#anyway. this episode really upping the romance but in a very dark and visceral way. and i eat it up.

[mag200]

dead things thee spuffy episode of all time btw. “are we having a conversation?” the balcony at the bronze. the handcuffs. out of this world by bush. buffy thinking she killed a human and actually dreaming about spike coming to her and comforting her. spike trying to stop her from turning herself in to the cops and her beating the shit out of him. “you always hurt the one you love.”

[rayofspades]

How to Write a Horror Story: The Magnus Archives

This post is kinda weird since most tumblr fandom content is based on the assumption that Everyone Has Seen The Thing, but since this is a transcript of a video essay, it’s more broad. 

I might link the video in a reblog since, you know, tumblr doesn’t like links.

Anyways, here’s the post:

Hello Jon, apologies for the decep-

I’ve seen a lot of mystery shows in my day, and some supernatural shows, and the common thread between them is that they kind of...fall apart as they go on. 

Obviously, this is a generalization and I haven’t seen every mystery show or every paranormal show, but it’s a pretty common problem. 

At this point in pop culture criticism, it’s basically common knowledge that these shows fall apart due to a lack of planning. If a mystery series is making shit up as it goes along while trying to surprise the audience, it’s going to stop making sense at some point. And if an episodic paranormal show is constantly trying to up the stakes, eventually it’s going to become absolutely ridiculous and stretch the audience’s suspension of disbelief past a breaking point. 

Other people have already talked about this stuff to death, but today I want to talk about a paranormal mystery show that actually succeeds at what it set out to do.  

The Magnus Archives is a podcast written by Jonny Sims and directed by Alexander J. Newall. It ran from 2016 to 2021 and it’s...really really good. It’s an episodic horror story, taking place at the fictional Magnus Institute where the head archivist reads various statements about people’s encounters with supernatural entities. It’s got it all; scary stories, mystery, an overarching plot, office comedy, office romance, office tragedy, a villain that’s making straight men everywhere question their sexuality, and an overall really solid structure. 

If you listen to the Q+As put out by the writer and director, you’ll hear them talk about how they planned the series from the beginning, setting up the layout for each season. Some things were definitely changed throughout the actual writing process; that’s just inevitable and necessary when you’re working on a long running show, but in a general sense, they knew where they were going. But, writing a good story doesn’t just involve knowing where you’re going; it’s about executing whatever plan you have effectively. And I think the execution of The Magnus Archives is pretty brilliant, so I want to talk about it. 

And for the record, I said “brilliant,” not “perfect.” I do have a lot of criticisms of this show, and I’m definitely going to talk about those too, because honestly? Even the problems with this show are interesting in their own right. 

Ok, let’s go. 

Oh, spoilers by the way. For the whole plot. Whole thing. 

Part 1: Horror and Mystery 

Ok, so The Magnus Archives has two separate plots going on: the episodic stories that can be listened to individually, and the underlying meta plot. The former is where most of the mystery storytelling takes place, and it’s a really engaging mystery. It’s starts off slow, and almost undetectable at first. The main character, Jon, also known as The Archivist, is just reading out old scary stories that people have delivered to the Magnus Institute. Stuff like; a college student sees a ghostly inhuman figure asking for a cigarette, a woman’s fiancé dies and she finds herself trapped in an empty graveyard, there’s this goth kid who apparently murdered his mother and then skinned her? But she’s kind of still alive? What the f*ck? Hope we never see that kid again. Also, this “Jurgen Lietner” guy wrote a bunch of cursed books and Jon knows about this? Are more books gonna come up? And then you’re like, wait is the goth kid who killed that burn victim the same goth kid who killed his mom like 8 episodes ago? Holy shit the family of that girl’s dead fiancé FUNDS THE MAGNUS INSTITUTE? Did this famous youtuber meet one of the missing people from episode one? The goth kid is back and he’s looking for Leitner books? The name “Michael” has come up like 6 times? Are they all the same guy? I just—who the f*ck is Jurgen Leitner? 

So yeah, as you can see, a lot of these stories connect in cool ways, and I’ve only mentioned like, 0.2 percent of all of those connections. Furthermore, these stories are told out of chronological order, and sometimes the same scenario appears in more than one statement, told from different perspectives. This asymmetrical storytelling and odd doling out of information creates a mystery that’s really interesting. It also makes for a great re-listen, since you can retroactively see what elements were set up before you even realized that they were going to come back.  

The audio format contributes to this too; you can’t just see that the table from episode three matches the pattern on the box in episode eight. You have to pick up on clues that were mentioned and pay attention to what people are describing, and it’s highly rewarding when the pieces all start to fit together. 

There is a bit of a downside to this though. Technically The Magnus Archives is a horror story first and a mystery second, and these two elements can mesh in weird ways. 

The horror is element is really strong. Each story is completely different, sometimes focusing on psychological horror, body horror, or supernatural versions of more primal fears like heights, darkness, enclosed spaces, etc. Basically, if you’re afraid of anything, there will be at least one episode of The Magnus Archives that gets under your skin. 

Jonny Sims can really sell his stories through both his writing and acting. He plays Jon, by the way, and plagiarized his own birth certificate for the character name. (For future reference, Jonny is the actor, Jon is the character). Overall, he’s really good at writing prose, and each narrator has a very distinct voice even though the large majority of the stories are being read by one character/actor.  

Obviously not every episode is a bull’s eye. Sometimes it’s due to the subjectivity when it comes to what you as an audience member are scared of, and occasionally it’s just weird writing decisions. I’m thinking specifically of episode 21 where the line “the sky ate him” is said, and it is the worst line in the entire show. The whole goddamn show. That’s it. That’s the number one worst line. 

But still, overall, the horror storytelling is incredibly solid, and some episodes even gave me brand new fears, like the unholy isolation of being in space, or the concept that someone you love could be replaced by someone completely different without you noticing.  

But here’s the thing; 

A lot of good horror is based on the absence of explanation. Most of the episodes that gave me the most visceral reactions of genuine terror come from the first two seasons, because that’s when the audience has the least amount of information. 

For example, in episode two, a really terrifying coffin is introduced. It’s creepy, it reacts very strangely to water for some reason, and appears to compel people to try opening it. By the end of the episode, the audience never finds out what’s in that coffin and that is a good thing. That is a huge part of what made that episode so unnerving.  

And then a few seasons later, we do find out what’s in the coffin, and to be fair the answer is both very creative and very scary, but it also takes a lot of the punch out of episode two. 

 No matter how f*cked up your thing is, it’s not going to compare to whatever the audience can conjure up in their own mind after such a creepy set up. This problem isn’t just stuck in this one scenario either; there are a lot of early episodes that, while still good, seem a lot less creepy in hindsight after you learn more about the scenario. 

I don’t think it’s bad writing, but I do think it’s a double-edged sword. Jonny Sims even mentions this sort of issue in the first Q+A. 

But yeah, to sum up; the narration is good, the ideas are creative, and seeing the mystery unfurl itself is deeply compelling. And for the record, the mystery elements aren’t of the Sherlock Holmes variety. It’s less about finding out who did the thing, and more about discovering how all of these individual points are intricately connected, pulling on each other as they move. Woven together like a... oh shit what’s the word? Gah, it’s on the tip of my tongue. Ah, whatever, I’m sure it’s not like a running motif or anything.  

Part 2: Stakes 

One of the main reasons I stopped watching Supernatural is that it devolves into complete f*cking nonsense. At the end of season five, the boys literally defeat the devil, and then the show...keeps going? Which would be fine. It’s also, largely, an episodic show, so if they have more creative ideas, they could definitely keep going with it. In fact, there are some post season five episodes that I thought were pretty good. But as they kept trying to outdo themselves with Bigger Bads, it got kind of difficult to suspend my disbelief. And the final nail in the coffin for me was the end of season nine, when Crowly basically points out to the audience that the main characters keep dying and coming back to life, so there are no stakes. The most-badest bad guy can always be defeated because some new Thing can just come out of left-field, and dying isn’t even on the table as a threat since people have tons of ways of coming back to life. 

The Magnus Archives, while being a show based in the supernatural, notably doesn’t bring anyone back to life, even though some very beloved characters die. I say “notably,” because in the season three Q+A, Jonny even says, “We make a point not to bring people back from the dead in Magnus, I know it sometimes feels like that, but we are very careful to never actually resurrect anyone.” 

Upon listening to this I said “oh my god, these guys are the only writers left who at least kind of know what they’re doing.”  

Also, as far as plot progression goes, The Magnus Archives is lowkey structurally perfect in the way the threats escalate in the underlying plot; both in terms of destruction and power and in terms of emotional consequences. Season one starts off with one major threat that’s dealt with by the end of the season, season two reveals the main villain, season three lays out the grander forces at play, season four ends the world, and season five is about un-ending the world. The difference between season one and season five is vast, but how we got there makes perfect sense. 

As for the emotional stakes, let’s talk about themes and characters. 

