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appleflavoredkitkats · 4 years ago

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Analysis of the “Fundy’s Mind” Stream: A Showcase of Repressed Memories and Repressed Insecurities

i. INTRODUCTION

Hi! This is going to be… something. Funny how I focus on this rather than my research homework, but I have a MASSIVE Fundy brain rot right now and I’d love to share my thoughts on Fundy’s newest stream. Fair warning, I am not the Messiah, so don’t take everything as fact. I’m open to constructive and objective discussions in replies or in DM’s, so feel free to hmu!

All of this is /dsmp and /rp by the way!

Heavy trigger warnings for derealization, parental neglect, neglect in general, self-deprecation, self-neglect, low self-esteem, death, manipulation, abandonment, loneliness, trust issues, torture mention, blood mention, and broken friendships.

Word Count: Approximately 10k.

ii. PRE-LIVESTREAM ASPECTS

Before we begin deep diving into the mind of Fundy, I do want to emphasize two major themes of this stream: 1.) Fundy’s insecurities, especially when it comes to abandonment and trust, and 2.) Fundy’s future predicting abilities. A ton (but not all) of statements uttered by the books and Fundy himself tend to have double meanings that apply to both of these themes.

We can further discuss the future predicting powers later, but to give a little background on Fundy’s insecurities: Fundy is notorious for heavily depending his self-worth on the recognition other people give him. Despite his immaturity, a lot of Fundy’s character is rooted in being heavily underestimated. This could be observed during the Pet Wars when his safety was constantly being threatened by Sapnap, inevitably making him lose a duel against him. Another way we can see this is through Wilbur’s early treatment of Fundy where he constantly infantilized him because Wilbur believed Fundy was a child incapable of being independent. This caused Fundy to appeal a lot to any type of compliment from any person- it began with Quackity ensuring him that he will gift him a lot of cookies if he votes SWAG2020, then to Schlatt complimenting him to the point that Fundy almost gave up on spying and siding with Pogtopia, then to the Butcher Army where he unhesitantly followed Tubbo and Quackity’s lead no matter how many times they made fun of him. While he revels in any type of recognition given, oftentimes, those who seem to care for Fundy tend to leave after he grows attached to them; first with Wilbur, then Niki, then Schlatt, then Eret and Phil, then Tubbo, Ranboo, and Quackity. In the Dream SMP, Fundy is very lonely and has dealt with abandonment issues left and right, but typically, he never does anything with his loneliness, as the last time he lashed out against someone who left him, nothing positive really came out of it (this is when he got mad at Ghostbur).

(Everything else is under the cut! I worked so hard on this, so please read it if you can, it’d mean a lot!)

So, with all that laid out, I want you to keep this all in mind as it is important for understanding why Fundy feels the way he does in the stream.

Now, let’s begin the analysis. First off, I believe it is important to denote the title and the tags of the stream. The stream is titled “Fundy’s Mind”, so we have to denote that this isn’t merely a dream sequence- the stream is meant to explore the complexity of Fundy’s mind. This includes his thoughts, insecurities, repressed memories, and so on and so forth. Additionally, the stream is tagged “Permadeath”, something different from what Fundy typically tags his streams. There is no clear explanation as to what this could mean, but the possibilities are:

It is hinting that the death system in the Dream SMP could be rigged, and someone is messing with the semantics of death and how it works.

It is hinting that someone will face a permanent death, and most fingers are pointed at Fundy as this is his stream. If not a permanent death, he might at least lose one of his canon lives which was hinted later on in the stream (will discuss later).

It is hinting that he was killed by the end of the dream. Not really a solid theory as we don’t actually know the repercussions of killing someone who is actively dreaming, but it is a possibility.

iii. PROLOGUE

A thing to question at the beginning of the stream is if the entire introduction was part of the dream or not. Seeing how Fundy has the same inventory from this to the next scene, it is plausible, but I don’t think it provides anything if it were a dream.

Anyway, other things to denote are Fundy’s hotbar! First noticeable thing would be the 38 baked potatoes. The website angelnumber.org explains that 38 means:

“The combination of these two numbers makes the number 38 a number which signifies joy and optimism, courage, finding creative ways to materialize abundance, reality, etc.

The essence of the number 38 in numerology are different kind of relationships, such as romantic ones, business partnerships, teamwork, cooperation, diplomacy, etc.

Number 38 people have a talent for dealing with people in a caring and creative way. They are born team-workers. They need interaction with other people to fully enjoy their lives. They are usually optimistic and have a gift of inspiring others to action.”

So far, the number 38 is viewed to be positive. It signifies financial success and cooperativeness, which is interesting if Fundy’s future arc potentially ties to working with Quackity. To further add onto symbolisms regarding success, dreamastromeanings.com says the following:

“If you dreamed of baking or roasting potatoes, that dream is a good sign. It usually indicates your finances increasing over time.

Possibly you have made some investments and now you are beginning to reap the fruits of your efforts and risky activities.”

or,

“If you dreamed of holding a potato in your hand, that dream is a bit of a warning. You might soon receive some lucrative opportunity, possibly work related.

It is advisable to think fast and accept it because you might not get a second chance.

It could also indicate that you are a bit lazy when it comes to taking chances and missing opportunities because of that.”

Both explanations refer to business opportunities and possible investments. If we combine both the explanation for the number 38 and carrying potatoes, we can assume that Fundy will be receiving a business opportunity that would be too good to miss. These explanations also imply that nothing too negative would occur, but instead, Fundy can achieve success through this business opportunity. The only arcs in the Dream SMP which I think could provide a business opportunity would either be 1.) a new warden at the prison, 2.) new member at Snowchester (low odds), but the most likely occurrence would be 3.) Quackity offers him a position at Las Nevadas. With the Quackity smiley face at the end of Fundy’s stream, we can safely believe that the job opportunity at Las Nevadas would be the most likely occurrence.

Another explanation for this is that because the 38 potatoes were brought from the seemingly real world, it could possibly pertain to something that had already happened in the past. This could possibly allude to L’Manberg, especially when the explanations behind 38 potatoes are presented to be more positive, something the current Las Nevadas arc isn’t.

