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kkyujikoo · 3 years

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These are my... 2...? Maybe 50, cents about the whole "freejk" thing. I'm gonna be extremely petty and at some points a whole lot sarcastic and it's gonna be long but I had to say it. As soon as I get my computer I'm gonna make it under read more, but the app does whatever it wants, as we know.

Listen, this ain't my first fan rodeo, and not even the first fan rodeo where I've been directly or indirectly accused of being some sort of pervert or delulu. I've been in fandom spaces since I was a teen, I was shipping mlm couples when queerbaiting in TV shows was still something that was seen as the norm rather than some cheap disgusting trick. I was there when fanfic spaces saw "slash" fics as something "different" and to be tagged with a more mature rating even when they just looked at each other.

I was in BBC's Sherlock's fandom and I shipped Johnlock during the hiatus between S3 and S4, at this point I'm not even feeling it when people call me delulu or a weirdo.

So, yeah, take this with a grain of salt: as a person who has seen thousands of times fandom drama unfolding and has lived too much of it... This whole situation is so ridiculous it makes me laugh. Like, yeah, it's maddening how people will blame anyone and everyone because they don't even see their own bias and homophobia, granted, but like... It also makes me laugh for the sheer dumbassery of the reasoning behind it all?

Like... Y'all are getting mad and for what? Because it sure as hell isn't the invasion of privacy, since y'all are watching the same content we're all watching and you're paying to see it the same way everyone else is. If you don't want to "invade their privacy", you should just... Stop watching content that isn't their music videos, RUN episodes or interviews. Memories and any kind of dvd/video that shows what they're doing behind the scenes shouldn't be part of their job as musicians, and therefore we're intruding in their privacy... Or aren't we?

Or maybe it's more nuanced than that: maybe the content they release on dvd/on their official channels is part of their job as entertainers, and it's been approved, and it's a small window THEY are granting us.

You know what's the REAL invasion of privacy and what REALLY invalidates someone autonomy? When you, who maybe aren't even paying to see that content (which is something I understand, like, dude, I'm not covered in money either), DEMAND what kind of behind the scenes content you want when I swear ABSOLUTELY NO ONE has asked you. Once again: you don't like it? You think it's some huge invasion of privacy? Don't buy it. Don't interact with it. Convince your friends to do the same. For all I care, just go and petition to boycott this kind of content. I know you won't do it, because... That's the thing, isn't it? It's not the invasion of privacy that bothers these people.

Y'all aren't mad because we get into their business or else you would have gotten real mad when we were privy to REAL private moments like people crying their hearts out.

No, no. Y'all are mad because it's "shipping content" and "fanservice" which apparently bothers you because it lacks authenticity.

Pick a side, lovelies: either you DON'T want to invade their privacy, and thus all the content they release should be focused on what fans want to see, or you WANT to know how they interact TRULY in private.

And here's the catch: "shipping content" can be anything. Shipping existed WAAAAAYYY before the word for it was invented, same way with fanfictions. Shipping means, literally, "seeing two (or more) people interact and thinking they would make a good romantic pair". That's it. That's quite literally it. Everything else is just some nuance of the concept of shipping, but at its core, it's nearly impossible to ban all shipping content when it's a group of seven people, because they should for real go in social distancing mode to do so. Most people who have parasocial relationships tend to have "ships" whether they know it or not, because we've all, at least once, looked at a dynamic from the outside and thought "oh man they look cute together". So, even if, o dear ones, your wishes were granted... What the hell do you mean by "shipping" content? Should they just film solo clips, avoiding talking about the other members? But wouldn't that be fanservice, since it's focused on pleasing the fans? (Which, ultimately, is what fanservice MEANS, and I hate to break it to y'all but the whole concept behind entertainment and thus all the content BTS releases it's... For the fans. Like, they're not going out of their way to just meet our expectations but they're certainly doing fanservice by the mere act of releasing bonus content.)

But it's not even quite that, is it? Because no one bats an eye if it's Tae kissing Nj's cheek. I've seen no hashtag against everyone - and I mean literally every one of them - wolf whistling at Nj. It's okay to show intimacy... Because they're bandmates and it's okay to be close to someone who you see basically 24/7, I hear you. And it's also okay when people see that and gush over that closeness, because it's such a nice thing to see.

Soooooo... We've got to free JK from whom exactly? From what?

Are y'all mad cause people pointed out there's very little way a bruise that stayed for a whole ass night could be a quick bite? Because that doesn't harm jk, at most makes fun of him and jimin and their poor excuses (seriously, guys, next time consider using mosquitoes or "I was doing stuff". It'll be equally embarrassing but at least the meme will be funny), and it's literally... A fair observation. Like. It's a hickey, people are gonna make jokes about seeing a hickey and poor excuses of covering it up in the exact same way they're gonna make jokes over jimin falling out of chairs. And yeah, a hickey is AT LEAST something that happens in a sensual context. Like, I could understand "people who are extremely familiar with each other will have different body language/touch in areas where usually you wouldn't see friends touching each other", but that's not. Not a hand on the thigh. It's a hickey on the neck. I don't even know a more stereotypical placing for a hickey. But once again, are y'all mad because someone is pointing it out? Because that's not being delulu or even being a shipper, really, it's just commenting on something that was approved to be shown and discussed in something that was released BY THEM.

Are y'all mad at hybe for showing something that literally fell onto their hands? Cause like, unless someone (I'm counting on Jimin, since as we know Jungkook was busy spinning him round and round and had both his hands busy) called at hybe headquarters to say "yo bang pd substitute, is it okay if I give my friend jk here a hickey? Cause he's being really annoying rn and he has to pay", I highly doubt anyone expected Jungkook to come to rehearsal all neatly marked up. Or idk, maybe someone at hybe asked them "we need Jungkook to come in with a hickey but refuse to say it's a hickey, so that fans will feel reeeeally served." That sounds perfectly plausible too. Or a good marketing strategy.

Now, if you're a big company and your objective is to have some footage of the rehearsals for a concert, and the fandom is too good at noticing stuff for their own good, and one of your artists comes in with a very visible mark, and he and his bff bropal4lyfe come n with a story about how they were playing and a bite happened, you've got three choices: 1. Cut the artist out of aaaaalll the footage. Someone would have noticed the "bite mark" anyway, you best believe that. If you don't want anyone to notice it, you gotta cut him in most of the footage where it's visible. 2. Keep the hickey, discard the explanations. You could do that, but also it would feel a lot more unfaithful to everyone involved. Also they clearly worked their ass off to invent an explanation, come on! They truly tried to do their best inventing something that was not "it's a mosquito bite", they should get some credit! 3. Keep the bite, keep the explanation.

Notice how none of these solutions include the biting never happening because... They couldn't prevent it? The only thing they have any control over is how they're framing each "accident". And that's not an easy job.

I applaud you, people on the editing team.

So... On whom should we cast the blame now? Ah, yes, I think it's finally time for the ultimate scapegoat of this fandom: Jimin. Which is funny, cause... You know... If this were really about privacy, or being "victims" of shipping... This should be about freeing him too, you know? But obviously Jimin does it for attention, while Jungkook, poor angel that he is, doesn't even know what shipping is.

Furthermore, don't we all know how much Jimin imposes himself in Jungkook's life? To the point where he, multimillionaire man feels compelled to share a car with Jimin even if they're both late in the process. And can't you see how uncomfortable he is, draping himself over Jimin, making Jimin drap himself over him?

Oh lordy, truly such an awful eight years Jungkook spent, choosing to have vacations with someone who made him uncomfortable, spending free time with him, even having to suck his ear in public to the point you can see his saliva just because Jimin was sad :( truly an all-around bad time for Jungkook, as evidenced by alllll those times when he said Jimin was pretty, cute, and all-around knowing every little thing about Jimin. I absolutely concur, the dude would be so much more happy if jimin was not in his life.

Did that sound weird and absolutely ridiculous and a really absurd joke? Because that's what y'all sound like to me. Like. Jungkook is out there living his best life, getting hickeys and showered in affection and y'all paint him as a fucking martyr??? I'm sure he's really truly desperate that Jimin holds him in such high regards 😭😭😭 I can see him suffering whenever he starts doing his own serendipity rendition 😭😭 and when he claimed you are me, I am you as his and Jimin's only 😭😭😭 I cannot believe this poor baby 😭😭😭

I've reached a point where every time I hear this stuff I laugh because the levels of twisting reality when it comes to jikook are extraordinary, Jungkook will have a literally blissed out face and people will cry in outrage.

But coming back to my point: let's pretend you're not mad at Jimin and the possibility that jikook are dating: are y'all mad... At the hickey? Because at this point it seems like the only feasible solution. And if you are, do not worry: I'm sure Jungkook's skin was throughly healed by his boo. A kiss soothes even the worst pain, doesn't it?

#jikook #that freejk dumbassery

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uomo-accattivante · 3 years

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Great article about Paul Schrader’s The Card Counter - a poker movie that’s not really a poker movie...

Some filmmakers write a hit movie and spend the ensuing years trying to escape its shadow. Paul Schrader never flinched. Forty-five years after his “Taxi Driver” script put him on the map, the writer-director has developed a body of work loaded with alienated anti-heroes compelled to violent and reckless extremes for the sake of a higher calling.

That includes “The Card Counter,” in which Oscar Isaac plays guilt-stricken Abu Ghraib vet William Tell, a man with a gambling addiction compelled to help the revenge-seeking son (Tye Sheridan) of a former colleague. Taking justice into his own hands, Isaac’s William Tell slithers through the Vegas strip in search of questionable salvation, not unlike a certain Vietnam vet named Travis Bickle did from the driver’s seat. As if to cement the comparisons, “The Card Counter” features Martin Scorsese as an executive producer, marking the first time the two men share a credit since 1999’s “Bringing Out the Dead.”

For Schrader, “Taxi Driver” comparisons are inevitable in all his work. “My tendency is to look for interesting occupational metaphors,” Schrader said in a recent interview. “‘Taxi Driver’ hit the bull’s eye of the zeitgeist and it doesn’t die. There’s no way I could’ve planned for that, but it does inform the stories I tell.”

At 75, Schrader continues to churn out movies much like his compatriot Scorsese, albeit on a much smaller scale. “The Card Counter” is the latest illustration of the secularized Christian dogma percolating through his work. “Our society doesn’t like to take responsibility for anything,” he said. “But I come from a culture where you’re responsible for everything. You come into the world soaked with guilt and you just get guiltier.” In his own prickly fashion, Schrader makes movies steeped in empathy for lost souls in search of redemption despite the daunting odds. “We’re all certainly capable of forgiveness,” he said, and chuckled. “Anyone who says otherwise is wrong.”

The “Taxi Driver” dilemma looms large in nearly all of Schrader’s work, from the dazzling high-stakes activism of “Mishima: A Life in Four Chapters” all the way through Ethan Hawke’s eco-conscious priest in “First Reformed.” While the latter, Oscar-nominated effort brought Schrader new fans, “The Card Counter” is an even more precise distillation of his aesthetic — a moody, philosophical drama about the vanity of the personal crusade.

Schrader, who has labeled his homegrown character studies as “man in the room” dramas, embraces the parallels as usual. “There is this kind of myth that the taxi driver was this friendly, joking kind of guy who was a character actor in movies,” he said. “But the reality is that it’s a very lonely job, and you’re trapped in a box for 60 hours a week.” He saw the same logic with gambling, a wayward profession generally depicted in the movies in the context of escapist romps, rather than the somber rituals that afflict most players. “I thought about the essence of playing cards every day, or sitting in front of a slot machine. It’s kind of zombie-like,” Schrader said. “You see commercials of people in casinos laughing. But it’s a pretty glum place. Today with slots you don’t even have to pull the lever. You just sit there and let the numbers roll.”

The gambling figure led Schrader to the bigger picture of his character’s conundrum. “I was wondering why someone would choose to live in that sort of purgatory,” he said. “He doesn’t want to be alive, but he can’t really be dead, either. What could cause that? It can’t be a simple crime, murder, or a family dispute. It has to be something unforgivable. And that was Abu Ghraib.”

After the fallout of that debacle, William did time in a military prison, and reenters society before the movie begins. That was a world the filmmaker wanted to understand in clearer terms. Though Schrader has received blowback for his controversial Facebook posts in the past, in this case, the platform was an asset: He used it to track down soldiers who had done time in the United States Penitentiary in Leavenworth, the only military prison in the U.S., to better understand the initial claustrophobic world that Tell endures, as well as the conflict between the justice he’s received and what he deserves. “This man has been punished by his government, set free, and paid his due, but he doesn’t feel that,” Schrader said. “What does he do then? How does he fill his time? That’s how it all began.”

Schrader himself toyed with gambling when he lived in Los Angeles early in his career, but soon gave it up. “I very quickly realized I was only interested in gambling if it was really dangerous and I didn’t want to expose myself to that kind of danger,” he said. Years later, though, the experience helped inform his story. “There is this whole fantasy of gambling movies from ‘The Cincinnati Kid’ to ‘California Split,’” Schrader said. “But poker is all about waiting. People will play 10 to 12 hours a day and two to three times a day, a hand will happen where two players both have chips. Now you’ve got a face-off. But that doesn’t happen very often. Most guys who are there are running the numbers, the probability.”

He envisioned “The Card Counter” as a repudiation of the traditional poker movie, which builds to the giddy release of a final tournament. When that moment arrives in the movie, Schrader takes the movie in a bleak, shocking new direction. “It’s not really a poker movie — that’s a red herring,” he said.

William is immersed in his casino journey when he encounters Cirk (Sheridan), the crazy-eyed son of another Abu Ghraib soldier who committed suicide. Cirk blames the soldiers’ former commander (Willem Dafoe), and hopes to loop William into the plan. Instead, the older man decides to take Cirk under his wing to talk him out of the act, which doesn’t prove so easy. In the process, the gambler forms a curious bond with La Linda (Tiffany Haddish), a gambling agent and pimp whose icy, relentless drive to make the most out of the poker circuit brings William some measure of companionship on his wayward journey.

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It should come as no surprise that the “Girls Trip” breakout is nearly unrecognizable in the role of the calculated La Linda, which is also a distinctly Schraderish touch: From his work with Richard Pryor in 1978’s “Blue Collar” all the way through Cedric the Entertainer’s supporting turn in “First Reformed,” Schrader has made a habit of seeking out comedic actors willing to play against type. That’s partly opportunistic on his part. “They’re eager to do it because they want to expand their palette, so you can get them for a price,” Schrader said, chuckling again. “That’s necessary, given the kind of films I make.” But that’s not all: “They will always find a way to be interesting, even when they’re not getting a laugh.”

Which is not to say that the process comes easily to them. Haddish recently told the New York Times that Schrader had to coach her out of speaking in a comedic sing-song. The filmmaker put it in blunter terms. “On the first reading of the script we had, frankly, she wasn’t very good,” he said. “I told her to go back and read every single line without emotion. Then I said, ‘You’re not going to do that in front of the camera, but you can’t hit every line either. So let’s pick five or six lines you can hit where you get a smile or reaction.’ Quickly she got that it was a different rhythm.”

As for Isaac, whose disquieting turn suggests a maniac lingering just beneath the surface, Schrader once again turned to metaphor. “I told him to imagine himself on a rocky coast in the ocean,” Schrader said. “Waves are going to come up and get you all day every day. They’re going to try to batter you. Let them. The waves will go away. You’ll still be there. Don’t compete. In the end, the rocks will win. You have to learn to trust that the way these things are put together has more power than the individual movement.”

William’s routine includes an odd ritual in which he covers all the furniture in his various Vegas hotel rooms with white paper. While the motivation is never explained, Schrader said it stemmed from an experience with production designer Ferdinando Scarfiotti on the set of 1982’s “Cat People,” when Schrader realized the man was doing the same thing. “He said, quite simply, ‘I have to live here surrounded by these ugly hotel furnishings,’” Schrader recalled. The concept inspired the new movie’s most compelling visual motif. “Casinos are very ugly places. There are no exceptions,” Schrader said. “Often you aspire to finding pockets of beauty and there weren’t really any here except the only place he could control, which was his hotel rooms, where he could privatize his visions. I came up with this ritual for him to control those visuals.”

At a certain point, Schrader himself couldn’t control the visuals of “The Card Counter” for more prosaic reasons: After an extra tested positive for COVID-19, the production shut down last March, with five days of shooting left, and couldn’t resume until July. Though Schrader initially took to Facebook to fume at his producers, the pause eventually opened up an opportunity to tweak his vision. “I edited the film and put in placeholders for the five or six scenes of consequence that I hadn’t shot,” he said. “I didn’t have a fully finished film but I could screen it for people. Normally you only get that privilege if you have a big-budget film and you’re allowed reshoots.” The early audience included Scorsese, who provided a crucial note. “I asked Marty, ‘What am I missing?’ He said to me that the relationship with Tiffany and Oscar was too thin. So I rewrote those scenes.”

Schrader asked Scorsese to take on the executive producer credit as a favor. “I said, ‘Marty, wouldn’t it be nice to share a card again? I thought it would help sell the film but it would also be a cool thing to do after all these years,’” Schrader said. “Then a couple of weeks later his agent called wanting to work out a deal. What deal? I asked Marty and he said yes. That’s the deal!” Now, the pair are trying to collaborate on a new long-form TV series based on the Bible, though the timing has been delayed by production on Scorsese’s upcoming “Killers of the Flower Moon.”

In the meantime, Schrader has been mulling over the way “Taxi Driver” not only continues to inform his storytelling but the world at large. “Hardly a week goes by that I don’t notice or hear some reference to it,” he said. “But I don’t know how you’d tell such a story today. A number of writers have tried and I don’t think they’ve succeeded because it has to come out of a certain place and time. We have plenty of these incels around, but they’re not as original or revealing as they were 45 years ago when that character came on the scene. I wouldn’t know how to write about it.”

Instead, his next project is a love triangle called “Master Gardener,” which he hopes to shoot in Louisiana before the end of the year. He has several other potential scripts ready to go after that. And while he has expressed trepidation about the future of cinema in the past, he’s not convinced that audiences have given up on it yet. He recalled a conversation he had with Cedric the Entertainer when “First Reformed” made the rounds. “He said off-handedly to me, ‘You know, I didn’t realize there were so many people who liked serious movies,’” Schrader said, and chuckled once more. “Well, yeah, there are.”

“The Card Counter” premieres next week at the Venice Film Festival. Focus Features releases on September 10, 2021.

