limited by its very nature. Gothic horror through a queer lens is about queerness and otherness being equated to and embodied by monstrosity. Dracula’s trailer seems to clearly be playing up this monstrousness. I want to reiterate that I don’t think making something like Dracula gay couldn’t be cool or interesting for what it is, or that there isn’t a way to engage with the gothic without it being problematic. But in comparison to what they are doing with Sherlock, it feels unimpressive. And in light of HOB, Dracula seems to go directly against the argument that Gatiss makes so beautifully, that queerness is harmless and very distinct from monstrosity, despite what the fog of homophobia might depict. To build up this narrative in Sherlock, then cut into the middle of it with something that is explicitly connected to it but symbolically making an opposite assertion feels counter-intuitive.

Vision, Timing, 20/20

Even with all this evidence, I don’t know that I would really believe they would go through the trouble to do all of this if not for the timing. Dracula is set to come out “soon,” but people have been speculating for this winter. That would make it the end of 2019 or beginning of 2020. Now I’m going to explain a little bit about my reading of HLV, which happens to coincide nicely with The Game is Now, and ultimately this theory as a whole. 

Something that caught my eye in HLV is how much glass there is in its first scene. We open on a shot of CAM’s glasses sitting on the table. We are below them, looking up through glass (although we see later that the table is actually wood). Next we get a shot of lady Elizabeth Smallwood, reflected through glass so as to show her in double (which is particularly interesting given that she is repeatedly called Lady Alicia Smallwood, both by CAM in the text that flashes on the screen during his analysis of her later this episode, and in the S4 scene where she leaves Mycroft her card). Next we see the entire interviewing committee through glass walls (it continues but you get the picture). We are introduced to the concept of lenses, looking through them, and at times the distorted image created by them. 

CAM owns a newspaper, and he controls people through rumors: it doesn’t matter what the truth is, it matters what people believe (what they see). (This sounds a lot like Mary in S4 to me). So we are introduced again (after TRF) to the concept of fact vs. fiction, truth vs. lie, and this time with the addition of lenses. What lens you view something through matters, has a bearing on how you read something, how clearly you see it (sounds kind of like the fog in HOB). By the end of HLV, we have been removed from the narrative enough, we can’t see completely clearly. We don’t know what has happened during the time between John and Sherlock’s confrontation with Mary and the scene at Christmas. We don’t see if Sherlock and John are on the same page or what Sherlock is planning. 

This episode leads into TAB, followed by S4 fuckiness. In S4, there are many things that feel “off” but one of the biggest is that John and Sherlock are distant the entire time. In the beginning we get the indication that John is missing Sherlock, but then we see Sherlock acting as if he is closer to Mary than John, inviting her on cases in his place. She gets inserted between them completely, becomes part of the gang. After Mary’s “death” John blames Sherlock (in a feat of logic that is truly baffling) and we have them at their most distant in TLD. And then, they come back together again in TFP, but the warmth and closeness is missing.

This season makes it clear that Moftiss were writing in all the little things that made their dynamic romantic and their chemistry so clear. They were able to take that out, and they did so with intention. It is if we are seeing the show through a lens: through the lens of straight-washing, the lens or perspective that Mary (John’s wife, the symbol of a straight John Watson, a platonic John and Sherlock) narrates for us so thoroughly at the end of the series. (Also side note, this straight-washed version of the show also fits into the 5 part John Yorke structure with part 4 being the height of the antithesis or the “worst part” - I learned about York from garkgatiss’s meta). The heart of the show is John and Sherlock’s dynamic. This dynamic is clearly intimate and romantic and has been in every iteration of Sherlock Holmes since the original stories, despite never being explicitly canon. S4 really follows through on Moriarty’s promise. The heart of Sherlock Holmes is gone, missing, burned out. 