Second thing to notice about the hotbar: Fundy is currently at level 5, with his EXP bar 1/18 filled. To reach level 5, one has to gain 55 EXP, and to reach level 6, one would need to gain an extra 17 EXP. If the bar is merely 1/18 filled, 1/18 of 17 would be 0.94, which when rounded off, is 1. Add 1 to the extra 55, and we would approximately get 56 EXP. The website angelnumber.org says the following:

“The number 56 symbolizes teamwork, coexistence, family, relationships, adventure and expression of freedom.

Number 56 people have diverse interests, some of which they have an in-depth knowledge of and some just general understanding.

They try different approaches in relationships, trying to keep them alive. If everything they’ve tried fails, they simply walk to another relationship.”

This could mean a lot of things. The second sentence could imply that Fundy doesn’t fully comprehend the complexity of his mind. Some parts, he may understand, some, he does not at all. This could imply that there are also more secrets hiding in his mind that we couldn’t get to see. The third sentence is more interesting as Fundy’s entire character arc involves him and his broken relationships with other people. It’s a quite accurate description of Fundy, describing how he desperately tries anything to make a relationship work, and if it fails, he could easily befriend other people even if there is a possibility that that relationship would fail like the previous.

If we ignore the number of EXP, we can merely focus on the number 5, which means the following:

“When angels are sending you number 5, they want to encourage you to have hope and to be ready to accept all the changes that are coming. Also, if number 5 has appeared just at the moment when you have been thinking about something important in your life, this number could be the answer or the solution for your problems. You should pay attention to number 5 and think of its secret meanings.

If number 5 keeps appearing by your side, it means that changes are already happening in your life. If they have not happened yet, don’t worry. They are on the way and you will feel them in the next couple of days or weeks.”

This can be connected to both the EXP number and the stream as a whole as Fundy begins to accept the gravity of his abandonment issues instead of suppressing his negative feelings towards it. Throughout the stream, Fundy is shown rejecting the idea that he is being neglected by others, but by the second half of the stream, he rejects it less and less. This could be the change the explanation is referring to as Fundy realizing his negative feelings towards his abandonment issues are valid and he needs to take them more seriously rather than brushing them aside.

With number symbolisms finally aside, we can begin analyzing the actual sequences! Fundy is seen to be approaching his “Not A Secret” Base with a sigh, asking chat if they can go to sleep so that he can go to sleep too. Fundy immediately doubts the possibility of the others in the server following through his request until Ranboo responds with a simple “okay” while Niki responds with “yiss, am asleep”. Fundy quickly flashes the members list on the screen, showing us that only Niki and Ranboo are online on the server before he showcases his new bed, claiming that he likes it.

Two interesting notes about this: 1.) he decides to sleep, which is odd enough in the Dream SMP, and 2.) him having three new beds despite only using one of them. For the first point, I’d like to refer you to what Fundy said at around 26:08:

“I just gotta sleep and then, it’s gonna disappear! And then everyone is gonna appear out of a bush and they’re gonna be ‘Surprise!’, and I’m gonna be like, ‘You guys…! You’re always pranking me, you’ve always been there for me. Every single time… except sometimes… when I needed you the most.’ I just go to bed, I just go to bed, and none of this ever happened.”

While I understand that he is referring to the dream, I also believe that this statement would be one of those types I mentioned earlier that may have a double meaning. While “I just go to bed,” could refer to him wanting to sleep and wake up from this horrific dream, it could also refer to how he easily shuts down to his abandonment issues and goes to bed instead of handling it head first. Knowing this, him going to bed in the first scene could imply that he is in this type of abandonment predicament, especially when we connect it to the second point. The color orange is meant to represent joy and warmth, and even without the symbolism, we all know orange is Fundy’s favorite color. He sees these three beds and says that he likes them, but I can’t help but feel like the other two beds are meant for two other people. I don’t think Niki and Ranboo being the only other two people on the server is coincidental; they have to relate to the two extra beds in some way.

Niki and Ranboo are two prime examples of close friends Fundy had before breaking off after a misunderstanding. Niki fought with Fundy after he had to burn the flag she made in order to gain Schlatt’s trust, while Fundy fought with Ranboo after Doomsday when they had conflicting beliefs about neutrality and sides. After both incidents, Fundy never really made his way to apologize, but Fundy has awkwardly met up with these two after a certain point. With Niki, he was forced to team with her at the beginning of the November 16th War, joking around with her and Eret, while for Ranboo, Fundy had to talk to him and Philza when they were joking around in the SMP. The meet ups definitely relieved some tension, but it never fully resolved the conflict Fundy had with both characters, so there was never a chance for him to rekindle the close bonds he had with both Ranboo and Niki in the past.

Fundy going to his favorite beds with two extra spots next to him could represent how he does cherish the friendships he shared with Niki and Ranboo, but never has the guts to actually bring back things the way that they were before. So, instead, Fundy sleeps, not wanting to think about them any further.

iv. FIRST DAY

When he wakes, Fundy checks his inventory before exiting his base, saying “Uhm, I don’t actually-” until he cuts himself off once he spots the desert. I don’t actually know what Fundy was supposed to say here, but because he checked his inventory beforehand, I believe he was trying to say “I don’t actually know where my things are,” but I could be wrong. To be fair, this isn’t too important, so we don’t have to focus on that. What we can focus on is the misplaced desert that was obviously not there before Fundy slept. We can easily infer what deserts could symbolize in dreams, especially when it comes to loneliness and the feeling of being deserted, but for better insight, consider what dreamstop.com claims about deserts:

“A dream of a desert is about something that is devoid of any feelings or care for you. It is all about them and nothing about you. Does someone show you a lack of respect? Is there someone or something in your life you dislike and adds no meaning to your life? Do you feel invisible? That no-one cares about you? Deserts represent an empty, barren place you may be trying to fill.

Desert dreams may appear when a relationship or friendship breaks down, or when you feel totally alone. You may have moved recently and have not yet made friends. You may feel homesick for all you left behind.

Being lost in a desert refers to your feelings that a situation is hopeless. You may have a problem you feel no-one cares about, even though you tried to reach out. You may feel there was no support and are feeling hurt and alone.”