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#oscar isaac #the card counter #paul schrader #martin scorsese #tiffany haddish #tye sheridan #willem dafoe #taxi driver #master gardener #indiewire

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scoutception · 4 years

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Yet again ranking the 5 animes I’ve watched most recently

After losing the will to just sit down and watch it for quite a while, I’ve finally gotten through 5 anime series yet again, and, as is tradition for me by now, I’ve decided to just type out my thoughts and rankings of them, with my first two posts of this nature being here and here. As usual, this is just my personal thoughts, and the only other thing worth noting before I start is that, unlike last time, I do think everything listed here is at least decent on its own. With that, I’ll just get to it. 5. Robotics;Notes

Number of episodes: 22. Language options: dub and subs available. Streaming availability: Funimation. Robotics;Notes is an adaptation of a visual novel, which I actually just wrote a review on, which can be found here. Long story short, it’s the third entry in the Science Adventure series, the same series Steins;Gate is part of, unknown to most people, with Robotics;Notes technically being the sequel to it. Originally aired in 2012, the same year as the visual novel was released, and made by Production I.G, Robotics;Notes is in an interesting middle ground between the acclaimed and popular Steins;Gate animes and the downright awful and obscure Chaos;Head and Chaos;Child animes, and until 2020 was the only option those who didn’t speak Japanese had to experience it at all. Since I went into so much detail in said visual novel review, I’m mostly going to focus on how the anime holds up both by itself and as an adaptation. Ever since its creation nearly ten years ago, the dream of the Chuo Tanegashima High Robotics Research Club has been to finish Gunbuild-1, a lifesize recreation of Gunvarrel, the titular mecha of an insanely popular anime that’s credited with starting a “robot boom” within Japan, and the club’s current president, Akiho Senomiya, the little sister of the club’s founder, Misaki Senomiya, is extremely determined to see this dream achieved. Unfortunately for her, the club has fallen on hard times, with its funding being cut, its advisor being completely unreliable, and the few other members it has, namely Kaito Yashio, Subaru Hidaka, Junna Daitoku, and Kona Furugoori, aka Frau Koujiro, being quite difficult in their own ways, and often more than Akiho can handle. While Akiho puts her all into finally bringing the club to greatness, the otherwise apathetic Kaito finds himself involved with a mysterious AI called Airi, who exists within the augmented reality app IRUO. Airi’s creator, the deceased Kou Kimijima, turns out to have also created several AR annotations scattered throughout Tanegashima, titled the Kimijima Reports, which warn of a grand conspiracy that will utterly devastate humanity if unopposed. I’m not the most unbiased viewer, since I had played, and enjoyed, the visual novel months before watching this anime, but generally, it’s actually an enjoyable time. Some of Robotics;Notes’ biggest strengths were always its cast of characters and lighter tone, and for the most part, the anime preserves both well, keeping it mostly silly, but endearing early on. The artstyle actually matches up fairly well with the VN’s CGs, and the dub, which I watched just to spice things up, since I already knew the Japanese voice cast was quite good, is overall solid, with Clifford Chapin as Kaito, Lindsay Seidel as Akiho, and Monica Rial as Junna especially sticking out to me. As an adaptation, on the other hand, it falls short in quite a few places, namely when it comes to characterization. While obviously, no adaptation could feasibly fit in every detail from its source material, the Steins;Gate anime managed to preserve almost all of its cast’s characterization, whereas in Robotics;Notes, several characters lose prominent details to their backstories or personal conflicts, or act differently in scenes unrelated to that, making quite a few of them come off different. While instances of the latter case, such as Junna coming off as less shy and hesitant, don’t necessarily worsen anything for the most part, the former definitely does, as it makes the affected characters much less developed and interesting. Nobody suffers from this worse than Kaito himself, who loses most of his backstory, motivations, and arc, to the point of one of his best moments being changed from something intentional to completely accidental, with the end result making him come off as a completely different character, and an inferior one, at that. Additionally, around episode 16, the anime starts diverging pretty significantly from the VN, and not in ways that are improvements, to the point it even leaves a few otherwise preserved scenes in earlier episodes without context. Overall, I can imagine the Robotics;Notes anime still being a decent, if unremarkable watch on its own, and was certainly an interesting and fun way to reexperience the story, and definitely fares better than many visual novel adaptations, but I can’t quite say I’d recommend it. If Robotics;Notes interests you, the visual novel is very much preferred. 4. Nichijou

Number of episodes: 26. Language options: dub and subs available. Streaming options: Funimation. Here we have one of the most acclaimed anime comedies out there, an adaptation of Keiichi Arawi’s surreal sketch comedy manga series, produced by Kyoto Animation, a name that’ll be showing up here again later. Nichijou mainly focuses on two different trios of characters. There’s the ordinary high school girls Yuuko Aioi, a rather dim and reckless girl with terrible luck, Mio Naganohara, the most relatively normal one of the cast, whenever she’s not having explosive freak outs that involve beating people up, and Mai Minakami, a stoic girl who enjoys messing with people just for their reactions. On the other hand, there’s the far less ordinary Shinonome Laboratories trio of Professor Shinonome, an 8 year old girl who happens to be capable of building incredibly advanced machines, Nano Shinonome, a robot built by the Professor who desperately desires a normal girl more than anything, and Sakamoto, their pet cat who, thanks to a special scarf also made by the Professor, is capable of talking. The series focuses on their would-be ordinary lives, were it not for the seemingly daily chaos they get involved in, from witnessing the school principal wrestle a wild deer, to being trapped in an elevator for hours, to the school science teacher attempting to capture Nano for study. It also follows the antics of several other side characters, such Koujiro Sasahara, the seemingly upper class student who is actually just the son of a family of farmers, to Misato Tachibana, a very typical tsundere towards Sasahara, whose tsun side manifests as assaulting him with military-grade weapons, to little effect, to the equally quirky teachers of their school. Needless to say, it’s a very silly and chaotic series, and that’s exactly what makes it so memorable. The humor is pretty hit and miss in the first half of the series, but from episode 14 onwards, they thoroughly master it, with every episode having at least a few scenes that got me laughing. Beyond the silliness, though, the series actually has a lot of heart to it. There’s a few moments that change up the status quo, or even develop the characters just a bit, and some scenes are surprisingly sweet, if still played for laughs more often than not. There’s also a lot of continuity, which in later episodes often provide the punchlines to some of the best gags, which definitely encourages watching the whole series. The Japanese voice acting is fittingly crazy for each character, and the animation fits perfectly, as while the character designs are quite simple, there’s many would be mundane moments that have contrasting overly impressive and exaggerated animation that makes them very memorable. All in all, Nichijou is a very enjoyable series once it finds its groove, and about the only reason its not higher on my rankings is just because pure comedies aren’t really one of my favorite genres. Still, if you ever want a good laugh, you can’t go wrong with this. 3. Soul Eater

Number of episodes: 51. Language options: dub and subs available. Streaming availability: Netflix, Funimation. Soul Eater is yet another adaptation, this time of a manga by Atsushi Ōkubo, produced by Studio Bones, who also did the Fullmetal Alchemist animes, and is quite similar to the original FMA series in that it outpaced the manga and, rather than simply overloading itself with filler, decided to go in an entirely different direction by the end. The Death Weapon Meister Academy is a school founded by Death himself, dedicated to the training of Meisters, who wield Weapons, humans with the ability to shapeshift into weapons, for the purpose of destroying Kishin Eggs, evil beings who have consumed the souls of others, and pose the risk of transforming into extremely dangerous demons. Any Meister who can collect the souls of these corrupted beings, as well as the soul of a Witch, can transform their Weapon into a Death Scythe, the personal arms of Death. Among the students of the DWMA are seven Meisters and Weapons who stand out in particular: the teams of Maka Albarn, a kind hearted and responsible, though temperamental, girl, her Weapon, Soul “Eater” Evans, a laidback and snarky wannabe “cool” guy, Black Star, a prideful and loudmouthed ninja who’s seemingly always out to make a spectacle of himself, regardless of how it hampers him, his Weapon, Tsubaki, a humble and levelheaded woman, Death the Kid, the son of Death and one of the top students in the cool, held back only by a crippling obsession with symmetry, and his Weapons, Liz and Patty Thompson. While these seven gradually come together as a team, a Witch named Medusa begins to put an ambitious and destructive plan into motion, one involving her “child”, Crona, and the strange, insanity inducing black blood that courses through their veins. Soul Eater has a lot going for it. A likeable and crazy cast of characters, even the side ones, like the maniacal Doctor Stein, or the surprisingly goofy and casual Death, or the tragic Crona, or the hilariously egotistical Excalibur, to a lot of fun action scenes, to its great animation and overall unique visual design, including the sun and moon having giant, creepy laughing faces. It has a lighthearted, comedic tone that doesn’t detract from the serious moments, and the main characters get some pretty good development as the series goes on. The dub is also great, with Laura Bailey as Maka, Micah Solusod as Soul, Brittney Karbowski as Black Star, and Todd Haberkorn as Death the Kid especially sticking out to me. In general, I don’t have a lot of significant criticisms, besides how the story is handled once the villainous organization Arachnophobia is introduced, which is also about where it begins to deviate from the manga. Most of the villains part of it never really feel like a threat, and the story becomes much more simple and typical compared to how the manga went, and when the ending arrives, it just kinda, happens, with several notable subplots just kinda left unfinished. It definitely feels like an underwhelming ending, and is a big reason why I place this lower on the list, but Soul Eater is still a pretty entertaining watch that’s worth a try if you want a decently lengthy, but not horribly long shonen. 2. The Melancholy of Haruhi Suzumiya

Number of episodes: 28. Language options: dub and subs available. Streaming availability: Funimation. Here we have the big one, an extremely memetic and famous series by Kyoto Animation, based on a series of light novels by Nagaru Tanigawa, a series that was finally completed back in November 2020 after its start in 2003. Kyon is a lazy and down to earth high school student who wishes for little more for himself than an uneventful, normal high school life- a hope that’s abruptly shattered when, on a whim, he becomes involved with Haruhi Suzumiya, an eccentric, hyperactive, and thoroughly self centered girl, who claims to have no interest in ordinary humans, and instead wishes to discover things thoroughly unusual, such as aliens, time travelers, or espers, and forces Kyon to form a club, the SOS Brigade, with her to achieve this. Haruhi quickly pulls three other students into the brigade, those being Yuki Nagato, a stoic and quiet bookworm, Mikuru Asahina, a shy and passive girl often subjected to humiliation and abuse by Haruhi, and Itsuki Koizumi, a calm transfer student who acts extremely subservient to Haruhi. While Kyon initially writes off the club as an unreasonable use of his time, his fellow members reveal an unexpected truth to him: the subjects of Haruhi’s fascinations actually do exist. Yuki is an alien, of a sort, created and controlled by an entity known as the Data Overmind, Mikuru is a time traveler from some point in the future, and Itsuki is an esper, and member of an organization of similar people. All three of them have been sent to observe the oblivious Haruhi, who appears to have the unconscious ability to change reality itself according to her desires, and is at threat of remaking the entire world if not placated. With Haruhi apparently having taken a unique interest in Kyon, he finds himself taken along for all sorts of supernatural adventures spawned from Haruhi’s whims. There’s a lot I could go on about regarding Haruhi, but in the interest of not turning this into a full on rant, I’ll keep shortish. It’s more or less an insane mishmash of several different genres, from slice of life, to science fiction, to fantasy, just depending on what each individual story feels like being. The episodes are mostly adapted from the early light novels, mostly the multiple stories from the third and fifth novels, The Boredom and The Rampage of Haruhi Suzumiya, respectively. It’s not often you’ll have any idea just what to expect from each individual episode, which makes the series very chaotic, but interesting. The characters are likeable and memorable, including the side characters, and the sheer ridiculousness of what goes on makes for many amusing moments. At the same time, the series is surprisingly complex, with many possible interpretations of its characters and the events they go through, furthered by the antics Kyoto Animation pulled when it was originally airing, such as airing the episodes out of chronological order, meaning the plot would often jump from the middle of an arc to something else. The end result is a very unique and enjoyable product, helped by the fantastic dub, with the actors capturing each character perfectly, from Crispin Freeman as the grounded and snarky Kyon, to Wendee Lee as the aggressively energetic Haruhi, to Stephanie Sheh as the gentle, yet secretive Mikuru. That said, there is one pretty disappointing part of it all, and that’s the second season, mostly thanks to the infamous Endless Eight arc, an eight part arc that’s more or less the same things happening over and over, with only the first and last episodes having anything noticeably different. Regardless of its own uniqueness, more than half the season is taken over by this, and something that may have worked if cut down to three or four episodes instead singlehandedly killed off the series’ goodwill. About the only redeeming factor of the second season is the five part adaptation of The Sigh of Haruhi Suzumiya, which has some of the funniest moments in the whole series. Overall, Haruhi is still a very fun series, and I’m really gonna have to watch its movie, The Disappearance of Haruhi Suzumiya, one of these days. 1. Trigun

Number of episodes: 26. Language options: dub and subs available. Streaming availability: Funimation, Hulu. Finishing off this list is an adaptation of a manga series by Yasuhiro Nightow, produced by Madhouse and another adaptation that overtook its source material. Compared to how Soul Eater handled it, however, Trigun went down much, much better, to the point Nightow himself had nothing but praise for how the anime turned out, and the series is generally considered one of the best animes of the late 90′s. On the harsh desert planet of Gunsmoke lives a wandering gunslinger known as Vash the Stampede, the “Humanoid Typhoon” with a large handgun known to leave tremendous destruction in his wake, who amassed a bounty of $$60,000,000,000 after destroying the city of July, leading to an endless trail of bounty hunters out to collect the price on his head. In the middle of all this, Meryl Stryfe and Milly Thompson, two representatives of an insurance society which is often forced to pay for damages caused by Vash, track him down for the purposes of minimizing the chaos he causes. Upon catching up with him, however, the duo discovers that, contrary to his reputation, Vash is a kindhearted goof, and self proclaimed hunter of love and peace, who absolutely refuses to ever take another person’s life, even at great personal risk to himself. Vash continues his travels carefree, helping out whoever he can, with the occasional assistance of Meryl and Milly, as well as a traveling priest known as Nicholas D. Wolfwood, only to one day have an encounter with a mysterious and cruel man known as Legato Bluesummers. Vash soon learns that Legato has hired a group of assassins known as the Gung-Ho Guns to kill Vash, and leave a trail of bodies wherever they go, seemingly for the sole purpose of tormenting Vash. As Vash hunts down Legato, he is gradually forced to face his past, and consider whether he can truly stay committed to his pacifist ideals. In general, Trigun is just a very, very well made series. It has a likeable and developed cast of characters, with special mention going to Vash, who is a very compelling and sympathetic character, and Wolfwood, who makes a great foil to Vash with very interesting development of his own, with characters outside of the main cast being memorable as well, from Legato himself, to even some of the more minor villains, such as the varied members of the Gung-Ho Guns, or Brilliant Dynamites Neon, who makes an inexplicably strong impression for a one off villain not even important to the overall plot. The space western setting is quite good, and the designs are great, with many villains having distinctive looks that further help them make an impression. The action is great, and the animation is also quite good, and has that 90′s anime charm. The dub, while a bit rough around the edges, is generally solid too. From Lia Sargent as the ditzy but kind Milly, to Dorothy Elias Fahn as the hotheaded Meryl, to Jeff Nimoy as the weary Wolfwood, to Richard Cansino as the calculating and disturbing Legato, with special mention needing to go to Johnny Yong Bosch as Vash. Despite it actually being his first voice acting role ever, he does a great job in portraying the many sides to Vash, and absolutely sells many of the biggest moments in the story. Speaking of which, the series started quite lighthearted and wacky, with the first four episodes actually being filler, but gets gradually darker as it goes on. The earlier episodes are still quite enjoyable on their own, though, and manage to slowly reveal new aspects to Vash in each one, before finally setting his nature in stone in episode 5. What really sells the series and makes it so memorable, however, are the themes it explores, of the practicality of unwavering pacifism, and whether taking a life, whether for heinous crimes committed without remorse, or with the purpose of protecting others, is ever justifiable. While quite a few series have touched dilemmas like this before, what makes Trigun stand out with it is the emphasis placed upon it throughout the whole series, with many episodes touching upon it in some regard. It genuinely fairly looks at the different sides of it all, and the consequences of each, with many emotional moments coming from it as a result. While the manga did ultimately take a very different turn from the anime, the anime actually preserves several of the most important plot moments, and manages to come to a satisfactory conclusion of its own regarding the themes. Ultimately, Trigun makes for a very fun and interesting watch that I highly recommend. And with that, my ranking is complete. With the exception of Robotics;Notes, I can pretty confidently recommend every show on this list. Got some more shows I plan to get through soon, so another ranking like this may be soon in the making. Either way, till next time. -Scout

#anime #trigun #nichijou #haruhi suzumiya #the melancholy of haruhi suzumiya #soul eater #robotics;notes #long post

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RWBY Volume 7 Review

Two weeks out from Volume 8 and I finally cared enough to write this. Go team I guess.

Part of it came down to my feelings on Volume 7. It’s a complicated season that’s made me realize a lot of my overall feelings on RWBY as a series, particularly a lot of the less flattering feelings. Volume 7 is just... frustrating in general, as for all the good that it does have, and it does have a lot of great elements to it, it’s let down by a frustrating script and writing choices that feel distinctly amateurish, especially as the series moves on and gets better and better looking each year. There’s elements and kernals here of great character writing, season-wide arcs that land in a really good way and get me emotionally invested in the characters. But on the other... Ren only has two hundred words the entire season and you can tell!

Volume 7 is a season of dizzying highs, some of the best moments of the entire franchise... and some of the series lows. It’s a season where there’s no production reason for its shortcomings... it just comes down to an awkward script that focuses on the wrong elements far too often. Let’s talk about that. In a very long and drawn out manner.

Thanks to @jamesbranwen, @h-e-m-o-goblin and @retro-riffraff for help with GIFs and consultation on this review.

1) The Good Stuff!

A) Atlas is very pretty!

I cannot stress enough how on a set level, Volume 7 is leaps and bounds above the other seasons in sheer environmental detail and setting dressing. Mantle has a great atmosphere with its New York influences, the smog covered backgrounds and oppressive streets and alleys. Ironwood’s office which is deliberately designed to evoke astronomy themes to represent James’ love for the stars. The cold oppressive atmosphere of the Schnee Manor and how Jacques has begun warping it to glorify him with only lip service paid to Nicholas in public. Penguins!

There’s a lot of great set design work that went into this season and the crew deserve props for it. Genuinely.

B) Ironwood’s arc is the best character arc in the entire franchise

Yeah just wearing my heart on my sleeve there, I fucking love Ironwood and his character arc here in Volume 7 is the best written arc of the show. I simp for the tin man who just wants to do the right thing. This one season of content is better than a lot of the series-wide material being honest. I went back to James’s big volumes in the last month to rewatch the show and it’s interesting to see the early seeds in retrospect for where his arc goes. His need to protect everyone he can and the brutish measures he considers necessary for such an act, his conflicting loyalties towards Ozpin that manifest in both frustration at Oz’s seeming apathy to the growing conflict, but also desperate desire for validation from Ozpin that what’s he doing is the right call. After the Mistral seasons set up James as going off the deep end following Volume 3, having him open the season with an earnest smile, an immediate apology for the team’s arrest and trusting them with his plans for Amity and Salem is a jarring but pleasant surprise. He’s not been slacking off, he’s been trying to keep the world together in the way he thinks is best. He lets his guard down around the heroes and we see the good man underneath, which makes the moments where he raises his walls hurt all the more. While Em and Merc are still probably my favorite characters period, James is absolutely my favorite character in Volume 7 and Top 5 favorite characters series-wide. I’m very eager to see where he goes from here. He also rocks the beard and fixed his T-Rex arms so James came out of the washing machine that is Volume 7′s costume design. He truly is the Best Boi, and I cannot give Jason Rose enough credit for his performance this year. He hit every note of Ironwood’s character perfectly and I wish the fandom would give him more credit for giving James as much life as he does.

Oh, and as the obligatory comment on mlm rep that I am known for getting obsessively weird anon hate over: IronQrow hug nearly had me crying on a convention floor from how goddamn soft it was. Remember conventions? Ah good times.

This just... hits me... ya know? Seeing him lower his guard so much to come in for a hug just shows how isolated he’s let himself become to let himself have this moment of contact... Godamnit James. Also this is the second time after Martial Arcs that two guys hug and I really liked their ship for the following hiatus.

C) Soft Qrow hours are nice

Qrow’s a good guy, he went through a lot of bad stuff in Volume 6 but now he’s on the other side and purged his voice of the demon within. I think Volume 7 was a very good year for Qrow overall. It was great to see him interacting with more characters his age and lowering his own guard. His moments of letting the facade drop around James and Clover especially are great expansion for his character. Jason Liebritch hit the ground running as Qrow and gave him a far more dynamic range than I think Vic could. While I wish Qrow going off alcohol had been given more of a focus as it’s kind of done off-handedly that he’s gone cold turkey and otherwise doesn’t get brought up barring his revulsion at the wine in the Schnee Manor, he overall had a great year. And trust me I’ll get to the fights later, I have a lot more I can say about the bird boi there.

D) I liked the Ace Ops!