Then we have the escape room [mild spoilers]. The entrance is Doyle’s Opticians; its filled with glasses. (Side note there was definitely a wall displaying glasses that were arranged by color to look like a rainbow). Once again we have the theme of lenses. Being in an optometry office, it’s interesting because the focus is obviously on correct vision. 20/20 vision. Vision is “right” when it’s 2020. (This wasn’t my realization, but someone else went to the escape room as well and wrote about it). So now, we have this idea of being able to see correctly tied to the number 2020. To the YEAR 2020. This is also interesting because one of the signs in Doyle’s Opticians read “You were told but you didn’t listen: coming soon.” Just another indication that we will be getting more (Sherlock) soon. 

Now, finally, we come to what I see as some of the most convincing evidence about Sherlock S5 coming in 2020. It has to do with copyright laws. 

In England, all of ACD’s stories are in the public domain. However, in the US, this isn’t so. US Copyright laws are different from the UK, so the last of the stories won’t actually enter the public domain until 2023. American copyright duration is 95 years from the date of publication. This is important because the Arthur Conan Doyle Estate is extremely protective of how Sherlock Holmes is portrayed in the media. It turns out that despite the fact that most of the stories are already in the public domain, BBC, CBS, and Warner Brothers have all gotten licenses from the Estate in order to make their shows/films. In 2014, the ACD Estate lost a lawsuit in which they were trying to argue that the characters are “complex” and that any use of the character (at all) was still valid under copyright laws (as not every story had entered the public domain) and therefore in need of a license from them. While some of the later stories are still under copyright, they lost the lawsuit and it was ruled that the character (as written in the earlier stories) is in the public domain. They sued Miramax for its production Mr. Holmes, which portrays an elderly Holmes, arguing that it drew from the later stories and therefore violated copyright. Miramax ended up settling to avoid litigation. The Estate is known for being litigious and basically doing its best to stay gatekeeper, hoard ownership, and generally extort money out of anyone who creates anything having to do with Sherlock Holmes. While the BBC has paid them for licenses before, I’m not sure how this clearly conservative group would feel about making Johnlock canon. Even if its not legally in their power to prevent it from happening, it doesn’t sound like that has stopped them in the past from suing basically anyone that has tried to create Sherlock Holmes material without their consent, and if that material in any way seems to come from the later stories, then they might have a case. 

Which brings us to the Three Garridebs. Moftiss have said in the past that this is one of their favorite stories due to it being the story where Holmes shows his depth of feeling for Watson. As stated by Watson himself, “It was worth a wound–it was worth many wounds–to know the depth of loyalty and love which lay behind that cold mask” Generally speaking, the fandom has posited that a Johnlock reveal may happen in a “Three Garridebs” moment. And do you happen to know the story that directly precedes the Three Garridebs? The Sussex Vampire. A story in which Holmes investigates a supposed vampire only to discover a loving mother who is attempting to save her infant child by sucking poison out from his wound. Kind of sounds familiar huh? A perceived monster, who is in fact nothing dangerous at all. Who in this case is the exact opposite of monstrous, is actually loving and gentle (like the real dog that is tellingly tied to sentiment, or Bluebell the glowing rabbit).

Both the Sussex Vampire and the Three Garridebs are part of The Case-Book of Sherlock Holmes, the last collection of stories. They were both published in 1924, meaning that both their copyrights run out in 2019. It will really only be possible for Moftiss to use material from the Three Garridebs for a queer storyline starting in 2020. And if we assume that this is their plan all along, that they have even potentially set it up in S4 (looking at you John Watson getting shot by “Eurus”), they have HAD TO WAIT until now. But they won’t need to wait any longer, starting in January. 

Oh and by the way, here is an interview Martin gave recently in which he tells a story about how he had to literally give up the Hobbit because he was CONTRACTED to Sherlock S2 and they wouldn’t move filming on that. (Thankfully Peter Jackson moved filming around for him, so we still have him as Bilbo). So I would imagine that if S2 was contracted, and they were planning on making a 5 series show all along, that they are probably contracted for all of it. Which means all those claims that its just too difficult to get everyone together for filming are just another means of throwing us off the trail. 