You don’t need much analyzing to connect these meanings to what Fundy is experiencing. The setting of a “desert” merely pads the idea of Fundy being incredibly lonely to the point of him believing that he has nothing left to lose. Back in Doomsday, he was an optimistic nihilist, claiming that he doesn’t care much about what occurs from this point onwards as long as he can have a little bit of fun. On the stream where he created the Cube, he claimed that most people hated him anyway, so the least he could do was to make himself so hateable so other people could unite together in their hatred of Fundy even if it meant Fundy would have no companions left. Let it be known: Fundy is incredibly, incredibly lonely, and he is miserable in his loneliness, especially when his self-worth depends on how much people recognize him.

Another thing this desert could be eluding to would be Las Nevadas as it is set in the desert. I do think the desert’s main purpose is to showcase Fundy’s loneliness, but the connection to Las Nevadas is plausible.

Additionally, the dark skies Fundy sees doesn’t really need much of an explanation either. I couldn’t find a website exactly defining what it means to find a dark sky, but most of them speak of it as a negative thing, often symbolizing something terrible to come. I don’t think I need to explain that part, so we’re moving on.

Fundy is, understandably, very confused about this entire predicament. He quickly moves around his base to figure out what is going on, even messaging in chat to see if anyone would respond. Climbing up the ladders, he stands atop his base, spotting the silhouette of the Camarvan from afar. He continues to be confused, claiming he has no idea why he’s here in the first place. He claims he is “freaking out”, continuing to ask questions about where he is, and why the sky turns dark. He denotes that he isn’t at least completely alone as bunnies swarm around the desert. He begins to follow this sandstone path, every few blocks or so passing a fence with a torch stood atop it.

Here, we can infer that Fundy seems to have never seen this place before, or has no recollection of it entirely. Fundy doesn’t seem to be immensely freaked out just yet, especially since he hasn’t asked any questions about how no one is there, mostly focusing on his location and asking what the place is about.

Fundy then asks why the van is here, then zooms in on the nametags he sees at the back of the van. It is notable that something nametagged “Fundy” is shorter than another thing that is nametagged “WilburSoot”. Fundy tries to reach out for them but is unable to enter the van.

We can easily infer that this scene was meant to represent Fundy’s childhood in L’Manberg when he was being taken care of by Wilbur. Despite the lack of silhouettes, we can easily determine that Fundy is young in this scene because of how his nametag is in a much lower position next to Wilbur's, implying that whoever owns that nametag is much shorter. We can denote that by the beginning of the L’Manbergian Revolutionary War, Fundy was, in fact, a child.

Another question some of you might ask: why is the Camarvan here in the first place? While I believe it could be representative of the part of Fundy’s mind that tackles past memories, I do think it also serves another purpose which I will explain later.

Moving on to the next scenes, Fundy continues following the sandstone path while typing in chat, asking if anyone was actually there. He gets confused by the path for a moment, wanting to go to the ominous building, before realizing that the path does connect to the building, it just swerves a little to the left.

It is notable that when Fundy cried out for help, he doesn’t call for a name in specific- he calls out for ANYONE. The fact that he is calling out for “anyone” could denote that he doesn’t have any close friends or family members he would want to specifically call out for.

Continuing on, Fundy follows the path to the building, still very immensely confused about where he is. Opening the door, he sees that the inside descends into an underground room with its flooring made out of chiseled quartz blocks. Fundy gets scared at first, immediately closing the door, looking back in, and going back out once more.

Fundy denotes that there is absolutely nothing out here as he walks around the building. He then gains the courage to descend the staircase, wondering what it is, and at the bottom, there are a lot of misplaced sandstone blocks with small lights illuminating at certain corners. The path leads to the left, showing 10 pieces of red carpet on the floor, and 8 pieces of yellow carpet on the table. He approaches the wooden table before looking to his right, spotting a skull on the floor next to a piece of redstone, which I believe is meant to resemble blood.

I don’t think we really need to research a skull to check what it might represent, but my theory so far as to what the skulls mean in each building would be that it’s meant to represent Fundy losing a canon life. I don’t know if this was intentional, but the corner room where the skull is somewhat reminds me of the Final Control Room with the redstone in the middle representing the button. That is, after all, where Fundy lost his first canon life.

One of the theories I subscribe to is that the skulls in these buildings are meant to foreshadow Fundy’s death before he ever reaches it. Earlier in the day, we saw Fundy pass by the Camarvan with a younger Fundy which could possibly imply that they haven’t gotten to Eret’s betrayal yet, but the skull creeping up at the corner could represent that it is, in fact, coming. How this ties in to the entire future predicting thing, I will explain later, but for now, keep an eye out on the skulls.

Terrified of the skull, Fundy opens the chest and hesitantly picks up the book and quill inside of it. He opens it and is introduced to another Fundy writing to himself. Other Fundy claims that they’re not exactly the same person, but this Fundy is a part of the real Fundy. Other Fundy claims that Fundy cannot trust this place as it is not real, then begins saying that Fundy himself is not real repeatedly. Fundy’s heart rate suddenly increases when he sees the words “wake up” appear slowly in the book, and after page 34 is shown, Fundy wakes up to a new day in the dream world.

First thing to denote is that the book has 87 pages, and 87, according to affinitynumerology.com means as follows:

“The numerology number 87 is a number of family, organization, and prosperity.

It's also a number of harmony and idealism, the ideal generally related to a harmonious and prosperous family relationship.

87 has parental instincts. It assumes responsibility for the welfare of others it considers to be family.”

The explanation implies that Fundy longs for family and cares deeply for those who he considers as his family. As much as he hated Wilbur after he died, Fundy still continuously expressed how much he needed Wilbur to be there. He is absolutely attached to anyone who poses as a possible family member, especially to those who he views as parents or guardians. Even outside of Wilbur, he is still practically attached to Phil, even if Phil refuses to consider Fundy as family. Fundy also got immensely angered by Eret when she didn’t show up to sign his adoption papers. I’d even say his attachment to family would even reach people like Sally and Schlatt. Fundy has a tendency of casually talking about Sally, and whenever a character talks about eating salmon, Fundy becomes deeply offended. For Schlatt, Fundy kept Schlatt’s netherite sword after he died, considering it to be an “heirloom”, something that only gets passed down onto different generations of the same family. Fundy is incredibly attached to the sword, and whenever he loses it, he’s absolutely desperate to get it back. As much as Fundy gets abandoned, he still deeply appreciates a lot of his family.