I was ambivilent towards the Ace Ops on first watching. They’re kinda underdeveloped in the context of the season at large and most people immediately pegged them as a miniboss squad/fodder for Salem to kill. But in rewatch they do still get to shine, if not as brightly. They’re very enjoyable. Clover especially is just really fun in retrospect, I love cocky fighters in general, and he was infectiously enjoyable (I’ve already covered the FG stuff in the past, not doing it again). Marrow came a close second because... well it’s Marrow, he is The Best Boi. Harriet got points for being a punchgirl which is always cool, I liked how her Semblance was shown and being cocky while being able to back it up is always a win. Elm and Vine are tied for dead last, I like the body diversity Elm introduces with her muscles and Vine... existed... but overall I think with the time they had, they did get to establish themselves well. I wish I could say that about their relationship with Team RWBYORNJ but this is the Nice Section so we’ll leave it there for now.

This is one of the best shots of the entire season. I adore it. God I like the Teryx design.

E) God the villains rocked this year!

I am a villain whore. I own that. I will embrace that monkier. But when they’re as cool as this, I feel validated in this Chilli’s tonight. Watts and Tyrian really make the season shine and don’t have a dud scene all season. They have great chemistry together, shining bright in even the weakest or most mediocre episodes. Watts went from “Oh yeah you exist” tier to “Oh yeah you rule” tier. His vendetta against Ironwood feels so real and pre-established, even though this season is the first time it’s ever come up. Watts just ozzes style in everything he does. The animators bring him to life and make every step, every flick of his twist and even just how he moves his eyes all bleed contempt. He’s such a rat and I love him! Chris Sabat finally gets to stretch his wings after a few years playing Watts as just Evil Scientist Guy, and he makes the most of it.

And Tyrian remains an absolute treat. He didn’t get much in V6 but here he takes center stage with Watts and also gets so much impact because of it. All the little twitches, and tilting of his heads, and dramatic gestures, he’s still just so goddamn cool to watch and we even get a little backstory of him. I know he’s irredeemable. But I just want to watch Tyrian kill people and scream. Like hot damn his line “THE GRIMM SHOULD HAVE DESTROYED OUR ENEMIES, NOT MADE THEM FRIENDS!” is so fucking raw. He’s having fun destablizing a nation with his boyfriend!

“You want more chaos than a Grimm invasion?” “If anyone on Remannt can do it, wouldn’t it be you?” There is no heterosexual explanation for how these two look at each other and yes this is me outing myself as a Nuts and Volts fan.

Watts and Tyrian really do become the absolute highlights of the season alongside James. They have a great dynamic and even during their more slower moments there’s so much care and thought put into their every mannerism. Animators, seriously, great job, I love what you did. And their fights... we’ll get there. But they’re so goddamn good.

Look they even run the same! They’re soulmates!

Honorary mention to Salem by the way. She’s only in two scenes but her presence is felt throughout Ironwood’s arc and his growing fear of her and she damn well delivers when she shows up. That shot of her arriving in person is a killer shot to end on as well.

Oh and I guess Cinder and Neo exist don’t they? Eh, we’ll come back to them.

F) Oscar got a character arc!

Finally! He did it! He got an arc that began, continued and ended all onscreen! It only took four tries!

But yeah Oscar had a really good set of scenes in Volume 7. I like him being the first to confront Ruby on the Ironwood lie, bringing up the hypocrisy after their condemning of Ozpin just last season. I like him having a more forward role (outside of not getting to be part of the celebration in episode 4 what the hell guys), and that he’s the big link between RWBY and Ironwood was a great call. Having Ozpin shelved for one more season so Oscar can take center-stage was an inspired choice. I love his dynamic with Ironwood, and how James closing himself off emotionally gets reflected in how he begins slipping in how he refers to Oscar, starting off as treating him and Oz as separate, ending with him gunning Oscar down as he doesn’t care anymore to differentiate the two.

My big issues with Oscar’s arc are that I’m first of all annoyed at the lack of followup on the Oscar stuff from V6, I’m still waiting for Qrow to apologize for punching Oscar guys! I also really wish Neo’s first attack wasn’t offscreen. CRWBY’s cliffhanger fetish meant I got to break out the Offscreen Pine jokes again. And of course, the Neo hallway punch was a bit bullshit.

G) (Most of) The fights are amazing

There’s no punchline. These fights are great, two of them are in my Top 10 Series Wide fights list and at least the duds aren’t Volume 5 bad.

If you’d told me before Volume 7 that Watts would get an extended firefight with James, I’d have felt that a bit cheap as Watts to me doesn’t feel like a fighter, more a planner who hides behind armies of mechanical soldiers. But damn if they didn’t sell me on Watts “You’ve yeed your last haw” Watts whipping out a Glock just to spite James.

This is another one of my favorite shots in the entire series.

Ironwood vs Watts is potentially my favorite fight in the entire series, and if it’s not, it’s easy Top 3 alongside Yang vs Mercury and Pyrrha vs CRDL/Mercury. It makes great use of Amity in the abandoned gravity biome meant for SSSN vs JNPR, with Ironwood and Watts deftly moving around in a manner that very easily could have been difficult to track with the constantly shifting gravity, but the crew do their best to keep it coherent as to who’s where. The credits showed their dedication also stretched into visual continuity, as James and Arthur’s route throughout the Arena was carefully considered so they’d loop around organically.

This is what I mean when I say the crew went above and beyond to keep things clean.

Ironwood vs Watts could have easily failed to impress, given its lack of choreography on the level the series usually does, but the team’s efforts went instead into showing a situation that lets Watts get a dragged out battle: James wins whenever he closes the distance here, so Arthur’s constantly on the run and being forced to tamper with the arena. Great camerawork, a GOD TIER song from Caleb Hyles that I’m still listening to today, and two characters with a fantastic history coming to blows makes for easily the best fight of the season and a series-wide highlight. Watching it develop from storyboards, to mocap, to animations and the full version is a delight to see. This is what CRWBY can do when everything comes togehter. The orchestra’s all tuned. It’s a goddamn symphony.

THIS is my favorite shot of the season.

Tyrian also gets to shine with his two battles this year. His alley fight with Qrow, Robyn and Clover is short but sweet, the corvid and the scorpion especially trading brutal blows in the cramped space. Qrow goes full Devil May Cry with his style-switching here, Harbinger being swapped between sword, tonfa and gun forms freely alongside Qrow applying The Power of Punching. His 1v1v1 with Clover and Qrow though is the true highlight of the season in terms of choreography. It’s lighting-fast, and has some impeccable shot work. Qrow gets to use his scythe with deliberate nods to the Red Trailer, Clover gets to shut up everyone who doubted his weapon, and Tyrian is just along for the ride and he makes the most of it. It’s frentic, it’s heart-pounding, it’s everything a fight should be.

Honorary mentions as well go to Ace Ops vs the Geist, which is just really fun and has a great backing music choice, the opening battle with Sabre having Ruby’s obligatory ten seconds of fighting that come at the start of every new era of the series, and the Ace Ops vs RWBY fight which has some good choreo in places.

H) Winter and Penny have good chemistry

I don’t have a ton to add here, I just like their dynamic and how they advance each other’s arcs. It’s nice writing. I also like Winter apologizing to Penny when she’s angry at Jacques and takes it out on Penny by accident with the “You wouldn’t understand” line.

Penny as a Maiden is a nice idea, I think her new design is cute. Penny says trans rights.

Those are a lot of my favorite things about Volume 7. It’s a killer season when it’s firing on all cylinders but unfortunately... it often misfires in frustrating ways, many of which are unfortunately due to core emblematic problems with the series that won’t go away.

2) The Bad Stuff

A) The costumes

It’s been a over year. It’s low hanging fruit. I don’t care. Most of them are still not good and they’re ludicrously over-designed.

Blake’s in a fetish suit and I wonder how she even goes to the bathroom. Weiss just looks like an abino Sabre alt, Yang is what a Halloween costume site would describe as “Sexy UPS Driver,” (why does she have a thigh window) Ruby... looks fine, it’s one of her better costumes. Jaune’s hair is silly, Ren’s model has lost some muscle definition and he looks like an e-boy, Nora’s costume really doesn’t fit the Atlas visual design and looks like a rejected Kingdom Hearts costume. Cinder’s is too black and I actually can’t track her in darker scenes because of it (which is kinda bad during... a fight scene... where I need to know where she is...), Neo looks like a Ren Fair cosplayer doing a bit for her OnlyFans, Winter’s is anatomically weird with super skinny arms and legs, and Blake’s hair is a fucking hate crime.

Qrow’s is one I liked at first but in retrospect it does feel like a downgrade. To quote @h-e-m-o-goblin from a Discord chat:

in a show like rwby, where color is such a vital defining aspect of every character, a cohesive colorscheme goes a long way. qrow's original outfit works great in this regard. neutral tones. greys, whites, and blacks, with red accents that pop against the otherwise sparse color. it's good! it's distinctive! it doesn't feel cluttered and it doesn't look like a clown vomited on him! the subdued colors really lend themselves to the grey, cynical energy qrow seems to carry with him. a literal lack of color in his life. the outfit itself feels like something he would wear; a combination of "clearly trying to look cool" and "a little disheveled and laid back." the design breathes, it isn't cluttered. let's contrast this with his vol 7 outfit. a lot of outfits in vol 7 suffer from this problem, but first and foremost it doesn't look like something he would wear. where his old outfit had a casual feel to it, his new look feels like someone dressed him up for a family christmas dinner. it's too... tidy. now of course you could argue this is him "cleaning up his life," but i dont feel like you have to sacrifice his own personal style in order to convey that. if that's really what they were going for, they easily could have just, oh i dont know, given him a cape that isn't tattered???

remember how i said qrow's original outfit really made his colors pop? how less is more when it comes to having a character with a specific color theme? vol 7 butchered that. we suddenly have articles of clothes that are tinted with greenish blue tones, browns, and with gold trim? on TOP of the old colors he already had in his design. it's muddy. it's ugly. the burgundy vest is fine, if they wanted to work more color into his outfit they should have done it that way throughout, shades of grey and different tones of RED. his COLOR. it just feels like they tacked so much on there without a second thought and i really think he deserves better. its just. such a mess.

The ones I did like were Watts’ new coat (I like the puffy hood), Penny’s is fine, the Ace Ops look great, Ironwood’s new outfit is stellar (those last six are great examples of how to do a lot with just primary colors of white and red), Neon’s Jolyne cosplay is cute and Flynt is slick. Otherwise, Volume 7 feels like it’s taken a lot of the wrong lessons from the costume design of the earlier seasons. Less is often more but now it feels like they have a pathological aversion to empty space on the costumes, leading them to feel like... costume vomit for lack of a better word. I didn’t love the Mistral outfits, but their modifications at least were carried by how many of them called back to the Fall of Beacon and emphasized the themes of loss in Volume 4. The new Atlas outfits... don’t have that shared theme. It feels like a hodgepodge of different design influences without trying to find a way to unify them. It’s like putting Baki the Grappler beside My Little Pony, they just fail to mesh.

Also for fuck’s sake already CRWBY just give the girls muscles already.

2) JNR suck and Ren’s arc is glorified character assassination

I don’t love JNR. They’re fine, but the show has arguably not needed them for a while and while I’ve liked them all at different points, it’s never been adoration outside of Ren in Volume 4. I was cool with the idea of them staying in Argus to help cover Mistral after its Huntsmen were wiped out, and Volume 7 has... made me wish they did that.

Jaune is just comic relief, and it kinda blows for later reasons but the big one is that he’s just not very funny. His big role in Volume 7 is basically to crosswalk some kids so we can have a joke scene during the Mantle Battle where Jaune uses his tactical genius to teach people to walk in single file. I feel like at this point Miles is just actively trying to kill Jaune’s fandom out of spite for how badly Jaundice was received. He’s never allowed to be cool or try and redeem himself. His hatedom aren’t going to stop hating Jaune because he gets more comedy guys. They’re going to stop when you write Jaune well. It’s a bummer he got some genuinely great upgrades for his sword and shield and never gets to use them outside of the opening.

Nora exists. She got a surprising amount of focus this season in that she got focus of any kind. I liked her confronting Ironwood over his choking of Mantle because we know she was once the kind of person Ironwood would have been stifling. I like her being the one to realize the loophole in Jinn’s “You can’t” line. I don’t like much else about Nora this year, or at least the Nora the writing team are pushing. She’s not funny like Jaune but Nora just absorbs so much screentime in the first half with her constant shrieking. Sam Ireland has good range but making Nora into Discount Harley Quinn is pushing her out of it. She sounds shrill, making Nora sound like she has no heart outside of the election rally. A shrill voice is one thing. A shrill voice that never lands a single joke? Yeah that character is tainted by association.

And Ren... oh God Ren what happened to you.

The Volume 7 commentary confirmed a suspicion of mine that Ren’s arc was heavily cut down from what was planned. Even watching V7 I could tell his arc was bare-bones at best, and it’s downright character assassination in places. Why is he suddenly so cold to Nora? Why is he now so obsessed with training? Why does he side with Ironwood for all of... one line which is this last between episodes 7 and 11. Ren only has two hundred words of dialoge in Volume 7 and they feel so weird in places. Ren goes from seemingly disliking Nora, to kissing her, to never referencing the kiss, to partaking in the Worst Scene Of The Season, all with no consistency. It’s not even threadbare. Ren’s arc just has no connecting tissue for so much of it! It’s insane how badly Ren was hurt by this, and I shudder to wonder how bad his Volume 8 arc will be because you know that was one of the first plotlines they cut down on when they inevitably overreached again.

I don’t know how they made Renora kissing feel unearned? But by God they found a way with how much of a trainwreck Ren’s writing is in regards to tainting this.

If Ironwood is an example of RWBY doing character writing well, Ren is the mirror image of how badly they can do. JNR really suffered from Volume 7 (also fun fact, Ren has about 200 words of dialogue? Ironwood has 4400). Maybe not to the level of irredeemable dislike? But very close to being on the same tier as Cinder of “Just go away already.” I’m not looking forward to their content in Volume 8.

3) RWBY themselves are poorly handled in Volume 7

It’s unfortunate that the actual title characters of the series are also some of this season’s weaker links. RWBY feel... superfluous to this season in a way they’ve never felt before. It’s baffling how much of the season doesn’t change if you just don’t include them, and apparently Volume 7′s first draft? Was even worse.

The commentary says that many of the RWBY moments were added later in production. Stuff like Ruby and Renora at the rally, Blake and Yang’s talk with Robyn and Ruby and Qrow’s chat were all either added in near the end of the writing or were “low priority” enough that they could have been cut which is... veyr alarming that’s stuff even the main protags have to worry about!

Ruby feels half-baked. I was looking forward to her in V7 after how V6 gave her a more dynamic personality and the focus she got in Brunswick, and having Penny’s return had me interested in seeing Ruby grapple with her emotions about it. She watched Penny die, how would it influence her to see Penny back and OK? Good question, we never get to see it. Ruby’s just OK with Penny’s return, the one time they touch on it Penny immediately glosses over it. Ruby just goes back to her old happy go lucky persona where any and all negative emotions are immediately forced down instead of confronting them and growing from them. I’m getting a little tired of Ruby bottling her grief and being teased about finally getting her snapping like a Twix Bar. We finally got her crying and it lasted all of ten seconds. And it doesn’t help that Ruby’s still getting shafted for fights. Her scythe choreography has no excuse being as flacid as it is now after Qrow vs Clover showed they can do scythe fighting! Why is Ruby being upstaged by (let’s be real) a supporting character! Why is she being limited to ten seconds of good combat then nothing for the rest of the season outside of flimsily swinging it or shooting. It’s disappointing, especially after how good V6 Ruby was.

I swear, Gravity’s not just my favorite episode of the season just because Ruby finally cries in it.

Weiss was kinda just done dirty though. At least Ruby has a good outfit. Weiss confronting her father has been a long standing plot thread for the series, it’s been Weiss’s Big Thing since the White Trailer. And when Jacques finally appears, he’s very... bland. He’s just evil corporate dude who exists less as an obstacle for Weiss and more just a roadblock for the plot through the election. Weiss finally gets a chance to take her father down and work to redeem her family name... but instead of earning said victory and it being treated with the same gravitas and emotional weight as Blake defeating Adam... Weiss has her victory handed to her. And it’s played for comedy by her abusrdly attractive mother.

Listen, I like I Willow Schnee. I think she’s a fascinating character and I like the idea of a person who is aware of the harm they’ve done by accident but is too broken to fix the issues she accidentally left. I love her calling Weiss out on her treatment of Whitley. But she is absolutely a Deus Ex Machina that exists to get Jacques out of the plot as fast as possible. You mean to tell me Hackerman Watts never once made sure Jacques had hidden cameras? Or that none of the staff found Willow’s cameras and reported them under the assumption they were White Fang spies? It’s so... convenient. It’s handing Weiss her victory on an unearned platter. Which sucks. I was really looking forward to Weiss beating Jacques. Instead she just gets given the plot device while JNR engage in the Worst Scene of The Season in that Whitley food stunt.

Me whenever I’m asked to rewatch Cordially Invited

Blake and Yang have much the same problems, in they never separate. I know they’re going to be together. I know CRWBY are making it canon (get it over with already). I still would like Yang and Blake to have individual character scenes. I’d like Blake and Marrow to talk about being a Faunus Huntsman in Atlas (another thing that got cut thanks to Robyn Hill). I want Yang and Ironwood to discuss their PTSD and have Yang thank Ironwood for his trust in her that he commissioned the arm despite Yang attacking Mercury. I want Blake to be well animated in fight scenes so she’s doing more than just jobbing so Yang looks better. I want Yang to stop hogging all the good Team RWBY choeography. I want them to interact with other characters and continue to grow instead of feeling like two halves of one character. And no, making a meta joke of how Blake and Yang don’t talk to other people doesn’t make it OK. It just means you’re self aware about your own faults.

(Also give Yang better merch or quit the favoritism. If you’re gonna milk her, put effort into it beyond crapply overpriced flannel. RT’s merch store is actively making me hate Yang.)

Team RWBY’s biggest contribution to the season is the Ironwood Lie which is... a can of worms. They certainly had a point in withholding some of the bigger truths from James but I feel by Pomp and Cirumstance he’d proven himself truthwrothy enough to warrant being told the truth about Salem. But then when he’s finally told the truth, it’s offscreen’d and the consequence isn’t “Why didn’t you tell me earlier” but “Fucking Ozpin man.” Gravity has it bite them in the ass, but it’s more an accessory to Yang and Blake telling Robyn about the Amity tower. I wish more had been done with the team disagreeing on whether the lie was a good choice or not, maybe have Yang be hardline against it due to her own “No more lies and half truths” policy instead of... having Yang tell more lies and half truths (Commentary confirms she never told Ruby and Weiss about the Robyn stuff BTW). But that’s a wider problem where RWBY aren’t allowed to disagree beyond surface level “I don’t know if this is the right call” dialogue. There’s never a threat of one of them cracking and just spilling the beans to James, everyone just blindly trusts Ruby and Qrow tells the audience “No this is different from when Ozpin lied. Trust us.”

This is the most RWBY get for content in the season finale: Ruby just nuking Cinder with no difficulty after having trouble with the eyes three episodes ago. Kinda lame tbh.

Team RWBY are just disappointing in Volume 7. They’re not given good animation, their story roles are largely insignificant, the impact of their roles on the story is threadbare and... well most of their costumes suck don’t @ me even CRWBY have admitted Blake and Weiss’s haircuts looked bad. It’s a whole barrage of a letdown for the main girls. And it’s really sad that the best scenes of the season... are usually the ones where RWBY are nowhere in sight.

Why the hell didn’t Yang get to keep the sunglasses come on guys. One job.

4) Robyn, the election plot, and the Happy Huntresses

Oh God, Robyn Hill is... not great. I could and likely will write a full meta on her character and how they bungled it but I’ll just be blunt here: I don’t like her design, the colors don’t mesh well, he head’s too small, Christina Vee is sleeping through the role and her weapon’s lame. Introducing her in a scene where she threatens to attack our heroes, and her agents are actively sneaking up on them to do it, is not a great first impression for a hometown hero. And that the commentary thinks she’s meant to be the hero in that scene is... staggering.

