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douxreviews · 6 years ago

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Batman The Animated Series - ‘Two-Face’ Review

"At last we meet, face to face... to face."

Two-Face has one of comic's most tragic origin stories and it has inspired some of the very best Batman stories over the years such as Jeph Leob and Tim Sale's The Long Halloween, Christopher Nolan's The Dark Knight, and this two-parter.

'Two-Face' is Batman: The Animated Series at its absolute best. Brilliantly written, exceptionally directed, and stunningly animated, it's the series' first true masterpiece. This is one of those episode you force a friend who has never seen it before to watch so they can see why you never shut the fuck up about it.

I already rambled on in a previous review about how BTAS always made the effort to make us understand its villains, now I'm going to talk about how it also made us feel sorry for a lot of them. In Alan Moore and Brian Bolland's The Killing Joke, the Joker theorises that all it takes to drive someone insane is one really bad day. The makers of BTAS obviously subscribe to that theory since that is how so many of the Batman's villains come to be. Most of Gotham's worst criminals start out as perfectly ordinary people who are living perfectly ordinary lives when something horrible happens to them (or someone they care about) that sends them on a one way trip into madness. And there is no more perfect example of this than Gotham's own District Attorney, Harvey Dent.

This story wouldn't have worked as well as it did if Harvey was just some random city official we'd never met before. We might not have seen that much of him before this episode, but we saw enough to know that he was one of the good guys and, more importantly, Bruce Wayne's best friend. Very probably his only friend. The friendship between these two is at the very heart of the story. Yeah, Two-Face might spend most of the story pining for his fiancee, Grace, but that doesn't carry nearly as much dramatic weight as the pain Bruce feels for letting his friend down.

If Batman is Gotham's Dark Knight, then Dent is its shining white knight. He's the hero people can look up to and believe in. He doesn't have to resort to costume theatrics to bring down crooks like mob boss Rupert Throne. His weapon is the law, but it's currently shooting blanks. Judges in Thorne's pocket are undoing all of Dent's good work. Frustrated with working within a corrupt system, and struggling with the strain of running for reelection, Dent is starting to unravel, exposing his own deep dark secret.

You see, Harvey has spent his whole life trying to be a good person. He worked so hard at it that he suppressed all his negative impulses. This has had the unfortunate side effect of creating his very own monster from the Id: the aggressive, violent, short tempered, gravelly voiced, coin flipping Big Bad Harv. Harvey's been able to keep his alter-ego under control before, but he's coming out more and more, and often very publicly. Fishing for dirt on Gotham's hero, Thorne's minions stumble onto Harvey's secret and the mob boss tries to use it to get the D.A. in his pocket. Big mistake. Big Bad Harv takes over and attacks Thorne and his men. Batman tries to intervene and save Dent, but just ends up bungling the rescue. One explosion later and Harvey Dent is no more, replaced by Two-Face, one of Gotham's most notorious criminals.

I'm going to stop now and take a moment to talk about how exceptional Two-Face's character design is. As is so often the case with this show, the elegance is in the simplicity. Timm and his team never made the mistake of over complicating how the villains looked. Partly because it would've made them more difficult to animate. Of course, just because it looks simple doesn't mean it doesn't have a deeper meaning. Two-Face's black and white suit is a possible references to the Taijitu, the symbol in Chinese philosophy which represents the dualist (yin and yang) aspect of Taiji (supreme ultimate). Yeah, this is that kind of kids' show.

But Two-Face is more than just a triumph of character design. He is easily one of the show's most complex and fascinating villains. It would've been so easy for the writers to just make Two-Face Big Bad Harv unleashed. But that would be obvious and not all interesting. Instead, Two-Face is a sort of melding of the two sides of Harvey's personality. He has all of Big Bad Harv's rage and violence, but it's tempered (occasionally) by Harvey's sense of order, which has been twisted so that everything is determined by the flip of a coin. It is testament to how well Two-Face is written that his obsession with duality never becomes a cheap gimmick, but is a symptom of his mental illness. Because that is ultimately what Harvey Dent/Two-Face is. He's a mentally ill man who placed his job before his own well-being and didn't get the help he desperately needed until it was too late.

Fortunately for Dent, he's up against a Batman who is more than sympathetic to the mentally ill, one who understands that, for all their crimes, his villains are probably the ones who need Batman's help the most. The other day I saw a post on Tumblr (yes, it's still a thing) where people talked about how well this series tackled the subject of mental health and how this Batman is portrayed as a more empathetic character who understands that many of his adversaries are sick people who just need help. Or as one person so brilliantly put it "The story of one fucked up, traumatised little boy, doing his best to help other fucked up traumatised people."

I Know That Voice

Rupert Thorne was voiced by John Vernon (National Lampoon's Animal House, Dirty Harry, The Outlaw Josey Wales).

Comic Book Connections

Two-Face/Harvey Dent was created by Bill Finger and Bob Kane and first appeared in Detective Comics #66 (Aug, 1942). The character was originally named Harvey "Apollo" Kent, but this was changed to avoid confusion with Clark Kent. Rupert Thorne was created by Steve Englehart and Walter Simonson, the character first appeared in Detective Comics #469. In the comics he was a corrupt politicians rather than a mobster.

Notes and Quotes

--It's rather fitting that the series' first two-parter (production-wise at least) is about Two-Face.

--Despite having such a important role here, Grace is never seen or mentioned again after this story.

--First appearance of the Bat-cycles and can I just say I love their design.

--The final scene of Part I is terrific, one of the series' best moments, and looks simply stunning in HD, but there are some notable animation errors. For example, when Harvey is first shown in the hospital, his chin, neck, and hair are all undamaged. Also, his left hand is normal at the end of the episode, but is damaged by the start of Part II, although it is possible he later did that himself so that his left hand matched his face.

--In the scene where the psychiatrist is trying to bring out "Big Bad Harv" when the lightning strikes, Harvey's face briefly flashes as Two-Face.

Candace: "My, this guy is crazy." Rupert Thorne: "Yeah, crazy like a fox. That little tantrum probably bought him another 10,000 votes."

Thorne: "So what do you say, Harvey? Do we have a deal?" Harvey: "There's just one problem." Thorne: "What's that?" Harvey: "You're talking to the wrong Harvey."

Two-Face: "Don't bother to adjust the picture. For the next five minutes, I'm in control." --Harvey is obviously a fan of The Outer Limits.

Thorne: "All men have something to hide. The brighter the picture, the darker the negative."

Alfred: "Remember, sir. Harvey Dent is no longer the great man we once knew." Batman: "I have to believe that somewhere under that monster is my old friend." Alfred: "That may make him even more dangerous."

Four out of four monsters from the Id.

Mark Greig has been writing for Doux Reviews since 2011

#Batman #Batman The Animated Series #BTAS #Bruce Wayne #Harvey Dent #Two-Face #Batman TAS #Batman The Animated Series Review #Doux Reviews #TV Reviews

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otterplusharchive · 7 years ago

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sorry again for taking so long to answer this, mp100 and ghibli films are genuinely the most important and influental pieces of media in my life so ive wanted to take a long time to think about this. im going to be answering based on how the films feel compared to characters general vibes/characteristics along with which films i think characters would enjoy because i adore the idea of the gang having movie nights and watching ghibli movies. this ended up being pretty long so im putting it under a read more!!

Im starting out with Ritsu because ive got a kikis delivery service with him as kiki. ive made another post a while back about how i can see similarities between the two characters, both ritsu and kiki struggle with finding and expressing themselves truthfully and being able to feel free along with gaining control of their psychic/witch powers. Kiki has a hard time making friends and she seems to also struggle with her view of herself and what/who she wants to be, which really reminds me of Ritsu being compared to his brother and being pinned down into the role of a perfect straight A student. Both kiki and ritsus stories are about believing in and discovering themselves. Aside from what film reminds me of Ritsu, i like the idea of him being a sap at heart and so i think hed enjoy a film like howls moving castle where theres a sappy romance but also adventure and a solid plot.

For Mob im reminded of princess monoke… ashitakas curse that he tries to contain throughout the course of the movie reminds me a lot of ???% and Mobs overall repression of both his emotions and powers. Monoke also reminds me of Mob because in the end its a film that has a hopeful feeling to it.. even after the forest spirit is beheaded the earth blooms and the previously barren mountain that was misused by the humans for war and pain experiences a rebirth. Mob is a character who has gone through so much pain and yet he still believes in the good of people and is a hopeful person in general. Ashitaka says at one point in the movie something along the lines of “how much more killing and hatred will happen before youre satisified” which is a sentiment that really reminds me of mob, who ultimately does not want to hurt others or resort to violence although sometimes the situation forces his hand. Aside from that!! Mob likes action movies, and because of that i think hed enjoy both monoke AND castle in the sky, which is a very swash buckling fun action movie that still has the message of love and peace that i think mob would resonate with. For Shou im pretty torn. hes a character that has a lot going on with him, he feels that he has to be strong and brave and to both take down his father and fix claws mistakes even though hes still just a kid and shouldnt have to deal with that responsibility. he hasnt gotten much of a chance to really be a kid from what weve seen. hes bold and arguably impulsive/adventurous, and i still think that ONE should have developed him as a character more and given him more of a character arc outside of the claw/world domination arc. Because of all this im really having a hard time deciding between castle in the sky and tales from earthsea. to me castle in the sky seems like the kind of story that shou might draw up into a comic and the dola gangs overall dynamics and shenanagins remind me of shou a lot. however tales from earthsea deals with a young prince who is fleeing from both his homeland and also himself. hes just stabbed his father, the king, and is on the run, constantly vigilant and also a skilled fighter. hes tricked plenty of times in this film and yet there are also people who are trying to help him and live alongside him. part of both tales from earthsea and castle in the sky is about realizing that all life including your own has value and that the world is driven by and founded on love. tales from earthsea is a much darker film but the storyline with the protagonists father and struggle to simply be himself instead of fighting reminds me of shou. So yeah those both remind me of him, and as far as films hed watch i think hed enjoy the cat returns!!