87 is also very reminiscent of one of the books in the Inbetween. A lot of the phrasing in the books are actually quite similar to the Inbetween, but we aren’t sure if Fundy and the Inbetween are directly affecting each other or if these places merely work in similar ways. The main similarity between Fundy and the Inbetween is that it involves something related to time travelling, so the similarities could be pointing towards that rather than imply that Fundy is directly affecting the Inbetween all together.

Secondly, the book stops at Page 34. The website angelnumbers.org express the following:

"Most likely you are leaving your projects unfinished because of fear for their destiny after you finish them.

Will they be rejected or accepted by others?

Because you would rather not find out that and possibly have your ego hurt, you consciously or subconsciously sabotage your work and leave things unfinished.

When this number starts appearing in your life frequently, it is a reminder to acknowledge you have a problem and start dealing with it.”

This is very reminiscent of the paragraph I made earlier discussing Fundy’s relationship with Ranboo and Niki- and this could honestly apply to any other relationships Fundy has as well. Besides Fundy’s relationships, this explanation could apply to Fundy’s hesitance of finding out the truth of his mind. Earlier on in the streams, Fundy is immensely confused about the dream, not wanting to discover its truths at all. This eventually changes on the third day, but we’ll discuss that in a bit.

Another thing I’d like to discuss would be the identity of the book authors and why they wrote the books the way they did. I’ll explain about this more in-depth later, but I do believe that another Fundy is, indeed, writing these books. As this was set in Fundy’s mind, it’s quite impossible for anyone who isn’t Fundy to be meddling with the books. What we can denote, though, is the reason as to why these books were created in the first place. The book itself seems to be harmless at first, quite inviting towards Fundy in the first few pages, but once it had to introduce what this world is, it seemed to hesitate. There were a couple of disjointed pages, as well as blank pages, before it began claiming the world wasn’t real, and that Fundy wasn’t real. It turned a complete 180, which seemed to be very odd to me. In past events of the Dream SMP, derealizing statements like this tend to be tricks of the mind, but these statements seem to be intentionally put there by those who wrote the book, especially since later on, we see another book completely give up on saying these triggering statements, saying that “It’s not going to work.” (32:05).

What this implies is that whoever placed these statements are attempting to scare Fundy in some way, possibly heightening his insecurities and terror so that he can be truly terrified of the place. The constant statements of “you are not real” may not only refer to the Other Fundy trying to make Fundy spiral downwards in derealization, but it might actually represent how neglected Fundy feels to the point of feeling invisible, to the point of feeling that he “isn’t real”. But why is this Other Fundy trying to scare Fundy, and who, specifically, is the person behind the writings, you might ask? This question will be answered later on when we go more in-depth with the other books, as the bigger picture is very much needed instead of explaining it all by the first book.

v. SECOND DAY

Fundy wakes up in his base once more, evidently confused. We don’t really know why he wakes up in his base, and why the world changes every time he wakes up, but let’s just say this is all part of his dream to make sense out of it. This time, he sounds more broken, and definitely more unhinged. He calls out for any other member in the chat, telling them that whatever they’re doing is not funny. This is the first we see of Fundy believing that the others may actually just have been pulling a prank on him. He opens his chests frantically before venturing outside once more. He claims that he doesn’t believe the book, saying that this dream sequence feels pretty real to him.

This time, Fundy puts a bigger emphasis on asking why he is alone, and why nobody seems to be here with him. Fundy seems to be more shaken up by the idea that he’s alone over the idea that he does not know anything about where he is at all. He approaches the van, and when he zooms in, he sees that Wilbur’s nametag disappeared.

Transcript of this following scene:

“I knew you were there. No, no, no, no, no, no, no, no, no, no- you can’t fool me! No, I knew you were there Wil. You were there, right there! Where did you go? Are you being- he’s being funny. This is funny! This is great. Aw, this is amazing- it’s just a prank! It’s April Fools soon- that’s why! Oh, I’m just being pranked… right?”

Now, this was… sad. This is one of the other statements that could have a double meaning. Fundy insisting that Wilbur is supposed to be there could not only be him comparing this day to the previous, but it could also imply his true feelings towards Wilbur, especially since he’s disappeared for a good portion of Fundy’s life. Fundy believes Wilbur is supposed to be there for him, but the reality is that he wasn’t. Instead of facing reality, Fundy concludes that all of this was a harmless joke instead of believing that Wilbur might have possibly left him.

Fundy attempts to enter the van once more, but his attempt doesn’t work. He then follows the path on the side directing to the ominous building only for him to realize that it has gotten closer.

The building getting closer to the main base actually has a lot of symbolism behind it. The building itself stores a lot of secrets, especially when it comes to the truths about this world and the different insecurities Fundy has repressed. Those writing the books have laid out all these secrets in every single book found in this building. The fact that it’s underground is meant to represent that these secrets are meant to be hidden in the depths of Fundy’s mind, but the fact that the building is getting closer to the main base makes it feel like 1.) the stored secrets about this world that Fundy may have forgotten about might finally seep into his consciousness, making him aware of them next time he wakes up, and 2.) the insecurities Fundy repressed deep down are seeping out more and more as it reaches the main core. Once it’s there, Fundy won’t be able to reject the truth about his abandonment issues any longer.

Fundy nears the building, still quite nervous. He opens the door, and the layout of the inside seems to be slightly similar to the previous day, but there are small details here and there that are different. Instead of 10 red carpets, there are 6, and instead of 8 yellow carpets, there are 6. Additionally, the skull seems to be closer, this time directly next to the table.

While the carpets were quite subtle, I do think it symbolizes a certain decrease of something. Red symbolizes the color for passion and love, while yellow is meant to represent happiness and positivity. Earlier, we saw that Wilbur disappeared from the Carmarvan, so the decrease of rugs for each color could represent Fundy’s love and happiness decreasing.