RWBY’s greatest threat yet is a wine mom Karen and her Home Owners Association army.

The election plot is less a misfire and more the engine just exploding. There’s so little good content between when it’s introduced and concluded, with it usually being individual scenes that are more good in spite of their connection to the plot (such as Tyrian’s massacre). It drags in pacing, going on for nearly half the season between episodes 5 and 10, and it purely exists as a roadblock to keep RWBY spinning their wheels while Watts and Tyrian keep going with the main plot. I don’t know why CRWBY went for this plot. They could have easily had something else fill the gap that also allowed for a lot of the character beats (such as Marrow and Blake’s talk and Ren’s entire arc) to shine, or at least condensed it to the important elements instead of letting it become bloated. It ends in such an unsatisfying way where Willow just shows up and goes “We have four episode left, here’s the plot device to beat Jacques, get back ot the main plot.” If they wanted to do the election plot, the best route would have been to give Volume 7 more episodes or stretch out its events to two seasons, but neither is realistically possible while RWBY lives off the teat of AT&T.

Jacques and Robyn are just boring. Evil corporate man and a lame adaptation of Robyn Hood who only has fans because of thirst who also like downplaying Robyn making a racist remark at Marrow (to say nothing of that weird subsection of Robyn fans who make her a Fox Faunus who cut her tail off to join Atlas Academy which is... certainly a creative choice especially when Marrow and Neon are punching holes in that angsty BS backstory). They can’t carry this plot and the artifical attempts to make it seem more exciting with the two cliffhaners ending on Mantle under riot or Grimm attack are laughably cut short by the next episode in each case opening the morning after. On binge watch it becomes weirdly funny more than anything and that’s not a good reaction. The dual cliffhangers being cheaply resolved is a short but succint example of V7′s pacing issues, and they almost always loop around to the election plot being too bloated, slow and just boring.

Also the Happy Huntresses are just... lame. I like their Semblances but that’s it. Fiona’s OK because she gets some screentime but May’s just “the surly one” and Joanna doesn’t even get her Semblance or much dialogue (oh wow she really is just a female Sage Ayana isn’t she). Robyn should not have been leading the HH and running for Council. That’s really stupid. And kind of wrong. Having May or Fiona be running instead while Robyn leads the team in relief efforts would have been better and could have split the focus more effeciently instead of leaving May and especially Joanna feelng like roster padding. There’s also some delicious irony in the show trying to frame the HH as the resistance fighting for the people and representing individuality, only for them all to have the same boring outfit and weapons (I think even the exact same model just with different sizes) while the Ace Ops are meant to be the military drones who are “Just following orders,” only for them to be more racially diverse, more diverse body-type-wise, and have more unique weapons. It’s another one of those odd creative dissconnects between what the writers wanted and what the artists/animation teams chose to do.

The election plot is overall toxin for Volume 7, and Robyn in my opinion, has one of the worst introductory scenes of any character in the franchise (and CRWBY have tacitly admitted that V7 had a character they were surprised at how controversial they were, which has to be Robyn). In a year where they were already juggling so much content and characters, adding in this bloated subplot was something I don’t think anyone wanted, especially now that we know we lost so much content on the sacrificial altar for this. It’s a black mark on the season and I don’t really care for the return of the Happy Huntresses or Robyn in Volume 8. None of them are interesting enough to care for outside of meta reasons like “cute.”

Also fuck you Fiona, can’t believe you got a shirt before Ironwood.

5) Cinder and Neo sure exist

To be fair, this is one of Cinder’s best years, easily her best since Volume 3 but that’s more because Cinder in the Mistral era was crap. (And if I wanna be cruel, because Cinder wasn’t in two thirds of the season)Her fans were finally vindicated after years of telling anyone who dunked on Cinder that “nooooo she has a super covert backstory that’s gonna be amazing when it’s revealed! You’ll see!” And well they finally got it. All of one line during a fight about how Cinder “refuses to starve.”

It’s still something so I guess we have to take it. Seriously... how do we still not have Cinder’s backstory.

There’s just not a ton to say about Cinder and Neo in V7 barring I that don’t think they needed to be here. They feel very superfluous and just here to have a big boss fight in Cinder’s case alongside continuing her streak of ending the odd numbered seasons fighting a female side character... which for me became an exercise in tyring to find during Cinder during the damn fight.

And this is why when most people saw Cinder’s V6 outfit they went “It’s gonna be hard to see her in darker environments,” then were vindicated when it became legit difficult to see Cinder in this scene. God if they at least just made the inside of the cape red it’d be easier.

Neo is Neo, which means she makes funny faces and mocks Cinder (I like that), but she doesn’t get a super good fight which uh... we’ll get to. I’m interested to see her finally exploding at Cinder and going for a backstab, but really Neo in V7 was kinda hit hard by the double whammy of the Oscar Hallway Punch and how humiliating ORNJ vs Neo was for ORNJ. Cinder’s definitely had far worse years and after how aimless she was in Mistral this feels like a sep in the right direction, but at this point CRWBY just need to shut up and tell us her deal. It’s been seven years guys. Come on. At least make her interesting if she’s gonna say around. They’ve had worse years, but unfortunately Cinder and Neo’s role in the finale leads into...

6) Some of the fights weren’t good

I wanna be clear, I like most of Volume 7′s fights. It’s just a bummer the worst ones are back and back and make up a chunk of the finale. ORNJ vs Neo is just crap. It’s the worst fight since the Battle of Haven. There’s nothing else I can say, it’s poorly animated, paced, choreographed and written. JNR especially are made to look like complete jokes after they spent all season training, to the point where it looks like V2 Yang could solo V7 JNR after this. Oscar I expect this from because he’s not allowed to have fun stuff onscreen after accidentally stealing the Haven budget for his fight with Hazel, but JNR were just done dirty. There were ways to make the fight work in a way where Neo still won but JNR looked good. They went for the worst possible outcome that just leaves Neo looking like she got fan-wanked and JNR looking like they’re just not allowed to be cool due to Miles’ spite at the Jaune-Self Insert stuff (and that’s not even getting into JNR being forced to run from lame rent a cops who can’t even handle a single Grimm). Cinder vs Winter and Penny isn’t much better, with her dark outfit making it very hard to track the fight because she blends into the background too well. It’s not a great showing for Winter or Penny given their earlier feats but, hey, some random female character had to fight Cinder in this odd numbered volume, carrying on Glynda, Pyrrha and Raven’s tradition. It’s at least better than ORNJ vs Neo, but that’s really not saying anything. At least Cinder’s VA work isn’t too bad this time but this fight commits the cardinal sin of a finale fight: It’s just not super interesting because we know Cinder can’t kill both Winter and Penny and she’s not becoming a Maiden, while Winter’s been too blatantly set up so it has to be Penny.

RWBY vs the Ace Ops also gets a dishonorable mention due to the choreography on display here... and the lack of it for Weiss, Blake and Ruby. Ruby never once swings Crescent Rose the entire fight and is just reduced to getting the tar kicked out of her by Harriet. Weiss barely gets to use her sword and largely just sticks to her summoning and glyphs which makes for a very visually uninteresting fighting style at the best of times. Blake just swings around and gets caught by the bad guys so Yang is motivated to fight stronger. She never dual wields (again) and her best moves are just setting up Yang to do all the hard work while Yang gets to personally KO two of the Ace Ops. There’s a lot that can be said about whether or nor RWBY earn the win, but while the animation team try to sell the Ace Ops landing heavy hits, having only Blake’s Aura even flicker really undercuts the idea from the commentary that this wasn’t meant to be a stomp for RWBY and they had to work together and be in synch to win.

Which is why Yang solos two of the Ace Ops whle Blake plays support, Weiss beats Marrow alone and then kill steals Harriet from Ruby, all while the song playing is an extended diss track from RWBY to the Ace Ops about how badass they are now, and the commentary itself says the Ace Ops are hard carried by Clover’s Semblance (because you gotta love basically saying four POC were only competent because a white guy led them, and then have them lose because said white guy wasn’t around to carry them!). Great job guys, you really sold it.

And talking of Clover, I feel it worth mentioning Qrow vs Clover vs Tyrian. It’s animation wise near perfect, but unfortunately I do feel it would be remiss to not mention that I feel the writing really has to bend over backwards to justify this fight. A lot of it is stuff I would say in that hypothetical Robyn essay, but I feel Robyn, Qrow and Clover all have to become massive idiots for this specific sequence of events to occur, and for Clover especially every retroactive attempt to explain why he prioritized Qrow over Tyrian just sounds more and more desperate. Between the references to MCU Captain America (a person whose entire arc is about learning when it’s OK to defy bad orders) or the attempt in the commentary to say “Oh Clover thought it would be easier to take out Tyrian alone instead of Qrow,” none of them land and just further drive home how much the plot had to stretch and reach to get that moment of Tyrian killing Clover. I like the fight. But I hate the road the show took to get there.

Some of the misc fights are also weak like ORNJ vs FNKI and elements of the Mantle Grimm battle, but those are the big offenders. Otherwise, again, the fights are largely good.

7) The soundtrack wasn’t... great

I mean the vocal songs only, don’t crucify me. Trust Love is just lamer Let’s Just Live/Triumph, Celebrate and Let’s Get Real are so boring I thought they were the same song until the OST dropped, Brand New Day is boringly peppy and Jeff’s vocals are dreadful. I completely forgot Touch the Sky until I was checking the tracklist to make sure I didn’t forget any songs. War has good singers but tries to sell the RWBY-Ace Ops bond as way deeper than it was. The lack of a villain song did really sting though, those are always the highlights.

There are good songs. I really like Fear, I feel it encapsulates the themes of the volume well and serves as a good condemnation of Ironwod’s mentality. Until The End is finally the Ruby song I’ve waited for since Red Like Roses 2 and I enjoy that she got a melancholic song, and Hero is easily, hands down, best track of the record and probably best RWBY track, full stop. Caleb killed it, I loved the second verse, opening opera was strong, guitar riffs were a plenty. Stellar work all around for that one.

The OST has great work from Jeff and Alex as usual, but the Jeff and Casey songs are really starting to lose their appeal. Going for a peppy feel this year didn’t help cover the cracks that are beginning to show with RWBY’s vocal songs (especially Jeff’s vocal range), and while a few standouts remain such as Fear and Hero, they are the slim minority in an otherwise very boring vocal tracklist that barely scrapes above Volume 5 for weakest set yet.

8) It wasn’t as funny as it thought it was

Comedy is subjective but man a lot of these jokes didn’t land. RWBY really needs to realize that does work in traditional 2D does not translate into 3D and just comes off as making official reaction GIFs for your Twitter account. Making characters SUDDENY SCREAM LOUDLY is not good banter. Please stop making Nora into Harley Quinn. Marrow was probably the most consistently funny character but that was it. Also I dunno why CRWBY thought Forrest was funny or what the deal was with that FRWBY crap.

“Honorary” mention to the JNR food scene in Cordially Invited which is genuinely one of the worst scenes in the entire show and I hope whoever animated it has their save files deleted for a game where they were about to beat the final boss. Nothing sums up JNR’s pointlessness in the series more perfectly than this.

C) Conclusion

See what I mean about Volume 7 being frustrating?

It’s weird that I overal think of Volume 7 as a mid-tier volume. There’s so much here I genuinely adore, with some of the best stuff to do with the show coming out of this season (barring lame, overpriced merch that feels like clothing gacha), but simultaneously the whole thing is let down by outside circumstances that unfortunately are ones the show can’t ever really recover from. Put bluntly, Volume 7 is the most technically proficient season of the show with the best lighting, backdrops, (some of the) character models, etc. CRWBY definitely didn’t slack off this year, but the problem isn't with them. It’s with the writing. A wider reaching problem is just that Miles and Kerry can’t really improve to the level that the series now requires. Eddy and Kiersei’s first season could have gone far worse, but it definitely was notable whenever they took over. Volume 7’s core problems are fourfold: The comedy is terrible and none of the jokes really land, the season focuses on the wrong plots and gives them too much effort, too many episodes are spent building up to new plots only for them to be weakly resolved (especially the Mantle Riot/Grimm attacks that are shoved off-screen), and the character bloat strikes hard here and leaves a lot of the cast feeling like dead weight. CRWBY don’t need more writers. They need more editors willing to tell the team what has to go instead of them hemming and hawing themselves on if they if they can include a plotline. The election never should have gotten past its first draft, there was too much already in this season before adding that.

When this is an unironic shot in your series... you’ve got character bloat issues.

At this point, I think JNR need to go. The show had no idea what to do with them throughout the season, leading to Jaune just being comic relief while Ren and Nora became characters I actively dislike. Renora was the easiest ship in the show to land, and they still managed to blow the engines and ram at least three icebergs just to prove that RWBY can’t romance to save its life. Team RWBY themselves are little better, with Ruby’s feelings about Penny’s return being shelved, Weiss’s victory against Jacques feeling un-earned and undercut by comedy, while Yang and Blake are benched for the volume and become a singular entity with how tied at the hip they are. Maria basically yeeted herself out of the show and I didn’t notice, Pietro is just a death flag, and while the Ace Ops had a good intro, it was undercooked by how they had to play the villain role to give RWBY something to do in the final hours. Cinder and Neo didn’t need to be here. Robyn had one of the worst introductions for a character I’ve ever seen, I never enjoyed her moments and it genuinely feels like she only has a fandom because RWBY’s community are in fact that desperate.

On the brighter side, Ironwood’s arc is fucking perfect and Jason Rose deserves all the love. Great fight, great song, great design, love the beard, it was a perfect downfall for Volume 7’s true protagonist. Qrow had a fun volume and I loved his dynamic with Clover (I don’t see the ship stuff but that’s more because I’m an IronQrow main so my blinders were on). Clover was also way cooler than I remembered. His fights stood out but the guy’s just really cool at the end of the day, with Chris doing great work as a VA. Oscar even managed to do stuff this year which was a shock and a half, but a welcome shock and a half. I didn’t mention it, but the Ozpin fear monologue is one of my favorite scenes in the entire show and it and the Ironwood/Oscar confrontation in the vault save the finale. And of course, Watts and Tyrian were the MVPs. I don’t have a bad word about either of them, they fucking nailed their roles and I can’t wait to see them again.

And that’s kind of what I mean when I say Volume 7 flummoxes me. It’s frustrating at times with how it handles seemingly easy tasks and drops the ball. Renora went from “everyone liked that” to wondering how badly Ren’s stuff got butchered for him to be the way he is. RWBY themselves could be almost entirely cut and so little would change, and the fact that the finale basically hinges its entire emotional stakes on Winter, Penny and Oscar is a staggering call. And it really feels like the season was compressed beyond necessity because they decided going in that Volume 7 had to end on Salem’s arrival. There’s two volumes worth of material here, and maybe it would have been best to have broken up these events. Volume 7 does too much in too little time, and RWBY especially suffered from it. But when it works… it’s good. Never close to the highs of Volumes 6 or 3, but there’s genuinely good material here. The fights are mostly getting better with far less missteps than previously, the acting (mostly) continues to improve and it’s obvious that RWBY is a very good looking show at this point. Ironwood’s arc is franchise-wide highs, I loved Clover, and Marrow remains the best boi. But it’s frustrating that despite all the tech advances Volume 7 has made, it still makes such threadbare, rookie writing mistakes in cast management, comedy and character arcs. I’m glad Miles and Kerry finally realized that they needed more writers, but it won’t mean anything if the show just continues to circle the drain on the core mistakes it’s been making since 2013. Volume 7 has good in it. But I can see where it could have been great.

Thanks for reading, stan IronQrow and please get Whitley a therapist.

And for the love of God already make an Ironwood vs Watts shirt!

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stillness-in-green · 3 years

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Idk if anyone told you but the MVA OST leaked, with themes for both the League and the MLA. If you haven't listened to it yet, please do! And if you have, what are your thoughts? I think Mine Woman and RE-DESTRO slap for 2 characters that got shafted hard by canon so I appreciate them a lot.

I have listened to them, and I like several of them! I feel like I need to lead with that, because I'm about to add some criticism about my previous responses to BNHA's score for context, so it's important to know that I genuinely do enjoy quite a few of these.

So, I haven't listened to a lot of Yuki Hayashi's scores, but he's definitely done work I've liked! He composed the music for several of the more recent PreCure shows, including their movies; I particularly loved his finale for the 15th anniversary film, which prominently featured a truly delightful medley of every team's opening theme. I'm also very fond of some of his pieces for Kiznaiver and Welcome to the Ballroom.

His BNHA work, though, I feel like suffers from two main problems: the tracks are too short to work up a good head, and yet, despite that short length, they sometimes feel exhaustingly over the top. (Did Shigaraki's theme really need crying children to get across the point that he's bad news?) I've long felt that the BNHA anime wants me to feel like everything is way more Epic and Stirring and Dramatic than I actually find the material to be, so curiously, the music winds up having a distancing effect rather than drawing me in. This is frequently compounded by placement choices that feel so staggeringly poor that I'm often left wondering whether the staff chose the music out of a hat! (Seriously, why does a fairly rote test of character in Nighteye's office warrant doom choirs?)

As to the MVA tracks specifically, I wish there could have been tracks that sounded a bit more fun or heroic, given that the League in MVA really are the heroes for the arc, complete with Shigaraki suddenly having access to Shonen Nakama Tropes and getting all these little comedic reaction takes. It'd be nice if the music could cue in and let the League have some aural triumph without being all doom all the time ("Oh, no! The villains are winning!" Yes, they are; let them have this for one arc, would you?)

But that said, I do rather like most of these! There are some that I do suspect will fall prey to the This Is Too Much Drama, Would You Please Ratchet Back? problem, but there are also some that I can imagine playing better in the context of the show than they do in isolation, and some that feel like they could even be exactly what I was dreaming about, if they go where I hope they will. For some individual thoughts, see below:

The Mission of the Stealth Hawks: A reasonable enough little tense atmospheric piece. Doesn't jump out at me.

Different Ability Liberation Army: I always approach the MLA as styling themselves as an army, but in reality being more of a sect--far more cult than militia-- I appreciate that if they can't have a good dramatic march despite having Army, like, right there in the title, I'm glad I could get church bells instead. On the whole, though, this is a good example of the first problem I mentioned having with Hayashi's work for BNHA--his pieces tend to be pretty short, and it takes them so long to land on a melody that by the time they find one, there's hardly any time to develop it before the song ends. Even a lot of the hero pieces are like that, and the villain songs, even more so. That said, I do like the horror strings that creep in around the 1.25 mark, blossom at 1.45, and float on through 2.10. I just wish they went on longer. Admittedly, "erratic church bells and horror strings" is still not the choice I would have made for the MLA's main theme. I really would have preferred something with a more militant air; as it is, this sort of feels like it scores a creepy prologue that plays before the opening credits kick in and then the episode proper starts. Which isn't a bad description for the way the dinner scene played in the manga, but thanks to the anime's decision to reshuffle everything, I don't think that dinner scene's going to maintain that feeling of "prologue" when we finally get to it.

My Villain Academia: Better on the melodic front; I enjoy the drama at .43, the dancing tension at 1.05, and particularly the minor strings from 1.25 that just keep climbing until everything else drops out around 2.10. I do wish it found a better place to end rather than noodling on for a further thirty seconds, but the melody will get a more central, and more bombastic, treatment in the final track, so it's probably okay for it to trail off here. (It's also apparently a reprise of a villain theme from the very first season's OST, which is rad. More on that in the Track 11 blurb.)