If they have been waiting for this copyright to expire, but also unable to tell us that that is why they are waiting, it also makes sense why they have stretched it out so much. It's even possible that they didn’t realize how horrible the ACD Estate was going to be when they first started filming, and had to adjust/drag it out so that they could finally do what they want to do, what they have been planning for from the beginning.

So there you have it: the ending of The Final Problem, an analysis of HOB, Dracula, and Victorian gothic lit, and finally the symbolism of lenses, correct vision, and copyright issues all leading up to 2020. I think S5 of Sherlock is coming. I’ve been feeling it, sensing something for the last few months. I think we can all feel it. And it might just be sooner than we thought.

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

Thank you so much to my love @canonicallybisexualjohnwatson who co-developed this theory with me, edited this, helped me with the links, and was also the one to introduce me to Sherlock/TJLC, subsequently changing my life. i love you b.

[truthbeetoldmedia]

The 100 7x01 "From the Ashes"

Welcome back to The 100 (for the last time). We have finally reached the beginning of the end and what a journey it promises to be. Last season ended with several big shockers, Abby Griffin was taken as a host for Simone Prime, the Flame was removed from Madi and effectively destroyed and Octavia Blake was stabbed and disappeared into a fine mist-ala Marvel characters after a Thanos snap. That means that the last season premiere The 100 will ever get already has a lot of questions to answer, in addition to (hopefully) managing to successfully wrap up a series that has spanned several years. 

As in previous years I’ll be dividing my review into sections, previously these sections were a riff on the concept of “The Good, The Bad, The Ugly”. This season, I will be separating them based on plot line-as even in this first episode there are two different ones-until those plots begin to coalesce into one. 

We’ll begin with what I am currently terming:

 “The Main Plot That is Somehow Made Up of Only Side Characters (Two of Whom We Just Met)”

We pick up right where we left off, with Bellamy reeling from Octavia’s strange disappearance and rushing off into the woods around Gabriel’s compound to search for her. In his grief he’s less than observant and he is knocked unconscious and abducted by an apparently invisible force. These few seconds-less than 30-represent all of the screen time Bellamy Blake receives in the first episode of the final season of The 100. Fans who have been watching the promotion for the final season have become increasingly anxious over the absence of the male lead and it seems those anxieties were justified. It is astonishing and offensive that one of the core members of the show is removed completely from the story in the final season, his absence literally stripped from him as he is once again thrust back into a plot line he has only just managed to escape: his life (and thus his worth) being directly proportional to Octavia’s. As Hope escapes and Gabriel and Echo take off after Bellamy we finally actually enter “The Main Plot That is Somehow Made Up of Only Side Characters”. 

Eventually, Gabriel and Echo run into Hope, who has discovered-albeit too late-a piece of paper lodged in her arm that states “Trust Bellamy”.That message doesn’t stop her from getting into a quick tussle with Echo and it’s obvious that she’s had some training-with a mother like Diyoza and some kind of relationship with Octavia, that’s not at all surprising. The three of them-after coming to a sort of peace with one another, journey for quite some time. It is full dark before they catch up with the invisible force that has taken Bellamy and when they do so, they find themselves caught up in the hallucinations that the anomaly causes. 

Here we see Echo confronted by two ghosts from her past, King Roan and the actual Echo-the one she murdered in order to survive. Both ghosts make valid points-that Echo is a creature driven by servitude, which some I suppose would mistakenly call loyal. They even go so far as to question Echo’s purpose in life now that her current master (Bellamy) is missing. I don’t think it’s an unfair assessment. Echo latched on to Bellamy in Season 4, seeing him as an authoritarian figure and she never really let go. While I do believe that they both love each other, it seems very obvious that said love (at least on Echo’s part) is fueled by a need to have someone who she can serve. Who is Echo once she no longer has someone to answer to, who does she become when her one stabilizing figure is gone. I suppose that’s a question we’ll get answers to this season. Hope also sees a vision-albeit shorter-of Octavia telling her to stay quiet, no matter what she hears. As this is a line we’ve heard in the trailer, it seems obvious that the anomaly can also show someone memories and not just their innermost fears (what we see with Echo). Gabriel sees nothing-or at least nothing we see, but this is unsurprising given he’s studied the anomaly so long. 