Part 3: Themes and Characters 

At the very end of season two, it’s revealed that the supernatural happenings in the Magnus universe are the result of entities far beyond our understanding. Since their existence is so fundamentally different from what we can comprehend, they interact with the world through cursed items, creatures, and humans who have dedicated themselves to an entity.  

A lot of people read this as a metaphor for late-stage capitalism, and I am one of those people. A bunch of faceless entities exploiting humans through means of dehumanization and causing people to suffer because it feeds them seems like an appropriate metaphor. 

While we’re on this topic, I do want to talk about Elias, since he’s the main villain of the entire series and also one of my favorite villains of all time. The Magnus Archives is a series that deals with a lot of moral questions and has a lot of characters who do morally questionable things, so one might assume that the villain of said series is, you know, morally ambiguous and sympathetic to some extent despite being “the bad guy.” 

Nope! No stops, full bastard. It’s great. 

He falls under what I’ve deemed the “unbeatable boss” archetype. He just doesn’t tolerate insubordination or resistance, and that combined with his lack of empathy means that anyone who crosses him is either killed or brought to heel. His power set is cool too. On the surface the ability to see out of any eye and read minds sounds useful, but not deal breaking, but the way he uses that power to manipulate people and anticipate threats...yeah, it makes him kind of impossible to beat.  

He’s just...so evil and he loves being evil and every single f*cking thing he does pisses me off and makes me want to kill him. It’s. Great. 

Anyways, I think Elias’s role as the central antagonist is what makes the capitalist reading so common. He’s the head of the institute, he’s wealthy, he’s powerful, and he dehumanizes people in ways that are both brutal and chillingly indifferent. He seems like an appropriate stand in through that lens. 

I also love how voice actor Ben Meredith plays him like’s he’s trying to seduce the audience.  

With all of that said, I wouldn’t call this the critique of capitalism a direct allegory or anything; in much looser terms, this could be a metaphor for any power structure that exploits humans. Organized religion or cults might be even more on the nose, considering there’s a lot of mentions of rituals and worship within the show. 

But if we boil it down to its barest aspects and focus on the avatar characters, The Magnus Archives is a series about people becoming monsters. Or, at the very least, becoming worse versions of themselves. That can mean a lot of things to different people in a metaphorical sense; the tense relationship between desperation and morality, the eagerness to please at the cost of one’s own mental health, the psychological traumas that lead people down dark paths, and how personal choices can still be dictated and manipulated by outside influences. It’s kind of heavy stuff, but put into a digestible package through the show’s abstractions. 

Well, for the most part.  

There’s some debate as to whether or not Daisy’s arc was handled tastefully. While her demise and Basira’s character arc were clearly meant to condemn police brutality and the deeply corrupt system that allows it to foster, it’s still a weird subject to discuss in such a fantastical context, and there is a strange sympathy for the devil angle that can get kind of uncomfortable for some listeners.  

Okay, stepping back from that for a bit, let’s talk about Jon and how he fits into this whole “people becoming corrupted” thing. 

Jon has one of my favourite brands of character arc, which is one based in deterioration alongside growth. The most obvious way this takes form is his departure from humanity as his relationship with the Eye drives him to psychologically harm others, and he finds himself sympathizing more and more with the people he was afraid of, stating in episode 152 that anyone listening to his recordings might compare him to the other avatars that have had their minds and morals twisted. 

Over the course of the series, he is repeatedly traumatized and the show makes a point that he is being both physically and emotionally scarred. These happenings are what drive his motivation for revenge in season five, and he even states that revenge is making him a worse person. As a character he’s constantly berating himself and his own monstrousness, much to Martin’s dismay.  

That’s why the finale destroys me in the best way. Upon seeing that Jon has betrayed him and basically given himself over to the Eye, Martin asks “how much of you is even left?” And when Jon tries to reassure him that he’s still himself, Martin’s response is “how would you even know?” This cuts through me every time. Up until this point, Martin had consistently stood up for Jon and Jon’s humanity, even in the face of Tim’s doubt, Basira’s mistrust, Elias being cryptic, and Jon’s own self-hatred. This is the ultimate breaking point, the point where even Martin, the love of Jon’s life, doesn’t really recognize him. It’s brutal. Because at the end of the day, Jon is still himself; he’s a deeply broken person trying to make the right decisions.  

We’ll come back to the finale later, but for now I want to talk about the romance. 

Jon’s emotional growth throughout the series is largely tied into Martin. Martin’s the first person that Jon really opens up to, and this later grows into trust which then turns into a genuine emotional connection.  On the flip side, Martin’s growth in season four is largely tied into Jon. Martin starts season four basically waiting to die, but Jon’s return gives him a reason to keep living, and he’s later able to recognize his own value outside of the pure utility of ‘you need to set yourself on fire to keep everyone else warm.’ Both of them give each other reason to push onward despite everything becoming more and more hopeless.  

It’s a good romance. I wish the two had had a few more scenes together before the culmination, but it is built up over the course of four seasons and comes together in an utterly fantastic confession.  

And yeah, the scene with Martin and Jon in the Lonely is cheesy as hell, but it is the highest quality of cheese. These are some gourmet nachos.  

Umm, also kind of stating the obvious here, but it’s also pretty cool that the main character in this horror story falls in love with another man. You don’t see that a lot, and it’s cool that no one even makes a big deal out of it. It’s just a normal romance, but with two guys. It’s nice. 

So, they go to Scottland, they hang out, they’re in love, Jonalias starts the apocalypse through Jon, the world ends, and season five starts! 

...Let’s talk about season five! 

Part 4: Season 5 

At the very start of this post, I said that supernatural mysteries tend to get worse as they go along, and I am deeply sad to report that I don’t think that The Magnus Archives is an exception. It just goes downhill in a very different way than its ilk. 

And, so we’re clear, I don’t think season five totally tanks or becomes unlistenable, it’s just, in my opinion, notably worse than the rest of the show. 

As discussed earlier, it doesn’t fall apart due to a lack of planning; everything still makes sense, but the presentation has changed drastically. The episodic statements are no longer scary stories, but more like slam poems about the various hellscapes that Jon and Martin are trekking through. Honestly if these were published in a book of slam poetry, I would probably think they slapped pretty hard. I genuinely believe that Jonny Sims is a good writer, but as a podcast a lot of these statements just made me zone out. There’s at least four that I don’t even slightly remember. Myself and many others have noted that they just...aren’t scary, unless there’s a specific episode that really gets under your skin due to a certain fear or phobia. 

To quote my friend, “it’s harder to feel a solid impact when the setting is literally divorced from reality. People would either go numb or insane to the point where their fears become unrelatable.” 

And, to be honest, I think that this same surreal odyssey set up could have worked with a slight shift in narration. Two stand out episodes for me were “Strung Out” and “Wonderland.” Both of them show the tormented target actively trying to resist and interact with their tormenter, instead of just trying to escape or live through their situation. “Strung Out” is also more of character study; you learn about Francis’s life before the apocalypse through their interaction with the Web hellscape. Meanwhile “Wonderland” is just...f*cked, and you get to see Jon take the perspective of first-person Bad Guy throughout the whole thing, which is its own level of disturbing. 

But the majority of episodes feel so abstract that I kind of forget the people trapped in them are supposed to be characters and not just concepts, so it’s harder to feel their dread and pain. 

But I’m still here for the metaplot, the drama, and the romance. And when that’s good, it’s great! I think the final handful of episodes are really solid in that regard. 

Buuuuuuut... 

A decent chunk of season five is dedicated to the “kill bill” plot. Jon discovers he has the power to smite people, and while at first, he’s embarrassed about this, since he actively enjoyed killing Not!Sasha, Martin is super into it! He’s encouraging Jon to murder people.  

This is actually the set up for a really good arc. As Jon gets more and more into his own avenging angel persona, Martin could get more and more disturbed by it so by the time they get to London, Martin could be really upset that Jon is so willing to wreak his own divine justice by killing or torturing all of the avatars. 

And this does kind of happen. We do reach this end state, and it makes for a good final conflict, but the way we got here was borderline nonsense. Thematic gibberish, if you will. 

Throughout the journey, Martin is clearly motived by a sense of justice; these people are bad, and so they should die. Whereas Jon is clearly more motivated by revenge; he only goes after the avatars that hurt him personally. At one point, Jon admits that maybe all of this killing isn’t making anything better, but just making him worse. Martin apologizes for egging him on, Jon absolves him by saying he started it, and then Martin’s like “I’ll keep my apology then.” This is the second worst line in the entire series, right after “the sky ate him.” And it’s close. 

But it kind of feels like we’re back at square one. Jon is back to being ashamed of killing and Martin is still keen on his justice stance, but now just less pushy about it. The arc is basically half resolved at this point. 

But then it doesn’t matter, because Jon kills Helen anyway. So, Jon’s back on his revenge/justice thing. Then what was the point of his earlier revelation? Why have that if it’s not going to matter and the conflict that was escalating still culminates with Jon leaning into the avenging angel stuff, and Martin being disturbed by it? It just makes both of them look like huge hypocrites! I f*cking hate it when they’re in the tunnels and Martin says “you weren’t meant to enjoy it this much,” regarding Jon’s smiting. Where did this come from?! Why didn’t you say this earlier? Third worst line in the series. 

