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kabuki-draws · 10 months

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I watched Ridley Scott's NAPOLEON yesterday and it was a complete Waterloo.

Yes, I am a big history nerd with a giant heart for movie adaptation of historical topics. But when I watched NAPOLEON I sat there... and tried not to laugh. It was not only so historical inaccurate, that I wanted to cry, at the same time it was filled with cringe dialogues, red flags and terrible color grading. This whole movie made me so sad yet so angry, that I HAVE to write this review:

(Disclaimer: This review is based on my own opinion. If you enjoyed the movie, it's completely fine. Btw. in that case or if you agree with me, feel free to tell me your opinion. I would love to know!)

First of all: Don't get me wrong, the medium film has its own rules and you can't put as much historical accuracy into a big scale movie as you would into a documentary - sometimes the story needs to be altered to be a good movie. And that is fine. Even if Gladiator is a complete fictional story set in the Roman Empire, I can still enjoy this movie for what it is: A good-written story with great characters, a beautiful score and iconic scenes. With Kingdom of Heaven it's kind of the same - and while the movie cut was very inconsistent, I still kind of liked it. But then the Directors Cut made it a a masterpiece for me.

Funny enough, both of these movies are made by the same person: Ridley Scott. So naturally I thought: Well, Napoleon won't be a historical accurate film, but I surely will enjoy it anyways. Well, ...no. It is not only historical incorrect, it's also a bad movie overall.

To start it short: NAPOLEON clearly lost itself in all the various topics it wanted to tell within a runtime of two and a half hours. It made the whole storytelling very weird and inconsistent, causing the problem, that the audience even loses itself in the questions of when and where. Where is that scene located? When did that happen? And then comes the question: Why is this even happening?

Ridley Scott wants to depict Napoleon as a lover, a military genius, a big political figure, a revolutionary and more. But in the end he tells all of this in the most shallow way possible, which waters down Napoleons personality traits and achievements to a series of small scenes. You never get a glimpse of the "true" Napoleon, who was described as a highly intelligent and charismatic man. In fact, you never really feel ANYTHING about him except that he was a cringe red flag in front of his wife. He just stands there, stares and has very limited dialogue scenes to get a picture of that man. What are his overall motivations? Only Josephine? If so, why is this motivation only vaguely explored?

The whole love story between him and Josephine feels so unnatural and got to the brink of being disgusting. This is particularly sad because I deeply respect Vanessa Kirby and Joaquin Phoenix, they're both stunning actors. I don't know if they just couldn't fit the role or if it was rather a problem of the script (the last one is my guess). Yet whenever I saw Josephine and Napoleon on screen, I felt like acted very stiff and forced. Napoleon seemed more obsessed with her than actual love and that can be a character trait, but there wasn't a chance to explore that deeper. Before the movie entered the cinema, the lovestory between these two was marketed as intense, obsessive, deeper than you could imagine. What the audience got was a few scenes without real conversation, much staring and a bunch of cringeworthy s-scenes. And seriously, these "sexy" scene were the worst. I was so disgusted by them because they were SO DAMN WEIRD. There are no scenes that undermine ANY deep love between Josephine and Napoleon. It felt therefore so off, when they still longed for each other after their divorce.

And let's not start to ramble about the fact that they depicted Josephine ONLY in a somehow sexual way. Yeah, there is that scene where she says to Napoleon, that he is nothing without her. BUT SHOW, DON´T TELL! You never see her doing something instead of sitting there, talking with others or when the plot needs her to have sexy time with someone (not only Napoleon). As a woman myself this makes me so freaking furious, you have no idea. I don't need a marvel-coded super-strong woman with unlimited talents - I just need a female character that is written GOOD and plausible! Make me CARE for her plot and for the plot of Napoleon! Both of them don't even feel like normal human beings because they're like blank pieces of paper with their names written on it!

And don´t make me start to talk about the historical inaccuracies. At first I didn't want to draw that card. Actually, I don't need a historical movie to present 100% facts. If the movie is still enjoyable, it's okey. But even if many people say that the war scenes were awesome, I can only partly agree. Yeah, we have that cool ice-lake Austerlitz battle, but it took me a couple of minutes and a better look on the uniforms to know that Napoleon is now at war with Austria! You get nearly ZERO context to Napoleons battles. Yeah, nice, the scenes look cool - but there is nothing more to it? Is that all you need to show for the audience to care? For me at least, I just didn't care at all and I was very happy when I got out of the cinema. Overall this movie is full of messy non-sense choices that don't contribute to the story. Many moments just confused me and it left me with the question why Scott couldn't simply hire some historians to put together a consistent story. Everyone who read about Napoleons life knows that there are so much cinema worthy moments in his career that would've been so much better than what we now got.

I could ramble about that movie for hours if I´m honest, but I hope this little TED talk was enough to make my statement clear.

In the end, it just makes me sad. I wanted to like this movie, I wanted it to be good. For months I hyped myself up to this, read books about Napoleon, watched the trailer all over and over and talked with friends about how great this movie will be. Now I am just disappointed and frustrated. Oppenheimer was such a great biopic of a historical person that became a great success at the box office - even without great battle scenes. I hoped that Napoleon would push a cinema revolution, that shows people want big scaled films about historical personalities and history topics. But now I just want to forget this Napoleon movie to be honest.

#napoleon #napoleon bonaparte #napoleon movie #ridley scott #joaquin phoenix #vanessa kirby

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thoughtfulchaos773 · 2 months

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The Bear Season 3 & Meta Filmmaking II

with the opinions & work of William Friedkin

This is who Richie is this season.

Here is Part I on meta filmmaking, where we discuss the first branch of the film legacy: Hitchcock, who inspires the meta filmmaking choice this season and self-reflexivity- the director surrogate, Richie.

Richie, as director surrogate, guides us through dialogue inspired by William Friedkin.

The part of the legacy Storer took from Chicago native Friedkin was his passion for filmmaking and his opinion on the movies and the industry itself. Friedkin considered the Academy Awards as a fool's errand to pit art against art, and Richie's dialogue on The Star System for Restaurant highlights this.

Interestingly enough- did Storer tell his own prophecy? Before falling off Hollywood's grace, Friedkin came from a high of two highly acclaimed films (like The Bear's two highly acclaimed season), Friedkin was riding off a high from The French Connection and The Exorcist, but his third film received mixed reviews. I'm wondering if this season was Storer's big fuck you to the Hollywood System and Awards System.

Another note: Hitchcock's Vertigo received mixed reviews from critics but now is referenced in filmmaking legacies.

We haven't seen Storer give any awards speech, have we? Calo has shown up, but no Storer.

Legacy not only comes from the work but also comes from the opinions of those before you.

For Friedkin's work- it can be taken as part of the legacy and why most of us here are seeing all sorts of horror inspiration this season.

The Hitchcock-Friedkin legacy.

Fun fact: William Friedkin's Exorcist- well, exorcist steps- where the priest falls to the death were informally called "Hitchcock steps"for famed suspense and horror film director Alfred Hitchcock. But is now referred to as The Exorcist Steps. Legacy!

If we go based on other legacies—based on William Friedkin's opinions of Hitchcock, he inspired the editing of Friedkin and his understanding of suspense, which influenced his movie-making skills for The Exorcist. @moodyeucalyptus explained they see parts of Mike Flanagan's Haunting of Hill House as we discuss the hauntings of this season. How is Mike Flanagan part of the Friedkin Legacy? He was inspired by the workings of the exorcist and is now part of the new remake.

Another horror inspiration: Now how is Friedkin related to another horror legacy that @espumado wrote a meta on this week?

The exorcist legacy comes from the Night of the Hunter legacy.

Carmy: Like, um, something would start somewhere, and then, uh, people would take that thing and then they would take it somewhere else. So, all these parts of an original restaurant would end up at a new restaurant, and that kind of thing. That would happen over and over again. And then all these parts of all these restaurants, they would sort of…You know, they would find each other. And then new people would take those parts and put ’em into their restaurant. And the whole thing, it would, um… It would start to happen all over again.

This is all about legacies and meta on where Chris gets his parts.

But how does this relate to Sydney and Carmy?

As we talked about before, Richie is observing. Friedkin, whose legacy comes from Hitchcock, believed Hitchcock was Observational in his directing. Richie the character included himself in the narrative but the one narrative he stayed out of and only observed this season was Sydney and Carmy.

Richie is the director's surrogate, who highlights and explains the basics of why Carmy is the way he is—not who Carmy himself thinks he is but what the audience can take from Carmy's self-sabotage.

The story we are observing is correct. This dynamic between Syd and Carmy is worth examining because it is a central part of the story and a big aspect of the filmmaking process.

I'd say it's proof! Richie is telling us our eyes are not deceiving us; the dynamic is interesting.

As an audience, we subconsciously absorb the cinematography, music, direction, and dialogue, taking cues on the story being told and its inspirations. Another ledge that can show us that their synergy is legit its filmmaking technique in editing.

Friedkin-Scorsese-Hitchcock favorite part of filmmaking is the editing. Scorsese is the best example of this, and I'll explain his legacy in editing in the next part and why that relates to sydcarmy.

Read:

Hitchcock and His Use of Surrogates

Ancestors and The Bear by @whenmemorydies

Richie and The Viewer by @whenmemorydies

Natalie & Night of the Hunter by @espumado

The Bear Season 3 & The Mirror @currymanganese

Richie's Journey is not Over @currymanganese

The Paradigm Shift @brokenwinebox

Taglist: @yannaryartside @whenmemorydies @ago0112 @chaoswillcalmusdown @ambeauty @anxietycroissant @turbulenthandholding @tvfantic87

#sydcarmy #richie jerimovich #the bear fx #the bear season 3 #the bear season 3 meta

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thewalrusespublicist · 7 days

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Two of Us Play: Thoughts or 'This Could Mean Nothing: The Play'

I saw Two of Us and I have thoughts. and feelings. Frustrated feelings.

What I liked: the mental health angle, the details, the research, the bones of the story and the acting for the most part (good actors, poor direction basically).

What I didn't like: First off the script needs work. At the minute it plays more as a spot the reference rather than one coherent story. This doesen't feel like convo between friends but a recap of Beatles lore with no train of thought that gets satisfyingly resolved and whilst hitting off the movie beats rather than building to them. The pay off feels less like a cathartic journey and more 'cool it's Mclennon I guess..'. Next the chemistry is off, the two leads don't feel like platonic soulmates/best frenemies and they don't fly off of each other as John and Paul did. Instead the energy is super low, even in their heightened fight scenes it doesn't feel like two people duking it out. There's no screaming and shouting, it's like two old but never that close friends going from awkward to semi awkward and back again repeatedly without ever hitting any moments of sizzling connection. This I think is partially to do with the 'nice Paul' characterization, which please lord can it end! Let our beloved alpha bitch be beloved and alpha bitchy, it's good for his skin AND MORE REAL.

I think the chemistry/energy problem is linked though to the main problem and the elephant in the room: the 'latent' homosexuality. Latent is probably the best word for it, but that's only because of the play's fear of its own implications. To be clear, with a slightly more daring director unafraid of the material, the latent would be BLATANT. The dialogue is BLATANT. John's wordplay is loaded with suggestion: 'best fuck you've ever had', 'you should have married me' and there's a closeness when they are singing on the piano which was 👀👀. The 'I love Paul' badge is also there with a 'lucky Paul' comment that COULD have built to a potentially interesting character moment. But they just fly over these bits like they haven't been said. The candlelight dinner as well that John puts on for Paul is by its nature loaded, as is John offhandedly calling him 'my love' when fiddling with the stereo during that scene.It's so casual that it feels like an accidental slip on John's part. But nothing is made of this, no pause, shift in the air, comments, nothing. This was the worst with the KISS which was initiated by John and yes, way way way too long for it to mean nothing and the Epstein jokes are completely omitted. Its a wild moment, but the play can't seem to handle what they've just laid down so just ... skates past it. Its like HAHA WEIRD RIGHT THEY JUST KISSED ANYWAY ROOF SCENE.