Second Coming: This is a bizarre one because, while I complained that Hayashi's BNHA tracks are usually short, this one is a full six and a half minutes--except that it falls clearly into movements of about a minute each, with clear lulls in between. I wish it was twelve minutes and everything was twice as long! As it is, I'm highly doubtful that we're going to hear this one played in its entirety anywhere, since I can't imagine what scenes would require this specific sequence of musical passages at this length. 0.00 - 1.01: I love that the song kicks in comparatively quickly; the first minute's passage has a great, thrumming drive that very nearly hits major key towards the end. 1.02 - 1.53: The drive picks up pace in the second minute before the chorus arrives, and for once, I am very prepared to love a BNHA choir piece. I hope this is what plays when Deika's going up in ash. 1.54 - 3.01: I love the melodic line being carried by the intentionally hard to distinguish violin and whatever brass instrument the violin's trading off with in the third minute. It's bit out of place with the rest of the track, but I like it quite a bit on its own, and it does have a similar sound as some of the "dirty" brass in RE-DESTRO and Mine Woman. It's probably too long for RD's childhood flashback, but I wonder if it'll play for an MLA character somewhere? 3.02 - 4.07: The fourth minute has some very fun drums, but otherwise doesn't jump out at me as much of the rest of the track. I'm very curious to know when this will play, though. 4.08 - 5.32: The fifth minute, god bless, has some proper march drums--I like this passage a lot, particularly when it come back in the sixth minute accompanied by the choir. I like this because the key is minor but it's not "oooo scaaaary" minor; it's more dramatic, a bit tragic, but triumphant too--pretty much perfect for Re-Destro, Spinner and Machia's moment of revelation in the crater. I wish it were longer. 5.33 - 6.36: And here for the end we're back to the driving guitar and some fun low-thrum strings and percussive chain sounds. Like the fourth passage, it's fun, but jumps out at me less, particularly as the song's finale.

Gigantomachia: This is an extremely boss kaiju song. Seriously, that brass in the opening could come right out of a Toho flick. Extremely good walking calamity number, love that distorted synth stuff towards the end. It's going to sound great when (if) it plays over Machia leaving the villa, the hand rising up through the floor behind Toga, Momo and the other students surveying the desolation left in his wake, and so on. (I know that's all Season Six material, shhhh. I hope they use this piece there.)

Mine Woman: This is so fun. And so extremely superior that that awful Christmas insert song! I'm glad Curious got this at least, and I love the moment the beat drops at the one-minute mark, and that interwoven sax. So good. It's hard to imagine the fight between Toga and Curious being paced to this song, mind, but it's real good, anyway.

TOGA's Nature: This one showcases the other problem I have with Hayashi's BNHA work, especially his stuff for the villains: it feels very on the nose in a way that tips over into being Too Much. The birdsong, I think, is on the nose but in an effective, playful way, with the natural beauty of the birds undercut by the lovely but ominous piano/synth melody. I am considerably less kindly disposed to the creepy child laughter, which just feels on the nose in a thuddingly obvious way--though I do like the way it slides in when the birdsong fades. I like, too, the sort of cloudy roaring reprise of the melodic line that kicks in around the 1.10 mark. It feels like an effective echo of Toga--cute but creepy as a young girl, and then, after she snaps, creepy in the same way but now you can't ignore it.

Symbol of Fear: The beginning doesn't do much for me, but I enjoy the howl that gives way to the organs at 1.15; while it's too action-heavy to be Tenko, the transition does still put me in mind of Tenko wandering the streets, internally crying for anyone to help him, and the person who finally does is--well. I like that the organ nurtures that howl into something considerably more dire, though you still get a return to that guttural cry periodically. While it is, again, difficult to imagine this scoring the scenes between AFO and Tenko's first meeting and Tenko being formally named Tomura--it's much too bombastic--it does still feel like an excellent representation of AFO sculpting Tomura's formless, aimless rage into something that really could tear down the world.

I Don't Kill My Friends: It would have been really nice if they'd let the most significant, unadulterated personal triumph of the arc sound actually fun. Why does the Sad Man's Parade song sound so upset?? @aysall predicts that it'll play over Twice's confrontation with Hawks and death scene, and I can see it working extremely well there, but it's a pretty weird call for the Dead Man's Parade bit, if that is indeed what this is intended to evoke. Quibbling about the title aside, I do like the way this pulses and throbs, something like an exposed wound, which is not a bad description of poor Jin's mentality. I still hope this isn't what scores his breakthrough, though. As I said previously, the villains are the heroes for just this one arc, and it'd be nice if the score could reflect that at least a little.

RE-DESTRO: I like this one a lot. I love the interwoven layers of that dirty sax and the Big and Dramatic orchestral strings + brass, but both of them undercut with that regular, machine beeping that could almost be a heart monitor, but mostly isn't--right up until the long beep at 1.52/1.53. It feels like a strong illustration of the titular character's different personas--his attempts at casual, friendly villainy (like menacing Giran or chatting with Shigaraki on the phone), him when he's thundering full-volume about the weight of his legacy at people (THE BLOOD OF DESTRO FLOWS THROUGH THESE VEINS I AM RE-DESTRO), and, beneath it all, the constant little thread of stress that Rikiya can never escape (right up until Shigaraki). I probably wouldn't love it so much in isolation, but I'm easy to win over with the right character association. XD

Paranormal Liberation Front: Very fun grubby guitar intro. It also has much the clearest melodic throughline, which inclines me towards it. What inclines me to it even more is the knowledge (per @aysall again) that it's the same main melody as the track Villains Theme from the very first season's OST. That track already having used its allotted Doom Choir quotient, this track makes do with less synth and a lot more orchestra and chunky bass backing, which is much to its benefit, I feel. I do wish it had any of the MLA's theme in it, to represent the merger, but admittedly, it'd be hard to make that very audible when the MLA theme has…next to no central melody, percussive rhythm, etc. Still, as an evolution of the League to something bigger, classier, and far more dangerous, it's real good--just long enough to develop into itself and explore its central leitmotif. Probably my favorite track simply on its own merits.

Thanks for the ask, anon! I'd listened to the tracks once driving around for work, but sitting down with them properly gave me a greater appreciation for them, and now I'll definitely have an ear out for them when we get to this material in the anime…

….whenever that winds up being. *sob*

#bnha #music #stillness answers #my villain academia #reviews?#league of villains #meta liberation army #shigaraki tomura #yotsubashi rikiya

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frankendykes-monster · 4 years

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On revisiting Mothra vs. Godzilla (1964)

Mothra vs. Godzilla is an interesting film to say the least. On the surface it looks like nothing special, if anything you could call it an example of how Japanese science fiction films were stagnating only a decade after Godzilla (1954), considering this film barely does anything new, just aping material that was already handled by its two predecessors: Mothra (1961) and King Kong vs. Godzilla (1962). But somehow it’s become one of the most beloved entries in the series and something of a gold standard for everything that came after.

Mothra vs. Godzilla opens with a title credit sequence over a hurricane, with Godzilla’s theme from 1962 transitioning into an instrumental version of Mothra’s theme. The hurricane has caused property damage along the Japanese coast, but most notable is the washing ashore of a giant egg. We soon get introduced to Ichiro, a news reporter, Junko, a news photographer, and Dr. Miura, the leader of a scientific team called in to study the egg, who serve as our three main three heroes for this story. The egg is bought by Happy Enterprises, headed by a Mr. Kumayama, who is in turn financially backed by a younger Mr. Torahata, who plan to turn the area surrounding the egg into an amusement park. They and the three leads are both confronted by Mothra’s twin priestess fairies from Infant Island about returning the egg (the current adult Mothra is nearing the end of her life, and the egg secures Mothra’s legacy), and the efforts to retrieve it are also squashed, forcing the fairies and the indigenous people of Infant Island to turn their backs on the outside world. When Godzilla appears, having also been caught up in the hurricane and thrust onto the mainland, he immediately goes onto another rampage, and it seems the best option is to ask Mothra for help (personally I find it humorous that there needs to be some reason for monsters to fight in these early films given they’d eventually go at it on instinct). Some arguing is done but the fairies and Infant Islanders agree in return for the possibility of a better world to be built. Both Kumayama and Torahata are killed in Godzilla’s attacks, and the monster seemingly can’t be stopped, as even the adult Mothra succumbs to battle, before the newly hatched larvae from the egg eventually stop Godzilla, and all seemingly returns to normal, in a cautiously optimistic way, as the protagonists have vowed to make a world better for everyone.

Mothra vs. Godzilla switches from the intense anti-commercialism satire of King Kong vs. Godzilla to some more general anti-capitalist themes. Near the opening when the damage of the hurricane is being documented by Ichiro and Junko, and unnamed capitalist protests about such possible news coverage as it could damage public opinion on an industrial project being built there. Later the same capitalist protests about the protagonists returning to test the area for radiation (as Godzilla is buried in the general vicinity and is contaminating the soil). There’s some inherent ridiculousness that’s openly stated about Kumayama buying the egg in general, but the cost is 1,224,560 yen (i.e. the logic is since a chicken egg costs 8 yen, and the giant egg is approximately 153,820 times larger, it’s a fair price). It’s explained “[the egg is] not private property, the public can watch it incubate for an admission fee.” A musical cue used in the series to hint at some under-the-surface tension and dread is used in this film when we discover that the egg’s incubator has been built and is already operational. Kumayama later stiffs the fishing village who brought the egg to shore out of the money he owes them, only to later on in the film be scalped by his superior Torahata (the two of them turning on each forces Torahata to shoot Kumayama, and in turn Torahata has wasted too much time before Godzilla destroys the hotel they’re in). Torahata is explained to have originally been some trust fund kid to some larger businessman before heading up his own endeavors. When the public discovers that it’s Mothra’s egg and it will not be returned, Kumayama effortlessly throws a PR stunt to counteract.

Functionally it’s a repeat of the plot from the first Mothra film, only here it’s Mothra’s egg and not the twin fairies that have not been kidnapped. I feel as if everything works smoother here as this film definitely has more weight to the proceedings and isn’t nearly as theatrical; the villian in Mothra, Clark Nelson, is often times a bit too exaggerated. (There’s something to be said about how Kumayama and Torahata have zero concern about provoking the wrath of Mothra considering she partly destroyed Tokyo and NYC in the previous film in the effort to get her fairies back; I guess it’s more accurate than capitalists just giving up possible investments.) I’ve seen some fans vouch for Mothra as anti-colonialist story but this film allows concepts such as that much more room to breathe given how the Infant Islanders have actual agency in the story, turning down the possibility of Mothra fighting Godzilla on behalf of Japan, whereas in the previous film they didn’t have much of anything to do given Mothra immediately goes on the attack upon discovery that the fairies were kidnapped.

The rather dense first 30 minutes of the film gives way to the reveal that Godzilla was also thrust ashore by the hurricane, and buried underground in the process, before reawakening. The entire film shifts into a mode of immediate urgency, as everyone now has to confront Godzilla. A lot of Godzilla’s scenes are far more detached than what else the film has to offer, as we’re following mostly nameless crowds fleeing and evacuating and JSDF officials trying to handle the situation. Once again it resembles the previous film, which had all the main characters more closely associated with King Kong. This film spends a much more notable amount of time showcasing military strategies being implemented against Godzilla with tanks and land mines and air strikes and giant electrocuted nets being thrown at him. I think it’s this film that fully established that while Godzilla could take a beating, the character is functionally indestructible, as nothing leaves any lasting damage.

Even though this film isn’t as upfront with the nuclear text as the first Godzilla film (which openly compared the coming of Godzilla to the atomic bomb attacks and brought up Godzilla being born out of hydrogen bomb tests as the most likely origin), it’s still the only other entry in the Showa series aside from that first film which brings it up in any meaningful capacity. Initial news reports call Godzilla “the atomic monster”, and when our protagonists first ask for Mothra’s help because of the attacks, the Infant Island chief shoots back with, “it’s your fault for playing with the devil fire!” Both on a narrative and thematic level, Godzilla and the age of nuclear warfare are one and the same, and everyone from Kumayama/Torahata to any number of offscreen civilians to the people of Infant Island to even Mothra must contend with Godzilla; a deadly force that threatens everyone. Godzilla’s characterization in this matches with the first film more so than the previous two; Godzilla Raids Again doesn’t have much interesting to say given it’s a cash-in sequel, and the explicitly comedic tone of King Kong vs. Godzilla makes him out to be much more jovial than expected, taking delight in dishing out death and destruction. (An added detail in this film is the subtle inquiry that Godzilla is like a natural disaster, you can only move out of the way in the same capacity that you can’t physically fight a tsunami or a hurricane. This was an element of the first film with Godzilla’s first landing being obscured by a hurricane or the electrical towers set up outside Tokyo resembling sand bags defending against a flood.) But this film is the only sequel of the Showa era to maintain Godzilla in a purely threatening, antagonistic role.

The decision to feature both Mothra and Godzilla in a single film does produce more interesting results than having done so with King Kong. King Kong vs. Godzilla only really happened because Kong, in the real world, was the only extremely notable giant monster of the movies prior to Godzilla, and this limitation extends into the film with how the characters remarked over how their individual rampages were like a ratings battle, with constant “who’s going to win?” fights over the stronger of the two. There’s much more thematic depth with this entry, even on immediate visual level; Mothra is quite dainty and gentle compared to how dark and brutal Godzilla is. (Kong was blown up from approximately 20 feet to 45 meters to fight Godzilla for that film, and this film does so in turn. Mothra was absolutely massive in the first film with a wingspan of 250 meters, she’s been shrunk to 135 for this film. Whether it’s succumbing to radiation or just a natural part of Mothra’s life cycle is never openly mentioned.) The first Mothra film made mention of how nuclear testing occurred near Infant Island because no one knew an indigenous population lived there, and upon seeing it, both the characters and the audience discover a lush paradise that has somehow survived the radioactive fallout. This film stands in stark contrast; when the protagonists land on Infant Island, we discover it’s become a desolate graveyard, with only a hidden oasis being what sustains the local population. It’s not just that the egg was stolen, the Infant Islanders are initially non-compliant because their home has been destroyed. (For narrative purposes, Ichiro, Junko, and Miura function as representatives for the outside world, and are confronted about the atomic age despite them, you know, being Japanese. It works in context of the rest of the series wherein nuclear warfare isn’t blamed on any single country and is viewed as something that threatens the human race equally regardless of nationality.) Bringing in Godzilla as the overarching threat thematically completes the mythos surrounding Mothra. Mothra has the upper hand during the entire initial fight, what with her being able to fly and Godzilla being a slow lumbering animal, but one hit of Godzilla’s atomic breath is all it takes to finish her off.

Director Ishiro Honda has mentioned that the driving thesis across all his films (except maybe Matango) is the quest for peace amongst people, considering Honda embraced pacificism following WWII. Mothra vs. Godzilla is possibly the least subtle about this, with the scene where Junko makes a statement to the Infant Islanders might as well being directly aimed at the audience. “I understand why you don’t trust us, but even as we speak many are dying because of Godzilla. Many of them are good people, but even bad people have a right to live. You may call it divine retribution...but all are equal before the gods. They don’t choose sides. Please. We need your help.” Mothra eventually appearing to stop Godzilla comes alongside the fairies stating “we always keep our promises”, a reversal of the unnamed capitalist saying the same line about his industrial project being completed by the target date.

Some have complained that the final act loses steam, as the film has already finished on a thematic level, with the antagonists killed by Godzilla and the vows of a better future already ensured. To which I respond if some people have ever heard of the concept of a final action scene, but I digress; what caught my eye with this viewing is that Godzilla’s final targets are a group of schoolchildren on an island that can’t escape because all the boats have already left. The protagonists are able to have time to rescue them as the Mothra larvae contend with Godzilla, and it stands in contrast to the first Godzilla film where we know that children are amongst the body count, children suffer from radiation exposure by being in Godzilla’s presence alone, and had to see their parents die in front of them. Children in this film being rescued without harm feels like the closest this film gets to putting “a better world” into action, moreso than just a means to artificially increase the runtime.

The ending is what gets me. It essentially combines the endings of the first Godzilla and Mothra films. Godzilla was killed in the first film but forced back into the sea in this one, but regardless, while the immediate danger has been averted, nuclear testing still occurs, the conditions that allowed Godzilla to come into existence haven’t changed. With Mothra, she is able to return to Infant Island with what is hers and the Infant Islanders’ been rightfully returned. They’re sobering and delightful respectfully, but combined we know that forces that created Godzilla have also terribly weakened Mothra and her people, and a better world being made by the protagonists includes rectifying this specific situation. You know the scene in Ratatouille (2008) where Remy shows his brother that while strawberries and bananas taste good on their own, the flavor is far greater when eaten together? Yeah.

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randomrichards · 4 years

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BEST MOVIE MOMENTS OF 2020

HONORABLE MENTIONS:

Abe Makes Dinner from ABE

Teen chef protégé Abe (Stranger Thing’s Noah Schnapp) hopes that his dinner blending Israeli and Palestinian dishes will mend a bridge between his Israeli and Palestinian families (as well as his atheist father). But he gets a sad dose of reality when he learns the hard way that a wedge between families can’t always be solved with a meal.

“Wait for It” from HAMILTON

On June 16, 2016, Leslie Odom Jr. surprised many by beating Hamilton star/creator Lin-Manuel Miranda for the Best Actor award at the Tony Awards. And now they understood why thanks to Disney+ presenting the musical. And it all has to do with the song “Wait for It.”

In this soulful musical number, Odom Jr. allows us to understand Aaron Burr’s beliefs in letting fate leads his path. Whether it’s winning the heart of a married woman or watching all his loved ones parish, Burr is willing to wait for destiny to reveal why. It also showcases the contrast between Burr and Hamilton. This song changes Burr from History’s villain to a complicated anti-hero.

10) Deku and Bakugo go full Super Sayan in MY HERO ACADEMIA: HEROES RISING

My Hero Academia always delivers great action scenes and they truly shine in their latest round in the cinema.

In his final battle to protect young brother and sister Mahoro (Tomoyo Kurosawa in Japanese, Dani Chambers in English) and Katsuma (Yuka Terasaki in Japanese, Maxey Whitehead in English) from ruthless power-stealer Nine (Yoshio Inoue in Japanese, Johnny Yong Bosch in English), underdog hero-in-training Izuku “Deku” Midoriya (Daiki Yamashita in Japanese, Justin Briner in English) transfers his “One-For-All” power to hotheaded classmate Bakugo (Nobuhiko Okamoto in Japanese, Clifford Chapin in English). The result is an image of the in super powered form resembling Super Sayans.

When Deku reaches 100% power, the film suddenly turns white then stretches into abstract imagery.

Honestly, the main reason I put this on the list is because it’s pure awesome and I’m not afraid to admit it.

9) A Survivor Model from COLLECTIVE

This documentary follows the reporters of Romanian Newspaper Gazeta Sporturilor as their investigation into the Colective Club fire in Bucharest that killed 27 people and left 180 injured exposed vast health care fraud that caused survivors to die in the hospital and would bring down the government. Another key focus is a survivor who was so badly burned she lost most of her fingers. The camera focuses on her as she watches conferences about the fire.

In a standout moment, she models for photo shoots. In this moment, we see a beautiful woman who refuses to allow her disability to stop her, revealing her power.

8) the Wuhan Flu Song from BORAT SUBSEQUENT MOVIEFILM

Many best scenes of 2020 will focus on the bed scene with Tutar and Rudy Gulianni. But I prefer to focus on the scene where Borat (Sacha Baron Cohen) performs the “Wuhan Flu Song” at a Anti-Masker Rally. Not only is it deliciously cringy and hilarious, but It perfectly captures all of Cohen’s strengths as a comedic performer.

As with Borat’s previous cringy yet catchy “Throw the Jew Down the Well, Cohen uses the Borat persona exposes the ugliest side of America. Watching the Qanon conspiracy theorists cheering on Borat (under the guise of Country Steve) singing about injecting Obama with the Coronavirus horrifies while splitting sides. This moment reveals the dangerous consequences of misinformation and conspiracy theorists on society. Plus, the song is shamelessly catchy as hell.