And yeah, I’ll say it; the boys fight too much in this season. I loved their romance up to season five, and their cute moments and more lowkey serious discussions are still good in this season, but God, they fight so much. And I’m not saying couples can’t have fights or tension, that’s just realistic and also stories need conflict to be interesting. Jonny Sims is on the record saying that balancing a healthy romance with the stress of a literal apocalypse was a priority, and I’m sorry, but I don’t think it’s well balanced.  I’m just saying that sometimes it feels like they don’t even like each other and it really started to grate on me. 

Maybe it would have been better if the beginning of this season was dedicated to charming romance at first, so we as an audience could better appreciate how strong their love is and how it’s truly being tested. But obviously that was never on the table— 

ALEX NO. 

So, yeah, I have a lot of problems with season. I think it’s the worst one by far, even though there is a lot of it I still enjoy, including the ending. 

As I mentioned before, the moment where Martin confronts Jon in the panopticon absolutely kills me, and Jon’s reaction kills me even harder. Throughout the season, Jon had largely been motivated by revenge, martyrdom, and the subconscious call of the Eye, and all three of those factors led him to his position as the pupil. He’s getting revenge against the powers, sacrificing his humanity to get rid of the Fears, and taking his place as wearer of the watcher’s crown. But all of this gets thrown out the window when he realizes that Martin is going to die. And not only is Martin going to die, Martin is going to die specifically because he loves Jon and refuses to leave Jon alone to die horribly. Martin had always been an underlying motivation for Jon, his “reason” as stated in episode 167, but now love as a motivator has come to the forefront, and Jon can no longer go through with his plan because of it. But at this point in the series, they’re both utterly doomed, and Jon concludes that the only possible chance they have of surviving, however unlikely, would be to sever the pupil of the eye, technically killing Jon, but maybe, just maybe, allowing them to escape with the Fears. Whether that’s meant to be literal or more ethereal is left unclear. Hell, maybe Jon’s just making it up completely and creating his own potential happy ending. It’s a pretty potent ending in emotional terms; Jon has to release the Fears and Martin has to kill Jon, and those are the two things they were dead set on not doing.  

The Web, arguably the real main antagonist, basically won, and their manipulation of Jon worked. The destruction spread, and there is kind of a bleak underlying tone to that. 

But at least this ending has some semblance of hope to it. I’m not saying that releasing the Fears was objectively the correct moral decision; the entire point of the dilemma is that there was no objectively correct moral decision. But, while Jon’s solution does have merit, it was also the most hopeless. I think dramatically, any one of the choices on the table could have worked if the writing was well executed, but thematically this one seemed like the perfect combination of grim and optimistic. Like, all of the evils that plague humanity can’t just be defeated forever and things could get worse, but maybe not. Maybe everything works out... 

So yeah, The Magnus Archives...is a podcast. And it’s a really good podcast. Great, even. I can complain about season five all I want, but regardless of how that worked out, you can tell throughout the entire show that the people working on it were trying to tell a genuinely excellent story. 

It’s good. Go listen to it. Even though I spoiled the entire thing and if you’re still here, you’ve probably already listened to it. Listen to it again. 

[words-writ-in-starlight]

I'm thinking of reading Kencyrath, but I'm not sure whether i'll like it. What do you like about the series? Who would you recommend it for?

OKAY SO, first, the people I would recommend it to:

Anyone who read or watched more than half a book/four episodes of Game of Thrones--the Kencyrath has a similar list of trigger warnings, but commits much harder to the fantasy angle, and in my opinion deals more directly with the ethical problems raised by those trigger warnings

People who like those posts picking apart the minutiae of how high fantasy worlds work--the Kencyrath is one of the only series I’m familiar with that answers the question of “okay great you have a warrior race, so how does that actually work” with “it kind of doesn’t, everyone is starving half the time because we’re all warriors and our land can barely grow food, so if our mercenaries don’t get paid, we don’t eat”

People who like a mix of “low fantasy” moral questions (the first book is kind of like...hm, Lies of Locke Lamora?) with classic “high fantasy” political machinations and battles of good vs evil and such--the Kencyrath HAVE a grand sweeping destiny more or less on their doorstep, but they’ve sort of fallen down on the job about it

People who like books that deal with trauma recovery--Jame, the main character, spends most of her time trying to drag herself (and, ideally, her brother, cousin, and entire race) out of the cycle of abuse that they’ve all lived through, and every character has, to some extent, a trauma that shapes their actions one way or another

People who don’t mind a big cast as long as there are a couple main characters to focus on--the Kencyrath ends up being a pretty expansive cast, with a lot of schemes running at any given time, but it always revolves around Jame and her twin brother Tori

People who like complex societal worldbuilding and Loyalty Stuff--the Kendar/Highborn dynamic (warrior class/ruling class) is so wonderfully messed up and I love how seriously the books take both the advantages and massive pitfalls of that kind of society

People who listened to TAZ Balance and thought that the Hunger was really cool and terrifying and wanted a whole book series about the sequence where the world is fighting it

Anyone who ever read a standard high fantasy book with a Rambunctious Young Lady as the lead and went “this is fine, but if you’re going to spend 250 pages telling me that this girl is wild and uncontrollable, I would like to see her go completely feral, please”--Jame’s brain plays Yakety Sax 24/7 and you can TELL, so if you ever wanted a book where the Unladylike Lead Character goes genuinely apeshit, but also learns how to make friends and respect the value of traditionally feminine work even if it’s not for her

People I would recommend NOT read the Kencyrath:

Anyone who knows they are triggered by written discussion of assault, abuse, sexism, coercion, torture, flashbacks, racism, murder, or basically any other major trigger warning--I personally think the books deal with things pretty well, and they’re never grimdark, but they deal with a lot of incredibly heavy material, including child abuse, sexual assault, coercion, and torture.  If you know you have a major trigger that really messes you up when you read about it, please exercise caution and feel free to contact me for more details.  Also, if you have a specific trigger and want a different book recommendation, I have them on tap.  

Anyone who struggles to read or connect with “problematic” characters--pretty much every character in this series will EVENTUALLY do something you don’t like, including Jame.  The books go very hard on “who you are is defined by how you handle making an irreparable mistake,” so be prepared for that.  If this is your hard stop but everything else is fine, I would recommend the Imperial Radch series by Ann Leckie (spaceships and war crimes and found family), or something by Robin McKinley (mostly fantasy), especially the Damar books or Sunshine!

Anyone for whom incest between twins is a hard stop--the primary romantic relationship is Jame/Tori, and while I would consider it easily the healthiest relationship in the series, that’s the ship and you should be aware of it.  If this is your hard stop but everything else is fine, I would recommend the Captive Prince series by CS Pacat (political scheming and romance) or the Winternight trilogy by Katherine Arden (fairy tale fantasy)!

The stuff I like about the series:

Jame.  I love that she’s allowed to be completely unhinged.  I love that she faces consequences for her actions.  I love her determination to slit reality open and lay it all out like a scientist in her search for the truth.  I love her willingness to face unpleasant realities, and I love the times when she can’t bear them and has to figure out how to deal.  I love every second she spends trying to figure out how honor works, and whether it’s even possible for a Highborn to be honorable, and how she can save her people without sacrificing who she is.  I love to watch people pick a fight with her and immediately learn the error of her ways.

Tori.  I know I pick on him a lot, and he deserves to be picked on, but Tori is really one of my favorite characters.  He struggles a lot more than Jame to move past their father’s abuse, and he makes a lot of genuinely harmful choices in the depths of that struggle, but I love watching the times where he wins.  It makes me frustrated beyond words when he caves to what he was taught, but I’m always elated when he can push past that and reveal the deeply loyal, sincerely honorable, incredibly good person that he became in spite of their father.  He’s a good leader, despite everyone’s best efforts, and I love to see him fight for his people.  Love to see him consider HIMSELF one of “his people” someday.

Kindrie.  I won’t say too much about him, except that I didn’t actually like him that much when I first read the books, for basically the exact reasons Jame didn’t like him much at first--he’s someone doing trauma recovery in the exact opposite way that I was comfortable with.  But god I love him so much, he is doing his best and his best is so much better than anyone would expect, from his past.  Truly the best boy in the Kencyrath, wise beyond his years and just insane enough to get into the disasters where he’s most needed.

The Kendar.  Instead of making this post 4k with individual bullet points about every Kendar I love, here is a brief litany.  I love Marc because he’s the only stable person in the Kencyrath.  I love Brier because she’s doing her best and it would be okay if everyone (including her) admitted that she doesn’t always know what that actually means.  I love Burr and Rue because their rabid determination to turn Tori and Jame (Confirmed Feral Cats) into real nobility will never NOT be funny to me.  I love Sheth Sharp-tongue because he’s the only person with his shit so together that not even Jame can ruffle him.  I love the Randir Kendar who didn’t move, at the start of Bound in Blood.  The Kendar are the most nuanced take on the concept of an eternally loyal warrior caste I’ve ever seen and I love them.