But the implications also aren't consistent as the whole thing is too attached to the 'Paul is a jilted victim' angle. It's Paul who is jealous of Yoko, but save a line about being surprised about Linda, John seems neutral (weird considering its JOHN making the overtures and was IRL not Linda's biggest fan). The ending is the strangest for this. They have the SNL thing like in the movie but it's weirder as Paul is CRYING. OBVIOUSLY CRYING. CAN HEAR AUDIBLY FROM A DISTANCE CRYING. The whiplash of John throwing down these implications and suggestions to just ... nonchalantly giving a hand grip goodbye and ignoring Paul's tears after going on this whole journey together is WEIRD and makes him look like a user and a selfish, insensitive prick. Like bestie your bestie is crying you can call Yoko back??? Also the end is meant to be a love you to both each other and their wives but Paul's is clearly to mostly John and John's feels mostly to Yoko. It's not a good look on John and its not a good look on his relationship with Yoko (yh John could free himself from the prison he's made for himself and was about to but the darn Yoko pull is just too strong guys). Again this would be sort of sad but fine if it was Paul making the overtures or there were no overtures but it isn't and there are! John is both the mooning would be romancer and the unavailable ex. Once again nuance and coherency (as well as Paul and Linda!) are sacrificed for the traditional John and Yoko angle. Wholeheartedly, it feels like there has been a layer of implication added onto the script, a layer which means that the original elements of the script would need to change to work but they haven't done it so you have this Frankenstein's monster of a traditionalist narrative fused with loaded suggestion.

So yeah, I think the whole thing had a lot of potential as a play but the script needs an overhaul, the actors need better chemistry and if you are going to go there, for gods sake GO THERE.

#two of us #Michael lindsey-Hogg save us Michael Lindsey-Hogg #john lennon #paul mccartney #the beatles #lennon mccartney #if you're doing RPF don't half arse it #didn't mention but why are they cosplaying as Get Back them??

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versegm · 1 year

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Actually while I'm here I wanna talk about a specific issue with writing which is that a lot of people are under the impression that just anyone can write. Maybe it's a thing in other art fields as well I don't know, but I do know that for a lot of people "writing" = "typing on a keyboard" and how hard can that be, right? It's just making a story with a beginning, a middle and an ending. You just string the words together and then it's done. Anyone can do that!

(Spoiler: a lot of people cannot do that, because writing involves a lot of difficult thing such as "having a prose that actually looks good" and "having a prose that is actually comprehensible" and "having a story as a whole that is consistent internally and thematically" and "you actually have to foreshadow your twists" and "you need the project management skills to actually finish a story" ect ect)

The end result is that a lot of people devalue writing and writers, because they think that's something so easy, why would anyone attribute any worth to unskilled labor?

And like. On a personal, petty note, of course it sucks. It's annoying that people constantly take my work for granted. It's annoying that when I tell irl people that I write the reaction is usually the same as when a child brings you macaroni art.

But on a wider, much worrying note, companies also function under the same mindset. I've heard of game dev studios trying to cut corners by having the devs do part of the writing. I honestly wouldn't be surprised if some showrunners or movie directors or whatever tried the same thing because "well, it's just dialogue, how hard can it be?"

I don't really have a point with this. It sucks, man. Appreciate your writers.

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haloxsaisha · 2 years

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So Good.

[Lewis Hamilton x Actress!Reader]

Based on: So Good by Halsey.

Warnings: Angst, Abu Dhabi and Monza 2021 (I'm so sorry), some fluff, few cheesy dialogues (cause I'm a dumbass), depression, insomnia, eating disorder and weight loss.

Word Count: 15.5K words (I've never written this much in my life so far, I'm so proud of myself).

A/N: My first Lewis fic, I wasn't expecting it to be done with during the Abu Dhabi race week but oh well💀 I'm personally quite happy with how this turned out! I hope y'all like it <33

Bold and italicized font: song lyrics.

Italicized font: flashbacks.

“I remember the night, I was so frustrated.”

You could only bury your hands, head filled with shock and completely blank.

You never thought this would ever happen to anybody, let alone just him. Nobody who had watched the sport did.

Everything inside you began to sink in the moment the whole mess about unlapping the cars started and as the rest of the race unfolded, you felt yourself crumbling.

Lewis staying in his car in silence, in disbelief at the parc ferme had been playing on your mind again and again.

You were supposed to be there. You had to be there for him.

You had apologized to him multiple times for not being there in a championship decider race, especially at a win that was so historically important but he dismissed your countless apologies saying that he could understand. You had been shooting for a movie in London since November, which also meant that you hadn't met each other in more than a month, work and COVID restrictions making its way in. There was one thing that you and Lewis always stood by, which was that your jobs would be given the first priority. Understandable from both sides because your works usually involve a lot of people, meaning that compromising on it was quite hard and it was also very important to both of you from an emotional perspective, although you had to admit the Formula 1 driver was reaching an equivalent position to your work in your heart.

You watched him speak in the post race interview and then the moment he shared with his father, leaning his head as he took in the encouraging words being whispered in his ear. He had always been so strong and it was something you admired about him.

You sent him a message (which you hoped would provide a bit of comfort), mentioning that what happened was unfair, he deserved that win after everything he'd been through the entire season and that night and how proud you were of him. Also adding that he could call you when he felt like doing so because he wouldn't be in the headspace to talk to people at the time.

Seven hours later, you were done with your scenes for the day at ten in the night. The first thing you did after entering the vanity was checking your phone and your message to him was still at 'delivered', which increased your worry and anxiety.

After a bit, you got the idea of dropping a message to Angela, who was somebody you were close to too. You knew the Wolffs, Miles and Daniel, you even met his parents, stepmum and his siblings too when you'd been to the Silverstone race but Angela was somebody you bonded along with very well. She was one of the sweetest persons you'd met and also took care of you like an older sister would whenever you were around.

But you'll only get a response a while later since it's probably the wee hours at Abu Dhabi right now, you thought as you sighed. The race and your work has already drained out all your energy and despite your mind being absolutely restless because of how anxious you felt, but you had to drive yourself to sleep somehow. The director wouldn't be happy seeing her lead actress with puffy eyes and barely any energy the next day.

By the time you landed on your bed, it struck midnight and your phone let out the notification sound, showing the message from Angela which said that Lewis wasn't doing great and hadn't spoken to anybody yet.

Now how were you going to be able to sleep after knowing that?

“I touch your hand for the first time, I see it on your face, then another lifetime's flashin' by.”

"You see the star there? That one's called Sirius." he tells you, pointing to a specific region in the night sky.

"I didn't peg you to be somebody who was familiar with Harry Potter references, Hamilton." you give him a surprised, yet impressed look.

"There's a lot more to me than meets the eye darling, you'll see." he tells you cockily and you playfully rolled your eyes, shaking your head.

"This might just be one of the most beautiful things I've ever seen." you said in awe, your eyes fixed at the sparkling stars laid on an endless canvas of the dark blue sky.

"Mhm yeah, it definitely is." the sweet and distracted voice of the man who'd been surrounding you and your thoughts for the past couple of months came through and you turned your head towards him, finding him looking at you.

You felt your cheeks heat and you could only let out a giggle in response, not knowing how to respond because of how flustered he made you feel.

Lewis Hamilton was definitely a lot more cheesy than one would ever assume.

"I'm sorry I couldn't plan anything fun, there's pandemic restrictions so everything around is almost shut." he apologizes and you melt at how heartful he sounds about it.

"Don't be ridiculous Lew, I've loved every moment of this date so far." you assure him with a soft smile. Star gazing with somebody you've admired for so long as a first date was something that nobody could beat.

"Well, how can I make the date better?" he asks and your eyes light up in silent laughter thinking he's joking but then you look at him, it turns out that he was actually being serious.

Dear god, what type of dates had this man been on?

"Well that's a hard one because I feel like the date has already met the standards." you pretend to think for a moment "Maybe you could let Roscoe join us?" you ask him, giving him a grin which made him fall for you even more.

"Now that's not fair." he playfully whines "This time is for us. He loves you too much, will take away all your attention from me." he said, referring to all the times the both of you spend with your mutual friends. He was right, the bulldog did take a lot of your time.

"Well I've at least gotta win over one heart right?" you said, reflecting your doubts about him considering if the thing between the both you was anything serious or not.

"Well in that case, his heart will be the second one you've won over from this house." he said and you looked at him, your eyes softening with warmth and your cheeks turning red as you move closer to him.

He feels it too, you thought as he wrapped his arm around you, making you sigh in bliss.

Nearly two years later, the morning after the catastrophic race, the first thing you saw after waking up were the words "I don't think I can do this anymore, I need some space and time away." on your phone and at that moment, you had been absolutely destroyed.

It felt like everything in you had just been dropped down and shattered without any noise, you just feel so hollow and empty on the inside.

You couldn't ridicule him for feeling devastated, anybody would understand how much yesterday meant to him and how it affected him even if they didn't know him personally.

But you believed that you were comfortable enough to be with each other through any situation, happiness or despair. You believed that he found the same comfort, solace and safety that you found in him.

But it turns out that he didn't. The both of you went all the way from a video call like a regular couple would before the race to a text like somebody that didn't really mean anything to him a later, he pushed you out.

“I bet you're happy and that's fine. But I regret just one thing, I never got to change your mind”

He'd been back on the screens for the next season. Despite all the news about him discontinuing racing, you knew he'd go back.

Racing was everything to him, it was quite literally everything he'd known. He'd spoken openly about the struggles that him and his dad faced to reach where he was in the racing industry.

He knew how to rise up from the worst moments, he always had it in him.

You were still a mess. It had been almost three months since the text which broke everything in you. But there he was, having interviews with his teammate, a happy grin on his face.

Being an F1 fan for a long time, you always kept up with whatever news was on about the grid and Lewis had quite the spotlight when it came to headlines about his professional life or personal life.

You knew that he wasn't really the person for serious relationships after a point in his career. All of his focus was on Formula 1, rightfully so, which was why one night stands and short flings were what he went for.

You knew that even before you met him, you knew it whilst being friends but you still agreed to date him despite that one thing freaking you out. He had a hold on you, such an aura around him. You were always in this bubble of happiness, positivity and peace when you were with him.

Although his past relationships made you think about a lot of 'what if-s', how could you say no to a guy who made you feel like that?

Well, this was the consequence of giving in to emotions rather than logic. Your heart had been shattered like fritted glass, while he was back to normal like the break up was nothing but a minor collateral damage.

Work was always a top priority but all those moments that the both of you shared had a lot of meaning right?

“And I'm doin' okay. In the back of my mind, all I hear is your name”

The last time you slept well was the night before the Abu Dhabi race. You were normally a light sleeper, which gave you a pretty decent amount of sleep to feel good the next day.

But ever since that night, your sleep had come down only a few hours every week. You'd just walk about the room feeling restless, scroll through your phone or laptop or the television to pass time, there were some days where you just stared at the ceiling, the thoughts in your head just rushing in with memories of Lewis and you'd end up bursting into tears, sleeping over taking you after your eyes would turn red and puffy. And after two or three hours, you'd be awake again, tossing and turning around the bed.