For the skull itself, I don’t know if I’m right, but this is what I infer from it: On the first day, we saw that Wilbur was still standing next to Fundy in the Camarvan as the first skull underground was still very far away. On the second day, when Wilbur was gone, the skull got closer, standing next to the table instead of it being far away. I theorize that if the skull is closer, then a canon death has already occurred in the time period the day wants to present. The first day presents a time where Wilbur was still taking care of Fundy, so Eret’s betrayal may not have happened yet, hence why the skull merely stayed hidden at the corner. On the second day, Wilbur has actively left Fundy, similar to the period after L’Manberg’s independence when Fundy had to partake in the Pet Wars alone. During that era, the betrayal has already happened, which is why I believe the skull is much closer this time.

Continuing on, Fundy opens the book and begins reading. From this point onwards, I do want to go more in depth with each of the books, so I’ll put transcripts here and there with my thoughts added onto it after each transcript.

“Hi me!

Welcome back!

Yeahh, second time here? or third?

not entirely sure”

So, this is confirmation that this might not be the first time Fundy’s having dreams like this. A good question to ask is if the book was written a long time ago and has presented itself the same way it does right now, or if this book was written recently. I don’t think the stream gave a definitive answer, but it is something to keep in mind.

“Listen to me Fundy

and you should trust me because,

well you know why

There are two things you can do right now

Walk back to your base, jump in bed, fall asleep, and you will wake up as if nothing ever happened

Or you can keep reading…

And I will tell you what I know”

The book pauses for a bit then continues saying “You are not real” ten times, “You dont want to know the truth” fifteen times, and spams “WAKE UP” until the 38th page, a number we analyzed earlier because of the 38 baked potatoes.

For the book itself, whoever is writing the book seems to be a bit hesitant when writing. It doesn’t seem to want to explain what this place truly is to Fundy, and as much as it clarifies that they are, indeed, Fundy, they never expound on how they were able to write these books and why Fundy should trust him. Other Fundy saying “you should trust me because, well you know why” is actually quite ominous, and I can only think of two reasons as to why they would say it: 1.) Other Fundy is implying that Fundy can trust him because he is, in fact, the same person, or 2.) Other Fundy is hinting that Fundy trusts too easily as seen with the people Fundy trusted in the real world.

Additionally, the Other Fundy seems to emphasize on the fact that they WANT Fundy to go to sleep and wake up in the overworld. They phrase it so that sleeping once more is the more logical option, while they basically scare Fundy with the other option, evident by his quickened heartbeat. The Other Fundy seems to know about the intricacies of this dream and its world, but seems to be very hesitant to tell Fundy about it. The continuous threats imply that the Other Fundy doesn’t want Fundy to know the truth at all.

Basically, this Other Fundy knows something, something our Fundy doesn’t know about, and wants to emphasize that it is something horrific. He will do whatever he can do so that he can stop Fundy from knowing the truth, even if it means he has to scare Fundy.

Additionally, to me, it feels like “WAKE UP” could possibly have two meanings. If the underground structure is meant to represent things that Fundy constantly represses to the back of his mind, not only would the secrets of his dream reside there, but his own repressed insecurities may reside there as well. The way Fundy treats the truth about his dreams is actually quite similar with the way he treats his insecurities- he tends to reject its existence and pretend that everything is normal. This dream isn’t just a dream, it’s an exploration of Fundy’s mind, and telling Fundy to “WAKE UP” doesn’t just refer to not knowing the truths about the dream, but it could also refer to Fundy not knowing the truths about his own insecurities hidden deep in the depths of his mind.

vi. THIRD DAY

Fundy wakes up, breathing heavily. He paces around his room before opening the door frantically, seeing that he is still stuck in a desert. He begins to laugh, repetitively telling himself that all of this is a “joke”. He continues questioning why he’s still in this dream, and when he opens the door, he sees the ominous structure observably closer to the base. He claims that he’s actually stressing out, and Fundy goes on a tangent about this dream and reveals a bit about his insecurities:

“They’re toying with me, they’re toying with me. They’re actually- everyone is toying with me- they are ALWAYS TOYING WITH ME. Everyone is! I’m always being played with. Why? Why always me- no! Why does it always have to be me? Every single time. I don’t wanna- (sigh). I don’t wanna keep dealing with this- I just wanna- no- do I just… Do I just… Do I just go up here and listen to- wai- okay. The book said I have two options: I can wait here until it’s night time. Wait until the sun sets and I can go to sleep, and when I go to sleep and wake up, none of this is real. None of this is gonna- it’s gonna disappear. None of this is real, none of this is real, none… It’s not real, it’s not real, I am currently not real, this is no- how is this possible? How is this- wha- how did- how… None of this is real. I am not real. All I have to do is wait for midnight and just sleep, and all of this would end, right? All I have to do is… wait until night time and then… it’s all gonna be over, it’s all gonna be done.

I just gotta sleep, and then, it’s gonna disappear. And then everyone is gonna appear out of a bush and they’re gonna be ‘Surprise!’ and I’m gonna be like, ‘You guys! You’re always pranking me… you’ve always been there for me (sniffs). Every single time… except sometimes… when I needed you the most. I just go to bed… I just go to bed, and then I wake up, and none of this ever happened. And we’re gonna go back to my old life where I have fun and join parties and join groups and only see them disappear in front of my eyes as I start to get attached to them. Y-yeah, that’s- that’s- that’s the choice I’m making. Go back to that... (sigh). Just… or you know…”

LOTS to unpack here, and I’ll go one by one explaining certain aspects of this because it’s not just something that showcases Fundy’s insecurities.

Firstly, interesting how Fundy believed that the book was toying with him like how a lot of other people do. That’s what makes him afraid of the book- the feeling of being pushed around. The book is actively trying to use Fundy’s insecurities against him in order to make him more and more afraid of the truth. This is interesting because Fundy is known to be ignorant towards his actual issues (just look at his monologue), but the Other Fundy seems to be acutely aware of them. I will explain why he is aware of them later on.