Add the fact that Cohen was nearly attacked during this scene shows how far he’s willing to go to make a point and get a laugh.

7) The Dinner Scene from LET HIM GO

This scene is a perfect example of how you put subtext in a scene. On the surface, It’s just Weboy matriarch Blanche (Lesley Manville) serving porkchops to her daughter in law Lorna’s(Kayli Carter) former parent in laws Margaret (Diane Lane) and George Blackledge (Kevin Costner). But with the context of Margaret and George trying to deliver Lorna and their grandson from her abusive husband, you can feel the hostility in the atmosphere.

It’s a credit to the actors and their ability to hide their aggression under a mask of southern hospitality. It’s especially true for Manville, who brings to life a woman who is a master of hiding her cruelty under a pleasant smile. She may sound welcoming to them, but you can tell something’s off about her. No wonder she’s able to manipulate the police into siding with her. Hell, many audience will be surprised when they find out she’s British in real life.

Lane matches her every step of the way with the most nuanced jabs.

It won’t get as much appreciation due to it’s unassuming nature. But it’s a perfect scene to show how to bring nuance to a performance.

6) The Restaurant Scene from THE INVISIBLE MAN

At first, it seemed Cecilia (Elizabeth Moss) finally has the drop on her sociopathic control freak ex Adrian (Oliver Jackson-Cohen). After days being tormented by him, Cecilia finally has proof of how he turns invisible. Now she goes to a public restaurant to convince her sister Emily (Harriet Dyer). But then a levitating knife appears out of nowhere and slits Emily’s throat before flying into Cecilia’s hands.

Director Leigh Whannell and cinematographer Stefan Duscio do an excellent job using everyday envirnoments to create a sense of unease. Whenever the camera lingers on a kitchen, you search with anxious eyes for any sign of Adrian. In this case, they use the ambience of a crowded fancy restaurant to create a false sense of security. And yet, you can’t help but wonder if Adrian’s still watching them.

It’s in this scene where title character goes from a good villain to a great villain. Here we see what a cunning monster he truly is. The scene also showcases Moss’s terrific performance as her desperate eyes showcase the complete helplessness she feels in this scenario.

5) Edna sheds her skin in RELIC

Rarely do the words “horror” and “heartbreaking” go together, but that describes the ending to this underrated gem.

Kay (Emily Mortimer) returns to her family home to care for her mother Edna (Robyn Nevin), who seems to be suffering from dementia. Now she and her daughter Sam (Bella Heathcote) find themselves trapped in the crawlspace while fleeing a warped Edna, who has been warped by a supernatural force. With contorted joints and decaying flesh, she has become monstrous. At first it seems they have defeated Edna and are heading out the door.

Then Kay looks back to see her mother lying on the ground, struggling to breath. This brings the film into a unexpected turn as Kay carries the creature that used to be her mother to bed. When Kay peels the skin off Edna’s body to reveal a charcoal skinned, dying creature, the film goes from creepy to heartbreaing. Anyone who ever lost a loved one to dementia will recognize to devastating feeling of watching them fade away right in front of your eyes.

4) The one-take action scene in EXTRACTION

Well, we can’t have a best movie moments of 2020 list without mentioning the 10 minute action sequence from Extraction.

As black market mercenary Tyler Rake (Chris Hemsworth) shields the kidnapped son of a drug lord from other mercenaries, his race across a Bangladesh village delivers all you want from an action movie. Fast paced car chase? Check. Semi-automatic gun battles? Check. Hand to hand combat? Check. Parkour across rooftops? You bet. Sometimes you’ll even get people get hit by cars during hand to hand combat. All of this happens while cinematographer Newton Thomas Sigel makes it look like one take.

Sure, sophisticated viewers will recognize there the cuts are hidden. But when director Sam Hargrave is willing to ride on the hood of a car as it races across dirt roads for the sake of a shot, you can’t help but be impressed

3) Opening Bike Ride from THE CLIMB

The film begins with what sees like a regular bike ride. American Mike (Director and Co-Writer Michael Angelo Covino) and Kyle (Co-Writer Kyle Marvin) are racing across the road of a French mountain before Kyle’s wedding. But then Mike reveals he’s slept with Kyle’s fiancé, resulting in the furious Kyle to chase Mike. Unfortunately, they’re both too exhausted to commit to a long chase.

The whole opening sequence could be its own short film. Covino and cinematographer Zach Kuperstein) shoot it all in one unbroken take, allowing the awkward exchange to flow more naturally. It leads to a hilarious moment when Kyle tries to chase Mike, but neither have the energy to keep going. Plus, it summarizes the reoccuring cycle of the film with Mike becoming increasingly self-destructive and a terrible friend and Kyle being nice until pushed too far.

2) The Ending from UNCUT GEMS

After spending two hours in a state of panic, it looks like the audience will finally breath a sigh of relief. After locking his pissed off brother in law Arlo (Eric Bogosian) and his goons Phil (Keith William Richards) and Nico (Tommy Kominik) in the Jewelry store with him, smooth talking jeweler and gambling addict Howard Ratner (Adam Sandler) makes the biggest win of his life via pinpoint accurate predictions of a basketball game. Now he has millions of dollars; way more than enough to pay off his debt. Everything’s coming up Howard. That is until the furious Phil puts a bullet in Howard’s head and proceeds to rob his store.

With all his reckless behaviour (including putting his girlfriend at risk) and overconfidence, you knew at somehow Howard was going to be punished. But when the flilm cuts to scenes of Howard’s family celebrating the game and his girlfriend leaves with the money, you can’t help but know how bad they’re going to feel when they find Howard dead.

Then the camera zooms into Howard’s bullet wound to reveal the same colourful kaliedescope imagery as shown within the title uncut gems. With Daniel Lopatin’s enchanting new wave score playing, this moment gives the audience a moment to finally relax before closing with Gigi D’Agostino’s L’amour Toujours.

In spite of (or because of) his flaws; Howard is himself an uncut gem.

1) The little things inspire Joe from SOUL

Everyone recognizes “The Pixar Moment”; that scene that elevates a Pixar film from great to extraordinary. No one can truly define it, but it’s the one scene from the film everyone talks about. It’s the ten-minute prologue from Up. It’s Anton Ego’s reaction after trying Remy’s dish in Ratatouille. Even a lesser Pixar film can have this moment; a perfect example is when Lighting McQueen allows Ramirez to race in his place in Cars 3. Now we can add another film to the list thanks to Pixar’s latest masterpiece Soul.

After a day of escaping the afterlife and being trapped in the body of a therapy cat, Joe Gardner’s (Jamie Foxx) has finally achieved his dream of being in a Jazz band. And he feels…nothing. So, he heads back to his piano to ponder his direction in life. Then he finds the items 22 (Tina Fey) collected while in his body. What results is a moment fans will be coming back to in their moment of need.

As Joe rests 22’s items in front of his piano and starts playing, he comes to realize how a pizza crust and a seed truly meant to her. In the process, he comes realize the moments that seemed meaningless at first had some magic in them. The joy of playing for his father. The feel of the ocean waves flowing on his feet. The taste of a café’s pie.

In a time when many people can’t do any major activities, this moment serves as a reminder of to appreciate the little things in life. I imagine many audiences will return to this scene in their lowest moments.

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wonderlustxennial · 3 years

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Thoughts on TFATWS Season 1, Episode 3

This shit has gotten ridiculous, so I’ve decided that I’m going to start doing reaction posts, rather than posting 20 individual observations. The following was written after my second viewing.

DISCLAIMER: Some of these are my observations, but others I didn’t notice until my favorite YouTube and Tumblr analysts pointed them out. I’ll try to drop credit where it’s due.

NOTE: There’s something I wish more people were talking about, and it’s down in the Madripoor section. If I’m reading this wrong, I would appreciate getting some help in seeing it. So, if you’re game, please check it out and let me know your thoughts. (#tw:racial bias)

[spoilers below the cut]

Walker Raiding the Flag Smasher Sanctuary

Here we get a further illustration that Walker not a defender; he’s working in the interest of fascists. Also, he’s on an invisible countdown to flip his shit. ALSO-also, dude just told the GRC cops not to give anyone “a second…to breathe.” (Marvel, what are you doing? I am not accustomed to relevance from you.) Did you notice the juxtaposition of Bucky asking the cops, “Don’t you know who he is?” to get the cops to stop harassing Sam, against Walker asking, “Do you know who I am?” while roughing up a refugee for not cooperating with him? Same asshole move, very different contexts. Anytime someone thinks it’s a good idea to say, “Do you know who I/this am/is?” they’ve already lost face.

Zemo in His Cell

Clearly, I’ll have to get better about zooming in on stuff, because this is the first time I’ve seen anyone catch that the book Zemo is reading in his prison cell is about Machiavelli AND Leonardo da Vinci; specifically, about how their friendship and exchange of ideas was highly influential on the future of the world. So, does Zemo think he’s Machiavelli or da Vinci, AND who is his “silent” partner? [I didn’t notice that, until The New Rockstars pointed it out (at 04:00 https://youtu.be/xHXhbw_EGL8) annnnnndddd now I’m going to have to read that fucking book (Fortune Is a River: Leonardo da Vinci & Niccolò Machiavelli’s Magnificent Dream to Change the Course the Florentine History by Roger D. Masters, and the bump in book sales is about to have Masters owing Marvel BIG TIME).]

Zemo Is “Royalty”

And here we have my first problem with this episode. BARONS ARE NOT ROYALTY. They’re nobles—low-ranking aristocracy. But do you know what does check out? Zemo and his butler’s thinly veiled distain at entertaining the two low-born Americans.

On the Plane

Look out, y’all: Satan just took the wheel.

THE NOTEBOOK/S

If Bucky has Steve’s notebook, what happened to the one he had in Romania? In CA:CW, I was stressing throughout that WHOLE fight and chase sequence that followed Bucky running from his apartment; not for his safety, but because I hated how vulnerable it left him to have to run without his notebook. I’m not even kidding. Because Steve picked up that notebook, right? Did he think to take it with him? Surely, an embassy or intelligence service swept Bucky’s living space afterward, so who has it now? THIS is the shit I obsess over. Who has that fucking notebook? WHO??!

TROUBLEMAN

There are at least three different things at play here. First, Sam’s enthusiasm and nostalgia for this relic made me tear up a little. He was so hopeful that Bucky would share Steve’s appreciation this classic piece of socially aware art. Second, we get more evidence that Bucky might be having a harder time adjusting to life as a white man in the 21st Century than we’re led to believe Steve did. Third, we know from Zemo’s interactions with his steward just seconds before that, when he praises Troubleman, what he’s actually doing is virtual signaling to build trust with Sam and put Bucky on the back foot. Fourth, I don’t think Sam knows for sure if Zemo appreciated it as much as it says, but he intuits enough about Zemo’s character to be aggravated at the inference they might have something in common; or, that Zemo might be manipulating him to empty rapport. (RIP, Marvin Gaye. You weren’t done.)

DAS OFFENE NEIN IN DER LIEBI

The New Rockstars win again. (Seriously, I have to start paying closer attention.) A book using mythology to explain the psychology of relationships, just before Zemo namechecks Red Skull. Oh shit, y’all.

ZEMO’S PHILOSOPHY ON SYMBOLS & POWER

The slipperiest thing about Zemo is that nearly everything he says has a kernel of truth; you just have to dig out what his true intentions are. Honestly, this is what makes him…I don’t know that he’s the most dangerous villain in the MCU, but it certainly sets him apart. He’s both educated AND smart (the latter doesn’t necessarily follow the former), and he’s particularly insightful in his ruminations on power and its potential to corrupt both the people who hold it and the people who admire them. Bucky and Sam both loved Steve deeply and believed wholeheartedly in the capacity he served as a defender; however, they have a tendency to over-romanticize both. Multiply that problem by the millions who never personally knew him and, when he’s gone, you get…fake!Cap.

More Relevance from Marvel

I read that Marvel had to do reshoots because a few of the themes in this show hit a little too close to home after the pandemic hit (also because the Black Widow movie was supposed to hit first, but again…global fuckery, so they had to shuffle a few plot points.) But also, refugees? “Displacement” camps? Hoarded resources? You don’t say?

Madripoor

Or “When Murder-Sugardaddy Goes Slumming with His Awkward Sugarbabies and Heinous Fuckery Most Foul Ensues”

AT THE CLUB

THE POWER BROKER. THE POWER BROKER. THE POWER… Soooooooo. Many. Name drops. At this point, I don’t even care to speculate on the identity of the mother-fucking Power Broker. Just surprise me already.

And here’s my (potential) second problem with this episode: The Black bartender doesn’t recognize the Black man he’s presumably seen before.

A CAVEAT TO START: I bartended very briefly in one of my many former lives. I was terrible at it. But here’s what’s relevant for the moment: when you work in the service industry, you meet a lot of fucking people, and you don’t necessarily remember them all. I would work giant events where I would serve 1,000+ people in a night, and people would complain all the time that I was carding them even though I’d served them previously. (1) I live in a state where alcohol is highly controlled, and the ABC Board is zealous about doing stake-outs to catch vendors serving to minors. The ABC Board enforcers would only see me serving someone without having carded them first—not all the times I served them previously. None of these people were EVER worth going to jail for over alcohol. Get your fucking card out—EVERY. GODDAMN. TIME. (2) Dude-man-bro, I’ll have served 1,000+ people by the end of the night. Get your fucking card out, EVERY. GODDAMN. TIME.

I’m not saying this bartender in a rogue nation should’ve carded all of his patrons; I’m only saying that when you work in the service industry, you can sometimes serve someone 20+ times before you finally recognize their face or learn their names, and the process can start all over again if they haven’t come in for a while.

Here’s the real issue with this scene, as I see it: In-group bias is an actual thing. There are disciplines of social psychologists and sociologists who specialize in studying it. We’re supposed to believe that the “Smiling Tiger” person Sam is posing as is well-known enough, both by reputation and in that establishment, that the bartender remembered his favorite drink but not Sam as an imposter? I can believe Selby, a Caucasian-European woman, didn’t recognize him on-sight. [Frankly, Whites can often (regrettably) get away with not making any effort to overcome cross-racial bias.] But what about this bartender not recognizing a notable local criminal’s face when they belong to the same racial group, when we’re led to believe he’s served him many times before? And how did he know Tiger-whatever’s favorite drink if the guy had never been in the club? Are we to infer this guy wasn’t high enough on the local criminal food chain to have merited an introduction to Selby?) Is this a plot hole, or am I reading too much into this? I just wonder, given how much this series has devoted to exploring racial relations.

Sam just saw Bucky the most vulnerable as I think he ever has. For the first time, very little was left to Sam’s imagination as to what it must’ve been like for Bucky and Isaiah to have been exploited. And Sam is so good, he can’t help but jeopardize the mission to check on the friend he can’t acknowledge to himself he’s found in Bucky. (He also has no guile, which is so very Steve of him! I’ve just loved Mackie’s performance this whole show.)

I don’t know what to think about how easily it came to Zemo to objectify and use Bucky, again—even if only to pretend.

Bucky is the MCU character I most identify with, but I don’t care to analyze the way the bar scene made me feel. I will say this much, though: THIS is how badly Bucky wants this whole thing resolved. He subjected himself willingly to the stuff of his nightmares, even if to just to perform in the world’s most dangerous live-action role play. As many people were taking pictures in the bar, it’s pretty safe to say that this charade is going to going to have long-term consequences.

People are talking about Bucky “suddenly losing his super-speed” when they had to hoof it away from the bar like it’s a lapse in characterization, but it’s not. Bucky could’ve taken off and left both Sam and Zemo sucking dirt, but he lagged to stay with them. He didn’t ghost them.

SHARON IS A BLACK-MARKET ART DEALER

Godammit. I despise the practice of the filthy rich removing fine art and cultural artifacts from the public view so they can use them for tax breaks and currency. Way to push my buttons, Marvel! And I’m so sure the National Art Gallery of Art and all other art museums worldwide will I mean WON’T appreciate Marvel calling into question the authenticity of their collections, seeing as museum funding and attendance is already anemic thanks to the pandemic. I know it’s bad priorities on my part, but that’s temporarily preempted how much I should probably sympathize with her after her abandonment.

EDIT: The person who gave Sharon the intelligence will figure she had something to do with his demise just a few hours later. I wonder if that will help/harm her ability to do business. Also: holding the barrel of that assault rifle while it fired off rounds should’ve burned her hand horribly.

ZEMO BREAKS THE INTERNET

Did anyone else think “Sprockets!” when Zemo started dancing??!

NAGEL

This is two references to Langley in one episode. For anyone not aware (especially non-Americans), “Langley” is commonly used to reference Langley, Virginia, which is where the most prominent institution is the U.S. Central Intelligence Agency (C.I.A.) headquarters. Both Hoskins and Nagel name dropped them in the same episode. Shit.

The Sugars Roll Up to Zemo’s Latvian Bolthole

Bucky’s mission just got a helluva lot more complicated. Sam might have bought the “just going for a walk” bit, but I doubt Zemo did. Bucky owes the Wakandans, but he still needs Zemo. Oh, boy.

Wrap-Up

I’m going to keep coming back to how unexpected it’s been to me that Marvel has finally started to course correct, focusing on characterizations and bringing in themes that are relevant to current events. WandaVision’s explorations of Wanda’s mental health and Monica’s forging of her new identity and TFATWS trying to engage with the audience on topics like race, violence, exploitation, and identity is hugely compelling to me. It’s a fucking TV show, but at this point in popular cultural history, I can’t think of anyone/anything else better positioned to address all of this in an entertaining and accessible way.

#entertainment #mcu #tfatws #spoilers

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ayankun · 4 years

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Agents of SHIELD Season 1 Rewatch Update

Ok so I’m having a difficult time remembering what it was that made me hate this show so much (aside from the unforgivable Minecraft reference) and stop watching in Season 1.

Just got through ep 14 and holy cow, I’m honestly not sure whether the storylines for seasons 2, 3, and 4 were planned this far in advance, but if they were then these folks did such an overwhelmingly good job of keeping their eye on the ball.

Best I can figure, I’m having a good time on this attempt thanks to prequel-goggles. I already know where this story is going, who these people will become and what’s going to make them into what they will be, and I can appreciate this older storyline in light of the circumstances it precedes -- rather than for what it is without that context.

(It certainly helps that some of the dumber stuff is already starting to be replaced by the better stuff, like it’s ep 15 and the “night-night gun” was just replaced by the much more palatable “icer,” and they haven’t tried to call the individual dwarves by name for ages now)

Also there’s some pretty good cinematography, the graphics are really respectable, watching this found family slowly realize how much they love each other is sooo charming, and the affectations required of a MCU-spin-off-sci-fi-spy-show are really well balanced with the character drama which is its true heart.

I know ep 1x08 (”The Well”) is six and a half years old so maybe spoiler warnings are not necessarily required but here we go

Remember when Thor 2 came out and then this show had to earn its stripes as co-existing in the MCU so they had to address the fact that aliens ripped up London and the whole world knows about it?

Not being able to afford the likes of Chris Hemsworth was something they obviously had to work around, and plopping in that rando dweeby Asgardian as a twist was definitely one way to do it.

But the real showstopper is that the through-line of the episode is the examination of the similarities and differences of Ward and May, especially once they both come in contact with the Asgardian rage-stick.

Seeing Ward nearly incapacitated by his traumatic childhood memories serves two important purposes. First, it makes some good strides towards humanizing the man, who until now has been that hot-and-cocky kind of character that just expects to appeal to an audience but hasn’t yet earned any appeal whatsoever. By now, we’ve had a reference to his toxic dynamic with his older/younger brothers, and seeing him reliving his experience with the well suddenly opens him up and gives some dimension to that tall-dark-handsome cardboard cutout.