The Villains.  I believe I have established that I love a nuanced villain.  The Master is a pretty straight up and down villain figure, the voice of the darkness, John Hunger or Saruman or whatever else you might like to compare him to, but no one else is that simple.  I love the Dreamweaver, who didn’t know what she was doing and paid for it anyway.  I love Tyrandis, who knew what he was doing and did it and spent his eternity trying to fix it without breaking a single rule.  I do NOT love Caldane, but he’s a kind of viscerally real, slimy evil that is exceptionally well executed.  Likewise, I would like Rawneth to die, painfully, in short order, but godDAMN watching her chessboard unfold over the course of the books is hypnotic. The villains in this are GOOD, folks, and I like them.

I really need to wrap this up, so my last pick for what I like is Overpowered Characters.  I complain a lot about media that panics over powerful characters, and responds by taking that power away, or having unstable worldbuilding that means the character is weak when the narrative demands it.  The Kencyrath doesn’t do that.  Jame is bonkers powerful from day one, and pretty much maintains that level through the series.  Instead of focusing on characters building their power, like leveling in DnD, the Kencyrath focuses on the question of using power.  Jame’s power in the first book is terrifying not just because she’s insanely strong, but because she has no idea how to use it.  Likewise, Tori is determined pretty quickly to be at the same level that she is, but he’s in such deep denial that he’s as likely to kill himself as do anything useful.  It’s just very SATISFYING, okay, to have a series actually do interesting things with OP characters.  Sure, in a weird way Jame seems less like a magical nuke in book 8 than in book 1, but it’s because she’s not just throwing power around like someone playing darts blindfolded.  And watching her figure out how to harness her power into something useful is so gratifying.

[canonicallyanxious]

hi, If you are still doing taking asks for the top 5 of whatever, I have one. Top 5 (or 10) scenes in the skamverse?

anon this is a really good ask and i’m unfortunately absolute trash for the skamverse so it’s gonna have to be my top 10 skjdnfskjdnfs in the interest of fairness though I’m going to try my best to limit myself to one scene/clip per season [also cut on this one bc it got long oops]

1. Minutt for minutt [og skam s3]

Words cannot express how much this scene still means to me four years after i first saw it. Like this is the scene that made Even and Isak’s relationship so special to me, this is probably the scene or at least one of them that tipped this show from “oh this is really good” to “i will fucking die on this hill for skam” for me. like, just the tenderness of Isak quietly watching Even as he sleeps. the soft physical affection a mentally ill character is allowed to have on screen. this beautiful yet grounded dialogue about coping with mental illness which cheesy as it might sound is also something i’ve very often taken to heart in my own struggle with coping with mental illness since. like god. truly groundbreaking, honestly.

2. David’s coming out scene in druck s3 ep 8 - “i am a boy. i just have to try a little harder” [druck s3]

this scene came very, very close to beating minutt for minutt and honestly on a different day it might have done so, just today i decided to put minutt for minutt at the top simply because it’s been with me for longer. but i think this was probably the most emotionally moving clip for me in the entire season, and i had the privilege to watch it in real time which makes it even more special to me. it was everything i could have ever wanted from david’s coming out - soft, aching, quiet, devastating writing that broke my entire heart. and “i am a boy; i just have to try a little harder” is probably a line that’s going to stick with me for a very long time. i can’t think of another trans person’s coming out scene in mainstream media that has touched me as deeply as this one.

3. Fatou and Kieu My’s museum date in druck s6 ep 6 [druck s6]

this scene has everything. EVERYTHING. space imagery! soft and tender kisses! hands brushing in the dark! yearning looks! playful banter! serious conversations about feelings that move forward both their development! like it just reminds me so viscerally of falling in love for the first time as a teenager. druck in general i think does a very good job of portraying teen romance but the fact that this teen romance is about two wlwoc [one of whom is vietnamese like bitch!!!!] means EVERYTHING to me. like this more than anything else in the entire skamverse is something I wish my teen self had gotten to see. i’ve probably seen this clip about twenty times because part of me still can’t believe it exists.

4. The Carnival scene at the end of the last episode of skam austin s1 [skam austin s1]

honestly i think the entire last clip of skam austin s1 is just pure excellence [even if they made me watch Meg and Marlon have sex in a car wash smfh]. like one of my favorite things about og skam was how it really gave their characters room to breathe and take their time with their conversations and i think this clip is probably one of the ones that come the closest to capturing that energy for me [no wonder i guess since julie andem was so involved with this season]. but i love the carnival scene in particular because i love the energy it captures in meg’s dynamics with the other characters and it’s just such a nice opportunity for them all to finally breathe after a difficult season. also i will never ever forget the pure euphoria of watching Shay become a confirmed lesbian on screen in real time [even if i still think the way it was done was kinda meh]. i think i was giddy for the rest of the fucking night after i saw that.

5. Nora breaking up with Miquel for good in skamesp s3 ep 8 [skamesp s3]

i actually think skamesp s3 is one of the best remake seasons of the skamverse. An incredible feat for skamesp to make me rank a NOORHELL season near the top, but honestly skamesp s3 is much more than a noorhell season, like i think the story it tells is hard to watch but very important to tell. i especially love this clip because it’s just such a well thought out culmination of Nora’s arc throughout the season. and it’s so devastating in how understated it is. the acting is phenomenal, the lighting is gorgeous, my breath was taken away by the way Nora said “don’t touch me” with her hair blowing gently around her face. just very good.

6. Josh and Nora’s second break-up scene at the end of druck s5 ep 9 [druck s4]

what does it say about me that this is the THIRD BREAK UP CLIP on this list skdjdnfksdnfsdkn. i genuinely did have a really hard time picking one clip for s5 [other top contenders include the last clip of ep 8 and the cuddle clip at the beginning of ep 6] but i went with this one because a. i love to suffer and b. the way josh plays with nora’s jacket and then she gently pulls away and his hands still linger bc he can’t quite bring himself to let her go just yet fucking HAUNTS ME. watching this scene genuinely made me feel like i was going through a break up myself, maybe because it reminded me so much of my own first break up in a lot of ways. kudos to the strong writing and stellar performances from the actors here.

7. Best of Islam [og skam s4]

Yousana the true og m/f relationship i was overly invested in... i miss they... anyway this clip is really good just on its own and i think it’s a good encapsulation of everything i wanted this season to be. i love that Sana got to talk about her experiences and her relationship with her religion; i love that yousef listens to her carefully and talks about his own experiences and feelings; i love their playful energy; I LOVE YOUSEF GIVING SANA THE FLOWER. truly it doesn’t get better than this.

8. Amira and Mohammed get back together at the end of druck s4 ep 7 [druck s4]

i love this scene because i think it showcases the very best of Amira and Mohammed’s dynamic. the way they listen to each other, their playful manner with each other, how utterly taken they are with each other. i love also that Mohammed finally got to talk about his experiences as a refugee and how that connects to his religion. and the whole exchange about baklava still has me so ;-; ;-; the chemistry these two have is absolutely unreal. i will never get over Amira being cheated of the last few episodes of her season. the greatest injustice to experience after a clip like this, truly.

9. Life in Italics [skam austin s2]

aside from the first ep this might be the only clip i’ve actually seen from this season but i stand by this choice sorry not sorry shay dixon performing an absolute bop in a pink wig is just too iconic

10. Crisana cuddle scene in skamesp s2 episode 6 [skamesp s2]

I think I’ve loved basically every remake version of the iconic s3 ep 5 cuddle clip i’ve seen but this one has stuck with me in particular just because it was really special to me to be able to see two girls be so soft and gentle and loving with each other. no excessive make-up, no hypersexualization, nothing glossy or glamorized about it. i honestly often have a really hard time connecting to teen wlw romance but this was one of those times it actually felt real to me. also the song choice for this clip is simply chef’s kiss

Ask me my top 5/10 anything!