Secondly, this is the most observable point, Fundy seems to be aware that he is quite frankly, alone, but tends to ignore it. He copes with his abandonment issues by treating his abandonment like a joke. He believes that every single person who’s left him did it as a prank. Even if he laughs at this idea, he is also evidently hurt by it. It hits even harder when you realize that Fundy is quite the dependent character, often sucking up to any person who gives him recognition. If Fundy depends on others to dictate his self-worth, how do you think he thinks of himself right now when he literally has nobody?

Putting emphasis on Fundy’s loneliness is going to be interesting because I do think some characters in future arcs are going to exploit that. If Quackity is going to use and manipulate Fundy the same way Sam does, then there would be no doubt that he will use Fundy’s loneliness against him. Even if it’s not Quackity who approaches Fundy first- even Bad, Sam, Dream, anyone, really, could use Fundy’s loneliness against him, which will make for an interesting plot point.

Lastly, not a lot of people spotted this, but this monologue also gives us insight as to why Fundy continued looking for the truth about his dreams instead of staying in his base and waiting for night. When talking about what to look forward to once he wakes up, he talks about how much “fun” he is going to have. Slowly, you see his denial start to dwindle as he finally admits that people leave him just as he gets attached to them. As much as Fundy wanted to wake up from this horrific dream, he realizes that, once he wakes up, he has nothing to look forward to either. That’s why he hesitates when he says “Yeah, that’s the choice I’m making,” because he realizes waking up isn’t as ideal as it seems. This is why Fundy immediately goes outside afterwards with no hesitation- Fundy has nothing left to lose, hence why he chooses to venture forth. Fundy is driven to do things because he feels like his life is purposeless anyway.

Fundy then begins to head outside quietly, zooming into the ominous building while walking right towards it. He then detours for a moment, walking towards the right of the building, and approaches a giant crater filled with obsidian and blackstone.

The explosion could symbolize two things:

Any of the L’Manberg explosions. With the obsidian and blackstone combination, my guess is that this is either the first Doomsday event (L’Manbergian War of Independence) because of L’Manberg’s walls, or the November 16th War because of Schlatt’s Podium. Why the big amount of blackstone and obsidian? Well, I’m not so sure when it comes to L’Manberg as its walls didn’t have obsidian, but for the November 16th war, I do think that the abundance of blackstone and obsidian is meant to represent how Fundy is reducing the November 16th war to Schlatt’s Podium. This can be alarming as he was the one who made Schlatt’s Podium, so reducing the war to that one building might symbolize that he blames himself for the war.

Another theory, which is the theory I subscribe to more, is that this is actually depicting an event in the future that we haven’t seen yet. Namely, the prison. If you zoom in on the explosion, the block pattern is quite reminiscent of the block pattern present in the prison.

While I’ll mostly discuss Fundy’s future predicting powers later, I do think that there’s a possibility that Fundy saw a vision of the future, unlike the past two days where he saw visions of the past. The prison might possibly be nuked in the future.

Fundy then proceeds to walk back towards the building, repetitively saying “no”. He claims he needs to find out, sounding more determined than before. For this, even if the explosion could represent many things, I do think Fundy is generally reminded of the explosions he had to witness throughout the history of the Dream SMP. Perhaps he believes that finding out the truth could prevent more explosions from occurring, perhaps he figured out that this was the prison and he needed to know why it exploded, perhaps him walking away from something that’s reminiscent of real life represents his choice of wanting to learn more about his dreams rather than sticking to anything similar to real life.

Moving on, Fundy enters the building, saying he wants to know what’s going on. The underground room seems to have changed a bit, as the chiseled quartz floors changed into quartz bricks. The place also seems to be littered with end stone blocks and bricks. The place is much darker as well, and the carpets on the floor and table seem to be gone entirely. Two skulls can be observed near the table.

My brain actually can’t reason as to why the end blocks were there, or why the quartz blocks changed. My guess is that the end stones will eventually connect to a future plot point relating to the End, but again, I’m not sure. The carpets being gone could represent that the love and happiness (red and yellow) that Fundy had disappeared completely. The dishevelled state of the room could represent that the secrets being held inside this underground room are finally breaking free as its confines tear down more and more.

Now the skulls- if we go by the theory I presented earlier, then the skulls are meant to represent canon deaths. If the skull was tucked into the corner, then that means death is to come, but if it’s near the table, then I believe the canon death already occurred. If two skulls are next to the table, then it could imply that whatever time period the day is set in should be around the time Fundy loses a second canon death, which hasn’t occurred yet. Again, this is all speculation, so I might be overthinking, but if the explosion is meant to represent the prison getting nuked, then there’s a possibility Fundy would lose a canon life before the prison gets destroyed.

Now, onto the juicy bit: the book. The book reads as follows:

“Hi. again.

...Why are we so persistent

...Why are we so stubborn

...You have been here before, but you keep coming back

...Why?

WHY???

You dont want to know the truth

It will hurt you

I dont want to be hurt again

YOU dont want to be hurt again

I KNOW WHAT YOU WANT

PLEASE JUST LEAVE

GO TO BED

FALL ASLEEP

ENJOY YOUR LIFE

ENJOY THE FUN THINGS

THE TRUTH ISNT WHAT YOU WANT

PLEASE

STOP THIS

STOP!!!”

The book tries scaring Fundy by spamming “WAKE UP” across multiple pages.

“It’s not going to work, huh..

Listen to me Fundy…

Your mind is not safe…

You are not imagining this…

This place might not be real…

But he is.

Spare yourself.

I need you to listen carefully.

Do not join him.

Whatever he asks of you.

Do NOT join him.

his plans aren’t as nice as they sound.

his intentions aren’t what you think they are.

he will use you

he will destroy you

everything you ever loved

everyone you ever cared about

do not join him.”

Before I explain this book, I think it’s best to also note down what was said in the next book as well so I can better explain what’s going on.

“note to self

hello

I just wrote this book to remember who I am

To remember what is happening

All the books I just found are indeed written by me

Listen to yourself

You suffer from a very odd illness

You suffer from a form of insomnia, within your own dreams.

Now the effects of this aren’t really known, and even I don’t fully know what is going on.

but let me tell you

somehow, this world, these actions and events, are linked to reality.

things that happen in these so-called “dreams”, tend to leak into the real world

they will actually happen.

you might wonder how exactly this is a bad thing.

the ability to predict certain events from happening, sounds pretty cool.”