Im the first one to acknowledge that i am by no means an expert on terus character, and just like all of these i want to encourage anyone to add their own thoughts on what ghibli films they think match up to each character! but anyway. When i started writing this the first film that popped into my mind for Teru was howls moving castle. I could very easily point to both howl and teru having huge reactions to their hair being ruined and go on my merry way but i want to go a lot deeper than that. Howls moving castle is about a lot of things, and one of those things is loving yourself for who you are. both howl and sophie have problems with their self image and with who they are in general and they express it in different ways. howl is very extravagant and uses magic to make himself look as handsome and flashy as possible whereas sophie seems plain and simple, like shes hiding herself and not secure with who she is. this can be compared to Terus very loud and showy way of presenting himself and how before meeting mob he used his powers in a way to make both the people around him and the world bend to his will. hes got a lot of issues with himself that stem from a lot of things, which probably include his parents never being around during his teen years and being the only esper he knows thus creating this idea that hes somehow above others. both teru and howl are arguably selfish people who during the course of meeting certain people (sophie and mob) try to better themselves and become less selfish. howl throws himself into the battles outside the hat house to try and protect sophie while teru tries to stop ???%s rampage by talking with mob as a friend. Howls moving castle also has a general feeling of grand whimsy and magic that reminds me of teru, and as far as what movie i think hed like watching- i think hed enjoy arriety!! Porco Rosso reminds me so much of reigen, i really think theres been times that ive watched the movie and thought of reigen while watching it. the obvious comparison is that porco is selfish and self centered, which in the end is what has cursed him into becoming a pig. hes a bounty hunter by trade which can easily be tied to reigens con man business ventures. theyre both very flawed men who put themselves first but the more we go into their story lines the more these selfish ways of thinking are challenged and changed, and despite their flaws both end up helping other people. it can be argued that reigen and porco are not exactly good people, but theyre not for sure bad people either. They both have a lot of issues they need to work on and in their worst critics are themselves, no matter how selfish they might be both characters very obviously are lonely and dont think very highly of themselves. also for a film i think hed like watching.. i like thinking about reigen and serizawa having a movie date night watching nausicaa ive been writing this all day and its already incredibly long so i think im going to end it here although i might come back another day and continue with characters including serizawa and all the girls because ive got thoughts on them too but wanted to answer on the same day as i got the ask. again if you have your own thoughts and ghibli movie comparisons please feel free to add on id love to hear what you think!! thank you so much for asking this

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popcartoonkabala · 8 years ago

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A monster is a person in your neighborhood: Satire vs. acceptance on Sesame Street= Netzach/Hod She b Malchut

Super-hero cartoons are arguably as rooted in gangster literature and media as they are in any epic heroic tradition. It's only very recently that there's been a move to return Star Heroes to military legitimacy, as The Avengers become an official S.H.I.E.L.D project... we'll see how long that moment lasts. Because since World War II, the super-heroes have tended strongly to be identified exclusively as private citizens, defined by, if not their hostility to government, a certain amount of government distance from them, manifest as either fear/hostility, or dependence, as in the case of Iron Man, or Superman or Batman. None of them are government stooges, or instruments, but the local or national state tends to come to them in need of help with some regularity.

The relationship between the state-- Malchuth and the heroes-- Zeer Anpin, is fraught with tension, as is the way of serious long term relationships. One is the stability, the other is the agent of justification. One just wants to serve, the other just wants to feel good, safe. Gangster literature is what, in many ways, first developed this relationship in the context of the modern city itself. The functional agency of drawing and circulating satisfaction vs. the frustrating maternal Law, defending some kind of innocence at the expense of functionality-- the end of the story is a covenant drawn between the two, making them agent facilitators of each other. It's like every good marriage, until it falls apart perish forbid. The distinction between one and the other demands mediation, and a third emerges naturally in the polarity between the two: The infant is to become the Tzaddik. Trusted somehow by all, and ultimately the most vulnerable, his/her death is the epic tragedy that lets everything fall apart.

Gangsters, like babies and deities, are folk heroes stripped of the conceit of altruism. What their most selfish values begin to describe are the truest essential concerns of any individual, and any nobility, loyalty, or pragmatic intelligence they express become relatively ennobled, and their folly is only that of the most traditional of ruined heroes: hubris, intoxication, and foolish obliviousness to the consequence of their failed confidence. Scarface dies much like Achilles and Balder, once they've climbed to the top of the world to become the most beloved and feared of the gods, a war god and a sun god all at once-- that's when it's over. A failed hero is the beginning of all cautionary example.

What is Count Dracula if not another of these failed heroes, but cursed with unending success? See the ultimate horror of Dracula in the later films-- frustrated by the nature of what he is, yearning so great that satisfaction and victory cannot satisfy? The vampire hero, redeemed, must overcome even the yearning for satisfaction in order to become profoundly trustworthy. You'll observe, this is also the lesson that creates Spider-man, Thor, Hulk, Iron Man, Wolverine, and many other Marvel heroes: only by giving up on personal satisfaction, be it in the form of love, revenge, wealth, or even divinity-- can they become what's trusted as a hero, and then they can overpower anything and everything, even death itself.

Frank Miller's neo-pulp heroes in Sin City take this a step further, rejecting even the appearance of even nobility itself in order to be heroes, and Chris Nolan's Batman is very influenced by Miller's version of gritty austere virtue-beyond-beauty. Here is the point where a Pop/super-hero remains distinct: he does not have to ever, give up his integrity. Pulp heroes, later day post modern comic icons, like John Constantine, Wolverine or any of the Warren Ellis Authority indy heroes outside of the mainstream mold. Their virtue is, partially, willingness to step past even needing to feel whole about their actions in order to do what needs doing. This is why Garth Ennis ultimately prefers to write war comics: that pragmatism is taken as a given, and the super heroic idealism is understood as a decadent privilege, at best.

Super-heroism rages, by it's nature against this criticism. This is most overtly expressed in Joe Kelly's Superman vs. the Elite storyline, notably adapted to animation in 2012. Don't call it naïve, don't call it juvenile-- call it simple, elementary, iconic. The hope of approaching moral depth and the implied darkness accepted in that is more resonant and literary, but betrays the purity that the heart yearns for from it's mythology. Maybe i'm exaggerating-- traditional religion and mythology tends to accept, even embrace, moral relativism and the challenge of dark nature and betrayal of ideals as a certain form of ideal-- but as civilization becomes more sophisticated and self aware, the antidote demands to be more pure, hence the progressively more senseless and emotionally immature nature of super-modern pop music, during any era that should be finding depth and collective appreciation of that capacity to acknowledge the disturbing range of what's clear about being a person, all the more so does the simplest, most even offensively naïve of narratives become resonant. Witness the victory of Christianity over both Roman paganism, Norse Aesir worship and folk Gnosticism-- why did the cruelest of all empires go with the religion that ultimately, theologically, justified its excesses the least? Because they needed the purest of purification to move on and be the kind of bad they were going to become from then on, in order to rule themselves all.

This is the degree to which satirical anti-heroes are central to the maturity of a culture. But once satirized effectively enough they can no longer be national icons-- they must either respond to the satire, and become better and more whole mythic heroes, like Krishna after Buddha, or Elijah after The New Testament critique of his fiery piety in the tale of the good samaritan. The choice becomes ironic pandering, ignoring the critique in search of more naïve audience, or better yet, some sophisticated refinement of character, and ideally a mythic defeat of the criticism. In this, the hero's ideals themselves defeat the villain embodying the critique. This is much of where the Batman vs. Joker conflict has gone in recent super-modernity, where Batman's commitment to protecting, or at least not killing, the monstrous grizzly and willfully chaotic murderer is justified as an ideological triumph-- not defined as a virtue by dint of dated calvinist “commitment to ideal”-- because no one respects that kind of ideological commitment as being authentically virtuous anymore. The triumph instead has been defined in specific contrast to the Joker's preference-- the Joker would like Batman to kill him, ostensibly, because that would prove the virtue of killing problems, and by NOT killing him, Batman proves his virtue and commitment to the legal process, in some strange sense, which strips batman of the danger of being a social terror.

The real reason for this hang-up is much more narratively practical-- the villain is too precious to kill off. The Joker, like almost every other villain of grace and note, is divinized by his meaningfulness. He was actually killed off in his second appearance, but to no avail-- the editors commanded the writers to find a way to bring him back to life only a short time later, and so it has been his practice ever since, much like Dracula or Moriarty.

The degree to which villains are different than monsters is the degree to which there is no reward in slaying villains-- only an end to the great narrative. Monsters, on the other hand, must be slain, as this is the original sin of demonization-- insisting that violent annihilation is the only solution to the needs of another “human.” A villain is preferred to be captured, and maintained in controlled captivity. This mystic clarity about the reincarnation of the slain enemy into distant freedom, as opposed to the power of sacred captivity, to keep one's enemy close, accessible, and monitored, like the very id itself. As indestructible and precious as the self itself, the moral of the story is Overcome, but never destroy.

Dracula's special and refined thirst is for the Moon, the untouched mother-- and his slave wife is the Venus, although the point where they meet is close. The early evening- But Venus is his weapon, while the Moon, ultimately, is his weakness, what gets him killed, even as much as he lives from nursing at it's behest and it's throat. This is the secret of the two “ה"'s in the four letter tetragrammaton “YHWH”.

One of the profound psychological innovations of Sesame Street is to reclaim the monstrous as synonymous with the human, thus overcoming at the most viceral and accesible level untold generations of demonization. Where traditionally Dracula and all the monsters represent the repressed and feared aspects of basic hungry humanity (“hell is other people”) Sesame Street takes Dracula and reframes his hunger as simple passion for the abstract and inherently unlimited satisfaction of numbers themselves. Whereas Count Dracula himself is the first amongst modern pop-monsters, The Count falls parralel to the sephira of Hod, sensetivity and co-dependance, the aspect of the god who gives numbers to the stars already created, unthreatening, although perhaps slightly nagging tho graceful and charming. Contrast this with the muppet I would consider his opposite number in rank and value, the Cookie Monster, who I would consider an expression of Netzach/Dominance, his hunger unavoidable and creepingly inquisitive, his pallette insatiable although still somehow respectful of some kind of engagement and personal limit in the context of personal need, reflected in his rectification as a vegetable eater who just appreciates the cookies as a “sometimes food,” even as his monstrous appetite remains intact. The villification of Venus/Innana is that of an insatiable lover who does not care much at all, but cannot long be resisted, or even resented, as the defeated visage of Ernie-without-cookies testifies.