And it was safe to say the sight of food started making you feel sick, your face would literally scrunch at the sight of it. But you still had to eat a minimum amount of food that would help you survive a day at work. Completely cutting out on food, which you had the urge to do, would completely affect the image on you and your career, which you felt was too risky.

Everybody had noticed you spiralled down, you could feel it too but you just stopped caring about anything after a point, you just felt so empty in your head to push yourself. Acting was the only thing that had you taking steps forward in life.

Soon enough, there were articles out on the news about you, commenting on the drastic weight loss that had been noticed in you, caused by the change in your eating habits. Your fans also began to notice how your use of social media had come down drastically, since you always had the habit of interacting with them frequently and also shared random pictures and videos from your day at work, especially if it was in a place far from home.

And that made the pressure from the people close to you increase. After getting to know about your break up with Lewis, your parents and close friends urged you to talk more, to let out how you were feeling. But you always convinced them by saying that you were alright, that you understood why he needed the break up and you just went along with life, your work satisfying you at the moment.

The moment you came back home after you were done with the movie you were working on for the past couple of months, the first thing your mum did was make you sit next to her and reminded you of all the hard times you'd been through, of all the people you had in your life who still cared for you and loved you, about how there were people out there who admired your work.

And that's when it struck you, that yes, you did lose a particular feeling love in your life. But there was so much more to life that made living your life whole heartedly rather than making it more painful for you, more that you'd already been through because of your heart getting broken by a certain British man.

You took a small break from your work and the fast life around you, spending the time with your family and friends, parallelly going to therapy as well. Although the scar of that heartbreak was always going to remain, the slow paced yet quality time helped your wounds heal little by little.

And then you were back to work, feeling better than you'd been for the past couple of months. You were able to breathe freely, feeling the light weighted space in you.

But there were still certain things that reminded you of him. One day, you saw a bull dog being taken on a walk by its owner, your mind would fly to how Roscoe would lie down in between you and Lewis, snuggling in the night. The smell or sight of tea would remind you about how the both of you would keep arguing about whether tea or coffee was better, you loving coffee and him being always so British and loving tea. But nevertheless he knew how to make coffee the way you liked it and you knew the same for his tea. The sound of a piano would remind you of the times he would play it and sing his favourite songs, even teaching you the basics of how to play it sometimes. Stargazing and watching Formula 1 was something you just stopped altogether, not being able to handle the intensity of the emotions it brought in you.

If there was anything that made you feel relieved now, it was about how it didn't hurt as much as it used to and how the control he had your thoughts had come down.

"Talkin' wildly out of context, I wish things were different. But I'll never know”

What the hell just happened, you thought as you looked at the screen of the TV in the garage.

It took you everything to not break into a string of curse words but if anything, you were really worried if Lewis was okay.

The man literally had a car on top of his with the tyres nearly touching his head, dear god.

And you had no clue how he would react after coming back to the garage. He wasn't the one to tantrums but was he somebody who just stayed quiet? Did he deal with the anger he felt? Would he like having anybody around him to comfort him? Or did he prefer being alone?

You had spent a good number of days with him, an amount of time that could turn into a bunch of months if you added them up, but all the races you'd been to for the past year were always good ones. You were there when he won his seventh world championship but this was the first time you were around during a bad race, a one with a scary DNF.

He didn't know you were here for the race. Due to the COVID protocols, you had to quarantine for a few days before being able to meet Lewis and you didn't have a break or gap of that many days that often which made being at his races quite hard. So you thought that you could surprise him at the Monza GP, coming into the garage after he got into the car.

What you planned was to hide in some corner of the Mercedes garage and meet him in his driver's room after he went there, yelling a cheerful "surprise!". But you obviously couldn't do that now, considering what just happened. How you would meet him was barely on your mind now, you were scared about how he was after the crash.

"Hey, he's back in his driver's room. You can go and meet him now." Angela came and told you, a few minutes after you were restlessly tapping your feet up and down.

"Oh thank god, how is he? No injuries right?" you ask her anxiously, a shaky breath leaving your body.

"He's alright now, nothing serious has happened to him. He has some headache and pain in the neck, he'll be back to normal in a matter of some time." she assures you, giving you a comforting smile and places her around your shoulder, knowing how worried you get about him.

"Would he be alright with having me around now Ange? I think he'd want some silence for now." you said, giving her an unconvincing smile.

"Don't be ridiculous, he just had a scary race. None of his family and close friends are around now either, he'll obviously love to have you around now. You'll make his day better and he'll calm down." Angela convinces you and you walk towards his driver's room, still debating in your mind if you should step in or not.

Angela knocks the door and speaks out so that Lewis thinks it her, rushing towards the team before Lewis opens the door so that the both of you can have your space.

The sound of the room's door opening brings you out of your over thinking. "Um, hey?" you tell him in a shaky voice, eyes scanning over him to see if he was alright. Of course Angela wouldn't lie to you but for some reason, it wasn't sinking in your mind until you saw him.

His eyes widened in surprise "You're here? Wait a minute- you're actually here." he says and his reaction made your nerves calmed down a bit.

"Well, the plan was to keep a rather happy surprise." you say, giving him a weak smile "If you want to be alone for some time, I'll go back and sit with Ange, I totally understand-" he cut off your rambling by taking your hand in his and pulling you in for a hug.

"Don't be ridiculous, I'm glad you're here. C'mon in." he said, wrapping his arms around your waist and placing his forehead on your shoulder "missed you and that scent so much." he mumbles as you place your hand through his braids, running your fingers through his hair to calm him down, like he always liked it.

"I can feel your heartbeat and it's going crazy. We've been together for a year and I still scare you?" he teases you, referring to the initial days of knowing him. Timid was an understatement. Having been a huge fan of the sport and him for years before you first met him, you always shared many shy smiles and few words with him, scared that your rather talkative side which always went on rambling would annoy him.

"I don't know- that just, that was scary. I'm so worried baby, the tyre was literally so close to your head." you sighed as he sat on the couch, placing you on his lap.

"Stuff like this happens time and again in racing, you've watched it over the years. At that moment I tried to shuffle inside the car as much as possible and lowered my head down, so nothing from the car reached my head. Don't worry sweetheart, I'm totally alright." he says, rubbing circles on your waist in the hopes of calming you down.

"Ange told me you have a headache and neck pain though, don't lie to me." you mumbled, pushing away the braids to a side and placing a small kiss on his forehead. He just gives you a reassuring smile, his eyes signifying that it'll be gone soon and he places his head on your shoulder, snuggling in for comfort as you placed your hand on his back and rubbing it up and down.

Thinking of the memory from that day made you wonder only one thing. Would the both of you still be together if you were together? If he would've seeked your comfort or just push you away nevertheless.

You guess you'd never know, Monza was one DNF while what happened at Abu Dhabi was something brought in such loss and affected his perspective about his career and life.

You knew it didn't end well, there were so many things left unspoken between the two of you. It was bad, but both of you would've been so good together.

#lewis hamilton #lewis hamilton imagine #lewis hamilton x reader #lewis hamilton x actress!reader #lewis hamilton one shot #f1 x reader #f1 fanfic #saisha writes #f1 imagine

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absolutebl · 2 years

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10 High Quality & Cinematic BLs

Ones that are very well made with a tight narrative and no cringey dialogue. For example: Old Fashion Cupcake or His. Japan knows what tf it’s doing, okay? You don’t come from a tradition that gave us Kurosawa and fail at broad scope cinematography.

High Quality & Cinematic BLs + Comfort & Joy

These are the ones that I love even though they’re artsy, but they also end happily and didn’t hurt me too much.

1. Old Fashion Cupcake

(Japan 2022 Viki)

This show had me from the moment they broke the egg yolk with the chopsticks in the opening credits for episode one. It’s about a younger man with a long cherished crush on his boss (ten years older and going through a mid life crisis) who decides to save and seduce said man with pancakes. It’s wholesome, comforting, sexy, and a very necessary narrative about still having hope, interests, and openness to affection at any age. It’s coming of age/queerness packaged in a subtle critique of expectations around masculinity and love and loneliness... and it’s beautiful. Full review.

2. Restart After Come Back Home

AKA Risutato wa tadaima no ato de (Japan 2020 grey)

Atmospheric study in rural Japan meets complex family dynamics built on a romance framework of city boy meets country boy. It’s beautiful and icy sweet. Slow moving in places but ultimately worth your patience. Full review here.

3. Life: Love on the Line

AKA Life Senjou no Bokura (Japan 2020 Viki)

This is a beautiful movie and a good BL, if a bit adult and gut wrenching at times. Goes through young love, break up, and reunion - but it’s actually a saga of self acceptance. You want the director’s cut. Like His, LLOTL is an exploration of suppression and the limits we impose on ourselves when we’re dishonest about who we love. In high school, serious and self contained Ito fell in love with Nishi, the manic pixie dream boy of the dream he didn’t know he had. Nishi, emotionally and mentally fragile, struggled to fit into the world. Ito, however, found it all too easy, except for the whole - ya know - gay thing. This movie is about Ito’s willingness to sacrifice not just himself but his love (and even Nishi himself) to social and familial expectations and the misery that results. It has a hard fought happy ending that then follows them through the rest of their lives in a (slightly unnecessary but welcome) epilogue montage.

4. A Tale of Thousand Stars

(Thai 2021 GMMTV YouTube)

With great casting and cinematography this drama nods at BL tropes but manages to elevate them (and itself) with a strong mature story concept about a spoiled rich kid who gets a heart transplant and becomes a teacher it order to pay out survivor’s guilt. On the way he falls in love with a local park ranger and contends with his own classism and escapist tendencies. Everyone seemed to perfectly suit their roles and GMMTV made the most out of its stable. Combined with excellent production (and post production) values, 1000 Stars is without question GMMTV’s most mature, charming, and smart BL series. I think it should go down as one of the top BLs of all time. I feel safe recommending this one to friends and non BL watchers.

High Quality & Cinematic BLs + Work & Angst

These are ones that I watched but were really difficult for me for personal reasons. Some may not have happy endings. I tend to call these moody arthouse smackdoodle. They like to pretend that "ambiguous" is somehow unique and special rather than bog standard commonplace for narratives of this type. Hold onto your psyche, these dramas will test you. But they very well done.

5. His the movie

(Japan 2020 Viki)

His is about being a grown adult and still struggling with coming out as gay. It addresses the consequences of life choices disingenuous to identity. Nagisa turns up on Shun’s doorstep with his precocious daughter in tow. This is a touch confusing to Shun since they were each others first love. Shun has retreated from society, rejecting the world before it can reject him, already brokenhearted because without Nagisa he never had a reason to fight. Nagisa went the opposite way, tried to pretend to be something he was not and ended up with a daughter he adores and a wife who hates him. This movie is beautiful and the setting is unique and interesting but I'm not wild about the ending.

6. I Told Sunset About You

(Thai 2020 grey)

I don’t have a ton to say about ITSAY because I’ve never managed to finished it. This one was too close to my own queer journey and it seriously messed with my head about 2/3 of the way through, so I stopped watching to protect myself. However, I can tell you that the production values are unreal for Thailand, using a soft lens, diffuse lighting, and a nostalgic atmosphere, paying close attention to framing, and forgetting neither background nor close-focus expressive detail. It’s a remarkable piece of work. I caught no mistakes in makeup, wardrobe, body positioning, reflection, or boom mic placement - so they clearly had continuity eyeballs during filming and on final product (which most Thai BLs don’t spring for). So yeah, the filming, directing, and acting is insanly good, but what’s really stand out in ITSAY from a film perspective is their smooth as butter invisibly perfect editing. Post production on this series must have been a BEAST.