[thefudge]

TLJ thoughts, post-viewing

sooo, i have a lot of feelings about a lot of things. also the subtitles didn’t prepare me. for a lot.

this movie is made up of many quiet, non-verbal moments and rian johnson lets those moments sink in and dwell with you and that’s great

rey exploring the workings of the force, for example. there’s a really cool sequence where she’s trying to find out who her parents are and she lowers herself in the embodiment of the dark side and it’s very trippy and cool. it’s not rushed and it’s v atmospheric. she gets the incentive to do that thanks to kylo. his revelations about luke and his general aura of “troubled darkness” inspire her to dig deeper.

i think what i liked most about reylo was its sense of gratuitous intimacy. what i mean by this is that they seemed to connect without effort, without having to manipulate the plot to make it fit. they seemed be in their own little movie, dealing with things beyond the usual surface level of star wars ‘good vs. evil’. kylo’s philosophy about letting the past go is definitely flawed, but the way the movie frames reylo, they do seem to “let go” of their surroundings and circumstances when they’re together. it’s sort of timeless. 

i will say, i don’t think the romance was that "romantic”, if that makes sense? and i think it’s a good thing. their bond is very real, but it goes beyond “romantic drama” and your usual hero/villain trope. it has shades of that, ofc, and there is palpable sexual and romantic tension, imo. but i sensed something more mature and interesting between them. it could go either way. do i want reylo to have a future in ep 9 and after? yep. is it possible they won’t? also yep. mainly because kylo let rey down. and here’s the kicker: it’s not rey that really rejects him. it’s him that rejects rey. because she tries quite a few times to bring him over to her side, and i think her anger and sadness stem from the fact that, ultimately, kylo didn’t choose her, and ergo the light. he’s still v much conflicted and i think she can sense that. but rey is hungry. she wants all or nothing. she can’t have half of him. so she doesn’t reject him as much as tell him straight up that she won’t stand for being second. for instance, she expects him to fold to her side immediately after taking down snoke. when he doesn’t, she’s quite literally in tears. this hurts her on a deeper level than “oh no, the dark side won and the resistance lost an important ally.” no, this feels like her parents all over. leaving her, deserting her. that’s how i read it, tbh. 

and kylo does some reprehensible shit in the latter quarter of the movie, lol, like i won’t woobify him, since i like my antiheroes to be antiheroes.  but he's not quite villain level?  if u look at snoke, if u take that cool, collected snarky asshole - that’s a villain. he knows who he is, and what he wants. kylo is hopelessly confused and always looking for validation. he tells rey that she’s the one always looking for father figures - but oh, benny ben. it’s actually you. he wants someone to really see him, and that’s why he’s drawn to rey. but just to clarify: he doesn’t have it in him to kill his mother. he has an open, unambiguous chance and he stops. he is willing to destroy her when she stands behind walls and is shielded by the resistance. yet when she’s in the open, no. that was my read on it. 

his fight with luke is...very much one-sided. luke appears as a force-hologram to fight him and kylo just wants to obliterate him for very, very personal reasons. kylo is not the cool, collected new emperor who is going to “kill the past”. he lives so much in the past that he doesn’t even realize luke isn’t even there. 

and btw, kylo doesn’t kill luke, though he wishes he had. early on we get this foreshadowing. when the first force-bond happens between him and rey, he goes “no, you’re not doing this. the effort would kill you.” meaning that, to transport yourself through space via force (without a bond) takes a looooot of energy. luke goes on a suicide mission, basically. he knows using the force like this will kill him. he’s almost having fun toying with kylo at the end. 

when kylo realizes he’s a force-hologram, luke smiles and says “see you around, kid.” not exactly anakin vs obi-wan, if u know what i mean.

and then back on the island, we see luke peacefully give himself over to the force and vanish. it’s v tranquil and quite satisfying and the original star wars theme is used so well, imo. do i think we could’ve had more of luke? sure. but he went out on his own terms. that’s the whole point - kylo didn’t kill him. he killed himself.

again, i want to emphasize that kylo is still very much an antihero, dipping his toe into villainy (and failing - which makes him more angry, which only makes it harder to be the villain he wants to be haha). he’s not a Good Guy. many posts will crop up in the tag about what a poor, lost soul he is. yes and no. rey actually understands him when she closes the falcon door on him. she knows him and appreciates him. he will never really be ben solo and that’s a good thing. trying to be ben solo so hard is what got him in this mess. he isn’t supposed to be a Good Guy. so no, i don’t want him to “turn” (see my thoughts on “turning” below). i want him to truly move beyond the past and reform himself on his own terms, just like luke. because hey fam, luke isn’t a Good Guy in this movie either AND THAT’S GREAT. anyway, i certainly won’t be romanticizing him (kylo). he’s a compelling antihero who definitely has baggage and trauma (luke did try to kill him as a boy, though he has a wildly dramatized version of the event lol) but he is also someone who has to help himself. ultimately, rey’s goal isn’t to “save” him but to push him to save himself. honestly, if kylo had followed her and “turned” and reluctantly joined the resistance, it would’ve been a total let down and a betrayal of his character. him “turning” wouldn’t help him. he’d still have that darkness and that anger inside of him, multiplied. boy needs therapy - aka working through his issues, not ignoring them and joining the Good Side. 

Other things I liked: 

- admiral holdo’s arc - beautiful, well-done and surprising. laura dern kills it. 

- benicio del toro!!!!! no small parts with this man. he is delightful. imagine rick from “rick and morty” but way hotter lol. he was probably my favorite addition, after rose. he’s the middle-ground guy, he’s more han solo than fucking han solo. he doesn’t believe in good guys vs bad guys and he shows both finn and the audience that the two sides err because they believe their path is the only path. he perfectly encapsulates the very real contradictions in modern-day ethics and how our “pure and wholesome” activism often shields us from some terrible truths. he does have a semblance of a heart underneath his cynicism but i love that in the end he doesn’t suddenly discover the power of friendship with finn and rose. he’s a jaded asshole with shades of good, who’s probably seen some rough shit. BUT, he has this super cute moment with rose before things go to shit regarding her necklace and it’s !!!!!! it shows how much he understands human nature. i kinda ship them. aaaanyway. i definitely think he will return, his arc is not done. 

- ROSE TICO SMILING AND BEING HAPPY. ROSE TICO RIDING THAT KANGAROO CREATURE AND ENJOYING LIFE. i treasured those scenes a lot. she’s a great combo of feisty and childlike, tough and innocent. gosh, she reminds me of bonnie bennett so much ;___;

- general hux. yall, it’s true. it’s all true. hux may have won me over. hux in TFA was just a lite over-the-top villain imo. but here??? he’s such a fun, dynamic character, rian gave him a lot of fun, humorous moments. and honest to god, he’s also given some humanity. when kylo takes over, he is genuinely affected and disturbed by his level of aggression. and he’s....idk, much less evil in this one. probably because of the humor. he just seems like a man dead-set on fulfilling his mission, brainwashed to the core. and underneath the brainwashing, he seems to be your average overwhelmed white dude. i don’t think he’ll be redeemed or anything but...it’s weird how at the end of TLJ he is probably the MOST reasonable dude from the first order???

- there’s this great little message about failure. i think here TLJ was inspired by Rogue One. because a lot of the characters in this movie learn to let go and accept defeat. you can’t always save everyone, you can’t always fight back. sometimes, the brave thing is to retreat and treasure the ppl you love. so i def liked that.

- GODDAMN GHOST YODA. i honestly thought i’d hate it because...gimmick, amirite? but that scene with luke was SO emotional and also funny and visceral and just - i was a bit teary-eyed, ME, THE GRINCH. i was suddenly nine again, watching star wars for the first time. ANYWAY. 

- luke skywalker deserves a separate entry. mark hamill did so much with this character in the last few scenes. also some of the stuff he says about the force in this movie is legit beautiful and i love how he criticizes the vanity of the jedi - because this was what was missing from the prequels. anakin fell because the council was tone-deaf. the jedi are often responsible for their own doom and so they must always be vigilant - which is a goddamn thankless job. i love that luke acknowledges this. 

-luke/leia moment. GAAAAH. HE KISSES HER FOREHEAD GOODBYE AND SHE KNOWS HE’S NOT COMING BACK FROM THIS. I DIED.

- in that order of business, leia finally FIIIINALLY gets to show off a bit and use the force in a pro-active manner. it’s also clear to me that episode 9 would’ve been the story of her and “ben” and i think she would have been the catalyst for his eventual development. but sadly, we’ll never see that ;____; 

-there is some gorgeous cinematography and visual direction in this movie. particularly in the third act, on that salt planet? the red trails? shivers. 

-i didn’t hate any of the new creatures like i thought i would??? probably because they were used sparingly and with a sense of humor.

Stuff i kind of didn’t like:

- phasma. phasma, phasma, phasma. WHAT was that??? like tell me that wasn’t anticlimactic as hell. she was, sadly, a pointless character. unless she somehow survived the fire and destruction, which i doubt, i really don’t see the point of casting wonderful gwendolyn christie just to stand there in armor. 

- MAZ KANATA. is barely in this. i call bullshit. 

-sigh, okay so i loved rose to death, but her arc revolved way too much around finn. on the one hand i get it, on the other hand.... i was hyped because ppl were saying she gets this big moment to shine. and granted, imo, she shines every moment she’s on screen. but i think her climactic scene was... *fart noises*. it’s completely centered around finn. she saves him basically, and it’s definitely heartfelt and lovely but also...it’s finn’s moment 100%. because it’s him who has to learn about his own worth. i do think they make a good team and i ship them a little bit, but the one-sided kiss was not satisfying and i’m tired of having to watch my darling woc give their love and devotion freely, only to be  tertiary characters in their own story. like, imo, it should’ve been rose who flew straight into that cannon and tried to take it down for her sister. she should’ve been the one determined to take it down. and it should’ve been finn to save her and tell her they must find meaning in other things. finn definitely cares for her and in the last scene we have of him, he’s tending over rose and waiting for her to wake up BUT. will rose ever be number one for anyone, like the white girls, i wonder? eh, i’m probably just grumpy old aunt. she does get to have an internal world, she’s a believable human being, she matters. the thing is, white girls in these movies can bend their little finger and they’re considered worthy and complex. rose has to jump through hoops to be seen the same way. anyway.