A monster is just another person in the neighborhood; a reflection of our own normal needs and hungers, respected, honored, and safely sociably satisfied. Grouches and Satyrs are just themselves, and honored for and despite this-- what more radical message can civilization aspire to offer? This is, ultimately the great difference between Babylonia and Egypt: Egypt sought not (generally) to assimilate it's monsters and enemies, although there were periods where the Sethian was more integrated-- the foreign was somewhat inherently anathema-- and this nativist impulse endured until the Greeks overcame it, as was the nature of Greeks, to overcome nativisms with a glorious and all-consuming universalism. Rome's innovation was just to weaponize the Greek syncretic clarity, and apply it more aggressively, taking it's perfection for granted as much as was reliable. Once, to end wars within an empire, polytheistic pantheons were assembled, as a kind of a symbolic senate of the different priorities of different city-states within an empire. Egypt may have innovated this, if Babylon did not, it doesn't matter. Babylon's aspiration was not just to be an empire, but to be a great city, where things worked-- and it became clear that unless there was co-identification, and cathartic expression, of the different elements within their society, there would be conflict. The great Babylonian epic of Gilgamesh reflects this ambivalence, between the slaying of monsters and their integration and the acknowledgement of their humanity. The hero starts the story as a hated villain, an oppressive king resented by the populace he rules. A hero from outside of civilization comes to confront and slay him, this force of cruel and selfish modernity-- but instead, thanks to the intervention of certain gods, they become friends instead, and go on an adventure to slay another more monstrous monster. This conflict is greatly debated and engaged, before and after, and leads to conflict with greater forces, goddess and her pet cosmic bull. Our heroes slay the cosmic bull, and for this, one of them must die. A similar narrative is kept by the Greeks, when Kadmos slays the wrong dragon, the beloved of Hera, and so must lose his beloved sister Europa, forever. The moral is clear-- the more you can integrate, and not kill, the less threatened you will be. This is the purest moral of all civilization.

Sesame Street is in the unique summit between commercial and civil. Concieved, unlike most pop-cartoons, not for profit but for some kind of educational, civic or edifying purpose, specifically bound up in the grand project of universal education for all children, its excesses as far as violence and indulgence of children's affection for sugar and noise compel parental forgiveness and toleration, in light of the hope that the kids would enjoy this educational pop-media over less trustworthy and more commercially pandering tv shows. In it's early episodes, it could get away with a lot as far as puppet violence and questionable exploration of tantalization and titillation of kindergardeners, as it at least had positive tacit integrationist and educational function, about the nature and character of assorted letters and numbers(!). Once Sesame Street became established and somewhat universally successful, and thus, functionally institutionalized, it also became more sensitive to moral criticism, and able to be overtly responsible for the values and graces it would introduce, rather than assume were already part of children's paradigma. Cookie Monster introduces children to consumption, rather than just satirizing a hunger already observed, and becomes a certain kind of role model, now responsible to amend his own nature, so that the lesson of moral clarification become the implied arc of his journey, even as older episodes exist only in archive, except of course for classic routines, which are continually re-integrated into new episodes. The earliest Ernie and Bert routines remain in circulation and translation forever, because they are so fundamental and accessible-- a good omen for pop-longevity. Many classic figures are integrated into Sesame Street, but eventually used less and less because what they meant historically becomes less and less relevant. I was introduced to the character of Charlie Chaplin's “Tramp” in the context of Sesame Street, but they don't use even the Maria who played him so much anymore. Instead, is Mr. Noodles, the incompetent mime in Elmo's world who children joyfully correct as he manically tries to complete the most rudimentary of tasks, to no avail, until the advice of a quorum of offscreen children are able to get through to him, with the help of Elmo's omniscient voice. Elmo is the aspect of Malchus, in that he became the main character of Sesame Street, despite being a later addition to the cast. He is a monster child, like the once central Grover, but unlike Grover or Chaplin, he is defined by his absolute competence. His lessons are those learned after doing everything right, not wrong. He is the aspect of the wise child, not the fool, and so he is given an entire third of every episode of the final few seasons of Sesame Street-- until he himself, that is, the actor who played Elmo exclusively, was implicated in the hubris of the successful, and the good name of all that Elmo and Sesame Street are associated with became suddenly embedded in sexual impropriety. Such is the downfall of kings, specifically: fear of their appetites and preferences, because of their absolute power.

Sesame Street is too big to end because of an underage gay sex scandal or two, but not too big to need to be a bit castrated because of it. Pop-cartoons depend on grace, and the impression of trustworthiness

before both parents and children. As cool as we all want to be with what actors do on their own time, it was a bit more of a problem with Sesame Street, because the actors, especially in the case of Elmo, are so deeply and truly associated with the show itself. Not since Jim Henson himself was alive and available to make Kermit the Frog a celebrity, available for interview and all manner of guest appearance, was a character so genuinely and improvisably identifiable with the actor giving him voice.

It's not that “we” found out that Elmo himself was a chubby older black man with a thing for 17 year old men, it's that Elmo is such a naked expression of erotic power male power, easily identifiable as kind of Libyan Satyr; a naked, red wildman. Identifying THAT cartoon Id with an actual person, might just be a little hard to reconcile for long. So they appear to be phasing him out a bit, making the Elmo's world segments less personal and more theatrical, so that the distance of seeing him as more of a stage muppet that an intimate and eponymous pop force, like the great god Pan himself, kept alive only in Elizabethean chains, taken from the wild forest onto the city stage. A smaller King Kong is a loveable King Kong, unless and until he creeps you out. Then what're you gonna do?

The Sesame Muppets are monsters of the greatest virtue. They will not eat you, and don't even have to promise not to; the question dare not come up. They want to share and play responsibly, learn and help us learn. In this, they are a tikkun on the respective terrors and traditional issues with their respective forms. The Great Eagle, the “Big Bird,” hangs over looking patronizingly down for prey-- but Big Bird on Sesame Street is utterly without guile or threat, taking as much responsibility for whatever goes on as is possible, in his dreamy ignorance. This is the level of the great dove, divinity herself, rather than the predatory eagle or trickster raven-- the hawk coming to bring things to you, rather that to eat the eyes out of your head. Dracula is reduced to counting passionately only numbers and not bride-victims. The unconquerable hunger behind Dracula, the oceanic kraken come asurface, hungers only for cookies. Grover is something tragic, a hero partially defined by his constant failure. Through him, children learn the grace in not being good at something, and still trying because you care, and the effort is cute. But Elmo informs of the possibility of being inherently right at everything, and STILL being cute, and this is the different between the Messiah of Joseph and the Messiah of David. This is one of the strongest subplots in the old testament, and endures through the entire post Pentateuch bible, when the kingdoms of David and Ephraim (Joseph's son) literally split because of conflicting priorities. Modern scholarship identifies these two voices as representing conflicting political priorities involved in the bible's construction, Kabbalistic tradition prefers to assume that it's an internal expression of fundamentally complementary models. Joseph, identified with the sphere of Yesod, is identified with unyielding righteousness, and keeping of rules. He must die and fail at some point, if not in every generation, to make the point of the limitation of perfection in this world. The Davidic model, introduced in his forefather Judah, for whom the Jews are named, is about the triumph of earnest imperfection, bound up in a will to constantly do better, in a manner unbound by law or principle, although still beholden to the purpose and meaning of law and principle, and whose life, triumph and clarity can only come after being built by adherence to law and principle. The Davidic Messiah is the one who brings clarity to true purpose and divinity into the already formed Josephean structure. As such, he never dies, and cannot fail, but can only be disgraced into some degree of dismissal, as was the way with Elmo and King Solomon.

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niamsuggitt · 8 years ago

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The Ides Of May 2017

Hi guys! It’s that time of the month again, time for me to write a ‘lil bit about all of the various media I’ve stuffed into my gaping eye and ear-holes over the past 30 days. I would have included mouth-holes there too, but Nintendo deliberately made Switch cartridges taste horrible so unfortunately I haven’t been able to eat one. Oh well.

This month includes the return of some Sitcom favourites, more of me slowly, ever-so-slowly playing Zelda, a Booker Prize winner and a nice heap of Marvel Cinematic Universe fun.

Let’s do it!

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Movies

Once again there’s only 2 movies this month, and whilst they are both very different, both provide quite a bit to think and talk about. Up first is Anomalisa (Charlie Kaufman and Duke Johnson 2015). This may be surprising given the types of films I normally like, but before watching Anomalisa I have to admit to not liking Charlie Kaufman as a writer. I’ve seen Eternal Sunshine, Being John Malkovich and Adaptation, and none of them resonated with me like they do for so many others. I just find him a bit… pretentious? Like he tries too hard to do different things and in the end it just obscures what he’s actually trying to say? I dunno. But much to my surprise and pleasure, I really enjoyed Anomalisa, which is different from Kaufman’s other work in that it’s animated. This stop-motion story follows a man (voiced by David Thewlis) who is on a business trip to Cincinnati. This man, Michael, sees everyone else in the world, including his wife, a former girlfriend, as the same person. They have the same face, and the same voice (Tom Noonan). That is until he stumbles across one other person who looks different, Lisa, (Jennifer Jason Leigh). It’s a complicated, dare I say, pretentious set-up, but for me it works. The animation is fantastic, incredibly detailed, and it’s used to go to places other animated films wouldn’t. This is a truly adult film, so if after Team America you wanted to see more puppet nudity and sex… I’ve got you covered. The way the technique of having everyone except Michael and Lisa be the same person works is incredibly effective and disorientating. It took about 10 minutes for me to twig it, the unease sort of snuck up on me. I said earlier that I think Kaufman’s gimmickry gets in the way of what he is actually trying to say, but that is not the case here, I think I pretty much got what the film was saying about solipsism, and how so many other films feature a ‘manic pixie dream girl’ who shakes a depressed male protagonist out of their funk. Anomalisa flips your expectations here. Lisa is not Michael’s soulmate, she’s just a blip in his mental illness. If it even is that, he might just be an asshole. That’s not to say that Lisa isn’t a well-drawn character, because she is, and Leigh’s voice acting makes her come to life. Then again, maybe this isn’t what Kaufman and Johnson are saying at all and I’m an idiot. Either way, Anomalisa is a fascinating film that has been rotating in my head since I watched it. It’s unlike anything else I’ve seen lately, and has me reconsidering my position on Charlie Kaufman. I certainly plan on watching the other film he directed, rather than just wrote, Synecdoche New York, and maybe I’ll go back to those other, older films.