7. Your Name Engraved Herein

(Taiwan 2020 Netflix)

This movie is fantastic but it is also seriously depressing, it’s a self acceptance journey, but if you wanna wallow in high quality acting and serious gay drama, this’ll do it.

8. Goodbye Mother AKA Thua Me Con D

(Vietnam 2019 Netflix)

Like YNEH or Dew, this is a great movie but it deals openly with homophobia, bashing, family trauma, and social acceptance.

9. His the series

AKA His - Koisuru Tsumori Nante Nakatta AKA I Didn’t Think I Would Fall In Love

(Japan 2019)

Boy goes to visit his absent father, ends up kinda homeless on the beach, gets adopted by local family, falls in love with the boy working and living with them. Lots of long drawn out glances.

10. I Want to See Only You

AKA Kimi no Koto Dake Mite Itai (Japan 2022 grey)

This is a beautiful piece of cinema well acted, about two boys who are opposite personalities and grew up together. Gifted and serious Sakura (Kura Yuki from His the series) and outgoing eccentric manic pixie dream boy, Yuma. It is very pretty and this is the kind of atmospheric elegantly performed BL that only really comes from Japan (complete with dead fish kisses - what you though Korea invented them? oh no). For me it was lovely but slightly unmemorable. Full review here.

More Like This From Japan

The Cornered Mouse Dreams of Cheese AKA Kyuso wa Chizu no Yume wo Miru (Japan 2020) - obsession, cheating, breakup, reunion, then break up again, explicit.

Does the Flower Bloom? (Japan 2018) - May/December romance about an artist student, the house he inherits from his dead parents. and all the people around him who are obsessed with him, including an older man.

Junjou: Pure Heart (Japan 2010) - I shoudl probably rewatch this one, it’s been a while.

Silhouette of Your Voice AKA Hidamari ga Kikoeru (Japan 2017) - It’s not as good as any of us wanted given the beautiful glory of the original manga (I Hear the Sunspot). Also it doesn’t really end happily. Disappointing.

Eternal Yesterday AKA Eien no Kino (Japan 2022 Gaga) - After Mitsuru’s cheerful outgoing boyfriend Koichi is killed but stay’s walking around, everyone else begins to forget about him. Mitsuru recalls their romance while trying to understand what’s going on, hold onto his love, and come to terms with loss and identity. Sad and creepy but somehow still beautiful, Japan spending all its pennies on pain.

Darker BLs and more thoughts on Moody Arthouse Smackdoodle here.

Tangential blogs posts:

10 Best Uses of Cinematic Storytelling in BL

Top 10 Highest Production Values in Thai BL

Some Noodling on BL Production Houses & Studios

This post the result of an ask from @theklutzymaniac, updated end of 2022.

(source)

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yeahiwasintheshit · 5 months

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so i watched john cassavetes' 'a woman under the influence' the other night, and hooboy was that an intense movie. with an amazing performance by gena rowlands as mabel. and peter falk is great in it too. but boy is this a hard watch. you just feel bad for all these people, especially mabel. shes clearly a person in distress and she just doesnt have the people in her life that can help. not only cant help, but make her situation worse. what adds to the intensity is the way its shot, it almost feels like a documentary of this family. natural light, natural performances, natural dialogue. rowlands and falk really become these people. the thing is you also really like them. falk's character nicky really does some horrible horrible shit, and you end up feeling like hes the one mentally worse off by the end, because almost every decision he makes is wrong. but he clearly loves his wife, who is a very sick person, he just doesnt know what the right thing to do is. theres no excuse for his abuse, its bad, and hes a lousy father, but falk is such a charismatic and sorta lovable presence, you dont necessarily forgive him, there just arent any villains in the movie.

theyre just this sad family who are dealing with this mental illness, that they dont really understand, nor does the society around them. when she goes to the hospital for 6 months, and the day she comes back and nicky invites a house full of people to celebrate, you just want to strangle the guy, but its coming from a pure place of wanting to make a normal house, but its so hard to watch. plus the doctor who commits her seems to have encouraged the party, so thats another part of it, but what a bad decision. then theyre at the table and hes yelling that he wants her to have a normal conversation, and this poor woman is locked and stuck. she doesnt know what to do. the gif above is so heart wrenching. shes saying this to her father, and ooof it knocks it right out of you. that whole final third of the movie is notched up to a level 11, which is like watching a horror movie. everyone does the wrong thing for this suffering woman, and she reacts accordingly. its also hard to watch it from a 2024 perspective cause you know she could prob live a better life today with the right meds, and the right medical information for her and nicky to deal with her illness.

anyway ive been sitting on writing a review of it cause i almost didnt know what to say, cause its a lot. and maybe thats part of the problem. there are parts of the movie that are at an 11 for so long you almost shaking watching it. its a good movie with an amazing, and shocking and almost too real performance by gena rowlands (who is still alive today. shes 93) in parts it really does feel like a horror movie youre watching between your fingers. but it is really good. worth watching for her performance alone

john cassavetes is considered the father of independent movies, and i think this may be considered his best movie. he was nominated for best director and rowlands was nominated for best actress that year. so im glad i watched it, but dont have any plans rewatching anytime soon at least.

#a woman under the influence #gena rowlands #cassavetes #yiwits reviews

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hadesoftheladies · 4 months

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FEMALE MOVIE/TV RECS (PART 1 / FANTASY)

got inspired from a recommendation post so decided to make a list of movies and shows with female-centric stories/female protagonists. since i can't post all of the genres in one post, i'll split it into multiple posts and y'all can save or add to the list as you wish. (disclaimer: i have watched most of these, but i only know about the existence of others. not every movie/show on these lists will be my recommendation. my recommendations will be beneath the list with reasons. also some of these are way better than others in terms of storytelling/performance--which is why i'll list my faves separately):

#1. FANTASY/ADVENTURE (LIVE ACTION)

Common Themes of Media In the List:

-Strong female friendships

-Romance critical (or anti-romantic centrism)

-Emphasis on female-female relationships

-Warrior girls and women

-Revenge against awful men

-Distrust of male love interests

Ones I Haven't Watched:

His Dark Materials

Everything Everywhere All At Once

Paradise Hills

Crimson Peak

Outlander

The Chilling Adventures of Sabrina

House of the Dragon

The Nevers

Cursed

NOT LISTED BUT QUALIFIES

Pan's Labyrinth

Mary Poppins

Twilight

The Craft

The BFG

PERSONAL NOTES FOR THE ONES I'VE WATCHED

The School for Good and Evil

5/10

There were many things about it that were good. The chemistry between the two leading actresses, the primacy of friendship over romance, the effects, the costume and set design, the insane cast (Charlize Theron, Cate Blanchett, Michelle Yeoh, Kerry Washington?!) and the score. Some of the performances were good, too. The pitfalls of the film had more to do with the writing and directing. Some scenes were rushed, some dialogue was embarrassingly bad, some plot points were just nonsensical and childish. The magic system was also not well executed (though I've seen worse).

It's mostly mid, but the ending is refreshing for the fairytale genre and if you like fairytale fluff, you'll probably be more willing to forgive the film's transgressions. If you can, there'll be a lot of fun left to have with it.

2. Damsel

6.5/10

More action than fantasy and with a much smaller cast. Most of the movie focuses on Millie's character. The performances in this were pretty good, though. If you like heroines getting revenge, non-cliche fantasy stories involving princesses, and dragons, this movie is right up your alley! Also the costuming is delightful! It's predictable, but it is also entertaining.

3. Willow

7/10

This show was just fun. Fantastic effects, female heroics, tomfoolery, lesbians, action, evil forces, cool costuming, lesbians, sword-play, riddle-solving, dumbass princes, sarcastic mentors, and lesbians! This show knew exactly what it was trying to be. Aside from some poor performances, my overall impressions is positive.

4. Wednesday

7/10

I personally enjoy Wednesday Addams' character wherever I see her. Having a whole show of her was just a treat. I didn't care for the typical highschool-shenanigans (like the cliques) as much, but there were many enjoyable elements in this for me. Particularly, the effects, the crime, the other female characters, and the ending. It's entertaining and pretty to look at. Also I'm always on my wenclair propaganda.

5. Shadow & Bone

6/10

I've read the Six of Crows duology and the first book of the Shadow & Bone trilogy, so for me this show was a let down. For new watchers, however, you'll find interesting female characters, cool effects, and an entertaining (though sometimes choppy) plot. Inej Ghafa is my queen forever, regardless.

6. Renegade Nell

7/10

This is puts the fantasy in revenge fantasy. I love all the actresses from Derry Girls, and Louisa Harland is still charming in this. It's basically if Gentleman Jack (same director, I think) and Tinkerbell teamed up. Or if Little Women was also Pirates of the Caribbean but instead of taking to the sea it was highway robbery! The action sequences are so fun, the villains are nuanced (particularly the villainess) the comedy isn't overbearing (like I forgot I was watching a Disney show tbh) and the silly towel boy from Ted Lasso is here! I personally had fun. I hope it's renewed.

7. Alice in Wonderland/Through the Looking Glass

7/10 (i love these so much so it's 8/10 for me)

It sucks that Depp is in this, but I can never ever forsake my girl Mia Wasikowska. I just love these movies. I love the design, the music, the costumes, the irreverence toward marriage and romance, Alice's personality and relationship with her mother, how it tackles the pathologisation of female autonomy, the performances, etc. The books are one of my favorite books of all time so there's that.

8. Maleficent

7/10

I really loved the performances in this, the metaphor for rape, the satisfying revenge. I don't mind that it was cliché. I love Maleficent movies. AND the Lana Del Ray cover for "Once Upon A Dream." Also, the first one makes me tear up every time. The mother-daughter love is just so touching to me.

9. Warrior Nun

(?/10)

I love the premise of this show and I can get behind the characters. The protagonist just annoyed me so much so often I have taken multiple breaks and can't remember the story. I am all for imperfect, asshole girl characters. But this protagonist was just whiny and careless beyond reason. And it was taking too long for her to get with the nuns. Like I was not invested enough in her running away arc. Like sis get your ass to the coven you are not that main of a character!

She took up so much screentime when literally every other character in the show was more interesting than she was.

At least there's lesbians.

10. Snow White & The Huntsman

(8/10)

What can I say? Kristen Stewart was hot in this, as was stepmother. Effects? Stellar. Direction? Stellar. Performance? Mostly stellar. Drama? Action? Magic? All there. Thoroughly entertaining. Refreshingly anti-Disney. Unfortunately there are some annoying men involved (I'm talking about the dwarves of course) but it never gets too overbearing. This is, however, the least feminist of the entire list and scores lowest on the above common themes.

#radblr #female centric media #female fantasy movies #feminism #fantasy heroines #hadesoftheladies rec list

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arkhaline · 5 months

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My Complete Thoughts on RvB: Restoration

Major spoilers for the entire season below the cut!

I think the biggest sin of this season was not clarifying when it takes place, as it cheapened a lot of the twists by genuinely confusing me or contrasting information that we had already been given in S15-S18. Keep this in mind for the rest of the review.

Maybe the allusion to Caboose’s voice being “misremembered” was confirmation that it was in fact a simulation post-S13, but it still wasn’t super clear to me. Especially since Dylan was talking about the Reds and Blues (even though I know they met post-S10), which kinda made it feel like Restoration could be post-S18 (unless that was the point). There was just enough ambiguity that it really could have gone either way for most of the movie.