- i liked poe dameron’s arc, which is “hey, maybe i should stop posturing and listen to women more lol” which is “learn when to retreat and stand down” but...honestly, you hire gorgeous oscar isaac who can give you real emotional weight and you just...kinda under-utilize him. yes, he did a lot of stuff, but he...didn’t take time to internalize it. this dude feels like he’s got a lot of demons and conflicting desires and a rich inner life, yet we only skim the surface of that. like, he’s aways in go-mode, we rarely get a quiet moment with him. like pls fix this, episode 9. 

-luke’s reaction to han’s death is pfffffffffffff. maybe we’ll get more in a deleted scene? 

- also....can we stop pussyfooting and legit talk about han as a dad? because they keep hinting he wasn’t a good one, nor a very good husband to leia. but...it’s very unsatisfying to keep hearing about it without good storytelling to back it up. 

- the world-building & the origins of the first order. i had problems with this in TFA and, big surprise, i still have problems with it here. basically, why has the first order taken over the new republic? how did they gain support? were there remnants of the old empire that survived and thrived as the first order? what about the knights of ren? luke mentions kylo took some students with him when he destroyed the jedi temple, so....what about those guys? like, this very fraught and war-torn landscape doesn’t have a solid history. how did A become B? why is every corner of the galaxy oppressed? why are some planets thriving more? are they all arm-dealers??? i find that hard to believe. yeah, we have the expanded universe for that, we have books and comics etc. but i need these movies to give us a sense of their own universe. i’m...still not convinced. 

-lolol, snoke dies like a bitch. and it’s so anticlimactic and duuuumb. dude, a five-year old coulda seen that coming but your ancient super powerful ass couldn’t? laaaame. he’s like “oh, yes, i sense no more conflict in you, kylo ren. just a deep certainty”. YES FOOL, because he’s decided to remove u, because he’s confident he wants rey, and not you, by his side. it was soooo lame. but i guess we had to remove him to make the audience think kylo was turning good for a second there.

-which reminds me... and you probably saw this coming, i hate the idea of “turning”. rey keeps talking about ben turning to the light. and this verb annoys me to no end. it’s made clear that they both already have a lot of light and darkness in each other. it’s about finding balance. where’s my grey jedi??? episode 9 pls????

Extra Reylo stuff i didn’t see mentioned which i adored: 

- during their first force-bond moment when they sense each other, kylo ren runs out of the medical unit and into the corridor like a goddamn luckless teenager, expecting to see rey pop up in a prom dress.  it’s precious. i love awkward!kylo. also rey tries to shoot him bc she thinks he’s actually there and kylo bends down, thinking he was shot. it’s a rly cool moment. and it doesn’t feel malicious like, he doesn’t expect anything less from her. 

- there’s so much charged electricity between them and it’s not all sexual. it’s kinda mystical and i dig it. i’m weirdly reminded of xavier and magneto??? as in two enemies who have such a rich history and whose bond transcends human morality. 

-OKAY. i saw no one talking about this but THAT GODDAMN SNOW WHITE SCENE. so rey decides she’s going to turn kylo to the light because that’s their one hope of defeating the first order etc. luke tries to stop her, but she’s like i’m going after my man. okay. she gets on the falcon, then she puts herself in this casket-like pod and AND. we get this lovely, breath-taking sequence of her arriving at the first order base, slipping gently into the hangar in her casket. and she’s def nervous. AND THEN. she looks up through the glass and there’s steam at first and through the steam we see kylo’s face, looking down at her wistfully. IT’S SO WEIRDLY FAIRY-TALE WTF. and then ofc the guards come in to shackle her. BUT JESUS. the prince looking into the casket to find snow-white WHAT ARE THESE AESTHETICS. it felt like a nod to the infamous scene in TFA where he carries her bridal style. it’s very fairy-tale-esque. 

- i love that in the scene with the multiple reys, when she reaches through the mirror to see her parents, the shadowy figure who appears and touches her hand seems at first to be kylo and then she realizes it’s herself. i also love that she talks to kylo about that experience. GAH. 

- i just rly loved that there was so much humanity in their interactions.

Reylo stuff which sort of bothered me/left me wanting more: 

- like excuse u rian,  during the praetorian guards fight, i needed more moments where kylo looks at rey and is worried for her sake. i needed that fight to be a bit more visceral and about the two of them and their survival. they do fight together and it’s great but then...they’re sort of separated and carry their own small battles (i did love how rey saved him with that lightsaber throw)

- the whole “you come from nothing, you are nothing.” yea yeah, he’s a dummy who doesnt know how to express his feelings, he’s mr. darcy x 1000 of faux pas. but i still think adam driver’s acting went a little much there. the way he delivered that line was a bit off for me. ofc, he follows it with “but not to me”, because he’s basically proposing to her, but i needed a bit more, an extra line from him confirming her importance. or maybe no extra line, but a bit more feeling. did i mention i love wrecked!kylo? the “please” killed me haha. 

Final thoughts:

- enjoyed it more than i expected to, and it does operate with way more nuance than TFA but it stiiiill fell short with some characters. it didn’t have the weight of rogue one for me, but it’s more lighthearted and entertaining, which i appreciate, cuz it reminded me of my childhood. and ultimately, whether we like it or not, disney does operate on nostalgia. all in all, it’s a worthy star wars movie, 8/10. rian deserves an A-. (he also wrote this thing and whoaaa...i wonder how much more ambiguous and dark this movie woulda been if he’d been given full non-disney freedom)

[movienotesbyzawmer]

Star Wars: The Last Jedi

December 18: Star Wars: The Last Jedi

(previous notes: Star Wars: The Force Awakens)

Source: UK 3D Blu-ray (this was much easier to come by than a US release, for some reason)

This movie is only 2 years old, a relative infant babe in arms. And I unambiguously loved it when it came out, both times I saw it in theaters and again when it was first released on video. But there have been dark whispers, haven't there. Snobs and haters started flooding the information superhighway with poorly supported condemnation of this perfectly entertaining sequel. Was I wrong? Was I missing some smear of shit on the screen that everyone else could see? Or is Putin up to his old tricks? Excuse me while I pop on my rose-colored 3D glasses and jot down some fresh observations.

Cool first shot, zipping through a bunch of ships that's like some kind of convoy.

Then a bad guy ship shows up and whoa is it neat in 3D.

This first exchange between Poe and Hux is funnier than anything in the prequel trilogy, my goodness was that a refreshing way to start this movie! Love it!

BB8 thunking down into the guts of the X-wing! That's the right kind of gadgety roboty attitude for a Star Wars movie, I tell you.

Bombers, there are bombers. How do bombers work in space? I ask like I'm complaining, but I'm not. I'm sure there's a Lucas-y explanation. And yes I know that Lucas isn't doing this movie, of course I know that, it's like you don't even know me.

Jeez, those bombers are getting totally wasted. Probably because they're full of bombs. BOMBS, see.

This tense scene where the bomber pilot has to kick down the remote control from a precipice, this is great suspense. The pilot sacrifices herself. The first 12 minutes of this movie have a hell of a lot going for it. But also, the look of it is different from all of the others. Stark closeups for instance. Nothing wrong with it, but feels like it's very committed to this director's personal stylistic preferences.

Now we're on Hidden Skywalker Island to find out how this plot thickens. It's a cool contrast from the space battle. And it's got Rey. And Porgs!

0:16:40 - Snoke's proper throne room. With Actual Snoke because it turned out the other one from the last movie was pretend-like. This throne room was put together by a visionary interior designer who really likes red.

Luke drinks some green milk from a plump creature who looks at Rey like she's saying "have some, it's pretty good, seriously you gotta try it, it comes from my nipples".

The scene with Rey and Luke in the book cave, it's good, I think. It's ever so slightly witty, but it makes sense as a way to get past the stubborn impasse the two were in before.

Kylo hesitated to blow up his mom because he's not too happy with his Dark Side family rn. But she's blowed up anyway and it's a pretty visceral image when that happens. Fortunately she is kind of Jesus so it's fine, she's fine, we're all fine here now thank you, how are you?

Hah, the Porgs are shaming Chewy into not eating a dead Porg! Porgs are way less in-your-face in this movie than Ewoks are in that other movie.

Enter Laura Dern! Conveys intelligence and confidence. I bet internet dicks hated her for no good reason. Other than that they are working in a non-descript office building in central Russia. Anyway, her friction with Poe is cool because she's being rational and it's just hard to argue against her points.

0:39:00 - Enter Kelly Marie Tran! Rose! Of course Sergei and Boris are social media bullies about this character. But even though she's coming into this story a little late, she's already gotten some solid character development.