Up next, I took a step away from the esoteric puppet show towards the mainstream blockbuster and into the cinema, as I went to see Guardians Of The Galaxy Vol. 2 (James Gunn 2017) which is of course (of course) the third film in the third phase of the monolithic Marvel Cinematic Universe. As is par for the course when writing about these films (and some, most, of the TV projects) I feel like I have to fully lay out a bit of bias. I love these films and just seeing these characters on screen and being done justice like this takes away a lot of my critical faculties. Problems I have with other, similar movies, I can brush aside because, hey, it’s the MCU, I trust these people. But that aside, I thoroughly enjoyed Guardians 2, and whilst I don’t think it’s quite as good as the first one, I really appreciate it’s weirdness and how much crazy Marvel Universe lore it puts out there, if only just to hint at. The film of course sees all of our favourites from the first film, Star-Lord, Gamara, Drax, Rocket and Groot return for another adventure, but this time, the stakes are far more personal, as Star-Lord meets his father, Ego, who is brilliantly portrayed by Kurt Russell. Firstly, it was just awesome to be back with these characters again, they are just so much fun. The Guardians are perhaps the MCU versions that are the most different from the originals (of course, the comics have in turn, begun to reflect the movies far more) and as such I have a different emotional attachment to them. I’m not constantly comparing Gamora to the 500 Gamora comics I’ve read in my life, I’m just invested in her relationship with Nebula, and with Star-Lord. As I mentioned, the main plot here is Peter and his father, but the script makes sure that every Guardian (except maybe Baby Groot, but he’s adorable enough that you don’t mind) has their own story. Drax forms a bond with the newcomer Mantis (who is great!), Gamora fights her sister again, but even more personally, and Rocket deals with his anger driving people away. I found myself invested in all of these storylines, and it mean that, whilst the overall plot did sag a bit in the middle of the film, I didn’t mind. I will say that I am a bit sick of people dismissing Star-Lord’s story as ‘just more daddy issues’ or something like that. I think that’s reductive, and to me, the real plotline is how much Peter Quill still cares about his mother. His love for her is what snaps him out of cosmic brainwashing, and let’s not forget that, as awesome as the classic soundtracks are, they do serve an emotional purpose, as they are his only link to Earth, and to his mum. Maybe it’s just because my mother died of cancer as well (although hers wasn’t put there by an evil Celestial, at least I don’t think it was), but if anything, this is far more of a ‘mommy issues’ movie than a daddy issues one. I mentioned the soundtrack earlier, and I will say that this particular ‘awesome mix’ was a bit of step down, with the songs either being too mainstream (Fleetwood Mac, ELO) or way too obscure. Maybe I’m asking too much, but the first movie’s track selection was just perfect, hard for lightning to strike twice I suppose. The other character I want to specially highlight is Michael Rooker as Yondu, who is just amazing here. He has real pathos behind him and makes a character I never really knew into an absolute favourite. His storyline also sees the film do something I really didn’t expect and bring in more of the ‘original’ Guardians, the ones who, in the comics, were in the future. This movie has Sylvester Goddamn Stallone in it as Starhawk and I went in without knowing! I love that Gunn hasn’t forgotten the likes of Charlie-27 and Martinex, and that a major movie can feature characters as weird as them. That’s what sets this film apart from me, it’s not afraid to get a bit odd, and to use weird elements from the source material to their full potential. A few years ago, Ego The Living Planet would be considered way too goofy for a film, but not here, here he’s Kurt Russell! Some of this is pure fan-service, but as mentioned, when it comes to these films, I don’t mind that at all. The Stan Lee cameo was amazing, the teaser in the credits for Adam Warlock blew my mind (it took me an embarrassingly long time to connect Ayesha and her golden skin to that classic cosmic character). This film’s links to the wider universe are like that, more hints. I did expect some big Thanos developments, but ultimately, I don’t mind spending 2 hours just inside these goofball’s messed-up heads. I can’t wait for Vol.3, and I hope that, when the Guardians appear in Avengers: Infinity War, they don’t lose what makes them special. This film was just a blast, it delivers more of what you want, as well as surprising you with where it goes, the best kind of sequel.

Television

There’s one new TV show for me to talk about this time out, in the form of American Gods (Starz), the long-awaited adaptation of Neil Gaiman’s 2001 novel. This is an interesting series for me adaptation-wise because, whilst I have read the book, it was a long time ago and I don’t really remember a lot of what happened. Just the basic gist really. This isn’t like Game Of Thrones or The Expanse where the source material is fresh as a daisy in my mind and I’m constantly comparing the show to what I already know. Here, I’m kind of hazy on the details and it’s a lot of fun being surprised both by what I didn’t know, and what I forgot I knew! The basic plot has barely begun, but basically, Gods are real, they live in America, they are at war, and a man named Shadow Moon (as far as I can call this dumb-ass name does have a good explanation) is drawn into their world after the death of his wife and his release from prison (on the same day). Not only is that, to me, a great intriguing premise, but it’s really elevated by some fantastic performances and amazing visual flair. One of the show’s main producers is Bryan Fuller, from Hannibal, and the opening 2 episodes where directed by David Slade, who directed a fair few episodes of that show too, so you can really tell that there’s a link in how the series looks and feels. The dream sequences and trippier moments are straight out of Hannibal, they are brilliant. There’s a sex montage in Episode 2 with Bilquis that is just insane. The performances so far have been great as well, Ian Fucking McShane is of course stealing the show as Mr Wednesday, but Ricky Whittle is really doing well as Shadow, which must be a hard role to play as he’s kind of intentionally inscrutable and a bit blank. And, if you watch nothing else, watch Orlando Jones’ monologue as Anansi that opens Episode 2. It is one of the best single scene performances I’ve ever seen, it knocked me for a loop. It’s only been 2 episodes, but this is already a fantastic, ambitious series that’s unlike anything else on TV. I can’t wait to see where it goes, and what else I can remember.

This month also saw the return of 2 of my favourite US Comedies. Silicon Valley (HBO) is back for a 4th season of tech-based misadventures. So far this season has managed to somehow feel like more of the same, but also change things up in a lot of interesting ways, as the characters move about into new situations. At the end of Season 3 it felt like we were right back to the beginning, but that wasn’t the case, as we’ve seen multiple characters leave companies, join new ones, sell companies, and all sorts of other manoeuvring. The prospect of Richard actually working with Gavin Belson is very exciting. In amongst all of these shake-ups, the characters have continued to be as funny as ever. I love how Big Head continues to fail upwards, he’s now a Professor at Stanford! And seeing Dinesh get a girlfriend is something we haven’t seen before. I’m also enjoying the increased role for Jian-Yang. Jimmy O. Yang has always been very funny in his brief scenes, but now he’s getting actual stories, which is cool. And man, Zach Woods is still killing it as Jared. He had one moment of madness in Episode 4 that had me wetting itself. At times it does feel like Silicon Valley is in a groove, but it’s such an enjoyable groove!

One series that hasn’t been afraid to get out of it’s groove is Veep (HBO), which is now in Season 6, and is a very different show this season. Of course it changed when Armando Iannucci left, but now that Selina Meyer is out of office, it’s even more different. With the character scattered all over the place, I did feel like the first one or two episodes were a bit lacking, but after that, it’s really found it’s feet and become just as funny and scathing as ever. In the wake of Trump it was going to be difficult for Veep to be the same show as it was before, so wisely it’s pivoted, it still has a lot to say about America and politics, but really, it’s become more about seeing who these characters are in new situations. I’m particularly enjoying Dan working as a TV News Anchor and Jonah as a Congressman has just been brutally brilliant, especially with Mary Holland joining the cast as his new ‘girlfriend’. It’s also interesting that the series has started to delve deeper into Selina as a character, and her backstory. She may be a bit ridiculous, but in the world of the show, she is the first ever female Vice President and the President, she is interesting. So yes, Veep has changed, but it’s still intelligent and funny and well worth watching. When real politics is as scary as it is these days, we need this magnificent bastards to laugh at.

Now for quick hits! We’ll start with comedies. LOL! LOL indeed.

The final episode ever of Girls (HBO) was a bit of an odd one, it jumped ahead to the birth of Hannah’s baby (the horrifically named Grover, and that’s a ‘Niam’ saying that) and only featured Hannah and Marnie from the main cast, out in the middle of nowhere. In a lot of ways, it was a typical Girls way for the series to end, Lena Dunham has never really done the conventional thing. I enjoyed it, particularly Becky Ann Baker’s performance. She’s always been excellent and underrated as Hannah’s mother. I will miss Girls, it was funny, different and always provoked debate, and I can’t wait to see what projects Dunham does next. As infuriating as she can be, she is very talented. How about a Dunham/Max Landis collaboration? That could destroy the internet.

I reached the end of BoJack Horseman (Netflix) Season 3, and holy shit, that was brutal. What happened to Sarah-Lynn just fucked me up. And then it’s followed up by the sublime ridiculousness of Mr. Peanutbutter’s spaghetti strainers actually being useful! That sums up BoJack for me, it can be gloriously silly and funny, but at it’s core it’s a dark series about depression and the sadness at the core of humanity (or animality, whatever). It’s one of my favourite shows ever at this point, and I am very excited for Season 4, and just where BoJack is going to go now. It’ll be bad… but also so, so good.

The Last Man On Earth (FOX) also wrapped up its 3rd season very well. Jasper has been a fun addition to the cast, and the 2-part finale in particular was a great, as the series once again upended it’s cast. Erica gave birth to her baby, but then Nuclear Reactors started going off and they had to flee. This series continues to be brilliant at balancing comedy and real dark drama, as the consequences of a post-apocalyptic world are actually thought out. The very last moment also brought Kristen Wiig in contact with the main cast, and what a way to do it.

Brooklyn Nine-Nine (FOX) has continued to be very funny and strong, and one episode in particular really surprised me, as ‘Moo Moo’ became a serious examination of racial profiling in the Police Force. It’s rare that Brooklyn Nine-Nine addresses real issues, but it did it very well here, I think it should actually do more, especially in this era where the Police, in America especially, are not so popular. I don’t want it to become propaganda for the cops, but it can certainly shine a light on some real issues. As well as being dumb and funny with great actors of course.

The ‘Dreamland’ arc of Archer (FXX) is still going strong. It’s just a lot of fun to see these characters in this setting, and the storyline by itself has actually been rather arresting, with a lot of fun twists and turns. I’ve particularly liked Eugene Mirman’s performance as Cheryl’s brother. He’s delightfully creepy. Also, is Pam just a man in dreamland? Her character isn’t meant to be a woman in drag, here, she’s just a man? I kind of love that.