I feel like the humor was a bit off?? Maybe it was a generational gap since the show was going back to someone who hasn’t written for it in a while and is older than the current writers (case in point: he used tropes that Gen Z makes fun of a lot, e.g. he’s right behind me isn’t he). The Zoom call bit also went on WAY too long. The metacommentary about the changing attitudes toward RT also felt a bit tone deaf. In general, a lot of the trademark RvB banter just felt stale, it was the more general dialogue that was stronger (though Church telling Caboose to shut up when Simmons was talking did make me laugh).

Also, Grif was so angry all the time at the beginning?? Felt out of character and took me out of those early scenes. Maybe it was a setup for the whole discharge subplot but it just felt… off

The writing was just a bit clunky at the beginning, felt very direct and exposition-y, but that might be because they had so much to cover in so little time. It resolved itself later, anyway (except for the rapid fire ending, there was so much to unpack there).

Alright enough complaining about the general format, here are my more detailed thoughts.

Sheila!!! That is all.

I can excuse Caboose secretly speaking Spanish the whole time because there was a bit in S16 (maybe 17? can’t remember) where he understands something that Lopez said.

I initially completely missed the fact that the Meta’s color scheme was an allusion to Felix, that is so fucked up. Tucker dressed in the colors of the man he hates the most about to kill his closest friends? Jesus.

The Director being Epsilon’s therapist in the YouTube video made me laugh really hard.

Speaking of therapists, Wash was patient 619-B and I think that was the Counselor’s voice. Is the implication that he survived in this timeline?? Because he died before Epsilon fractured himself, so that much should at least be set in stone. Not really clear on that.

The “Great Destroyer” thing felt a bit retcon-y, but I can get behind it well enough.

I got so excited when 479er showed up, glad that we got confirmation that she made it out of Recovery okay. Wish we could’ve seen her and Wash (and Carolina) interact though.

I wish they had done Sarge’s death a bit differently. Kinda wish he hadn’t been all “that worked out well!” only to be stabbed, it felt very “he’s right behind me isn’t he” and made the fact that he was about to be stabbed obvious from a million miles away. There’s definitely something to be said about him sacrificing himself for a blue, and the deathbed interactions he had with the others were really good, but it kinda just felt like shock value?? Like there wasn’t enough build up to the payoff, it just kinda seemed like he decided to save Caboose last minute without any major character motivations or development behind the decision.

Which is another thing, it felt like it relied a LOT on Red vs. Blue dynamics in the beginning, and I was fucking flabbergasted when they actually left Caboose behind. The same people who broke time to save Wash would just leave Caboose to die like that? No way.

Meta!Tucker felt like it wasn’t explored enough, mostly just “no I won’t do your bidding” and “yes you will” back and forth with no real depth. However, credit where credit is due, I LOVED how this gave us a new perspective to Maine’s descent into madness. That ten-years-of-torture-in-a-few-seconds thing? So fucked up. Can you imagine being tortured by the remnants of your best friend, who have zero regard for your well-being? If they did all of that to Tucker in the short time they were together, just imagine what they did to Maine to get him to the point he was at at the end of S10/by Recollection.

Bonus points for the fact that the fragments tortured Tucker without a second thought when they themselves are a result of torture. They seemed to spare no empathy for Tucker despite having been through this themselves. Then again, I suppose they are they are copies of the original Leonard Church, who had no such qualms.

Didn’t realize that Meta!Tucker was voiced by Miles Luna (aka Felix’s voice actor) until the credits, that was an extra layer of fucked up and I loved it.

I really enjoyed Wash’s plot for the most part. I was definitely super intrigued the whole time since so much of his subplot didn’t add up from his perspective. I mean, I think he deserved something more for a send-off since most of his arc wasn’t really related to his character as a whole (besides the freelancer thing at the end). However, I still enjoyed it for what it was worth.

Additionally, if this is post-S13, I wish they’d clarified because I assumed that Wash was suffering from cerebral hypoxia and not some other injury. They kept alluding to something that happened on Chorus, but I wasn’t clear on the fact that it was a separate timeline of events. The Doc plot twist threw me off a lot more as a result.

I could tell he was gonna launch himself off the cliff and it still made me laugh hysterically.

I’m glad that the final battle was in Blood Gulch. It’s cliché, but it felt full-circle. Plus, it was the best resting place for Sarge in canon and a good set-up for a “why were we here” moment.

I knew Simmons was gonna have his arm broken but I still gasped anyway. And when the shotgun was cut in half??? Bro my jaw was on the floor, it was like when John Wick’s dog was killed (probably, I’ve never seen that movie). But the way Simmons cocked the shotgun with one hand was badass as hell, good for him.

I’m glad we got something resembling a Simmons character arc? I think it relied a lot on setup from previous seasons of him becoming a leader, with little to no actual development in S19 itself, but it still felt at least decently satisfying.

“Best throw ever. Of all time” made me laugh, I love a good callback. Actually, there were a lot of fun callbacks to jokes, like the irony bit. They were greatly appreciated.

Tucker getting launched by a warthog actually made me laugh really hard, I love the “shotgun as a code word” bit so much.

The Tex plot twist was SO GOOD, I totally didn’t see it coming. Much better direction to go anyway, since we already put Church to rest in S15. So glad that Caboose was able to get his moment in the spotlight and have the smartest plan of all of them. Unless it was Church’s plan, in which case I find it so sweet that he wanted to bring Tex back instead of himself (even if it did cheapen the S9 “let her go” thing a bit). I also really loved the callback where her armor turned black because of the teleporter, that was really good.

I got so excited when they started playing Round One I’ll be honest. Also, I Say Ooh?? Was not expecting that one.

In all honesty, I didn’t love the soundtrack (kinda felt stock music-y and cliché in a lot of parts, plus it didn’t have the musical style that we’ve come to expect from RvB). It was fine, but nothing to write home about. The campfire song was good too. I know about the whole thing where Trocadero wouldn’t join on unless everyone was brought back on, and now that we know that RT is shutting down, it’s possible that this was because multiple musical artists just weren’t in the budget. That said, it’s a shame that there weren’t more original songs.

I called that Carolina was gonna be Recovery (though now I think about it, why was she doing Recovery?? was it even Recovery since Charon had been shut down??? What happened to her after Chorus???? Also her talking about how her and Wash would do everything together from now on meanwhile she left him behind in some hospital?????). Anyway, the fight with her and Tex was SO fan service-y but I ate it up anyway, good for them.

Tex winning because she was a collection of the Reds and Blues’ memories and she always won against them was so, so good, something to be said about the positive nature of the memories of your friends (I mean just look at how happy they had been when recounting everything they’d been through!)

Also if just talking about someone was enough to create a functional AI, it kinda makes the whole “torturing Alpha to make more AI” thing totally pointless and retcons the entire show but. Whatever.

TEX DESERVED THIS ENDING!! I like the S9 ending in a lot of ways, it was poetic that she was finally allowed to rest after being dragged back so many times against her will, but I think it also felt incomplete because I don’t know if being put to rest was what Tex herself would actually want. There is a significant difference between not electing to bring her back again and choosing to take her out of the fight. Tex was never allowed to make her own decisions, not even in S9. This ending was entirely on her terms, which I think was fantastic.

I loved the rockslide, it reminded me a lot of the ice fight from S8 was just generally very fun.

It’s established that Tucker became the Meta because he had several AI when just two was enough to almost kill Carolina. If this isn’t the canon timeline, then why didn’t Tucker become the Meta in that one? For a reason besides “the writers didn’t think of it”.

I hope that Burnie came up with the idea for this season by reading Meta!Tucker fan fiction.

The Doc thing was so??? Why did they do a Sixth Sense. Like I think that twist would have worked a LOT better if they made it clearer when this took place (I kept flip flopping on whether this was an alternate timeline post-S13 or main timeline post-S18 up until this point, which made the whole Doc-died-on-Chorus thing feel like it came out of nowhere since, if it was post-S18, we knew that Doc survived Chorus. It also makes Epsilon’s sacrifice to get them all out of there feel a bit cheaper since they didn’t all get out of there, but maybe that suggests that S15-S18 are the main timeline).

How did Doc heal Wash’s leg?? Was it even broken in the first place??? Did they ever clarify that????

I GASPED when the Freelancers showed up. It was camp as hell and hard to take seriously but also I don’t even care. I’m glad he got some kind of goodbye, since he was always too late to do so as a Recovery agent.

Kinda funny that Wyoming wasn’t there but Florida was, and also South was there even though Wash murdered her in cold blood. Anyway.

When One showed up I felt every emotion I think

Bro where the hell was Donut? There was no good reason for him not to at least show up, maybe on the pelican with One or something. Especially since S16 and S17 were dedicated to an entire arc about how everyone should stop disrespecting Donut, like come on.

Edit: did a little research and it might be because there’s no pink armor in the game this season was filmed in? Which is so hard to believe, since Halo has so many references to RvB. I can’t believe they would just cut out the armor colors of one of the main characters and make it impossible for him to return in the way we know him, it’s messed up.

I know time was short, but I wish we had more time to explore Tucker’s feelings post-Meta. Especially since he killed Sarge, even though it definitely wasn’t his fault. There probably wasn’t enough time to get into all that, but still, he seemed remarkably fine after everything that had happened. I guess that kind of exploration is what AO3 is for lol.

I have mixed feelings about the end for Tex and Church. On one hand, Tex calling herself Allison Church was so sweet and I loved how caring she was, it reminded me of when she said goodbye to Alpha during the Freelancer saga. Also, the fact that there was finally a Church free of the memories of his predecessors felt very satisfying. However, I kind of wish that they could have just had their happily ever after and stayed in the memory unit. I understand the decision—destroying the remaining AI was really the best way to make sure Project Freelancer was put to rest forever—but I kinda feel like she and Church deserved better than simply being put down after everything they’d been through.

One final team kill for Caboose. Ow.

The animation was really, really good!! It looked much better than that plasticky look the trailer had. I didn’t love Epsilon’s animations (they felt a bit jerky and overacted), but otherwise I think they did a really great job. I especially loved how they animated the AI on Tucker’s visor, it looked cool as hell.

I think one of the things this season suffered from was the overall tonal shift in the writing. Burnie hadn’t written for, and Matt hadn’t solely directed, a season in a LONG time. We’ve come to expect more character-focused narratives that dive into the nuisances of the characters and their relationships, and we didn’t really get that here (unless you count Sarge’s deathbed confession to Grif that he was hard on him because he wanted him to be more, which still felt a bit shallow. Actually, there are lot of things which could be considered set-ups in retrospect, but their intended payoffs didn’t feel like payoffs). I think there was a consequential whiplash as compared to what we have come to expect from RvB, and while the writing style we got wasn’t inherently bad (again, I liked a lot of it), it was definitely different.

I really, really hated that Grif left at the end. That’s literally the antithesis of his S15 arc, which felt much more complete and true to the character than this one. It’s impossible not to compare these arcs because of how inherently similar they are, and because I believe the S15 arc is superior (Grif’s exhaustion was a more subtle and believable reaction than this Grif’s raw anger, and his realization of how much he relied on his team was much more powerful than this Grif just tapping out), it makes the S19 Grif arc feel poorly thought out.

Also, he wanted to be discharged, but I don’t think they worked for the UNSC or any other military organization after Chorus since they all retired, so was any of that really necessary? Maybe retirement is just a vessel, so to speak, to represent Grif leaving adventure behind him for good. Still, I liked the way S15 handled this arc a lot more.