Finally managing to break free of the hallucinations that they’re being shown the trio manage to get the jump on a few of the invisible assailants and when they do the audience is shown the inside of their helmets. Hope they are told to kill on sight, indicating that she is somehow a known threat to them, but Echo and Gabriel are supposed to be reditioned to Bardo. I’d like to take the time to point out now that to rendition doesn’t simply mean to take. It means that you are treating these people as political prisoners who know potentially damaging information-and want to use any means including inhumane ones to retrieve that information. And Bellamy has already been taken. Despite the order to rendition Gabriel and Echo though, they don’t actually seem to want to capture them, instead continuing to rebuff them, together Gabriel, Echo and Hope manage to stop the assault and their story ends with them walking into the anomaly holding hands-so that they won’t be separated. It’s possible their next stop lands them directly in Bellamy’s path, but given it’s taken them so long to catch up with the Invisible Force I find that unlikely, especially given that the Force can apparently conjure up the anomaly whenever they choose to. 

I do find it very interesting that the Invisible Force was also meant to capture Echo and Gabriel and yet-when they chase after Bellamy-the Force fights them off. I'm assuming that they choose to take Bellamy and leave the others so someone is left behind to tell Clarke that Bellamy has been taken.This makes sense as, Clarke being the main character, she’s likely the person they’re trying to ultimately take. It’s just one more piece of bait (that will produce no actual results) for Bellarke fans however. While the instinct is to be excited that whoever has taken Bellamy likely knows that Clarke will do whatever she can to save Bellamy, at this point we all know that nothing good is on the horizon for him. 

This leads me into my next section:

“Almost All of the Mains are Here, but it Feels Like This Plotline is Unnecessary”

Sprinkled through this episode like bits of parsley (aka food grass) are the rest of the Arkadians (and yes I still call them that). So much of this particular plot feels like something that could have been taken care of during the Season 6 finale. Almost everything that happens in Sanctum could have been carefully tied up during the final bit of Season 6 and we could have begun this Season with the scene of Octavia being stabbed and disappearing. It feels very disjointed to watch Clarke (and the others) deal with the repercussions of what happened in space, like what to do with Russell Prime (especially as it appears that all of these things happen literally the day after the Season 6 finale). We’re expected to believe that Clarke has apparently gone through all of the stages of grief, somehow managed to find a perfect yellow farmhouse, set up Russell in what is essentially serving as a prison and begun to discuss plans for building a compound for the Arkadians all in, what is essentially a few hours after her mother’s death?

To top all of that off, we never see any cracks in the picture perfect “I’m fine” exterior until Clarke snaps when Russell hands over Abby's ring and clothes and begins to beat him rather brutally. It’s such a stark contrast to her behavior over the course of the episode that it just doesn’t align with anything that she’s done. To have Clarke go from “I want to do better because I don’t want Madi to grow up in a cruel society.” to “We’ve all made mistakes, tomorrow Russell Prime dies for his.” almost gave me whiplash. It would have been so much more believable if we’d seen small cracks in her facade over the course of the episode, but there were none. Am I meant to believe that-like Madi retains some of the memories of the Commanders before her even though the Flame is destroyed-that Josephine (and her sociopathy) linger in Clarke’s consciousness and that’s what made her brutally assault Russell? Or am I meant to believe that this is truly Clarke? I don’t know, but I do know that whatever message they were trying to sink there, it didn’t land. 