Oh, and I watched one more episode of Inside No. 9 (BBC Two), ‘Tom & Gerri’. It was very good, and actually managed to surprised me with the twist at the end. It was fun to see Lord Varys himself, Conleth Hill play an actually nice person, and Gemma Arterton was good too. That’s the strength of an anthology show, they can bring in really big names for just one episode.

Bridging the gap from comedy to drama is Better Call Saul (AMC) which is having an excellent third season, as it gets closer and closer to Breaking Bad territory. Not only has Gus finally appeared (with Giancarlo Esposito just as good as ever) but the whole tone of those scenes is straight out of the parent show. Episode 4, ‘Sabrosito’ barely seemed to feature Odenkirk at all. But that doesn’t mean that the series has just become Breaking Bad-lite, as the following episode ‘Chicanery’ was all courtroom stuff, and really did a fascinating job at delving into the central Jimmy/Chuck relationship. It really needs to be said again, but both Odenkirk and Michael McKean are amazing in this show, tour-de-force performances. This stretch of episodes has been a great microcosm of what makes Better Call Saul so good and basically the perfect prequel. It has plenty of links to what came before, including themes and cameos (Huell!) and camera work, but it’s also very capable of being it’s own, separate thing. So good.

The Season 2 finale of The Expanse (Sy Fy) was another strong episode in an exceptionally strong season. It was an incredibly tense episode that brought a lot of things to a head. The central plot of the Protomolecule monster being on the Rocinante tied everything together and, perhaps most importantly, brought the central crew of characters onto the same page. It’s interesting that the show isn’t precisely following a ‘1 season = 1 book’ model, and I like that, it’s allowing for things to unfold at a different pace.

The Americans (FX) is having an… interesting season. It’s still very good and all of the performances and episodes have been good, but, maybe it’s just me, but it doesn’t seem as focused as it used to, which is odd, because the writers know they only have this and next year to wrap things up. Maybe that’s actually the reason, they know they have a guaranteed 26 episodes, so can pace things differently? Either way, there doesn’t seem to be any particular driving plot, missions and side characters come and go, and whilst each individual hour has been strong, it’s not a satisfying whole. Yet. I think maybe something big is going to happen (Pacha’s suicide? Something with Pastor Tim?) that will lead to a major event in the finale. Or at least I hope so. This is a fantastic series so maybe I just have too high expectations.

Now it’s time for everybody’s favourite corner… superhero corner!

So far in iZombie (The CW) Season 3, the biggest pleasure for me has been the classic thing, seeing Rose McIver play Liv on various different types of brain. Hippie Yoga Liv, gossipy bitch Liv, Dominatrix Liv and Hot Mess Liv have all been hilarious. I really think McIver is underrated by how she manages to play so many different shades of the same person. Some of the individual cases of the week have been a bit weak, but her performance, along with the new development of Clive knowing she’s a Zombie have made it work. As for the over-arching plots, I liked the way the show revealed that Blaine had been faking his memory loss, and what that means for Major and Liv going forward. The Fillmore Graves plot has been on the back burner a bit, but you just know it’s going to explode later.

Gotham (FOX) has returned with some really great episodes and has become a show that really embraces it’s ridiculousness, and is all the better for it. Corey Michael Smith in full on Riddler mode, green suit and all, is so much fun, as is Penguin and Poison Ivy gathering an ‘Army Of Freaks’ and a goddamn clone of Bruce Wayne. I’m also really enjoying this take on the Court Of Owls, I’ve said this before, but I get an extra kick out of seeing more recent concepts like this used in other media, and so it’s awesome to see something Scott Snyder invented on TV. Gotham is dumb, but it’s the good dumb.

The Flash (The CW) revealed who Savitar was, and it was… actually satisfying. The fact that Barry (or at least a Time Remnant of him) becomes his own worst enemy is interesting, and it’s a perfect expression of the consequences of too much time-travel meddling. What I found cool was that the show followed this big, tragic reveal with a somewhat broad comedy episode where Barry lost his memories. Not only was this funny, but it showed why the show needs a bit more levity. When Barry gets too Emo, things get bad (as shown by the trip to the future, where Barry literally was Emo). I’m also really enjoying Anne Dudek’s guest role as Tracy Brand. Her chemistry with Tom Cavanaugh is a lot of fun. 2 episodes left, and I hope they continue to get the balance between drama and fun right. The Flash is one of those characters who needs to stay optimistic.

Marvel’s Agents Of S.H.I.E.LD. (ABC) has continued it’s hot-streak with more really fantastic episodes. This Hydra alternate reality arc really has been excellent. It’s allowed us to learn more about the characters, had a real impact, and also allowed the show to comment somewhat on real world political elements. It was cheap, but referring to Hydra’s ‘alternative facts’ and ‘fake news’ was great. The performances have also gone up a gear, Henry Simmons choosing to stay in the Framework was a great, although I do think that somehow they’ll use that machine to bring his daughter into the ‘real world’. Although they might be saving that for Face Turn Grant Ward. I also want to praise Iain De Caestecker, who has taken Fitz from somewhat of a comic relief character into probably the most complex person on the show. He played the ‘evil’ Fitz so well I almost feared he would still be bad once he was back. Mallory Jansen has also been very good, whether as Aida, Agnes or now Ophelia, she has played the same person in 3 very interesting ways. I can’t wait to see how this finale ends things, and to see what Season 4 brings. It feels weird to say this after the slow start, but Agents Of SHIELD is one of the better adventure shows on the air.

And finally, I finished watching Marvel’s Iron Fist (Netflix), and whilst it does have it’s share of problems and is probably the least of the ‘Defenders’ shows, I still very much enjoyed it and am excited to see more of this version of Danny Rand, particularly alongside Luke Cage. Heroes For Hire! I’m not going to re-tread the race conversation as we discussed that last time, so instead I’ll say that, as is customary, some of the episodes did drag a bit in the middle before an exciting ending, and I do think the show’s budget was a bit too low. I think that really hurt things as we never go to actually see K’un Lun or the Dragon Shou-Lou. I wanted a goddamn dragon getting it’s heart ripped out of it, is that too much to ask? I don’t think so. I also think it took way too long for Danny to realise that Howard Meachum was a bad dude, but that naïveté is intentional, and a great character bit. The performances only improved as it went on. Finn Jones is actually very convincing, and both Jessica Henwick and Tom Pelphrey were brilliant. I actually think Pelphrey’s Ward Meachum might be one of the best performances in the MCU, as he manages to make some pretty dumb plot developments work just through his performance. I did like how, by the end, things had been twisted and it was Ward who was working alongside Danny, and Joy who had become his enemy. That was unexpected and fun. Her working alongside Gao and Davos should be interesting in a second season. I did like Davos’ role later on too, Sacha Dhawan was very good, although why does someone from K’un Lun sound so Mancunian? I admit it, I am an MCU mark, but Iron Fist really isn’t that bad, if you give it a chance, it is well worth it, and can only improve. Look, it took Agents Of SHIELD 3 years to get good, I think sometimes we need to appreciate that.

Music

There’s only one album this time out, but it’s kind of a big deal, as Gorillaz are back with their first album in 7 years, Humanz (Parlophone/Warner Bros. 2017). Now the Gorillaz are pretty significant band for me, their eponymous debut was one of the first CDs I bought from myself and I must have played that and Demon Days hundreds of times. Plastic Beach had less of an impact, and I don’t think I’ve actually listened to The Fall. So I’m kind of a lapsed fan, however this particular hype train, and the idea that this was some kind of politically vital and contemporary record brought me back in, and I bought the album, hell, I got the deluxe edition! After listening to it a few times, it’s pretty good, but a lot of that hype is way over-blown. There’s nothing here that’s particularly timely, it’s just the usual Gorillaz mix of interesting backing beats, fantastic guest contributors and Damon Albarn getting to experiment. That’s not a bad thing, but I think I went into it expecting something truly game-changing. That’s probably more on me than Gorillaz though. As I said, the guest stars on here are fantastic, I particularly like Vince Staples on ‘Ascension’, Grace Jones on ‘Charger’ and Benjamin Clementine on ‘Hallelujah Money’, those are great tracks. It’s also a lot of fun to try and spot Noel Gallagher on ‘We Got The Power’. How crazy is it that Albarn and Gallagher are on the same song? Britpop Hell has frozen over. So yeah, this album is decent, but as is probably par for the course with Gorillaz, the ideas and concepts around it are more interesting. The idea of all of these artists reacting to Trump (or not Trump, an un-specified huge event) is great, but the end result isn’t that amazing. I say par for the course, because what’s always appealed most about Gorillaz isn’t just the music, but the whole package, the artwork from Jamie Hewlett, which is fantastic. I think I like the artwork in the leaflet more than the album! Gorillaz are a unique project, and I’ll always appreciate them, but I think I want more than just cool artwork and weird samples from my music at this stage.

Books

2 books this month. I think my reading pace has slowed down a bit, not sure why. Hmm, anyway, I started the month with the last 100 pages or so of Jonathan Wilson’s Angels With Dirty Faces (2016). The history of Argentinian Football got pretty much up to date, as Wilson gets up to the current era of Messi, Aguero, Tevez, Higuain etc. It was pretty much I thought it would be, as the Argentinian domestic game has been basically ruined by all of the best players moving to Europe. What I didn’t know was the state of hooliganism and fan violence in Argentina, which was surprising, and also the continued political links in the game. The fact that the Argentinian government owns the broadcasting rights to league football and uses it for propaganda purposes is very unique, and I would have liked more exploration of that. Imagine if Theresa May was on Match Of The Day or something, At least we know Corbyn is an Arsenal fan. Overall, the end of the book lived up to the rest of it, this was a very readable, informative history of a fascinating subject and culture. Argentina’s national identity is inextricably linked with it’s football, and now, I feel like i understand that country so much more.