Fundy then stops reading the book, seemingly overwhelmed by the influx of information. Analysis time, boys, time to unpack what this all means.

Firstly, I believe that this dream has happened before. Multiple times, actually. If certain “events” in the dream are meant to predict the future, then the moments involving the Camarvan on the first two days could imply that Fundy has seen this place before during the L’Manberg era where he could’ve predicted Eret’s betrayal and the loss of his father. If we think about it, the books could honestly be given to Fundy at any time period and it would work. Look at the entire section of the book describing someone who Fundy can’t trust- this “him” person could honestly be… anyone who abandoned Fundy? If the book hints at someone who might possibly hurt and use Fundy, then Eret, Wilbur, Schlatt, and Dream could also be considered. These people were nice to Fundy at first before betraying him one way or another. There is a possibility that this dream has warned Fundy about these people in the past, only for Fundy to forget about the dream. What about this time though, who is this “him” that’s going to betray Fundy during this time period? Well, the easy answer would be Quackity, but Bad could be a possibility as well. With the hint towards Quackity at the end, I do believe that Quackity would be the main suspect, but it’s also good to keep an open mind as we don’t know much of who Fundy’s involved with in Season 3.

Now, why would Fundy be able to forget about the dreams, though? I do think that whoever is responsible for writing the books are doing their best to prevent Fundy from uncovering the truth. Who do I think are the book authors? Well, I don’t think they were lying when they said that they were Fundy. I believe that, just like the Dream voice in Ranboo’s head, the Fundy that writes books would be some sort of conscience or subconscious in Fundy’s mind. This part of the mind holds certain memories repressed by Fundy, as well as some of the insecurities he chooses to ignore. They are aware of all of Fundy’s past visits of this dream, and they know the dangers of it, which is why they want Fundy to not uncover the truth.

The signed book claims that whatever Fundy sees in the dream will seep out into reality. Knowing this, I believe Fundy’s subconscious is trying to prevent Fundy from seeking out the truth to prevent these future visions from happening in real life; this especially applies to events that involve Fundy possibly being hurt. There is a possibility that this Fundy has seen past Fundy’s discover events like the Camarvan and the loss of Wilbur occur in dreams way past before it occurred in real life, so they feel afraid that our Fundy would uncover more and more truths that would become reality. While we don’t know if Other Fundy’s beliefs on future predicting is true, this gives us a better understanding of why they want Fundy to go to bed and wake up. (Additionally, the Other Fundy has placed emphasis on saying that the truth may hurt Fundy, so there is a possibility that these future events might involve something that heightens Fundy’s insecurities more. That’s why this Fundy seems to be so aware of Fundy’s insecurities- they have witnessed Fundy’s insecurities being used against him in certain visions.)

For the memory thing, so far, I believe a part of Fundy’s mind is actively suppressing all the memories Fundy has of his dreams. Fundy already represses a lot of his insecurities, so using Fundy’s insecurities against him might actually enable them to keep Fundy’s memories about the dream locked in the corners of his mind. The place where the book is kept in is underground, after all, but we do have to keep in mind that the building is getting closer and closer to Fundy’s main base. This could symbolize that Fundy will remember his dreams more once he wakes up.

So basically, so far, Fundy has dreamt this dream multiple times in the past, and during each dream, he witnesses an event in the future that could possibly happen in real life. Fundy’s subconscious, or possibly past versions of Fundy, are trying to warn future Fundy’s to not uncover too many truths about the dream as they believe this could possibly manifest terrible events to happen in real life. To get Fundy to go back to bed, they try scaring Fundy, using his insecurities against him, only this time, Fundy is a bit more disobedient because, again, he feels like he has nothing left to lose.

Another theory I have which I’m not 100% sure about is that this Other Fundy, as much as it has good intentions, may have committed a mistake when they tried to get Fundy to bed by using his insecurities. If anything in the dream may happen in real life, them heightening Fundy’s insecurities might pass over to the real world as well. While scaring Fundy could prevent him from uncovering the truth, it might’ve also been a double-edged sword as Fundy is more aware of his insecurities more than ever.

Continuing on, Fundy decided to leave the building, seeing that it’s night time. He sounds relieved knowing that he can sleep and that he can wake up from this dream. He celebrates for a moment, throwing the book away, but then he hesitates, saying he wants to know the truth. He picks the book up again but doesn’t read it immediately, claiming that he could just sleep instead of knowing the truth.

Fundy seems to revel in the idea of waking up for a bit until he mentions how much of a “blast” he can have with everyone once he wakes up. After mentioning this, he immediately picks up the book with no hesitation. This is the second time Fundy is shown to be motivated in finding the truth about his dreams because of him realizing how unfun the real world is. Again, Fundy is seen to be motivated by the fact that he has nothing left to lose, and as much as he is scared of this dream, he seems to prefer finding this world’s truth over going back into the real world where he’s practically alone.

Moving on, the book continues:

“however…

while this might be the case of dreams…

this is also the case for nightmares…

this is your last warning Fundy

please… for the both of us…

just wake up”

This part of the book simply affirms all I’ve theorized about earlier. The Other Fundy hints that some events that Fundy might witness in his dream would be detrimental to Fundy, which is why he doesn’t want Fundy to continue exploring. He knows that Fundy will possibly manifest an event that will ruin him in real life, so he wants Fundy to sleep instead of accidentally manifesting his demise.

vii. FOURTH DAY

Fundy then wakes up once more, complaining that this dream never ends. He goes outside, seeing a black, hooded figure slowly turn around and chase him. With a quickened heartbeat, he runs up his stairs to sleep in a black bed placed on the roof. Fundy screams as we see the hooded figure approach, and the screen fades to black. A white smiley face reminiscent of the one on Quackity’s skin appears on the screen as casino slots sound effects play in the background.

Now, what do I make of this? Well, firstly, we gotta point out that his bed at the end looked EERILY similar to a gravestone. A lot of websites claim that sleeping in a gravestone or seeing a gravestone could indicate change, especially when it comes to overcoming one’s sadness or problems. In a literal sense, we can think of it as something foreshadowing a future canon death, especially if we think that the person chasing Fundy is the grim reaper.