I did really love Madi’s plot this episode. I enjoy that, now that the Flame is dead she doesn’t have to be a receptacle for a long dead love interest of Clarke’s. I enjoyed that she was going to school and has a house and a dog. I really liked that she was finally able to remind Clarke (and the audience) that she had a mother before Clarke and she didn’t just forget her because Clarke showed up. I did not like the fact that-even in the absence of the Flame-we are expected to believe that Madi still maintains memories from the commander and of course the one they choose to focus on is one of Clarke as Wanheda-meaning that it’s a memory of Lexa’s. It is infuriating to me that the Flame can be destroyed and yet Madi as a character somehow still exists as a mouthpiece for a character who has been dead for over 125 years at this point. It would be nice if this show could spend time actually developing the new characters they forcefully insert into the narrative every year, but I expect in the final season, that might be asking for a bit too much. 

To further the refusal to leave the Grounders in the past, Jason somehow manages to have the Dark Commander transfer his consciousness into Russell Prime’s where he lurks in the background until Russell is knocked unconscious by Clarke (are we to assume Russell has not slept during this time as well?). My best guess is that he does this by using some type of Bluetooth/Wi-Ffi situation,  When they are destroying the flame and uploading him into the Eligius ship. Because both are Eligius tech, the Flame and the mind drives created by Becca are similar. I assume the Dark Commander’s code searched for (and found in Russell-who was on the ship) something similar to his own tech and simply uploaded himself onto it in the background, waiting for an opportunity to show up. Now all that’s left is to see what type of fresh hell he unleashes on an entirely new planet-especially given some of the residents of said planet believe him to be a god.

I do find Murphy potentially interesting this year. For years he has managed to “cockroach” his way through situations. Staying alive through nearly impossible situations. But there seems to be a fair amount of turmoil surrounding his decisions as they relate to Clarke and Abby (and their deaths) as well as his decision to become a Prime. Given that connection with two of the three Griffin women, and my concern that Madi will find herself in danger once it’s discovered that she is no longer the Commander and once the Dark Commander manages to get her alone (which we all know will happen sooner or later), I would not be surprised if Murphy (who has never been one to make the sacrifice play) does so in this final Season. 

Smaller things I enjoyed include Raven and Clarke’s relationship being on the mend. The two haven’t really been friends since Season 2 and Finn’s death, so it’s nice to see that-although it took Shaw and Abby’s deaths respectively-they seem to be leaning on each other at this time. With Clarke having lost all of her natural born family, it would not surprise me if she is willing to go to devastating lengths this Season to keep them all safe. I’m also very interested in the increased presence of both Gaia and Indra. As a fan of both Tati Gabrielle and Adina Porter (and their massive talent) in show’s outside of The 100, I’ve yearned for a deeper exploration into their relationship for Seasons. It looks like we might finally get to dive deeper into who they are now that Gaia is no longer a Flamekeeper and Indra no longer has a Commander. 

Overall, I believe this is the weakest Season Premiere of The 100 to date, which is terribly disappointing given the fact that it’s the last one they’ve ever received. Even though we have yet to see the backdoor pilot (Rothenberg says it will be 708), it already feels like this final Season will serve more as a way to set up a show that will likely not take off the ground (because Rothenberg has successfully managed to upset every person in the show’s fanbase) than the sendoff to the existing characters and stories he’s spent 7 years building. It will be a terrible thing if that is indeed the case. Hopefully, based off of the title of this episode, The 100 will manage to make some sort of phoenix-esque ressurection. But for now, I don’t know if they have enough time to truly tell the story that Rothenberg wants to.

The 100 airs Wednesdays at 8/7c on The CW

Aprille’s episode rating: 🐝🐝

[littlemisssquiggles]

I am not gonna lie squiggles, the trailer, while very cool indeed, has me exceptionally worried about the character development for our farm boy. You’d barely know he was there unless you looked for him, and V7 should be an arc where Oscar has a lot of influence, y’know? The girls look great, but I am stupendously worried that we’ll get a V6 disaster repeat.

Ooof, that is indeed a mood right there anon-chan and quite frankly I don’t blame you for having these concerns cause it’s definitely shared. But here’s how this squiggle meister is choosing to look at it, right?