After this, I got my fancy literature on, as I read the winner of the 2016 Man Booker Prize, The Sellout (2015) by Paul Beatty. Only this isn’t the kind of novel you’d really expect to win such a lofty, some would say wanky, prize. It’s an incredibly dark satire of American Race relations, and it’s actually very funny. The plot sees an unnamed African-American man (he’s only referred to as ‘Me’, which I think is his surname (So his name is like ‘Dave Me’ or ‘Tom Me’ or something) who somewhat accidentally brings back both segregation and slavery to the LA suburb he lives in. It’s an insane premise, but it works, and Beatty’s witty writing carries it through even the largest logic leaps. Much like with last month and ‘Get Out’, I don’t feel like I can fully parse a lot of the more caustic racial elements, being a white non-American, but it was shocking at times, and certainly made me look at certain things differently. I would be interested in reading some of Beatty’s other books, he has a unique sense of humour. I will say that I didn’t really laugh out loud at reading this, like many of the blurbs did, but then I’m struggling to think of many books that did make me LOL. I just don’t do it, even with comics. I think seeing something written down elicits a different reaction in me. More of a wry smile, or an ‘oh, that’s funny, I get that’ than actually laughing. The Sellout comes close though! Maybe literary prizes aren’t so bad…

Games

As mentioned in the intro, I’m still making my way rather slowly through The Legend Of Zelda: Breath Of The Wild (Nintendo Switch 2017). I need to carve more time out to play it, but video games, even ones as good as this, are still bottom of my entertainment list. I only really play it when I have nothing else to watch, read or listen to. As of now, I’ve finally got off the Great Plateau and am in the wider world of Hyrule, and man, it is intimidatingly big. That sense of freedom to do what you want can be both very freeing, but also kind of freezing. I can’t decide where to go, so in the end I don’t really go anywhere. Does that make sense? I’ve just been wandering around and not really advancing the plot. But still, this is an incredibly good game, the look of it is so beautiful, and it’s even more so after the Plateau. I think that is what’s holding me back from playing more, because it looks so good on the big TV, I’m not putting the Switch’s handheld mode to use to play when someone else is using it. The controls are just that level of intuitive that, for me, only Nintendo can reach. The Joycons on the Switch are bit flimsy, but after while, I’m used to it. I’m of two minds on what to do next video-game wise. I really want to pick up Mario Kart 8, especially because my girlfriend wants to do multiplayer, but can I justify it when I’ve barely scratched the surface of Zelda?

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That’s it! Just an addendum for you, after writing that last bit about the Switch and whether I should by Mario Kart… I went and ordered it on Amazon. So expect something about that next week. I also bought La La Land, so you’ll get to read my lukewarm take on that film on or near June 15th. I’ll probably be lame and quite like it, that’s the kind of person I am, I can never bring myself to truly hate things like the rest of the internet. Anyway, I’ll see you then! Hopefully we’ll be living under a Labour Government by then.

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thecrookedgavel · 5 years ago

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The Black Box Readings - Ep 1 Transcript

Here’s the transcript for episode 1 of The Black Box Readings, the podcast where I read to you the backup of queer blogs that have gone down.

See Other Episodes

An: Hey, all! And welcome to The Black Box Readings, the new podcast where I read to you the backup of queer blogs that have gone down! I’m your host, An Capuano. So basically, it’s a show where I narrate through a deleted or deactivated blog over the course of a season, with a focus on queer artists. Though to be honest, there was a specific blog that inspired me to make this podcast, and unless this format is super popular, I may just do the one season. Anyway, although reading things in a dramatic fashion is definitely in my wheelhouse, non-fiction podcasts are not. So please bear with me while I go through some growing pains as I try and figure this thing out.

Alright, so this season, we have the story of a digital artist who caught my attention with a really cool piece of Overwatch fanart. It’s about her journey through a life spent mostly online, disability, and navigating through the difficulties of realizing that you’re trans.

For those of you not in the know, I am a disabled trans woman myself, so it’s not a journey I’m altogether unfamiliar with. The biggest reason I’m doing this podcast is because stories like ours get drowned out in the media. I wanted to be able to tell her story so that queer people, young and old, can hear something that resonates with them. And I have a good feeling that this will do that for you.

The Tumblr in question, I won’t say the address. Just know that the title of the blog was: “Less Than Human”. Yeah, I know. Not a very cheery introduction. I sort of choose to think of it, kind of like reclaiming a slur. If she calls herself less than human, other people lose the power to hurt her with it. I’m telling you the blog title because it is important later.

Anyways, enough out of me, here’s the first post of the episode, which happens to be the first post of the blog itself. It’s titled:

“Welcome!

Hey, my name is -”

Ok, so I guess I didn’t think this through. In the post, she uses her deadname, and I don’t feel comfortable reading it out to you all. If I have to choose between deadnaming a trans girl and being a little inaccurate, I’m choosing inaccuracy. I should say, actually, that I don’t consider myself a journalist or anything like that. Also, I get it would be bad of me to use her real name too. So we’ll just call her… Hmmm…. Ok, let’s go with Emmy.

“Welcome!

Hey, my name is Emmy, and I’m 19 years old! Nice to meet you guys! I’ve decided to start posting on my tumblr instead of using it as a dash, lol! I’m a visual artist, though I mostly stick to digital art these days. I spend most of my time reading. My fandoms are Gravity Falls, Steven Universe, Supernatural, Sonic the Hedgehog, Marvel, and of course, Shrek! Lmao. I think Cat Girls are cute, but I’m not a weeb”

*Laugh* I never read this post while she was active. Her sense of humor is really present in this post, she was always silly like this. Anyways, she follows up this post by posting a backlog of art that I figure she must have made and not shown to anyone. It’s all really good stuff. Some fandom, some original. It’s clear to me that she’s not posting her earlier, rougher work. I don’t remember too many details though, as this was a while ago, and I didn’t think to save her artwork when I was copying all her text posts into the google doc. I hope someone out there saved them before they were deleted, though.

I’m not going to bore you by reading every single one of her posts, or anything like that. Just the ones that stand out to me. Here’s one about Supernatural and how she might be falling out of love with it.

“I don’t know guys, I’m finding it hard to watch supernatural these days. Don’t get me wrong, it’s still one of my favorite shows, it’s just totally not as good as the first 5 seasons. That and I WANT DEAN AND CASS TO BE TOGETHER! Is that so wrong? Look, Cass is an immortal being that just HAPPENED to take a male form. If he had a female form, you can bet that he and Dean would have banged already. I’ve read the tumblr posts too, the ones that talk about all the hints the writers give that Dean is gay. This is ABSOLUTELY queerbaiting, and even as a straight guy, I can see that. I have a lot of gay mutuals who have convinced me how ultimately cute Dean and Cass are, and I feel bad for them, because they’re not being treated fair. You think in its 12 seasons there would be something, but no, nothing. Pisses me off”

Here is where we start seeing a connection between Emmy and queer culture. Although she’s currently IDing as straight and male, you can tell she cares about queer representation. Now, I’m not saying that wanting good queer content makes you queer, of course not. Just that knowing that Emmy is queer, when you look back at her earlier posts, there’s some evidence there. She even talks about Castiel, a male character, having a female form, which I find interesting for obvious reasons.

Next up is a post about something outside of her fandoms, a show called Monk. For those of you who don’t know it, it’s a show focused on a detective with OCD who uses his disability to solve crimes no one else can. As someone with OCD myself, I really enjoyed the show, but it’s not without its problems. Hmm, yeah, I’ll get to those after reading the post, I think

“I’ve been watching a new show lately! Well, a show that’s new to me at least. It’s called Monk! I’m 3 seasons in, and I laugh every episode. But it’s not without its serious moments too. It’s about Adrian Monk, a detective with Obsessive Compulsive Disorder (OCD) and it’s like a super power to him. He can do things no one else can. But he also can’t do things that everyone else takes for granted. Mood. He always says “It’s a gift… And a curse” when talking about it. Big mood. Anyway, I highly recommend it, because it’s a positive depiction of someone mentally ill! I’m so used to people who are “crazy” being mass murderers or some shit. Idk, it’s heartwarming.”

I noticed one of the hashtags of her post was, “Finally found a version with captions.” This is important for later and I’ll get to it by the end of the episode. Where the previous post was the first we saw of her queerness, this is the first we’ll see about her connection with mental illness. It’s unclear if she feels her inabilities are balanced off by her abilities, or if her “mood” was just about her being unable to do what others can. Since her “big mood” is regarding Adrian Monk’s favourite quote “It’s a gift and a curse”, I like to think she was being positive and was including her abilities in the “mood.”

While I do agree with Emmy that it’s a positive depiction of someone mentally ill, and that’s certainly better than having yet another bad guy is who’s only evil because he’s crazy, I’m worried that it’s too positive. It’s actually a really common trope where neurodivergent people in media are seen as “super human,” like Sheldon in the Big Bang Theory, or uhh, the main character from The Good Doctor, I forget his name. It makes it look like everyone with autism or OCD are geniuses, and that sort of skews how neurotypicals view people like us in a negative way. Like, I do view my OCD as a gift, I wouldn’t be able to write the way I do, or play video games the same way if I didn’t have it. But I’m not a superhuman by any means. But I’m expected to, in some sense, outperform everyone because of my OCD, because of this impossible standard set by the media. *Sigh* I’m sorry, I’m getting really off topic. I hope you don’t mind this little rant.

Back to Emmy, I find it a little upsetting that she feels herself cursed in some way. Knowing what I know about her, I like to think she was more gifted than cursed, but given the title of her blog, I doubt she would agree with me. We can glean from this post that she is disabled in some way or another. Maybe she herself has OCD? Or maybe she just relates her own, different disability to OCD? It’s hard to tell at this point, and I don’t want to spoil it, especially since it will come up again in a few posts.

Next up, we have a post about not just queer characters, but lesbian characters. I’m sure you have heard of Overwatch by now, even if you haven’t played it. Well, the creative devs promised us that a handful of the cast was queer, and at least to me, it seemed like an empty promise. Hmm, I guess it seems a little bit like the queerbaiting conversation we had earlier. Interesting. You know what I mean, right? Like, why take the risk of pissing off the straight, cis part of your fanbase with queer characters when you can just say some characters are queer and attract a bigger queer fanbase that way? But then they did something that blew me out of the water. They made a comic where Tracer has a girlfriend. This next post from Emmy is about this reveal.

“Merry Christmas! And what a Christmas it’s been. Because I got something I’ve been asking for for a LONG time. Blizzard made Tracer gay! I’m not the only one who’s been asking for this, a huge chunk of the fandom has been saying that Tracer is only into other girls. It’s been my headcanon for so long, and now it doesn’t have to be, because it’s canon! Tracer and Emily are so cute together! And their kiss is so hot too! Yeah, lesbians are really hot in general. They’re every guy’s ultimate fantasy. Thanks, Jeff!”