Second, those experiences are a really good twist!! When it’s revealed that he’s not remembering being tortured in a well by his brother, he’s remembering allowing his brother to torture his other brother down a well and not having the guts to do anything about it. It’s a good one-two punch because you weren’t expecting to pity the guy, and now that you’ve spent twenty minutes pitying him for being victimized, you get to grapple with the much more complex emotion of the kid!Ward not knowing how to get out of this lose-lose situation and understanding that his current character must be in some way informed by this regret and guilt.

THIRD, after seeing Ward go through all this and barely hold it together, we get to see how May handles this level of relive-your-worst-trauma-and-incinerate-yourself-with-unbridled-rage when she has to pick up the rage-stick and .... instead of it leaving her on the ground like it’s just done to Ward, she somehow experiences 0.00000% change in personality or capability WhatSoEver.

She not only isn’t affected, she summons all the broken pieces of rage-stick and effortlessly wields the fully formed berzerker staff to defeat the rest of the baddies single-handed. It says so much about her character, about the depths of the trauma that sent her to the place we met her in in the pilot. We still don’t know what happened, but this her “my secret is I’m always angry” moment, and it’s a level of anger has been repeatedly and thoroughly cataloged throughout the episode so far.

It also gives these fools something to bond over. And while I’m seriously disinterested in their weird little Thing that didn’t go anywhere and didn’t really impact much, it was a nice way to avoid progress in the “Skye’s falling for her SO” storyline that I don’t care for either.

But Skye makes her move in this episode! She and Ward dance around the possibility that maybe they’re into each other and they could possibly move from antagonistic strangers to folks who are a little into each other. But he does the gentle thing and turns her down! (without closing the door entirely, I must add) And then he wanders off on his own and ... May’s wandering off on her own ... and they share some micro expressions and then, seriously you guys this sequence is so tasteful and understated, just look:

Ward leaves Skye at the bar with a parting “I’m beat, another time, maybe,” and off her wistful look we cut directly to this chiaroscuro hallway.

Ward enters the frame, starts unlocking his hotel room. He's just another monochrome shape in this monochrome place.

But then there’s May entering the shot at the far end of the hallway, and her motion and his turning to look at her frames her monochrome shape in this nice little white triangle between him and her door.

And there’s a tasty little rack focus that pulls the instant she passes in front of the door, making sure our attention is on her and the little white label of her bottle that really pops in the sea of black.

By this point in time, we’ve been shown, graphically, intimately, a dark shadow in his past, and we’ve been shown the physical and emotional toll its taken on him (an insight provided by the magic alien macguffin, btw). We haven’t been told anything, we experienced his experiences with him via the power of cinema. Her specific trauma is still a mystery at this point, but we’ve been given enough information to understand and appreciate its effects on her character. So not only can we sympathize with Ward now, we can sympathize with his empathy for May in this moment.

She catches him looking.

I mentioned micro expressions and screenshots do not do these performances justice. How does one catch in a single frame the millisecond that an eyebrow ticks in asking a silent question?

Typical for her, May’s answer is also communicated through body language.

From that canted, inviting look, we pan down as she unlocks her door and enters. She passes through the frame and disappears inside, after giving us a reminder that her plans are to apply alcohol to her issues. (Remember that Ward turned down Skye’s invitation at a bar of all places)

Oh, and what has our framing left us to contemplate? Is that a bed I see in there? (Remember that Ward turned down Skye’s invitation) Let me point out that this shot of just the bed after May walks by is on screen by itself for maybe a fraction of a second. Just a suggestion of a thing, really.

Ward contemplates.

I love returning to this shot because it’s literally the same set up, and my instant reaction is that it’s another insert, a POV shot, and I fully expect to return to the single shot on Ward to discover his decision the second he makes it.

INSTEAD. Ward walks immediately into THIS FRAME, too, black-shape-on-white-shape in the same way May was introduced to this scene. And we stay here as he closes the door behind him ...

Letting us know everything we need to know without a single word needing to be spoken.

Another fraction of a frame dwelling on that shot and then immediately fade to black. Credits. Show’s over, folks.

And not that there’s any particular meaning in it, but they were super careful to minimize what colors were allowed to appear in this sequence? Like there’s a particular sort of green in that weird armchair, which sort of matches the green-glass of her bottle. And there’s the red of the fire alarm fixtures which more or less matches the red of his, y’know, fresh facial wounds. EVERYTHING else (other than, I guess, their skin tones) falls somewhere along the white-black spectrum. NICE. BEAUTIFUL. I LIKE IT A LOT.

And the Netflix synopsis for this episode is “In the aftermath of the events chronicled in the feature film Thor: the Dark World, Coulson and the S.H.I.E.L.D. team try to pick up the pieces.” 1) I’m realizing that they literally go around picking up pieces of the rage-stick and that’s hilarious but mostly I mean to say 2) this MCU-tie-in episode could have met the brief being as vapid and non-impactful as that blurb makes it sound. But it took the opportunity to open up its characters for us to see their gooey insides, and hell they picked two of the best characters to dig into for this one, considering Ward’s tragic backstory plays as both a misdirect and actual inciting incident for his betrayal of SHIELD, and May’s tragic backstory feeds a couple of B-plots this season as well as being the major catalyst for a lot what happens in season FOUR. SEASON FOUR, PEOPLE. THE SEEDS ARE WAY BACK HERE IN SEASON ONE.

REMEMBER HOW THESE CHARACTERS WERE INTRODUCED THOUGH?? I DO, I JUST WATCHED THE PILOT LIKE YESTERDAY. WE MEET WARD FULLY ENSCONCED IN HIS GUISE OF SHIELD BADASS SUPERSTAR; HE IS LITERALLY ASKED TO EXPLAIN WHAT SHIELD MEANS TO HIM, AND WE GET TO HEAR THE FIRST OF HIS MANY LIES. WE MEET MAY IN HER OWN PERSONALLY-DESIGNED WHITE-COLLAR HELL, TURNING COULSON’S OFFER DOWN THE SECOND SHE HEARS HIS VOICE BECAUSE SHE’D RATHER STAPLE DOCUMENTS FOR ETERNITY THAN BE OUT IN THE FIELD WHERE SHE CAN MAKE ANOTHER MISTAKE LIKE THE ONE SHE CAN’T FORGIVE HERSELF FOR.

I’ve said it before and I’ll say it again. This show knows how to weave a character-driven story, and it’s done it for six seasons straight, juggling constantly evolving -- grounded, nuanced, impactful -- character arcs with the external factors (Thor: The Dark World, for one) that force certain narrative decisions.

(until they decide to ignore those factors altogether, lol, I’m looking at you, season 5, you wacky maverick you)

#agents of shield #aos #the well #grant ward #melinda may #a long rant about things I love #it's nice to rant about positive things for a change

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cashforrester · 4 years

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rank all the songs on the trolls soundtracks!

Alrighty! Since there's 33 total, I'm going to start at #33 and go up to #1, aka the best song in both Trolls combined soundtracks! Please note that I'm not up to debating any of these placements and if you try, I'll scream -- I'm not an expert on much, but I am on the world of Trolls and that's absolutely final. Also worth noting is that even #33 is a masterpiece; this list really isn't from bad to good, it's more from 'pretty good' to 'absolutely rocked my world and changed it forever more!'.

33. The last place spot goes to "Rainbows, Unicorns, Everything Nice" from Trolls: World Tour! It’s a fun little bop and it got a small chuckle out of me but in the end, it’s super short and a little too obvious.

32. “The Other Side” by SZA and JT has to score low. I know it was used to bookend Trolls: World Tour or at least the instrumentals were, but it’s one of the more boring songs on the soundtrack which is the closest to a criticism of one of these songs I’ll have.

31. “Just Sing”, the non-film version, goes here. I know this seems low and it kind of is, but that’s because outside of the context of the movie, the song doesn’t have the same punch! The movie version will be higher on the list!

30. Next goes to "What U Workin' With?" by Gwen Stefani and Justin Timberlake from Trolls! It wasn’t super utilized in the movie so it’s just kind of a spare song on the soundtracks, even if it is a fun bop! I still dance along when it comes on my playlists but the other songs are more integral to the plot.

29. The next spot goes to "Don't Slack" by Anderson Paak and Justin Timberlake, aka the voices of Prince D and Branch! It’s used in the credits of Trolls: World Tour and they’re cute little credits and a cute little song but because it wasn’t used in a more relevant way, it has to rank lower than the others.

28. "I Fall to Pieces" by Sam Rockell, aka the voice of Hickory from Trolls: World Tour comes next! It’s a short but totally funny country tune that’s used well in the plot and made me smile. It is very short though and more of a joke than anything else, but the music isn’t bad so here we go!

27. "Rock N Roll Rules" by HAIM comes next and it’s a really REALLY good song, don’t get me wrong! I love the instrumentals and how they’re used in Trolls: World Tour and I still wish they’d gotten the lead singer of HAIM to voice Queen Barb instead of Rachel Bloom, but ultimately it just reminds me we didn’t get a great rock vocalist for the most important character in the sequel.

26. "It's All Love" by Andersen Paak has to come next! I love this song actually but there’s two versions on the soundtrack and this is the non-film version so it’s got to score lower than songs actually used in the movies, but holy heck, it’s a really good song, I’d highly recommend it.

25. Another song that’s just used as a joke is "The Sound of Silence" by Anna Kendrick, aka Poppy in Trolls and this ranks higher than the others because it was the first real joke song and it made me laugh so hard I cried!

24. "Barracuda” is the worst of Rachel Bloom’s vocal performances in Trolls: World Tour and I hate to say it, I really do, but at times on this one, you can definitely hear that she isn’t a rock singer. It scores higher than the others so far because it was used in a super plot relevant moment and super effectively! AND the most offensive part of the song to my ears, when she says the titular word horribly, was cut out of the film, so it gets 26th instead of last place for being a song that’s hard for me, the King of Suspension of Disbelief, to take seriously.

23. “They Don’t Know” by Ariana Grande comes next. It’s a fun bubbly song that fits Gristle and Bridget’s first date in Trolls perfectly and it made me really really want a roller-skating date at some point in my life. It gets points off for not being able to understand the words and also because none of the characters actually sang it. Songs in the backgrounds of musicals score lower with me.

22. I have to put “Can’t Stop the Feeling” by Justin Timberlake here. It’s one of my favorite songs ever but the film version is even better! It gets higher than other non-film versions because of how much it was used for advertising, it basically became synonymous with the Trolls franchise and that sparks joy.

21. And on that note, I have to put “True Colors” the non-film version, before we get to our top twenty. It’s such an amazing song but in the scope of the Troll world... well, the film version is going to score way higher, you’ll see.

20. "Trolls 2 Many Hits Mashup" in Trolls: World Tour has to come next. It’s the last joke song, and the highest scorer because at least they committed to the joke of pop music being way too much! The scene in its entirety is hilarious and all the voice actors really did their best!

19. "Leaving Lonesome Flats" from Trolls: World Tour comes next! It loses some major points for not being sung by a character in the movie but it’s basically sung by the location that is Lonesome Flats and I love that! It’s a fun little country dirge that really makes us feel transported and it also slaps.

18. "Crazy Train" is maybe the average of Rachel Bloom’s performance as Barb in Trolls: World Tour. It’s over the top and not necessarily in a good way but it’s inoffensive to the ears and a good song notwithstanding whether it’s a cover.

17. "Trolls Wanna Have Good Times" has to come next which isn’t fair, really; the only reason it’s not higher is because it’s clearly trying to do as well at an opening medley as its predecessor Trolls did with their opening medley. As it often is with sequels, the opening number really didn’t measure up. It was made up of some really fun parts and it gets points for having personalized lyrics (’lived underground away from the world till I had my life changed by a beautiful girl. Just need the guts to tell her that she’s the one’? Amazing!)

16. "Hair Up" from the opening of Trolls comes next! It’s purely sentimental that its this high but every time I hear this beat, it’s like I’m about to start watching Trolls and my whole mind and body get happy so it had to be top twenty, although not fifteen because it’s not the best of the best.

15. "Born to Die" by Kelly Clarkson, aka Delta Dawn, from Trolls: World Tour comes next. My favorite songs from the sequels were the introduction songs for the most part, and this song did a great job of summing up the differences between country trolls and pop trolls. It was great for plot, character, and conflict! It’s just not the kind of music I bop to - ironically, it’s lower than the other introduction songs for me because it’s not fun, which I know is their whole thing, but my whole thing is having fun!

14. "Atomic Dog World Tour Remix" is the funk trolls introduction song in Trolls: World Tour and it’s funky and fun and fresh and I love it! There’s not that much to say about this one, it’s used pretty quickly but very effectively from a storytelling standpoint! It quickly puts us into the world of the funk trolls.

13. "One More Time" is a very nearly perfect introduction song for the techno trolls in Trolls: World Tour! I love how the emphasis of this song is the instrumentals and the dancing more than the actual words -- the techno trolls are big on synchronicity and beats and it’s something that differentiates them from the other kinds of trolls and also makes them a devastating first colony to attack in the movie. They’re all about unity and togetherness and something about attacking and tearing apart the group that’s all about syncing up is so tragic.

12. “Rock You Like a Hurricane” is the best Bloom sounds in the movie as Barb, and it’s also her introduction song, not surprisingly. The instrumentals are amazing both as a display of talent and power and her voice lends itself well to the moment; it’s a great opener for the rock trolls and it made me so excited to see more from them!

11. “Perfect for Me” is Trolls: World Tour’s answer to the excellence that was the True Colors duet and it was really cute! It wasn’t quite as perfect for the moment as True Colors was, which is funny because this one was written for the movie but I don’t know, since it was written for the movie, I’d have hoped it’d be better? More fitting? It’s a fine enough song that sometimes I listen to sadly while lying down in my bed but in the Trollverse, it’s not top ten material.

10. “September” comes next! It’s the song that the Trolls start singing as soon as they escape the Bergins and it’s their celebration song and I love it for that! It’s also used in the credits of the first movie which makes me love it more; I don’t know, it’s performed and sung really well and makes me really happy. The top ten all spark MASSING amounts of joy.

9. “It’s All Love (History of Funk)” is one of the best songs in the sequel! I love the way the funk trolls go through the history of funk and music, and the beats are amazing and the lyrics are so good and the movie’s scene is SO GOOD. I can’t articulate how much I love that the funk trolls show their history through album covers instead of scrapbooks like the pop trolls. All the vocalists are crazy talented and something about the beat just...yes. It’s just a yes.

8. “Yodel Beat”! It scores surprisingly high if you haven’t seen Trolls: World Tour but if you HAVE seen it, you’ll understand why! It’s one of the best songs for musically punctuating a moment that the entire franchise has and I still get goosebumps thinking about how that scene was executed and how this song played such a massive role in it. Big fan, big fan!

7. "I'm Coming Out" / "Mo' Money Mo' Problems" is just hilarious! I love this scene in Trolls, as it’s the first example we have that Trolls and Bergins can work together, as well as the fact that Bergins can be happy without eating trolls, since Bridget is so confident and awesome! I also give lots of points to mashups and medleys and this was an unexpected one that just worked!

6. "Just Sing (Trolls World Tour)" is the best song in the sequel, hands down! When all the leaders of the different troll counties sing together? It’s amazing, every single time! It’s so meaningful, the fact that music is the most important thing in all of their lives and how it’s what ultimately unites them. I shed a tear every time, honestly. I’m tearing up thinking about it right now.

5. "Hello" in Trolls is performed EXPERTLY by Zooey Deschanel. Did anyone know she was that funny? Because holy carp! She’s hilarious! I love this song and scene, it was one of the first scenes in Trolls that made me realize this movie was on a whole other level! It had to be top five!

4. "Get Back Up Again" by Anna Kendrick aka Poppy has to be a high scorer! It’s an original for the movie and it’s so damn good! It’s optimistic and encouraging and I love it for the movie and the character but I also love to listen to it when I need some help getting up or feeling like it’s going to be a good day. I will get back up again! It’s a great philosophy and a fantastic reminder that life can knock you down but that you’ll be good!

3. Top three times! The best medley in the movie has to be here, and that’s "Move Your Feet" / "D.A.N.C.E." / "It's a Sunshine Day"! It’s our introduction to the Pop trolls in the first movie and it’s crafted so good! I love it! No matter how many times I listen to it, it makes me so so happy the way the songs flow together. Any world where these songs exist and fit together as well as they do is a world I want to be sucked into for at least the next two hours of my life.

2. THE FILM VERSION OF “TRUE COLORS”! Is my number two pick! It has to be! It’s so impactful and emotional and romantic and if I ever get somebody to want to marry me, an instrumental cover of this has to be our first dance song, I’m sorry. It’s so beautiful! And the film version somehow makes an amazing song even better! WHEN THE TROLLS HUG TIME WATCHES CHIME OFF IN THE TUNE OF THE SONG?! AS THEY FACE THEIR IMPENDING DOOM?! IT’S AMAZING, SHOWSTOPPING, LEGENDARY, ICONIC. I’m getting sweaty just thinking about it!

1. If you know me, you knew “Can’t Stop the Feeling”, the film version, was gonna be number one! The buildup to that moment in the movie is cinematic perfection, the performance is dazzling, and the feeling it leaves in you is unforgettable. It’s the song that’s played when the trolls teach the Bergins that you don’t need to eat other sentient species to be happy, you just need to find the magic and music inside of you, and it’s a lesson I learned while watching -- this movie and this song unlocked a power inside of me to smile and be happy with just myself and it’s absolutely... it’s just everything. It’s everything and I love it and I love you, whoever you are, who sent me this ask, because getting to think about and go through all the songs in Trolls that I love, it was awesome.

honesty hour!