Remember how back in V6, Oscar was plastered all over the V6 Volume Trailer and the volume poster making all of us Pineheads get super excited because we thought this was a sign from the CRWBY Writers that V6 was finally going to be the Oscar-worthy season we’ve all been dreaming for our favourite precious freckled farm boy?

Remember when we all went into V6 thinking that we were gonna get to see our boy grow and get some worthy time in the spotlight where his character wasn’t eclipsed by Ozpin?

Remember when we thought V6 was gonna be Oscar’s season ALL BECAUSE OF THAT DARN TRAILER AND POSTER... only for it to turn out to be a huge disappointment that somehow turnt out to be surprisingly worse than his treatment in V5? 

Remember that? Wasn’t that lovely? Wasn’t that a grand ole time? Sweet Lord, it is very telling when I have to actually say, hand over heart, that out of the entire Mistral Arc, V4 treated Oscar way better than V5 and V6. 

VOLUME 4!

So yeah, that being said, I’m actually looking at the lack of Oscar in the V7 promotional media as a positive thing. I mean look at what we had to work with last time.

In V6:

WHAT PINEHEADS SAW BEFORE V6:

- Oscar appeared a lot in the Volume Trailer- Oscar was positioned right next to Ozpin in the Volume 6 Poster, indicating to audiencethe potential that he was going to be a focal character for this season.

WHAT PINEHEADS GOT IN THE END:

- A mixed bag of a season that still did very little for Oscar’s character; mostly using him as a plot device to further other character’s development despite the narrative painting otherwise. Character development happened off-screen AGAIN and to add more insult to injury, the CRWBY had the proverbial Dragon balls to sugarcoat this hiccup with revealing his new huntsmen gear. As if people wouldn’t still notice that they f***** up. 

So maybe this time---->

In V7:

WHAT PINEHEADS SAW BEFORE V7:

- Kerry Shawcross, CRWBY Writer, teasing at RTX 2019 that he’s most excited for Oscar’s side of the story for V7- Oscar barely appears  in the V7 trailer- No new info for his side of things to come for V7.

WHAT PINEHEADS MIGHT GET IN THE END:

- A very Oscar-worthy season? The best we’ve gotten ever for him? 

Who knows y’know? Maybe this will be the case. 

Overall, I think folks already know my stance on this. Ya’ll know by now that I’m NOT buying into anything that was said about Oscar’s story for V7. Not until I see the proof in the pudding.

I learnt my lesson from V6. I’m going in with expectations so low that they’re practically negative digits. Sure there are things I would LOVE to see done for Oscar’s story in Atlas however I’m playing it safe by assuming nothing from these Writers. 

Last time I went into V6 with expectations based off of my headcanons and theories for Oscar’s side of things that I genuinely thought we might see going off of where V5 left him and not even the bare minimum (Oscar actually receiving character development on-screen with the audience getting to know/understand him as a his own character outside of Ozpin) was met.

So maybe if I go into V7 with -100 expectations, it might prove better for my overall enjoyment of the season when it comes to the treatment of my favourite RWBY character; if that makes sense. 

If V7 is gonna be a season with development for Oscar, all I can do is wait with the patience of a Saint to see if it all comes to fruition. This is why I always use the ‘proof in the pudding” analogy.

Pudding is a dessert that comes in a chocolate flavour. However despite being sweet and delicious, pudding can also easily pass for something else that’s rather putrid and disgusting; if you know what I mean.

So this is what I’m wondering with the CRWBY Writers. What will they be serving us Pineheads for V7 in terms of our boy’s side of the narrative?

Are we in for a sweet treat that will leave us happy and satisfied for our favourite freckled farm boy or are they going to force us to dine on MORE glorified bullshit in an attempt to pass it off as the dessert they promised?

Pineheads keep recounting Kerry’s Shawcross’ infamous promise of pudding for Oscar’s V7 storyline. I’m just the squiggle meister who’ll be waiting ever so calmy to see the proof of that.

~LittleMissSquiggles (2019)