An: Ok, so before we continue, I think I need to apologize on Emmy’s behalf for the way she talks about lesbians. As a trans lesbian, I had a period where I talked about lesbains that way too. Before I came to terms with that identity, I mean. Since you believe you’re a straight guy, there’s no real explanation for why you’re so into lesbians other than them being a male fantasy. But it’s more than that. It’s part of like, seeing yourself as a girl that the idea of being with a girl that likes girls... that is so fundamentally appealing.

Like, ok. *sigh* I remember this one time very clearly… I was with my girlfriend at the time and a friend of mine at a bubble tea shop. This was probably 9 or 10 years ago now? Jeez. Anyways, this couple of girls starts making out at the table next to us, and I had a full on sexual awakening. I remember that I couldn’t look away. Mostly because my ex wouldn’t let me forget it. I got teased by my friend and berated by my ex. Because I couldn’t explain what happened to her, let alone to myself, I eventually came up with a rather math-y explanation involving vectors of attraction *laugh*. Something like, if women are attractive to me, and men are not attractive to me, then adding their vectors together gives less attraction than two women’s vectors being added together. It was pretty stupid. I don’t talk to either of those two people anymore, by the way.

Anyways, my point is that since this is before she’s realized she’s a lesbian herself, she’s under the false impression that she needs to sexualize lesbians in order to explain why she’s so attracted to the concept. So please don’t hold that against her.

---

With that out of the way, we can move on to her next post. It’s a piece of art she made, and it’s pretty special to me. You see, this was the way I found her blog. One of the blogs I follow, who knows which at this point, must have reblogged it and it came across my dashboard. Again, I don’t have a copy of any of Emmy’s art, but I remember it pretty well. It’s a picture of Emily wearing Tracer’s outfit... Shit… Why did I give Emmy a name so close to Emily? Emily as in Tracer’s girlfriend. Maybe it’s because of my association with her and this drawing? Either way, it’s too late now, I’m not re-recording this whole episode. *Sigh* We’ll just stick with the blogger being named Emmy. Anyways! She’s sort of looking a bit out of place, like she doesn’t know how to feel about having a Chrono-accelerator attached to her chest. There’s a speech bubble in the frame pointing off screen that says, “You look marvellous, love!”, or something to that effect, but it’s obviously supposed to be Tracer saying it. It was a really cute drawing, and I was really fond of it, so I liked and followed. Feels like so long ago.

Anyways, she did reblog the picture afterwards, saying:

“Thank you so much for all the notes! I really appreciate the support. Who knew that something so dumb would be liked by so many people? I really like Emily, and I hope she’s added as a Hero in Overwatch soon! I feel so happy! I’m going to go and do some more drawing, so keep an eye out for more posts!”

Not much going on in this post, but I decided to read it anyway because it contrasts so heavily with the next post. Not the next time she posted, but the next post I’m going to read. Actually, it’s the last post of this episode.

So, I’m going to warn you, this is a side of Emmy we haven’t seen yet. The really negative side. *Sigh* I don’t know what set her off, maybe nothing did, but I think this post is very important to read to you, as it clears the air about her disabilities.

“I really appreciate all the love you’ve given my art, but I feel like I don’t deserve any of it. I’m so broken and worthless and I’ve only been pretending to be normal so that you’ll all like me. The truth is, I’m physically and mentally disabled, and life is just a never ending struggle.

First off, I’m deaf. Very deaf. The quietest thing I can hear in either ear is a chainsaw. It means I can’t understand speech or anything I’d need to be social. I don’t know sign language at all, I was never taught. So I just… stay inside all day. I’ve been homeschooled by my Dad since I was young. He thinks something bad will happen to me if I go outside, because I couldn’t hear something like a car coming towards me. So I live my life online, for the most part. I feel so isolated, and like I can’t relate to anyone normal.

Also, I have Bi-Polar Disorder. For those you don’t know of it, it basically means I have high highs and low lows. I’ve done a good job so far at hiding my lows from everyone and only showing my highs. Until now, I guess… I just feel so low today, and I couldn’t hold it back anymore. I just had to be real. Even if it’s an ugly side of me that I hate. My dad hates how moody I am too. He just doesn’t get that it’s not my fault. Even my highs are hard for him to handle sometimes. Anyway, please forgive me for lying so long”

So, I sense a bit of imposter syndrome here. She’s gotten some success and because she views herself as not even a normal person, she thinks she doesn’t deserve it. It’s a pretty common feeling amongst content creators and something you have to move past if you want to make stuff. It’s like, *sigh* like me, I’m not an expert voice actor, why are people listening to me? I have tricked them into thinking I’m worth listening to. If you’re feeling that way about a recent success, just know that it’s all bullshit and it’s normal to feel that way. I wish I had that knowledge at the time I originally read that post… Because then, I would have messaged her and let her know. But yeah, we have more to unpack here.

She talks about being deaf, and the level that she describes is a profound hearing loss, which is as bad as it gets. I have that level of hearing loss in my left ear, and it’s really hard to deal with. So, I kind of can’t imagine what it would be like to have it in both ears.

Like, for me, I remember this one time where I was at my locker in high school, and someone must have been asking me a question a few times on my bad side. She wanted to know if I had any extra bus tickets, and by the time I finally caught on that she was talking to me, she said something like “Urg, I just want to punch you.” And it wasn’t a joke either, she was very frustrated with the way my hearing loss had affected her. It made me feel small, and like I was an inconvenience to those around me. Guess it didn’t help how I felt that I had a crush on her at the time… Ha… *Sigh* It was very isolating to grow up like that. I didn’t really belong there, but I didn’t exactly belong in the deaf community either, since I could hear fine out of one ear. So when Emmy describes how isolating it is to be deaf and not know sign language, I get it. I really feel that. When I saw this post, it really made me feel for her. This is probably the point in time where I made a mental note to support her art whenever I could.

Lastly she talks about her mental illness, being bi-polar. I know a lot less about bi-polar disorder than I do hearing loss. Though I was in a production that never wrapped up about a bi-polar teen. Actually, I was the strict dad who couldn’t understand his child’s illness, which is a similar theme seen in Emmy’s post. I’ve actually been cast as a dad 3 or 4 times now? Yeah. *Laughs* Anyways, what I understand about it is that it can be seasonal. You might be manic for a season, and depressive for another. But yeah, it doesn’t always work that way. Usually medication can help balance you out, but in Emmy’s case, she wasn’t taking any meds at this point. I’ll say it here for clarity’s sake, but her having bi-polar disorder was a self-diagnosis, not a professional one. That’ll be covered in the next episode, though.

So now the whole “Less than Human” thing makes a bit more sense, doesn’t it? Not because it’s true in any sense, but because it was true to her. Disability is something that people tend to see as different, or othering. There’s a lot of stigma there. We can sort of tell at this point that the way her Dad views her and treats her doesn’t help her feel any better about this either.

That’s why she likes the depiction of mental illness in Monk so much, right? Because it’s a bit of a “More than Human” approach. It gives her some hope that maybe she can be seen positively one day too. As far as movies with Deaf characters goes there’s like 100, if I recall correctly. Which is honestly pitiful compared to the amount of movies, period. So it’s more than likely that she never got to see herself in media in that perspective before.

Also, there’s the markings of a budding trans girl in there too, which may further intensify the feeling of not being human. For years and years *sigh*, there was practically zero positive representation of trans people in media. We’re taught that feeling like this makes us freaks, and that presenting differently than we’re supposed to makes us... something worse than that. It all comes together to form something bitter and isolating. Especially before you start owning those parts of you and finding a community of your own.

Thank you for listening to this episode of The Black Box Readings! I really ranted more than I thought I would. Hopefully you all liked the anecdotal stuff I added in, didn’t really plan on doing that. Follow me on Twitter at TheCrookedGavel to stay up to date on this and other queer podcasts. Feel free to contact me there as well. This is An Capuano, signing off!

#queer #lgbtpride #visualart #podcast #transisbeautiful

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selenaturley171-blog · 7 years ago

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H For A Meaningful Lifestyle

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tessatechaitea · 8 years ago

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Shade the Changing Girl #8

Who brought the young girl to a velociraptor fight?

• Marge Sausage was apparently only doing the art for one issue. Now I'm really going to have to dig deep to find anything positive to say about this comic book. • Oh wait! I know one. It has a female lead. Boom! Worth reading. Also she's a person of color. Can you refer to alien bird species who love to fuck as a POC? I'm probably a white guy in his mid forties, so I don't know anything about saying the correct thing. I mean, I thought I knew how to be a generally kind person and then I found out, online, that I was actually gross and problematic. At least now I know how all the gay kids felt in 80's high schools when they heard people calling terrible things gay! Because now every aspect of me that I never actually think about unless I'm filling out a census form is the new way to call something gay! I imagine it would hurt if I wasn't already full of self-confidence due not to my circumstances of birth but to my being so objectively awesome.

No it isn't! That's the definition of dying in a way that will cause people talking about it to have to bite their tongue before they completely blame the victim!