So this is something I'm only realizing because I just watched Empire Strikes Back, but the two movies have similar structures in addition to being middle-of-the-trilogy movies. They both go back and forth between two subplots; one about a Jedi training a rookie on a planet, the other about just the good guys desperately trying to outrun a dauntingly large space fleet of bad guys.

Hah, Porgs getting pesky in the Millennium Falcon, I'd forgotten that.

Not so much with the wipes between scenes in this one but that one at 53:55 was neat.

And now we're in an actual casino! It's the Star Wars universe's version of Monaco. Lots of fun creatures and robots, but shot with a very flashy style that seems more obtrusive than how Lucas just peeks around in the Cantina.

The Master Codebreaker is literally Errol Flynn circa 1925.

1:00:50 - The first flashback of The Luke/Ben Incident. Kinda Rashomon-esque.

Benicio Del Toro. I love the guy, but there is often a sense in his movies that he had a very persuasive conversation with the director to let him do odd quirks with how he talks, and the director just grimaced and hoped it would turn out okay.

They break out of the stables with the racing animals, and stampede their way through the casino, satisfying!

But also, this whole Monaco planet is so like Monaco, so specifically, that it's not very galaxy-far-far-away.

First time we see Luke in the Rashomon flashback with the 'bout-to-kill-Ben look, that is a mighty fine facial expression from Mark Hamill.

1:14:35 - We're at the highly abstract Nightmare Cave sequence. This is a little indulgent, I bet Lucas did not like. He probably didn't like the equivalent sequence in The Force Awakens, but for what it's worth, I super like that one.

Rey and Kylo having a connection, I think we're not supposed to like it, and maybe that's the point? I'm okay with that. As long as it doesn't turn out that they are twin siblings separated at birth and gee what a shocking twist that would be <eye roll>.

I bet it took some discipline to have the Finn/Poe/Rose subplot be relatively simple.

1:29:00 - Weird little coffin craft Rey gets in to go to Kylo's ship. Oh, and the shot of coming out of lightspeed facing the bottom of the Destroyers! Cool!

1:30:55 - Hah! You thought they'd forgotten how to be funny, but then they do that clothes-iron gag. I like it. Reminds me of the coat hanger gag in Raiders of the Lost Ark.

"I know where the nearest escape pods are" "Course you do". Hah.

Snoke telling Rey "I connected you because I knew Kylo was weak" sounds like an internet troll. Am I hung up on that? On internet trolls?

Big hanger full of troops and even flying TIE fighters inside the hanger, looks great.

Very grim situation now… the intended plan completely fell apart, and now the escape transport plan is completely screwed, and Rey is just helpless it looks like. Or is that just what it LOOKS like.

Snoke death is neat. Also neat are his guards' variable, flexible sword things. Also also neat is how the one guard gets tossed into an electro-processer and shoots out red flakes!

1:50:42 - Oh, my favorite thing, a magic battle. As Rey and Kylo try to out-Force each other to Force-get the light saber, it all comes down to who Force-gets better.

But then! Then it DOESN'T suck because they equally Force-get so hard that it just breaks, and then the neatest of all the parts of this movie, LD lightspeed-spearing the master bad guy ship! Awesome visuals and sound.

"You're a bug in the system" "Let's go chrome-dome". That's a pretty Lucas-y dialogue exchange.

As they fly away from the destruction, I love the look, how much detail there is to the wreckage.

Yeah, this final planet has those ice fox things! It feels like this Episode has slightly less zeal for "delightful new creatures", but it's not NO zeal.

Also this is the planet where the surface is salt, but under the salt surface is a mineral that is very red, for reasons of it looks cool, I guess. There's even a mechanic which can't possibly make sense, where these crafts NEED to drag on the surface just a teeny bit. But so what, I like to look at it. I'd rather look at that than look at YOU.

The underground blood crystal cave is a damn fine sight to see.

Not sure I care that much about the quick drama about Finn trying to Kamikaze the big gun and Rose stopping him. Although Rose saying "saving what we love" makes it kinda sweet and now I'm sorry I pooh-poohed it. But she gives him a little kiss, which is the only remotely romance-y thing in this new trilogy so far and do we need that? Whatever, I root for both of these characters.

We just saw the gold dice from Solo. But this movie came out before Solo, so I guess we were all like "dude what the hell is THAT". I wonder whose idea the dice was.

"Do you think that you got him". So, this reminded me when I first saw it of an early Mark Hamill movie called The Big Red One. A war drama with him and Lee Marvin, probably right around the same time as Empire. In that movie, MH shoots again and again and again at a definitely-already-dead German soldier. He just keeps shooting the corpse. Lee Marvin walks up to him as he's doing it and whispers in his ear, "I think you got him". Gotta be a deliberate reference, right? Pretty obscure one if so

Hah, Poe and Rey hadn't met yet, that wasn't obvious until now.

Okay, the final scene. It's a cool final scene, but… okay so the first time I saw it, I definitely didn't notice that the kid levitated the broom all casual-like. But I noticed it in later viewings and was like "oh, how did I miss that". Well I'LL TELL you how, because it is super freaking subtle! It's like it changes every time or something. It is FREAKING  me OUT.

But I still really like this movie. It is full of tons of great qualities, and only minor issues. It's surprisingly witty, and has a lot of non-Lucas style to it, which would be a problem if it didn't feel so genuinely inspired. So nice try, Anatoly! Go fuck yourself, Fyodor! You can turn neighbors against each other, Yuri, but you can't make me hate The Last Jedi!

(next: The Rise of Skywalker)

[stillthewordgirl]

Central City Rendezvous, chapter 13 (of 16)

Rip Hunter never came for the Legends. But maybe some meetings are meant to be... (A Captain Canary AU.)

Yeah, yeah. It’s now 16 chapters. I promise that’s it. :) Expect one every two days from now until March 20, just about the one-year anniversary of my first CC story! (Well... that’s the plan. The only chapter that’s not done at this point is 15.)

This also takes place during the Flash episode “Invincible.” Many thanks to @larielromeniel for the beta.

Can also be read here at AO3 and here at FF.net.

Sara can't reach Laurel, her Laurel, in Star City.  

And somehow that just makes it all worse. Because it’s tough, so very tough, to look at the image of the smirking, slinking, black-clad woman on the surveillance camera footage and remind herself that that’s not Laurel, not really, that Laurel is mostly confined to a wheelchair right now, and she’s still in Star City, and she's OK. She is. Sara has to believe that.

It’s hard, too, to watch Wally strike the… Black Siren… with his car, even though it’s not Laurel, not her Laurel, and she’d been about to hurt Barry, and, and…

She turns away, closing her eyes, but stops when she bumps right into the man who’d been standing behind her. Leonard lifts his hands to her arms, then hesitates and slowly lowers them to his sides after only a brief touch.

And then, a moment later, she feels them return, feels his hands settle firmly on her upper arms, holding her, anchoring her, and all the watchers be damned.

But no one says a word.

“She’s a meta. And she brought down all of Mercury Labs,” Sara says a bit numbly. “While we were out there?”

“You all were on the other side of the city,” Barry offers. “And we didn’t know… who it was… at the time.”

Leonard turns to level a glare at Wells. “You knew about our Earth-2 counterparts. But you didn’t tell them about her?”

Wells meets him stare for stare. “Frankly, until Mr. Allen had his run-in with her, I thought she was dead.” He shrugs. “Zoom didn’t take the death of... well, her failure to capture... your counterpart well. And there are other meta powers that can take down buildings.”

“Yeah, well, no one else managed to kick Barry’s ass.” Cisco’s grin slips a little as Barry turns to look at him. “Uh. Anyway, we’re putting together some tech to take down all the Earth-2 metas—it uses vibrations, it’s kinda weird, just trust me,” he rattles off. “We just need some time. But she says she’s just going to keep taking down buildings for Zoom. We don’t really have another good way to stop her. We just need…”

The silence hangs for a moment before Sara finally opens her eyes, then turns around and looks at him.  

“… time,” she finishes. “You need a distraction.”  

As if on cue, a noise from the other side of the room breaks into the tableau. Caitlin reacts first. “Cisco, it’s your metahuman alert app.”

“That’s the hi-rise development on the west side,” Joe says, eyes on the display as Iris comes up behind him.

“Hundreds of people live there,” she breathes in horror.

But Harrison Wells is moving already, running for a bank of computers. “Ramon, we’re up! Let’s go. Set that pulse off right now.” He pauses to point at Barry. “Allen, you start generating that refracting field around the city right now.”

“But… all those people…”

And, just like that, there’s no more time. Sara takes a deep breath. “Where is she?” she whispers. “Black Siren. I’ll go.” She looks at Barry. “Admit it. I’m the perfect distraction. With what Wells has told us, she’ll be completely focused on me. Not on what you’re up to.”

“She’s right,” Wells breaks in before Barry can respond. “And Black Siren… she knows capturing this Sara could be a ticket back into Zoom’s good graces.” He holds up a hand as Sara looks at him. “But… she gets angry. That’s how… well. Be careful.”