Vale Deah. Ow.

NO GRIMMONS??? ARE YOU FUCKING KIDDING ME???

The most we got was Grif leaving and asking Simmons to come with him but like. “not scared to take risks my ass”, Burnie.

Honestly, I think this season was a victim of its format. Eighty minutes isn’t a lot of time to properly send off these characters, especially when RvB as a format is based on multi-season arcs. There just wasn’t enough time to build up tension or explore the dynamics of something as extreme as Meta!Tucker in a way that would feel satisfying. That said, I think Burnie did a pretty good job fitting as many things as he did into this format. A part of me is almost glad that Grimmons wasn’t made canon? I feel like it might’ve felt rushed to give it a satisfying arc in just 80 minutes in addition to all of the other shit going on, and I think after 21 years they deserved at least a satisfying resolution. However, they did NOT deserve an ending which implied that they would never see each other again, what the fuck.

TL;DR? 7.5/10. Far from perfect, and there were a lot of creative decisions made that I heavily disagree with. However, they did a lot right, too, and it still seems heartfelt in a way that helps me overlook some of its flaws. Overall, I enjoyed this season for what it was worth. There are some qualities of S17 that I think made for a better final goodbye to these characters, and some qualities of S19 that I think made for a better goodbye (in all honesty I never finished S18, but it wasn’t really a “goodbye” season anyway). Wrapping up a 21-year-old series is very difficult, and I have a lot of respect for Burnie and the others who worked on Restoration for what they put together. Truthfully, I’m gonna pick and choose which segments of S17 and S19 are canon in my heart (S17 is still the overall canon ending for me), but I’m happy with what we got in the end.

Anyways, I’m happy to chat more in the replies, let me know your thoughts!

#red vs blue #rvb #rvb s19 #rvb restoration #RvB s19 spoilers #RvB restoration spoilers #RvB spoilers #red vs blue spoilers

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stitched-mouth · 7 months

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Madame Web Production BS

Just to be clear, I love this movie. But I love talking about what a dumpster fire it was behind the scenes so let me point everything wrong with my favourite of the year so far. SPOILERS!

• Cass’s personality is not fleshed out… that’s a major problem. I feel like they just told Dakota Johnson to do what she wants the whole movie BUT then right at they end they decide to give Cass a personality completely ripped from the comics. And it doesn’t work with the way Dakota was playing her the whole movie and these no character development over the course of the movie, so it’s actually a little scary seeing her switch at the end.

• None of the characters have a personality actually. The villain was the worst to be fair because I still don’t really understand his motives. Like… you tricked and murdered a pregnant woman and a few others because your family was poor? And you think Spidey strength will fix that? Um, ok. So is mine but I don’t know.. wouldn’t kill anybody over it though.

• I hate Sydney Sweeney’s image. And it’s not her or her marketing teams fault. It’s her fans’ and her directors. She’s constantly purposely dressed sexy in movies (even when dressed down like a nerd, she’s still sexualised) but then is playing a child. Like wtf. They did it to her in Euphoria and they’ve done it to her again in Madame Web. And how Sydney dresses for press also is clearly influenced by directors and fans’, like the look isn’t just what they want for her characters but also how she’s expected to be irl too. It’s kind of sick and related to how paedophilic things are still normalised in our society today, I’ll have to say that rant for another day though.

• Why does it feel like nobody cared about this movie? The script feels like the first draft that was supposed to have rewrites but nobody was bothered. Same with the editing, everything but especially the dialogue and music feels so placeholder, why was it in the finished project? Like even the Google cast page is not finished, only the leads have their character names on there. Zosia Mament (the villain’s assistant) is credited as fucking ‘Actress’.

• Why was Cassie able to fly to Peru when she’s a wanted criminal? Why is she flying to Peru when talking about laying low because she’s a WANTED CRIMINAL??!

• The writers constantly forgetting what year it is was hilarious and the editors just throwing one Brittney Spears song in and a few Beyonce billboards in to cover up their mistake is also hilarious.

• ACTUALLY, apparently the whole reason the movie was set in 2003 was because the director really wanted to use Toxic in the movie. Because apparently you can’t play a song in a movie if the movie doesn’t take place in the same year the song was released 🤡

• BUT Toxic was released in 2004 🤡🤡🤡🤡🤡🤡🤡🤡🤡

• The writers taking the time setting as a opportunity to reference Garfield’s Spider-Man but then also forgetting that that SM was born in 1995 🤡🤡🤡🤡

• Yes I checked, they specifically wanted to reference Garfield’s Spidey, but through editing they realised their mistake and started trying to make it look like they were talking about Tom Holland’s SM instead, which risks breaking some rules with Marvel… AND THAT SPIDEY WAS BORN IN 2001 SO THEY STILL FUCKED UP. The fact that a simple Google and common sense (like they must of know Garfield’s fist SM movie took place in 2012 and if he was born in 2003, he would of been only 9 years old in 2012 😑) would of fixed this problem is again hilarious.

• Obviously the biggest goof was Dakota Johnson not realising she’s not in a Marvel movie and firing her agent the same day the trailer got dropped 🤡

• She also might be in trouble for posting the teaser on her Instagram and tagging Marvel before the trailer dropped (so before she found out), but I don’t think Dakota manages her own socials tbh. That post was removed then put back up without a Marvel tag.

• The press tour is amazingly bad, I love it.

• Not seeing the girls turn or become heroes was probably the worst part about this movie but I knew that going in so didn’t mind too much. But the real issue is with how Sony keeps straight up lying to their audience with their trailers. Obviously some studios add somethings into their trailer to create more interest for the audience but that’s not what Sony is doing, they are straight up LYING. And they do it so often now I want to fight whoever is in charge of that, they are the reason this movie flopped.

• Them and the writers… and whoever decided to hire the Morbius writers again, everyone there deserves to lose their jobs.

• The only reason I want this movie to do well is because I want Madame Web to have more movies with Dakota Johnson, Sydney Sweeney, Adam Scott, Isabella Mercer, Emma Roberts and Celeste O’Connor all returning. But I really don’t see that happening now, I can’t see Dakota signing another contract with Sony or doing everything to get out of this contract if it’s not over yet.

• The fact that they had to dub the villain’s lines makes me so confused to why he was hired? He didn’t even give a good performance, not saying he’s a bad actor (I’ve heard he’s great on other movies), but he really didn’t do anything in MW.

• And the part with the FBI agent and the villain had me so confused too. Like, did she seduce him to find out information about him? Because it makes sense that the FBI would be suspicious of this guy. But then did he see through her act and decide to at least get laid before killing her and stealing her passcode? But everyone is saying he seduce her for her passcodes and yeah I’m confused.

• The problem is the pacing and how everything that needs explaining isn’t, but everything that doesn’t need an explanation IS explained. And too much.

“He worked with my Mom in this place looking for this spider right before she died”

That’s not the exact quote but it’s pretty close to and that’s less than 5 minutes in. Ok thanks spoiling the whole movie to me. I really didn’t know a movie could spoil the movie to me.

• I’ll add more to this post when I remember more bs this movie endured or forced me to endure, feel free to add to this list in the comments or reposts.

#stitched #stitched talks #stitched writes #madame web #dakota johnson #emma roberts #cassandra webb #mary parker #ben parker #uncle ben #adam scott #sydney sweeney #julia cornwall #isabella merced #anya corazon #celeste o'connor #mattie franklin #tahar rahim #ezekiel sims

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crescentblossom66 · 1 year

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Character Analysis: Conductor and DJ Grooves

Before I start this analysis made out of reading too much into dialogue and overall being way too obsessed with chapter two of A Hat in Time, I want to clarify that I like both of the directors. Conductor is my favorite character in the whole game and DJ Grooves is another character that I enjoy (I agree with all of you DJ Grooves fans, that funky penguin isn't getting enough content).

I also want to try to make people think about those two more and make them less one dimensional in their fan works. I understand that it is very easy to see DJ Grooves as just the charming underdog with absolutely no bad bone in his body, and Conductor as nothing more than a deranged lunatic. I hope I can inspire with this and draw some attention to these two lovingly crafted characters.

I'll split this analysis into 4 parts:

First impressions of the directors

Conductor, the deranged psycho...or not?

DJ Grooves, charming or cunning?

Final Thoughts

1. First impressions of the directors

We first meet the two quarreling directors in Chapter two act 1. As soon as we enter the lobby of the huge building that we'll later know as Dead Bird Studio, we bare witness to an argument between the Sci-fi and musical making penguin, DJ Grooves, and Conductor, a strange-looking owl thing that makes Westerns. The first thing every player will notice is that both characters seem to act very differently to the whole argument. While the yellow owl stomps his foot in anger and seems very aggressive, his rival seems to not be too fazed by the whole argument, simply dancing and more or less ignoring the allegations and insults the other throws his way.

In the very first scene we learn that the DJ appears to be rather calm and collected, while his counterpart comes of as rather aggressive and downright vindictive, given that he locks the penguins into their side of the studio.

Those first impressions get strengthened even more if the player talks to the actors of the studio. The Express Owls appear very scared of their boss, the Conductor, informing the player that they're mere passengers on the train that the Western director operates, they also state that he makes unexpected stops and caused them to be late for their work and that they get randomly dragged into filming movies. The Moon Penguins on the other hand seem to idolize their boss, DJ Grooves, they even have a fan club in his honor. Those flipper-snapping birds also seem to be very hostile toward new people seeing the player as a threat for their idol and are rather rude to Hat Kid.

When the player makes their way through the vent to enter the studio itself, the interactions that the DJ has with his penguins are all pretty friendly, he encourages them and is pretty calm when his actors make mistakes during recording, even when the player disrupts the recording by jumping in front of the cameras, the former DJ seems to only act confused and just continues on with his filming.

The Conductor on the other hand yells at his actors nonstop, voicing his frustrations clearly, calling his actors lousy and terrible when they make mistakes. Unlike his rival, the yellow owl doesn't take kindly to his recording being disrupted and he yells and gets even angrier whenever the player decides to jump in front of his cameras.

All of this just reaffirms the impressions we had of the characters so far, and even the finale of the chapter only underlines this, as the penguin asks for our help with desperation, and even hands us a bird passport, while the owl wants to take us to jail for messing with the Annual Bird Movie Awards.

The player will come out of this drawing the conclusion that DJ Grooves is the underdog that needs help in beating his despicable rival, who seems to be a terrible person all around. As it is the nature of us humans, we want to see the lovable underdog win against the overconfident and cruel rival, as it is seen in most media.

The second act of chapter two, “Murder on the Owl Express”, takes us onto the beloved train of the Western director where we are greeted by said director on the small balcony at the back of the caboose. Nothing much will change for our perception of the character here. He seems to not care that he scared the owls and Hat Kid with a fake murder that the player will obviously notice as just a set up. He will once again remind us that he hates his rival's movies before we're given a time piece and go on our merry way back to the spaceship.

“Picture Perfect”, the third act of the chapter, brings us to a big set on the moon where the DJ greets us enthusiastically. He takes on a mentor role for Hat Kid as she tries to build her own fan base as she goes from endorsement to endorsement. We get once again remind that the DJ is the “good guy” of this story as the Moon Penguins around him are happy and upbeat as opposed to the tense Express Owls. This pleasant and colorful act also clashed hard with the more dreary and serious “Murder on the Owl Express” act that we went through earlier.