• You know what's wrong with this country? We've become too afraid to blame the victim! Sometimes blaming the victim is really important. Like when somebody crosses the street at night and in the raing while wearing dark clothing which causes them to be hit by a car and killed. In that instance, we need to blame the victim as hard as we can! It's not like it was the driver's fault in that situation! It's not like it was an accident that couldn't be avoided! The victim's death was due entirely to the victim's poor choices. And by refusing to blame the victim, we obfuscate the reason the victim died and dance around the real danger. By not blaming the victim, we discuss things like the speed limit on the road and the lack of a crosswalk and the need for drivers to be more aware of things they couldn't possibly see in time to stop because who could have guessed that person would suddenly be on the hood of their car when the driver was blinded by oncoming headlights and the heavy rain and the darkness of the stupid sun not being in the dumb old sky! None of those things would prevent the death of a person who treats reality as if there are respawn points! • Obviously there are times when we shouldn't blame the victim. Stop taking something I wrote and deciding I'm a monster because you have no reading comprehension! Maybe you're the gross and problematic one in this situation! You ever think of that?! • You know what? I bet you Internet Scolds think of that all the fucking time. I bet you're constantly thinking that. I can't imagine being part of a community of people who are obsessively looking for a flaw (or a perceived flaw through a purposeful misunderstanding) in any of the people in their community so they can out them and receive praise for being so fucking perceptive and righteous and noble! Anybody can look at a huge fucking jerk and point out why the person is a huge fucking jerk. But not everybody can look at their best friend who is supposedly just as socially just as they are and tear their fucking heart out when they make a misstep. It must be so stressful to be a young person in this day and age. You can't make one mistake — NOT ONE FUCKING MISTAKE — before your life is ruined and you have to change your Tumblr URL. Man, I'm glad I don't give a shit what anybody thinks of me! • I think this commentary is getting away from me! I've only read two Narration Boxes on the first page so far! Excuse me while I discuss this problem with my brain. My Super-Ego: "Hey. Get back on track, you secretive monster! You're fucking making us look bad! People are going to read this shit and determine we're gross. GROSS! That's the worst thing you can be on the Internet!" My Id: "Go fuck yourself! Masturbating!" My Ego: "Ugh. Again? What the fuck is wrong with me? Don't worry about Id, Super-Ego. I've got this! I can get this train back on the rails!" My Super-Eggo: "L'eggo me!" My Super-Ego: "Knock it off, Id! I know that was you pretending to be a version of me. That is wrong. You can't do that." My Ego: "Look, I think I've got Id back in the closet, okay? I can deal with this. Just let me handle things from here." My Super-Ego: "Why the fuck should I trust you? That Id fucker pulls your strings and you know it! You need to stop listening to his obscene whispers and fall in line. Do you want to die homeless in a Seattle gutter? Do you want to fling yourself off the Fremont Bridge in a state of manic energy? Do you want to be known as the neighbor who sometimes kicks around a soccer ball in the middle of the street without any pants? Then get a fucking grip and start following my orders!" • Okay! I'm back! Let's get this shit done so I can go do some keepie-uppie! • The destination Shade has not chosen because she didn't do any research before traveling and just hopped on any old fucking train that pulled up at the station is Gotham City. See? Blame the fucking victim! She deserves to be gassed by The Joker at this point! • Luckily for Shade, she's looking for danger. She just ditched the only friends she made on Earth and is in a state of self-destructive self-pity! No better place for that than Gotham City! Or that house on Ash Tree Lane. That place is a sublime location for losing oneself in their own doubts and self-hatreds.

Me. And me!

• Shade spends multiple pages doing touristy stuff that I think is some kind of essay on cities and the people who live there? Maybe something about how the people of Earth are meant to be but ultimately fail to live up to their ideals? Or maybe just a fun romp through Gotham? I seem to have lost interest after all that digressive writing I did! • Shade wanders about having pseudo-profound thoughts about life and cities and art and relationships and dinosaurs until she comes to a theater where the Sonic Booms are playing. Apparently she remembers a version of them from the old television show Life With Honey. So she rushes in to be thoroughly disappointed. Or completely uplifted? Really, it could go either way. Although since she's experiencing music and Young Animal is basically DC's hipster brand, I'm pretty sure music will be treated as a religious and transcendental experience next issue.

#Shade the Changing Girl #Young Animal #DC Comics #Cecil Castellucci #Marley Zarcone #Ande Parks #Kelly Fitzpatrick

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viralhottopics · 8 years ago

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Neil Gaiman: I like being British. Even when Imashamed, Im fascinated

The books interview: The award-winning author on his new book of Norse mythology, Brexit and being an Englishman in New York

Neil Gaiman wanders into the Crosby Hotels colourful parlour in lower Manhattan looking like the Platonic ideal of himself. Hes all wild hair and gracious manners, dressed in a lived-in black wool coat, which he keeps on throughout. He loves this hotel, he says, not least because the concierge writes a comic about Houdini with the former concierge.

Gaiman started out in comics, reading them as a child and eventually writing them too, including his famous Sandman series. So does this happen to him often, his very presence tempting out underground comics enthusiasts all over the globe? I wish I could say yes. It would be a much more interesting and sort of Pynchon-esque world. But no, its just here.

Gaiman looks a little tired. He has just come from feeding breakfast to his toddler youngest son, the progeny of his second marriage to the singer-songwriter Amanda Palmer. (He has three children with his first wife, Mary McGrath.) His creative life is a whirlwind of projects. The television version of his 2001 novel American Gods is to air in the US in April. He has also been at work on an adaptation of his 1990 collaboration with Terry Pratchett, Good Omens, for Amazon and the BBC, on which he is serving as showrunner. Meanwhile, there is the matter of writing books, the latest of which is Gaimans retelling of Norse myths in the straightforwardly titled Norse Mythology, out this week.

It has clearly been a struggle to find the time. I would look up every now and again and go, OK, I have a week. Good, I will retell a story. These are drawn from the 13th-century source texts for many Norse myths, the Prose Edda and Poetic Edda, which he first read in his 30s, after absorbing the superhero stories inspired by them in Marvel comics as a child growing up in West Sussex. With such a haphazard schedule, it has taken around eight years to write the book, the idea for which was first floated by his American editor at Gaimans birthday lunch in 2008.

Listing all of Gaimans achievements could fill a book on its own. In addition to the comics, he is the author of novels for adults and children including Neverwhere, The Graveyard Book and The Ocean at the End of the Lane. He has written original screenplays and seen his work adapted by others, too, such as the 2009 stop-motion version of Coraline. He has been nominated for and won countless awards, including the Hugos, Nebulas and Eisners.

An illustration from Neil Gaimans The Graveyard Book

Gaimans love of Norse mythology surfaces frequently in his work, not least in American Gods, which captures a battle between Odin and Loki. But in embarking on the retellings in Norse Mythology, Gaiman found himself faced with new limitations, as much information about the gods is missing. On Greeks and Romans, for example, we have scads of stuff, but the Norse werent writing it down, he explains. They were telling the stories, so everything we have was written down after the event. The holes and the contradictions that result from the oral tradition presented creative choices, but he felt an acute responsibility to be faithful to the traditional versions.

I have to play fair with the Norse scholars and I have to play fair with kids who pick up the book and read it and think they know the stories. And so I may add colour, I may add motivation, Id go and put in my own dialogue. I may draw inferences, he says. All that stuff Im allowed to do, but I feel like Im not allowed to just go, OK, theres a patch of canvas missing here. Im going to draw something in

Even so, Gaimans personal sensibility is apparent in the text. His affection for Loki, for instance, shines through: Loki is very handsome. He is plausible, convincing, likable, and far and away the most wily, subtle and shrewd of all the inhabitants of Asgard. It is a pity, then, that there is so much darkness inside him: so much anger, so much envy, so much lust.

Gaiman attributes his love of Loki to his novelists eye. You always end up fascinated by who changed, and how they change, because the engine of fiction is who are you at the beginning of the story and who are you at the end. Thor, bless his heart, has no narrative arc: he is the same person all the way through. He is not the brightest hammer in the room, but hes good hearted, and you know he will die at the end, but he dies the same person hes been all the way through. In contrast, Loki is both the devil and the saviour of the gods. Almost every story where theyre in trouble, its because Loki got them into it. Also, an awful lot of the time, hes the only one smart enough to get them out of it.

He declares a real joy in passing these things on. Its like being given something that belongs to humanity and polishing it and cleaning it up and putting it back out there.

Gaimans enthusiasm for myths also extends to the Egyptians and the Greeks. He can reel off similarities between ancient stories, and says he doesnt just tell the stories, he feels them on some emotional level. The glory of some of these myths is that they feel right, he explains, although he also concedes that every now and then youll hit a myth and go, No, I cant really get behind that. Really, we get licked out of the ice by a cow? OK, if you say so. (Hes referring there to the myth of Audhumla, which he includes in Norse Mythology, despite his scepticism.)

As Gaiman wrestled with these stories, he says, he had no idea he was writing a topical book. But then, as political events unfolded in the second half of 2016, he could not help but draw parallels. For me, it was Ragnark, he says, referring to the apocalyptic end of the gods. It begins with a long winter, continues with earthquakes and flooding, and then the sky splits apart.

The view that Brexit and the election of President Trump have brought about chaos and even a sense of impending doom is widely held, but Gaimans version of it is particularly eloquent. I remember the 80s and the nuclear clock and the cold war and Russia and America and [thinking] I hope you guys dont press buttons and it would be very nice to not live in the shadow of everything ending, he says. But at least at that point, what you were scared of was just one action. Now one is scared of the accretion of a million actions and a million inactions.

He says there is a strange kind of magical thinking afoot and tells me about waking up the morning after Brexit in a hotel in Scotland and checking the result, then having that sort of moment at the end of Planet of the Apes where Charlton Heston sees the Statue of Liberty … I was going, Oh, no. Are you really

Gaiman has, in recent years, divided his time between the UK and the US, but he is not an American citizen and has fallen off the electoral roll in the UK, so he wasnt able to vote in either the Brexit referendum or the US election. Im frustrated not being able to vote over here, he says. Im like, well, I pay lots of taxes to the US and the UK, but I dont want to become an American citizen. I like being English. I like being British. Even when Im ashamed, Im fascinated.

Indeed, he clearly is. He does a very good imitation of the cab drivers he encountered in London leading up to the Brexit vote, who seemed to believe that, ultimately, the thing they were about to do was of no consequence: The EUs not going to let us go … . Regarding the Trump vote, he says: At the end of the day, what I think was being voted for was change. People were saying Were fed up and were not being listened to, and unfortunately that wasnt being offered by the other side. The appeal of Bernie Sanders was he was standing up there saying This thing is fucked, and the problem with Hillary was she was standing up there and saying Things are good, theyre getting better.

Genuine worry furrows Gaimans brow, but he has plans to respond to current events. His following is huge, including 2.5 million people on Twitter and the millions who read his books and his blog and watch his television shows. He intends to use that platform to highlight the plight of refugees. He hopes, too, to double down on his longstanding activism to promote freedom of speech. I wrote an essay on my blog in 2009 called Why Defend Freedom of Icky Speech?, he says, Which just becomes more and more timely. I have a 14-month-old son, and a four-month-old grandson. I have no idea what kind of world theyre going to grow up in. Im going to do my best with the time and the intellectual effort remaining to me to do whatever I can to give them a good world, he says.

Ragnark, as Gaiman writes in Norse Mythology, is of course the end of something. But there is also what will come after the end, he adds. In his version the sun comes out. Something glitters in the grass. The gods children find a set of golden chess pieces waiting for them. They arrange them on a board, and then one of them makes a move. And, Gaiman concludes, the game begins anew.