“I’m going too.” Leonard’s voice is flat and profoundly unhappy. It’s his turn, though, to hold up his hand as Wells starts to speak. “She needs backup. It’s me.”

And that’s that.

They park the bikes a block or so away, then split up, Leonard giving Sara's elbow a quick touch before vanishing into the night. She watches him go, then takes a deep breath, sets her shoulders, and gets on with it.

Black Siren, obviously waiting for someone to respond to her use of powers, is lingering in an abandoned building near the development. She turns as Sara steps through the door, a quick blink the only sign of surprise she shows.  

“Well, well! If it isn’t my sweet lil’ sister," she says, stepping closer. "I'd wondered about you."

"Not quite," Sara responds tersely. But Siren doesn't even seem to hear her.

"You look like quite the bad-ass here. I heard it went a bit differently, on this Earth.” She makes a tsking noise, shaking her head as she strolls slowly in a large circle around Sara, who turns to keep her in view. “Dear ol’ Ollie. I wonder if my version harbored any of the same thoughts? I’m going to guess… yes.” She shrugs. "Maybe he just didn't have the balls to go for it there. Doesn't matter."

Sara licks her lips, moving her bo from hand to hand, unable to escape the visceral feelings of guilt that she and Laurel are long since past, that don't, can't apply to this Laurel.

"I'm not her," she points out, as much to herself as the other woman. "And you're not... you're not my sister."

"No." Siren stops, cocking her head to the side, birdlike. "I'm not. I'm ever so much better." She smiles as Sara's eyes narrow. "Oooh, protective of your dear sissy, are you? My s... she was, too. Or at least she pretended to be."

Keep her talking. Just a little longer. She doesn't dare look past Siren to where she knows Leonard is skulking silently at the other side of the building. "Oh?"

It's almost like this Laurel wants to talk, wants to air her grievances. She continues, still moving, still circling, as Sara watches.

"I came to Central for a fresh start, but everywhere, it was always about her. Sara, working her way up through the ranks, fighting for women's services. Sara, the young, hard-working director of the CC YWCA, helping women with nowhere else to go." Her tone is light, but with a bitter edge, Sara thinks. "And then, the perfect story, the fairytale romance with the politician no one thought had a heart. My baby sister was fucking the goddamned mayor, after I'd lost..." Siren stops, spins, and stares at Sara a long moment, then smirks again.

"And then! I got the meta powers, you didn't." She does a little pirouette, smiling, black leather flowing out around her legs. "So much potential, I thought! Maybe... now, I could…” Her expression hardens. "But people hated metas. And all that potential... the only one who wanted it was Zoom... and, oh, it's just so much fun to watch things crumble and fall..."

Sara, who's been watching Siren's throat, tenses as she sees the muscles tighten, but the other woman doesn’t attack her. Instead, she spins, screaming, sonic waves aimed at the back of the room and causing havoc in their wake. Leonard dodges and rolls out of the way, bringing himself into view in the dim light.

“Oh, you did! You did find him here!" Black Siren actually sounds quite pleased about this, taking a step closer to see the newcomer. “And, my my, you look a lot more bad-ass on this Earth, Leonard.” Her tone is admiring as she looks the crook up and down. "I like the jeans, and the black leather, of course."  

She taps a finger against her lips. "Other you is a lot more... staid. Cute, in a preppy, older sort of a way, but staid. Should have realized there was a bit more potential there, given how difficult he's proven, but... well, that's besides the point."  

Since the jig is up anyway, she can see Leonard weigh his options… and then shrug in typical Captain Cold insouciance, sauntering over to stand by Sara.  

“Thanks,” he drawls, hand on cold gun, “I think.” She can see the gleam in his eyes. “I might appreciate it a bit more if you weren’t so obviously insane.”

Siren actually laughs. “Oh, I do like you better! But I’m not insane. I just like being the one with the power. It’s such fun.” Her eyes narrow. “And now, speaking of which…”

Come on, Cisco!  “Laurel!” Sara says in desperation. “We could really use your powers here, use them for good. I'm sorry they weren't appreciated there, that you weren't appreciated there, but you could be, here."

She sees a spark of surprise in the other woman’s eyes, quickly concealed. Siren pouts, dark lips forming a moue of annoyance, as she steps closer.  

"The time for that is past, dear Sara," she says lightly. "Besides which, she tried to convince me of that, too." A shrug. "She was wrong. And then she died."

Sara can feel Leonard's arm move as he grips the cold gun besides her, as she grasps for more distraction. She seizes, then, the very real grief she feels bubbling up at the other woman's words.

"You were her sister," she cries, her tone full of anguish. "Even if you hated her... even if you had reasons... how could you kill her? Just tell me that."  

Siren seems just as stunned by Sara's words as Sara herself is. She blinks a moment, then says, "It was an accident."

They both stare at the Earth-2 woman. Black Siren glances away, but she continues.

"You had earplugs," she says, as if to herself, as if she's forgotten again that this is not the same Sara. "They fell out. I didn't know... Zoom was going to let me go, he was... he was just going to use you..."

Sara takes a step, feeling Leonard tense again. But she needs to take this opportunity, for more reasons than one. "I mean it," she says quietly. "You don't need to work for him here. You could change sides. It's not too late."

For a moment, Earth-2 Laurel Lance stares back at her little sister's Earth-1 version, and there's almost something besides mockery in her eyes. Something wistful.

But then they harden again, and she laughs.

"Oh, please. Really? After I've disposed of lover boy here and taken you back to Zoom, gotten him off my back, I think I'll head to Star City, see what my counterpart is up to." Her lips curve. "She should be easy to dispose of, and then I might be able to get an actual life back. Is it any less than she deserves, for being such a little..."

Sara lunges for her, bo in one hand, knife in the other. Leonard curses, bringing the cold gun into firing position. And at that moment, the S.T.A.R. Labs secret weapon blankets the city in vibrations designed to take out the residents of Earth-2.

And Black Siren claps her hands to her head with a look of horror on her face--before dropping like a marionette with her strings cut.

Sara stutters to a halt, then drops to her knees by the other woman's side, a hand covering her mouth, shoulders shaking. With her free hand, she reaches out toward the Black Siren’s shoulder, stopping just shy, her fingers trembling, unable to bridge the final centimeter of space. Leonard hesitates just a moment, then puts a hand on her shoulder, and she reaches up to put hers over it.

They're still there, motionless, when Barry arrives.

They go back to her apartment this time, the solitude much-needed, Sara giving the request to Leonard in a voice that’s more numb than anything else.

Once they’ve parked their bikes, he takes one look at her standing there, staring at the building with a blank expression… and then makes a decision. Moving slowly so she can see what he’s doing, he steps closer, then swings her up into a bridal-style carry and makes his way toward the door.

Then up the stairs. Into a sparse apartment that has less sign of someone actually living there than the S.T.A.R. Labs medical rooms. Into the bedroom, where she finally stirs from her curl in his arms to motion, still wordlessly, for him to put her down. When he does, she divests herself of her uniform in small, efficient, unthinking movements, finally peeling back the bed covers only to stare at them like she's not sure what to do.

Leonard's the one who gently pushes her down until she’s stretched out on the bed, then pulls the covers up over her. But as he does, small, strong fingers wrap around his wrist, tug him toward her and down.

He caves, lying down next to her and pulling her into his arms with a sigh. She curls up there with a sigh of her own and is asleep in moments.

Leonard intends to wait only until she’s out—as comfortable as he is, and as much as he’d like to stay with her, there are things he needs to do. But it’s been a long day, a long, exhausting, stressful day with only one brief rest. It’s not much longer before he’s out too, breathing evenly and deeply as they slumber.

Sometime in the middle of the night, he wakes from a sound sleep to find Sara staring at him from only a few inches away, eyes nearly purple in the dim light, hand on his chest. After a moment, she leans forward to kiss him, lips soft, then increasingly urgent.

They’d been having fun, before. Blowing off steam and enjoying each other.

This is different. This, he thinks, not long later, every sense filled with Sara, is what people call love-making. 

He’s never understood that before, not really. He does now.  

This is… healing. Far more than the physical, more than a satisfying release. And when she whispers his name on a breathless cry, hands tightening on his shoulders, the words he responds with are not her name.

It’s nothing he’s thought out. Nothing he’d expected to ever say. But other words and thoughts from throughout the day keep echoing through his head and…

Since I knew it contained Sara Lance.

There are people who simply seem to find each other in all the worlds we know.

You were each other's balance, on my Earth.

… and life can change, so fast.

He sees her eyes widen, even as he, too, gasps, shuddering over her as her arms tighten again around him. And then she whispers. His name.

A few other words.

He lowers himself to the bed, pulls her into his arms. She buries her face in his neck.

And they hold each other.

He waits until she's sound asleep again, then carefully disentangles himself, rising and searching for the clothing discarded earlier. Dressed, he scrawls a quick note, then stands there a moment, looking down at her, thinking about the paths he's chosen and those he's walked away from, and why he's done what he's done.  

What he wants.  

How it's changed.  

And then he goes back to S.T.A.R. Labs.