Things take a more drastic and extreme turn in the last two stages. In “Train Rush” the player will get told that there is a bomb on the train and they'll have to go and defuse it. It shows the lengths and extremes the Western director will go to just to get a few nice shots for his movies. His attitude toward Hat Kid is once again rather harsh and demeaning, as he blatantly states that he doesn't care for her or the owls, only his train seems of any concern to him. When the chapter is completed, he will brush aside the concerns of the young space traveler, telling her that all of this was done in the name of cinematography.

“The big Parade” also takes things to the extreme with electric floors and homing missiles. The DJ seems as pleasant as ever, informing the player that it will be easy and that all they have to do is walk around the place a bit which does little to prepare the player for the rather hazardous minutes ahead of them.

The final Chapter will be determined by whom the player chooses as the winner at the end of the four split chapters. If the player chooses the Conductor, things will remain like they were before, the Conductor will remain condescending toward Hat Kid and will even attempt to murder her, while the DJ will come to her rescue when he's needed the most. If the player chooses Grooves, however, things will take a twist, the DJ will betray the young girl and will fight her instead, and Conductor, very surprisingly, intervenes and saves the poor girl from certain doom.

If taken at first glance, it is pretty straight forward who the bad guy is supposed to be it's obviously the Conductor, right? He's a terrible person that treats everyone around him horribly, while DJ Grooves did absolutely nothing wrong and only tried his best to win all this time.

But is it really, dear reader? Is it really as clear-cut and black and white as that, I'll ask you? Is Conductor really an all around bad guy, as Mustache Girl would say, and is DJ Grooves really the uwu penguin that can't do any wrong like his Moon Penguins seem to view him as? Let's find out together.

2. Conductor, the deranged psycho...or not?

One of the crucial arguments people make when they talk about the narrative of story is that the Conductor is obviously a crazy, derange old man who cares about nothing and nobody aside from his movies and his train. It's easy therefore to shove him into the villain role, like the story portraits him, however, his character is a bit deeper than what people give him credit for.

The easiest way for me to explain this point is debunking or at least theorizing on a couple of questions to which the answers may be not as cut and dry as you may think. Those questions are:

Is the Conductor a cheater? Is he endangering his actors? Does he care about Hat Kid at all?

To answer the questions, we're going to look at it from the very beginning of the chapter again, starting with the first question, is the Conductor a cheater? In act one the Conductor accuses Hat Kid of rigging the awards in the favor of his rival, considering what his rival did as fraud and roping the young girl into helping him as well. He seems to have contempt for her as she disrupts the status quo, and the best course of action is to make sure that the odds are evened out again. Given that the owl is rather direct, straight forward, and quite honest, we can potentially see him as despising cheating. This can be further backed up as In chapter 6 he will mention that the DJ will mock him for cheating if word gets out that he cheated, this could imply that he never cheated before that, and thus the accusation that his rival based a lot of his argument on (Saying that he manipulated everything to make sure that he never wins, cheating, and fraud) could all just be illusions that the penguin made to justify that the yellow owl won every award except for one, and that the Western director never actually cheated and won his awards legitimately.

The second and bigger problem, and what is a lot harder to ignore is the question of whether or not he actually puts his actors into danger? I can already hear you facepalm and go “Duh! Have you actually PLAYED 'Train Rush'! That owl...thing is a psycho!” To which I will say “Method Acting” Regularly a technique used by actors to get into their roles by putting themselves into situations that the characters they're playing is in, in order to give a more convincing and expressive performance. The Conductor purposefully exposes the owls, and Hat Kid to the stressful situations and without telling them that they're recording to get better acting out of them.

This is confirmed when he tells Hat Kid that his script isn't ready in act 2, there he also says that he's not recording. We as the players know this whole scene is a set up, which is of course confirmed by the owl himself at the end of the act.

The owls seem just as clueless about it as the young space traveler, as they show fear and panic. (The only one clued in is the owl that plays dead, but none of the others know that he's pretending) This can of course be slightly debunked depending on the person or group you chose as the culprit. If you pick Hat Kid we don't know if she only picked herself just because, due to the owl simply saying that she put a rubber knife on him, but we were with Hat Kid the whole time...I mean we're controlling her so we would have seen if she had done that to the owl. It makes it probable that she simply lied, Conductor's dramatic retelling of the events also makes that more unbelievable, making it likely that she had no idea that it was a set up and just picked herself on a whim to see what would happen

To summarize, no owls were harmed during “Murder on the Owl Express”

I know you've been waiting, tapping your foot at me impatiently considering that “Train Rush” is the bigger issue. I can already hear you typing. “THE CONDUCTOR LITERALLY TELLS US THAT THERE IS A BOMB!”

Yes, that bomb existed, and yes, I know about that, but the important question is yet again, was anyone harmed? Where those risks calculated? What if I told you...that they were.

The owls do mention that they have more explosives on the train, which is true, but those are all on carts where we don't see any owls being in. The owls are all in areas that are more or less safe and none of them appear to be harmed. Even the band plays as if nothing is wrong, further confirming that they knew that they'd be safe.

As you know, the Conductor is at the front of the train the ENTIRE time we see him after the announcement. (I have no idea how he got to the front all the way from the caboose without us noticing, game logic, I guess) He could have switched that bomb off at any time. We never actually see the bomb blow up even if the time runs out, we simply die as if killed by an enemy, so it neither confirms nor debunks that the bomb blew up. Not even in chapter 6 do we see the bomb ACTUALLY exploding.

So is he endangering his actors? Physically no, mentally and emotionally, yes. His actions here still make it clear that he only see the owls as a means to and end, which is winning the award. The amount of stress and trauma he forces the Express Owls through is just collateral to him.

The last point on this list is does he show care toward Hat Kid aside from the finale?

Too many people say the switch in personality that Conductor shows when he saves Hat Kid from the demented DJ comes out of nowhere, and they do not see the build up that happened across the two chapters that lead up to chapter 6. I understand that wholeheartedly, because that build up is extremely subtle. It is very easy to go through both, chapter 2 and chapter 4, thinking that the yellow bird show no affection toward Hat Kid, especially when you consider that the DJ shows more affection for her in his chapters. The Conductor's shift in demeanor is very easy to miss. In act 1 the owl seems to dislike Hat Kid quite a lot for interfering, but there's two easily overlooked lines that show some growth.

I want you to look at those two pictures, the first is at the end of “Murder on the Owl Express”, while the second is taken at the end of “Train Rush”.

Do you see the slight switch in demeanor? The first one tells us that we should leave, but the line delivery even shows that he doesn't yell this time even if it has an exclamation mark. He speaks a bit more fondly of her in the second picture, saying that Hat Kid deserved the time piece instead of telling us to grab the supposed prop and scram.

I'm also going to briefly mention here that he still helps Hat Kid in chapter 5, and even apologizes for attempting to kill her (He tries at least, he's not very good at it) if he was chosen as the winner for the award. If he's the loser, he will express a bit of empathy for her for what his rival had put her through.

So, is the Conductor the good guy now? No...not by any means. He's still a very aggressive and competitive bird thing that doesn't value his actors too much and prioritizes his movies over everything. Some theories explain his behavior, but this analysis is based on what we actually see in game and theories and conclusions we can potentially draw from those facts. As it stands, he's very much still a bad person, but he has far more nuance when what people give him credit for, if you know where to look. I hope that my small analysis on him here has shown you that there is a potential for him to actually care about Hat Kid, and that the owl is just a tad bit kinder when he lets on.

3. DJ Grooves, charming or cunning?

Another thing that I and a few others hate to see is that people tend to view the charming and stylish former DJ as just the good guy that can't harm a fly, thus they think that Conductor winning, and the subsequent fight in which the DJ rescues us, makes more sense than if he back stabs the young girl he so affectionately calls his diva. Just like with his counterpart, there are a few things I have gripes with, but the ways in which the DJ is more twisted when he lets on are about as subtle as the ways in which the Conductor is kind.

Once again, we can ask a few questions to make it easier to understand where I'm coming from with this, those being: To what extend does DJ Grooves hate his rival? Is the DJ a manipulator?

I once again hear you guys typing a defense for the underrated costar of the second chapter of the game, telling me that the DJ never did anything wrong, that all he wanted to do was make good movies and defeat his angry and hostile rival once again. You may even say that the penguin doesn't really hate his rival all too much, seeing as he tries to stay mostly calm when talking to him...what you don't see is that he has a lot of contempt for the yellow bird, far more than he lets on.

When we first see him interact with his rival, he comes off as calm and collected, appearing to not take the argument too seriously. He takes a jab at the owl's struggles to come up with new ideas which leaves the yellow bird stunned for a moment. The fact that he know that his rival struggles with ideas and the fact he mentions it here is important, keep it in the back of your mind. The penguin seems to know exactly how to get under the other's skin and riles up the Conductor even more while he himself stays calm, he even dances during this whole exchange, showing how little it affects him.

The spite for his rival and his obsession with winning the award is a lot harder to see, and we only get a glimpse of it during act 6 itself if he's the winner were he makes it clear that he despises the owl, slandering his name even without the prove for it, and, if my own theory that I made earlier is true, that accusation has no leg to stand on.

The amount of vitriol in the voice of DJ Grooves (which is amazing by the way, kudos to the voice actor) shows just how frustrated and spiteful he really is, an amount of anger and hatred we've not heard from the penguin in any of his levels yet, is present. There is a few more instances other than this though that show his hatred for his rival and his obsession with winning the award.

These little newspaper clippings can be found in the basement of Dead Bird Studio and are placed on the wall outside of the trophy room. This room is situated right above the DJ's dressing room.

Conductor's is in a completely different area of the basement and not even adjacent to it, kind of making it questionable that the room belongs to Conductor like many people claim. There is a hallway, a room, and another hallway between his side of the studio and Grooves' side.

Also, why would he have a room above his rival's dressing room? But back to the posters. These poster show the Conductor in a bad light, the one on the top left seems to be an article on the Western director's first loss, while the one below that shows that something went wrong in his movies, saying that a “Calculated risk went horribly wrong”. It likely refers to the movie that cost the yellow owl award 42. It also isn't favorable for the yellow owl to be laughing at the misfortune of another bird, as the right clipping shows. All in all, those clips show embarrassing and more humbling moments of the owl, further proving that the room is Grooves', and that he hates his rival enough to remind himself that the strange yellow bird is far from perfect and in fact not untouchable. If that room really is Grooves, it shows an eerie obsession with winning, having over 200 plastic replica of the golden trophy, it shows just how far gone the penguin really is.

But it gets better, yes, dear reader, there's more, and this one can be completely missed if you pick the wrong character in a completely different act...and that act is “Murder on the Owl Express”!

You may be asking yourself “Huh? What does one of Conductor's acts have to do with DJ Grooves?” Well, the penguin mocks his rival not only in front of his whole crew...BUT IN FRONT OF HIS OWN AUDIENCE! I know pics or it didn't happen, so...here you go.

THIS is why I told you to listen when I said that he hated Conductor a lot more than he lets on, it may appear as him being friendly, but look at the context, he's helping his poor, idea-less, incompetent rival create a story line. Is that friendly or detrimental? I'll ask you! Keep this screenshot in mind, it will be relevant again.

Have I convinced you that the penguin, REALLY hates his rival now? That the amount of anger he feels might even justify him snapping if he hadn't already? That he hides insanity and hatred behind his fashionable shades. If not, stay tuned, there's more.