#answered #Anonymous

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greenhatsinthesky · 4 years

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lockdown film no. 24 - Heavenly Creatures (1994) dir. Peter Jackson

15/04/2020

this had been recommended by one of my lecturers and its on basically every wlw film list so it was an important one

- the opening was amazing fuck the editing of them running and then the black and white section ? art. Like imagine going to see it and not knowing what it was about and thinking you were in for a nice film about new zealand but nOPE here’s some girls screaming covered in blood

- ok why do new students always arrive in the middle of lessons and not, you know, at the start of the school day

- also Antoinette is the most extra name for anyone to choose and while its hilarious its also a great way of establishing Juliet’s character

- the fact that Kate Winslet played this role three years before being rose in titanic is just too much to comprehend honestly

- the camerawork in the first montage sequence when they’re first getting to be friends is so dizzying and fast and feels like it mirrors them falling into this relationship with each other

- the extremes of their behaviour going from nearly getting hit by a car to running round a forest in their underwear and kissing is so interesting

- also the idea that you have this thing that you both obsess over (in this case its the world’s greatest tenor) and you build shrines for this person and sing their songs all the time and your friendship was essentially built on this person and then one day you realise you’re more obsessed with your friend than you are the person

- the physicality of their relationship feels really important as well - it’s like they’re getting to understand their bodies and how they want to relate to themselves and each other and it use happens that they’re so similar that they want to do the same things like be physically close and kiss and run through the aforementioned forest in their underwear. It feels like one of those important films that

- the scene where they first go into the fourth world was fucking wild, the effects are pretty good and its so dreamlike. Goddamn this film and its creativity blowing my mind

- “it would be wonderful if I could get tuberculosis too” ok hun

- i don’t think I liked juliet’s parents - her dad seemed like a bit of a dick and while her mum was nice to pauline and brushed her hair they did both leave her for four months while she was basically dying

- their alter egos were crazy interesting because when you have someone else you can be in relation to another real person you can say exactly how you feel under the guise of someone else

- i wanted the creepy priest in the hospital to fuck off and thankfully a huge clay man executed him so that was good

- i really appreciated how the filmmakers went all in on pauline and Juliet’s physical relationship and it wasn’t necessarily sex but every time they hugged it was like they’d never see each other again and they kissed like a couple would but no one made anything of it cos gal pals you know

- john was creepy as fuck and the scene where he got in bed with her because he was cold was severely uncomfortable

- small detail, but when Paul’s mum slapped her after John left it was really well done because she didn’t reposition herself to slap her she just went straight from where her hand was before so it felt very natural and legit

- the clay people were unnerving on many levels but especially because their mouths were only about half a centimetre deep and from then they were solid clay

- the montage editing between the real people and the clay people was stunning

- unwholesome/intense/wayward = gay

- the colours when pauline and Juliet were together were gorgeous. Bonus for when they were in bed together and everything was pink and purple

- of course they have baths together

- the bit where they enact how all the saints would make love was really interesting from an editing standpoint because there were all the clay people which was really stressful and then it was the two of them without any clothes being really gentle and stuff which was really soft. Then juxtapose that with the next two scenes, the first one being Paul suggesting that they kill her mum and then them burning a load of vinyls. But then I guess that’s one of the key things of their characters in this film, is them going from two extremes basically out of nowhere

- it was really strange to hear a child describing a murder as a “happy event”

- structurally it was really cool because the second scene is the aftermath of them committing murder so you know its not gonna be a happy film and it’s well established that Paul doesn’t have a good relationship with her mum so there’s no pretence about that aspect of it. The more important storyline is the two girls’ relationship and how they feel about each other and themselves and then what they do as a result of that is the point of why people watch the film now but it’s not

- there was a really interesting bit where Paul encourages her mum to have a scone with jam and cream just before they go down the hill to kill her. Initially the mum says she’s watching her figure and says no but Paul says “go on, mum. Treat yourself” and its so layered with hatred for her but also wanting her to enjoy a scone before she is brutally murdered and there’s just a lot going on

- my god the murder scene was fucking awful. Splicing it with Juliet on a boat in black and white and Paul saying goodbye on land was a really cool choice and allowed for a bit emotional turmoil so that was good

- the end credits were a strong choice because knowing what happened after they did the murder is important for the context of the whole thing (obviously). So knowing that they went to prison (shocker), then they left prison and went to live in places (they were too young for the death penalty) BUT the crucial thing is that a condition of them being out of prison is that they could never have any contact with each other again. Obviously this is a fictional portrayal but seeing their relationship and then knowing they could never see each other again is pretty crazy

- i have no idea if this made any sense im rambling

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spaceorphan18 · 5 years

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Marvel Movie Night: Spider-Man

Kicking off Sam Raimi’s original Spider-Man trilogy! Whoo! It’s interesting - Spider-Man was one of those things that I wasn’t initially into (totally here for the X-Men). Then I really fell in love with this trilogy. And then kind of fell out of love with it. And then Tom Holland came along leaving this in the dust. Coming back to it again I find it… endearing? But like the original X-Men films, despite being thought of as great for the time, I don’t believe it holds up that well now that we’re nearly twenty years later. (My god, am I getting old?)

Let’s back up and talk about this film in context for a second. X-Men was revolutionary in its own way - bringing the comic book genre into a space that could be taken more seriously. Spider-Man, however, was the first glimpse of what films based on Marvel properties would later become. Unlike superhero and action films of the time, it was brightly colored. It was cheesy, but not overly campy. It had humor and emotion. And, not surprisingly, audiences reacted positively!

But now that we’ve had twenty more years of Marvel films, does it hold up? Kind of? Is it a good Spider-Man film, yes if the context you’d like your Spider-Man films to be in is taking directly from the Silver and Bronze age era of comics. Is it a good film overall? Meh.

I don’t spend a whole lot of time in Spider-Man related fandoms, but there is a big chunk of fans that prefer this film and its sequels to the other two Spider-Man franchises. And while I don’t agree (though I support everyone having their own, varied opinion), I can see why this might appeal to those fans who had been reading the comics for years.

The first half of this film is directly lifted out of Amazing Fantasy #15, the comic issue Spider-Man made his debut in. The filmmakers did, really, a fantastic job of bringing it to life -- the origin story, Uncle Ben, the ‘great power’ line, Peter Parker’s guilt, the spider-bite, and so on and so on. It’s there. This film feels like a Silver Age comic book brought to life. On the one hand - that’s pretty remarkable. I don’t think the comics had ever been directly referenced in the same way prior to this. On the other, it brings along with it all the downsides of a Silver Age comic. The dialogue is incredibly stiff. The acting feels forced. And everything has that -- ‘ah, golly shucks’ mentality about it. It felt dated in 2002. It feels even more dated now. But the novelty of it being THE COMIC BOOK was pretty revolutionary for the time.

Peter Parker/Spider-Man

Of course there are hundreds of polls out there, and I’m sure a few dozen YouTube videos about who the best Spider-Man is. Honestly, there’s a lot of subjectivity that goes along with it. I think each of them has their pros and cons, so let’s take a second to talk about Tobey Maguire in this film. One thing I think Tobey Maguire does really well, especially for being nearly thirty by the time he got the part, is play the nerdy and awkward Peter Parker… or at least at least the nerdy and awkward Peter Parker that was written in the 60s by Stan Lee. Maguire does a great job of doing the part he’s supposed to be playing - the problem is, and I feel this way about all the characters, is that he doesn’t feel like he’s playing a real person. He feels like he’s a comic book character thought up during the 60s.

What about the Spider-Man side of things? I’m going to give this a pass more than I probably should. First of all, Spider-Man is supposed to be rather chatting, and this Spider-Man is near silent. But that’s more so due to the lack of ability with the suit. And I don’t blame the filmmakers for keeping Spider-Man off the screen for so much of the film. Not only does it make those times Spider-Man is there feel more special, but it saves them from having to do a lot of things that, maybe, didn’t the technology wasn’t fully ready for yet.

Look - I think while it was definitely moving in the right direction, the action sequences in this film are probably some of its weakest points. Everything is incredibly stiff and/or ridiculous looking. Sure, there are some great moments of Spider-Man swinging around the city. But most of the stuff between he and the Green Goblin have not aged well at all.

One last thing - the organic webshooters? Nope. Nope, nope, nope. Ew.

Aunt May, Uncle Ben, and Great Responsibility

So - Aunt May (and Uncle Ben) in the comics are older. It’s… kinda unrealistic, unless Peter’s parents were much, much older when they had a kid. Uncle Ben says in this film that he’s 68. That’s grandparent age -- and I’d believe this whole thing much more if they were Peter’s great Aunt and Uncle. That said, Cliff Robertson and Rosemary Harris were perfect choices for their roles. Robertson especially plays the closest to an actual person as he grumbles about unemployment and new technology he’s having trouble with. But more so, he does such a great job with his Great Responsibility line, that there’s really no reason for other Spider-Man films to do it. It’s in the culture now. We get it. Meanwhile, Harris’s Aunt May, well, looks exactly like Aunt May. Aunt May, in general, kind of annoys me, so I suppose we’ll leave it that.

The Osborns and the Green Goblin

First, James Franco as Harry Osborn. There really isn’t a whole lot to this character - it feels like he’s talked about more than actually on screen, and I feel like we don’t get to see that much of Peter and Harry’s relationship. That said, Franco does brooding rather well - and is pretty consistent at keeping the brooding up throughout the film. He’s fine, but sometimes feels like he’s there because the movie wants him to be in it.

Willem Dafoe is Norman Osborn, and here’s my thing. Dafoe is a pretty good actor. He does the whole split-personality thing rather well, and makes an incredibly convincing villain, especially when everything about the Green Goblin is, well, incredibly contrived. Really, I think the Oscorp stuff is the dumbest stuff in this film because it strictly adheres to comic book logic. And while I also understand there were obvious limitations and complications making such a ridiculous suit, that Green Goblin costume is terrible. Dafoe was much more menacing without it on.

Mary Jane Watson

**sigh** Okay. Let me start by saying that I like MJ in the comics, even though, yeah, this is a pretty good representation of her (or more so the kind of character she was forty years ago) here. I don’t even mind Kirstin Dunst. This version of MJ bugs me though. Part of it is the story framing. Everything’s from Peter’s POV, and it doesn’t make any sense. What is it about her, besides the fact that she’s pretty, does he even like? They never actually spend time together - and when they do, Peter’s giving her soliloquy about how wonderful she is. The problem is that we’re never really given a reason, other than pretty, to understand why. Do they have anything in common? Not really. Do they make a connection beyond his constant saving her from bad situations - whether it be emotional or physical? Not really.

Everything about their scenes is just over-the-top a majority of the time. Like -- this is a big sweeping romance, hear the music? See the close-ups? Add tears, more tears! But I never buy an actual connection between the two of them.

The one thing that does actual work, and I will give them a ton of credit for, is that upside down kiss in the rain. That’s pretty damn iconic. And kinda hot. It’s the only time that the movie allows the romance to do something other than follow the tired tropes of boy-likes-girl, boy-rescues-girl, boy-gets-girl. Ug.

J Jonah Jameson and the Daily Bugle

JK Simmons and the Daily Bugle is hands down the best thing about this film. It’s witty and almost satirical with everything looking straight out of the 60s comic book. It gets the humor that the comics often has and runs with it. I have no complaints, it’s really, truly amazing. And I have to wonder if this entire film would work better if it had taken place during the 60s and was a tad more on the satirical side. I feel like the world would have made just a little more sense.

Final Rating: 3 out of 5 Spiderwebs. I think this film is a great embodiment for what Spider-Man meant to a whole group of people who grew up with the character. As a film, I think it’s standard issue, and besides letting comic book movies be brightly colored and fun, I don’t think it does anything special with the story it’s telling. And much like the original X-Men film, while I’ll give it credit for being special for the time it came out, I don’t think it holds up now.

Next Up: Oy, I’m gonna have to watch that Ben Affleck Daredevil film now. :P

#marvel movie nights #spider-man

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surreality51 · 6 years

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Guardian Meta: Love Song Edition

Can we talk about how the Guardian end credits song and the promo song are essentially love songs?

Disclaimer: In the great tradition of Western writers who think their opinion about things they have limited direct knowledge of matters, I’m about to screech about traditional Chinese views of love even though I am not from China nor do I know anyone who has lived in China past the age of 6. Everything I know about the matter comes from my Taiwan-born mother, whose relationship advice could be summed up as “never depend on a man.” You can guess what her love life has been like.

I’ve been listening to “Time Flight” and “Just Cared Too Much,” the promo song and end credits song from the Guardian drama respectively, on repeat lately and I just can’t get over how achingly romantic these two songs are. The opening theme song, “We Won’t Be Falling,” captures the can-do spirit of the SID team and the socialist brotherhood/power alliance between Zhao Yunlan and Shen Wei that everyone associated with Guardian insists the show is really about, but the closing theme song and promo song will forever be the true songs for Shen Wei and Zhao Yunlan to me and no one can convince me otherwise.

Just. look. at. these. fucking. lyrics:

*incoherent screeching*

It also doesn’t help that the official music video for “Time Flight/Flying Across Time” is nearly indistinguishable from the thousands of Weilan fanvids out there.

I mean, the first shot of Zhao Yunlan and Shen Wei has them framed with wedding decorations. The video editors were...not subtle.

In an attempt to organize my thoughts around this topic, I’m going to take a step back and look at how the song lyrics reflect a traditional Chinese approach to love and why it’s impossible to interpret the songs as anything other than love songs (unless you’re a Chinese censor, in which case, yes, these songs are totally about platonic friendship).

Stereotypical Eastern vs Western Approaches to Love

Let’s face it, the stereotypical Chinese approach to love is practical nearly to the point of being mercenary. The first question any parent asks when presented with an offspring’s potential suitor is, “What’s his job? What are his prospects? What do his parents do?” In other words, who gives a fuck about things like personality or compatibility or feelings. Romance doesn’t put food on the table.

The concept of falling in love with someone and choosing your own partner is relatively new in Chinese culture and maybe imported from the West (someone back me up/correct me here, I’m too lazy to Google this). According to family lore, my great grandmother and her generation (born 1890s Fujian province, married 1910s) followed traditional practices around dowry and matchmaking, where essentially your parents pick your partner based on family relationships and social standing within the community. You get limited say in the matter.

Western ideals around love, attraction, passion, compatibility, personality, courtship, and romance were traditionally not factors in a relationship, at least in the beginning. Instead, traditional Chinese ideals value steadfastness, stability, loyalty, partnership, duty, responsibility, and a love that grows over time. Whereas Western depictions of love in modern media often focus on explosive passion, magnetic attraction, wild declarations, daring courage, individual charisma, finding that spark, and, in more modern relationships, choosing someone who fulfills your personal/emotional needs or as an avenue for self-actualization, love in traditional Chinese culture is steady, humble, something that grows out of mutual striving, something that takes root deeply and quietly through the day to day, like two trees slowly growing together until they are entwined.

In the Guardian web novel, Zhao Yunlan’s father expresses the traditional view of love during his discussion with Zhao Yunlan about his relationship with Shen Wei:

“Perhaps one day, when your hormonal levels are back to normal, you will regret this decision.” Zhao’s father maintains a calm and stately tone, relaxing and not at all intimidating. It’s much easier to persuade someone this way; he says, “Passion is attractive; I’ve been young. I know that feeling. But I don’t agree with difficult love, do you know why?”

[…]

“Love is strong yet frail; perhaps in the face of adversity, it can rise up with great power, transcending into a sort of exemplary ardour, and that is why it’s been praised since ancient times. But you have to remember the saying: ‘It isn’t the mountain ahead that wears you out; it is the grain of sand in your shoe’.”

[…]

“Difficult love can be overcome with perseverance and grit. But love has to subside eventually, have you thought of that?”

—excerpt from chapter 74, RainbowSe7en translation

Again, modern Chinese relationships are very different, where the feelings of the two people involved often do outweigh the views of the family, and relationships are viewed more as individual choices made for personal reasons rather than collective decisions made for the well-being of the whole family. As Zhao Yunlan expresses, the modern view of love is intimate and personal:

“Dad, I know what you mean, but there is always someone in your life, it’s not because of attraction, allure, obsession, or mere lust; it’s if you don’t treat this person right, then you’d feel like a worthless prick.”

—excerpt from chapter 74, RainbowSe7en translation

But my point is that love in Chinese tradition stems from a different perspective. It’s a perspective that views feelings as fleeting, romance as a luxury. It values durability over passion. True love is something that can withstand separation, hardship, and the long march of time. It is built on a foundation of duty to one another, responsibility, patience, loyalty, sacrifice, and a depth of feeling that does not necessarily need to be showy or even stated aloud, but that can be felt intensely in one’s heart and seen in one’s actions.

Themes in Guardian Theme Songs

Given this perspective on love, it’s a no-brainer that Guardian’s theme songs are love songs, but let’s dive into the lyrics anyways.

Note: all lyric translations are based on the Orange Biscuit Subs translation.

Separation

Chinese folktales and mythology is littered with stories of tragic love and separation. It seems like the more tragic the love story, the more popular it is, and parents loooooooove to tell these tales to their kids. (WTF, China? No wonder Chinese dramas are so overdramatic.) One story that my family liked to tell for the Mid-Autumn Festival is the story of Hou Yi and Chang’e. We would stand outside in the backyard and look up at the harvest moon, and my mother would tell us the tale of how Chang’e sacrificed herself by swallowing the pill of immortality and floated up to the moon, where she lives forever alone, yearning for her husband Hou Yi on earth.

Another very well-known tale is the story of the cowherd and the weaver girl. Per Wikipedia:

The tale of the cowherd and the weaver girl is a love story between Zhinü (織女; the weaver girl, symbolizing the star Vega) and Niulang (牛郎; the cowherd, symbolizing the star Altair).[3] Their love was not allowed, thus they were banished to opposite sides of the Silver River (symbolizing the Milky Way).[3][4] Once a year, on the 7th day of the 7th lunar month, a flock of magpies would form a bridge to reunite the lovers for one day.[3]

Yep, separated lovers get to be together for one whole day of the year. This is peak Chinese RomanceTM.

Given this cultural context, the ending of Guardian, with its brief reunion and the promise between Shen Wei and Zhao Yunlan to meet again in another life, is considered not only tragic, but could potentially be read as extremely romantic:

Their mutual pact to one day meet again echoes the themes of separation and reunion that form the backbone of so many Chinese love stories:

Then there’s the fact that “Time Flight” is playing in the background of this whole scene, which very unsubtly shows that the song is specifically written about the drama ending and about Shen Wei and Zhao Yunlan. I mean, there’s dialogue in the scene that matches the lyrics for chrissakes:

Steadfastness, stability, loyalty, resoluteness

Related to the theme of separation, another favorite trope of Chinese romance is the steadfast lover who awaits news of her beloved (it’s usually the woman who does the waiting while the man rides off to war or whatnot) without losing hope. The chorus from “Time Flight” includes this concept of waiting for news while keeping the faith, but what’s really interesting to me is how things shift from the first chorus to the third.

In the first chorus (above), it’s Bai Yu singing the lines. In the second chorus, Bai Yu and Zhu Yilong share them. In the third closing chorus, they share the chorus again, but the lyrics change slightly:

We know that repetition and variation are significant in poetry and lyrics, so we need to pay attention to how this change affects the meaning of the song. I’d quibble with the translation just a bit, because there’s a difference between “deng yi ge xiao xi” vs “deng ni de xiao xi.” The former uses “yi ge,” which is generalized, i.e. “I’ve been here waiting for news.” The “from you” is implied but not stated explicitly. But in the third chorus, the lyrics change to “ni de,” which is explicit, i.e. “I’m waiting for your news.” It’s a lovely shift that makes a common romantic trope even more specific and personal.

The final line is also a shift, taking the last line of the chorus and changing it from “flying together” (yi qi = together / fei xing = flying) to “I remain in the same place.”

Those last few words deserve some unpacking, since video subtitles can’t fully capture all the context and implied meanings of such a dense language as Chinese. “Yuan di” is not just “same place,” but also “original place,” or “where I’ve been all along.” There are multiple ways to read this, from “Across time, I have remained in this spot unmoving, waiting for you,” which speaks to those themes of loyalty, hope, and steadfastness. Or “Across time, I have not gone anywhere, so you can always find me here,” which speaks to themes of hope for your loved one’s return and optimism about reuniting.

However you want to read that last line, you can’t ignore how it plays into the romantic trope of keeping the faith for your beloved and awaiting their return.

Words Unsaid

I didn’t notice until I started writing this giant brain dump of an essay that the first word here is “zao,” meaning “early.” So that chorus line could be interpreted as “Knowing from the start that we would be separated.” I just….can’t with these lyrics.

Anyways, we know that what’s left unsaid is often more powerful than what’s been said aloud, and you can see it in these lyrics here. Zhao Yunlan and Shen Wei never say “I love you,” but it’s implied in all of their actions and looks, and it’s one of the primary plot drivers of the ending of the Guardian drama. As @riceworkshop discussed in this fascinating meta on Dreamwidth, it’s the selfishness of that love and Shen Wei’s choice to essentially use his life force to heal Zhao Yunlan’s eyes—putting the individual before the whole, his feelings and needs before duty—that cripples him and leaves him an unequal match to Ye Zun. But their love remains unspoken, largely due to Chinese censorship but also partially due to the whole “two people from different worlds/this can only end in tragedy” thing.

In the novel, Shen Wei knows explicitly from the beginning that anything between them can’t last and will only lead to ruin. In the drama the situation is different, but he no doubt senses that their time is limited, given the clues about Ye Zun’s coming and the fact that he already lost Kunlun/Zhao Yunlan once. When it comes down to it, “Just Cared Too Much” is literally the crux of Shen Wei’s problem.

(It’s Zhao Yunlan’s problem too, because if he weren’t so in love with Shen Wei, then he wouldn’t have gone back in time and looked at young Shen Wei like this:

And like this:

And said things like this:

Which caused young Shen Wei to fall madly in love with him.)

In Conclusion

In conclusion, China loves tragic romance and keeping soulmates apart for shits and giggles, Guardian’s theme songs are love songs, and I have spent way too much time thinking about Zhao Yunlan and Shen Wei’s stupid faces.

#guardian meta #guardian tv #lyric analysis #ow my heart #weilan #shen wei #zhao yunlan #this is why I keep crying over Guardian

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