Now, let me shatter your view of the 'uwu, I'm incapable of doing anything wrong' penguin even more. Let's focus on another important factor in this whole story, the main character, Hat Kid. We get roped into helping the DJ after he pleads for Hat Kid's help, telling us that is penguins are terrible actors. No, I'm not saying that he hates the Moon Penguins, given that the story book “Groovy Underdog” exists. It makes it clear that he's frustrated with their acting, but still tries hard to make it work even with them being bad at their jobs.

What I have an issue with is that he manipulates Hat Kid into helping him, which is the very thing that prompts Conductor to accuse her of fraud. DJ Grooves simply spotted an opportunity to beat his rival and win the award, the goal was not to help Hat Kid become famous, he simply more or less cheated by dragging an outsider into their quarrel.

The second instance that shows that the DJ is amazing at manipulating those around him is in the first act we see him again, act 3 “Picture Perfect”. He demonstrates an uncanny ability to wrap the viewers at home around his flipper. Everyone on the moon seems to know him as he himself says that everyone knows his name, and it is backed up by the amount of followers Hat Kid gains after every endorsement.

The best example of this is when Hat Kid takes a page out of Conductor's colorful dictionary and uses the word “Peck” ,a swear word in the bird world. Here the DJ shows that he knows his audience rather well, explaining that swearing on TV would get him into trouble, he knows that his image could take a blow if Hat Kid says the wrong thing. He quickly sweeps the occurrence under the rug and tells the space traveler to scram.

The entirety of act 3 shows perfectly how amazing the DJ is at manipulating people to his advantage, even Hat Kid doesn't catch on to what he's actually doing. He's using Hat Kid's cute, childlike charm and likability to his advantage, this is backed up in act 1 where he refers to Hat Kid as an innocent soul with a heart of gold before dismissing her right BEFORE he gets the idea to use her for his own gain.

He continues to manipulate the public and even the player's impression of him by presenting himself as a charming mentor character to Hat Kid, and an overall likable funky fellow. It's all a facade, a charade put on by him to hide his desperation for the victory, show the player, Hat Kid and the public what they want, a charming director who can't do anything wrong at all.

The cracks show in “The Big Parade”, act 5 of the chapter. He explains to us and to Hat Kid, that the parade will be easy, that all she has to do was jump and run around the rooftops...with not a single line does he mention the dangers we're actually facing. Electric floors, homing missiles and carnage, all presented as a happy-go-lucky movie with nice effects and pleasant music.

The audience of the movie doesn't see the danger, the difficulty and the hazardous chaos that Hat Kid navigates through. They only see the pretty colors, the nice effects and the cheery music so out of place in this nightmare. The DJ either doesn't know that Hat Kid is in danger, which is unlikely, or he doesn't care. In “Train Rush” The Conductor blatantly tells us that there's a bomb and that were in danger of the whole train blowing up, here, the disco-loving director shows that he cares as little for Hat Kid's safety as the Conductor does, he just doesn't blatantly tell us.

To summarize, the DJ feigns to care for Hat Kid and only sees her as a means to an end, just like his, apparently seen as more evil, counterpart. Speaking of his counterpart, I told you to keep that screenshot in mind where Grooves “helps” the Conductor with his movie.

I mentioned that he ruins the reputation of his rival, but he also BOOSTS HIS! He even makes clear who is speaking! In the line before the screenshot I took, he announces to everyone in the room and the audience that will watch this movie that HE is here to help his poor rival. It not ONLY mocks the Conductor for his lack of ideas, but it might boost his own movies as he's seen as a generous and helpful guy by the audience of Conductor's movies.

Once again I'll ask, just how innocent is that penguin really? Can you STILL claim that his shift in demeanor is out of character, when everything he does can point to him being just as deranged as his rival if not more so. I think that I have at least given you some food for thought...Maybe you will look at this flashy disco penguin in a different way the next time you play his levels...and you'll see the cold and calculated show he puts on for the viewers.

4. Final Thoughts

I hope that I managed to convey that both the Conductor and DJ Grooves are far more nuanced and interesting when we give them credit for, that chapter 2 can be far more interesting and less black and white when what people say. I personally love both characters a lot. Don't go chasing me with pitchforks for ruining the character for you, it's okay if you want to see DJ Grooves as nice and a cinnamon roll, and Conductor as a cold-hearted bastard. Everything is up to interpretation which varies from person to person. All I tried to accomplish was give food for thought and maybe explain a little why DJ Grooves as the winner makes more sense when people realize.

I'm always up for discussing chapter 2, as it's my favorite. Thank you for reading and have a nice day or night! You're awesome!

@majormeilani Here it is, you wanted me to tag you for this. I hope you liked it. Chapter 2 ftw!

#ahit #ahit character analysis #ahit conductor #ahit dj grooves

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lynxmuse · 1 year

Text

Mindfulness Moment

It may be surprising to be able to pull a powerful philosophical moment/insight from within a Marvel movie… but it’s awesome that this was the level of care and intent brought to the writing here! (Spoiler warning for Guardians of the Galaxy Vol 3)

“There are the hands that made us, and then there are the hands that guide the hands.

My Beloved Racoon. The story’s been yours all along, you just didn’t know it.”

– Lylla

This is such a powerful and moving inflection point for Rocket. Until this moment of luminosity, he was allowing himself to be defined by the High Evolutionary. His whole life, his whole existence, his very sense of self, all of it was being hemmed in by what the HE had said (and done).

More than said, really… for the young Rocket, it was what the HE had decreed. Right before Lylla provides him with this key, Rocket even protests the notion that he could have any purpose in life other than what the HE had declared. The H.E. stated X, that was the truth, and Rocket could, therefore, be no more than that.

But in the space she created by granting Rocket absolution for her (and Teefs and Floor’s death), Lylla provides Rocket with the true key that releases him from his cage. In Rocket’s past there is tragedy. There is pain. And there is callous cruelty by his caretaker. But he doesn’t need to be defined by that. He doesn’t need to be defined by the HE, or the HE’s intentions, or the HE’s actions. He doesn’t need to be defined by any of that.

It is his story. He gets to write it. He gets to choose.

In that moment, Rocket gains freedom. Freedom to let go of the guilt he’s been carrying, freedom from the constraints he let the past and the HE impose on him, and, ultimately, the freedom to be. And with that he may move forward into the future, creating as he goes, and free once more to express the authentic love and heart he has for others.

* As I mentioned before, it’s also a great culmination of Rocket’s arc told throughout his MCU appearances.

** I’ve seen some chatter that poo pooed Lyla’s second line about it being Rocket’s story as some sort of smirking hint by the director on how all the movies have really been about Rocket (and not Quill, etc). Which, on a secondary level, it might well be. But I think it erroneous to divorce it from the whole of Lyla’s dialogue and not see it as a continuation of the hands line that comes before it.

#mindfulness #philosophy #ontology #possibility #marvel #guardians of the galaxy #rocket raccoon #lylla #gotg vol 3

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canmom · 1 year

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What happened in the nimona movie?

I'm gonna assume you know the comic? Spoilers for both comic and movie follow!

I said in my Animation Night post that it broadly keeps the same premise and character dynamics, but actually on watching it they changed a lot of that too.

The movie is structured around a sort of Dishonored-like plot where Ballister, a commoner turned knight in a sci-fantasy kingdom, is framed for regicide and has to go on the run. Movie!Ballister is a very anxious and weak character who's constantly stumbling around in Nimona's wake. In contrast, Comic!Ballister comes across as older, an established 'villain'; he accepts Nimona as a sidekick almost immediately and falls into a protective, even parental role...

The movie's version of the setting has a walled city that lives in fear of monster attacks, when in fact the only 'monster' is Nimona, who was treated unjustly in the distant past. The movie's Institute are something like nobles, royal guards and would-be monster slayers. In the comic they're a much more overtly sinister organisation, some kind of shadowy state agency with a hand in weapons development. The whole walled city angle doesn't exist at all. Goldenloin is characterised not as a rube who is deceived, but someone who is willing to compromise with power...

There's also a lot more drama between Ballister and Ambrosius, with an inciting incident where Ambrosius lashed out an Ballister in a duel and removed his arm. Ballister ends up playing the villain due to this disability. The film does have Ambrosius cut off Ballister's arm for much less selfish motives and the arm matters less in general, it's played more for jokes.

Comic!Nimona for her part is still gung-ho for violence, but not quite so stuffed full of quippy movie dialogue. She is carefree, but you get more of a feeling that she is naive and overconfident, and less of a feeling of 'why does she need Blackheart again?' Also, while her principal conflict in the film is loneliness and ostracisation, the comic plays her a bit differently: she bristles at kindness and her big trauma has to do with people who make a show of trying to help her and let her down or try to exploit her.

The comic ends on a more bittersweet note. We do have Nimona turning into a big rampaging monster, but she doesn't get saved by Ballister making a big public gesture to reach out, nor does she carry out any sort of grandiose heroic sacrifice that changes the opinion of the public. Another contrast: in the comic, the Institute is discredited for being a bunch of shady evil science fuckers, and it's implied they are soon to be overthrown; in the movie, they remain in power even as the kingdom's founding myth is disproven; it seems that the Director was the only really bad one.

Indeed, in the comic, there's no convenient way for Nimona to prove herself to the hostile public. Ballister is the one that kills Nimona's monster form, choosing his moral code over their connection and, to one side of her, way replicating the pattern of betrayal that characterised her life - and though another part of Nimona survives, she moves on from Ballister. Nimona in the comic is able to be a much more ambiguous character in general. There's an interesting penultimate scene where she uses her shapechanging powers to probe what Ballister thought about her...

As an ending, it is a much less triumphant note than the movie's - and imo, much more effective for that. It fits the comic's general tone of weariness, hurts that can't so easily be healed. But I guess they decided that would be too upsetting for the kids!

The comic definitely is of its time, it's got a lot of the kind of 'whee! science' stuff that was really popular in webcomics of that era (think Dresden Codak, Girl Genius). I'll readily admit that the setting of the comic is kept very vague and some of the plot threads, like the whole jaderoot/poisoning thing, are really weak and I don't miss them. Even so... overall I thought the movie tells a much more conventional story, and ends up losing a lot of the characterisation and tone that made the comic compelling. Rereading the comic today, I'm struck by how many subtle ways it works better than the movie! In an adaptation it is inevitable that somethings will be lost or changed, but the movie feels hamstrung by the needs of being a 2010s American kids' movie, and even more so by being a 2010s movie released in 2023.

There are some touches in the movie I do like. The sci-fantasy setting with its mix of high tech and medieval is fun, and they got me with some of the jokes. On an animation level it's interesting: the way the characters move is very exaggerated, full of extreme poses and squash and stretch. It's something that historically CG films have struggled with, and a massive difference from the comic's very reserved, Hark! A Vagrant-like style. But it actually felt a bit grating and overacted, particularly in the first act... even so it does lead to some fun, kinetic action and musical sequences.

Still, I'm glad for Stevenson's sake that the movie finally got finished. And like, for all my frustrations with 'representation' as a paradigm, it is really a strange feeling to see an animated kids' movie like this wearing its gayness on its sleeve, in a way that would have been unthinkable just ten years ago. Nimona's trans allegory is laid on pretty thick in the movie, more so I think than the comic. It ends up feeling awkwardly didactic in the vein of Steven Universe, but still... hopefully what this represents is like a crude step towards something more interesting down the line. For now these mainstream movies are still stuck on 'look, gay' and 'don't do a prejudice', but maybe that lays the groundwork for more complex relationships.

Not sure what answer you were looking for with this question anon, but that's basically my thoughts on Nimona the movie ;p

#nimona #film #animation #comics

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