Speaking of that person, I do have a couple of explanations as to who this person is:

The person is death themselves, the grim reaper. This is the common conclusion everyone believes in, especially when we consider this “him” person possibly hurting Fundy, and that second skull in the underground room. Quackity is the main culprit for now, especially with that smiley face in the end, but there could be other possibilities! Like, what if someone takes Fundy’s canon life before he joins Quackity, which is why the smiley face only popped up after Fundy’s dream death? Mayhaps someone affiliated with Quackity might be doing the dirty work for him, so Bad, Sam, Dream, and anyone, really, could be responsible for Fundy’s future canon death. Moreover, the fact that this death occurs affirms the beliefs of the Other Fundy. The Other Fundy merely wants Fundy to be safe from possibly manifesting his demise in real life, but Fundy’s curiosity got the best of him, and in the next sequence, he was killed, proving that the Other Fundy was right in saying that Fundy should’ve just slept.

A theory I made up which I’m not 100% sure of is that this figure is actually Fundy’s subconscious trying to get him to sleep. When Fundy was being chased, we heard a quickened heartbeat, and where was the only other time we heard that? When Fundy was reading the “WAKE UP” and “you’re not real” messages from those books. We can view this as the Other Fundy’s attempt in trying to get Fundy to actually sleep by using another scare tactic against Fundy. And well… it did work! Because Fundy was afraid of this figure, Fundy went to sleep. There is also a possibility that this occurrence is what makes Fundy forget about the dream because his subconscious got a hold of Fundy and forcibly made him forget, but I’m not 100% sure about that one yet.

Lastly, the face! That should already allude to Fundy possibly joining Quackity’s lore, and with the “38 potatoes” symbolizing business opportunities, I expect Fundy to be joining Las Nevadas as a possible employee. Quackity does, in fact, prey on people who are insecure, and can easily get them to do whatever he wants because of his words. If he can get Sam to give him the tools needed to torture Dream, Quackity might exploit Fundy’s loneliness into making him do whatever Quackity wants from him.

Another face that this could possibly connect to is the face in the Egg lair! While I’m leaning more towards Quackity because of the casino sounds, I do wanna say that the Egg and the Eggpire could possibly be connected as well, especially when the Egg could provide Fundy anything he wants. Just like how Quackity could prey on Fundy’s insecurities, the Egg preys on those who feel like they’re missing something, so as much as Fundy could be manipulated by Quackity, he could also be manipulated by the Egg. Additionally, business opportunities could apply to the Eggpire as well as they’ve contacted Purpled in the past to assassinate Puffy, so who’s to say they won’t try adding Fundy to the Eggpire?

TLDR; This entire stream showcased both Fundy’s insecurities and Fundy’s future predicting powers and how this “Other Fundy”, aka his subconscious, wants him to repress them because they believe that if Fundy uncovers the secrets of his dream more, then Fundy would accidentally manifest his demise in real life. Additionally, Fundy is very lonely, making him vulnerable of being used in the future because he is desperate to get any type of recognition from anybody. In summary, be afraid of Fundy’s future lore streams, be very afraid.

viii. ADDITIONAL NOTES

Even when I finish this, there’s a lot of questions to ask about this stream that I want you to keep in mind:

How many times has Fundy encountered this before?

How does Fundy forget all the information he got from the dreams?

How does Fundy write to himself?

Why is there so many details connected to Karl, and what does it have to do with time travelling?

Why does Fundy return to his bed every time his heartbeat quickens when reading a book?

Was the first scene part of the dream or not?

Could the underground room’s structure actually mean something?

And there’s probably more, but just saying, keep an open mind about this entire stream because there’s definitely a lot more to uncover.

I want to reiterate: I am not the Messiah, so don’t take my word as the truth and the absolute truth. I’d love to hear your thoughts about Fundy’s stream as a lot of it could be up for speculation! The entire thing is filled to the brim with symbolisms, so there could be a lot of interpretations to consider. If you enjoyed this, feel free to like and retweet because I worked my ASS off with this one.

Special thanks to the following:

Fundy and any of the Dream SMP members because that stream was INCREDIBLE. Go give them your love and support.

kingjem for always being there whenever I want to discuss any ideas I have about the Dream SMP. One of the smartest bitches I know, go follow them.

To all my betas who reviewed this document since I have a TON of grammar mistakes (thanks English): prismartist, bootsforthebootsgod, Finni_june (twt), ender-hyperfocuses-on-things, and Dngertosociety2 (twt)

And to all of you who like this post and would share it to other people! All support is appreciated. :D

#fundy #dream smp #mcyt #long post

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space-blue · 3 years ago

Text

Dune, the mostly spoiler free review.

Spoilers will be under breaks.

Having slept on it (and since I got to bed at 4am I needed that), and having eaten enough sugar to kickstart my brain again, I can now confirm, wholeheartedly, that Dune is a masterpiece.

Hardly a hot take on the internet right now, I know. I'll say this, to start on a low note : Dune's greatest flaw is that the side characters (anyone outside of Jessica and Paul) can be left wanting development. Some non-book readers might struggle to get attached.

The film simply doesn't have time to deliver narrative, mood and emotional characters the way Fellowship of the Rings did, as I often see the film compared to LOTR. Unlike LOTR, Dune has not shot part 2, and it doesn't have enough action beats/plot beats to give you engaging character interactions for 1/3 of the story.

As a result some characters seem to be "seen in passing". Which... Bothered me a little at 3am, but has since faded. My memories turn to Jessica and how incredible Fergusson was. Absolutely show stealing. And Skarsgard!! Yeesh, the Baron Harkonnen does not need more screen time to be intimidating...

All the cast delivers. The visuals, design, costume, photography... It's clear to me everyone involved in this was at the top of their craft and giving it their all for a career turning point of a production. I even struggle to believe book 2 could land such a punch again, I mean, I've rarely been punched in the face this hard by a movie...

I mean, I'm not the type to be into spaceships or anything. I even struggle with models in the Star Wars universe and I published 58 fan fics for that fandom so... And yet in this film, hah... When the Atreides ships are introduced (you see these big transports in the trailer) I was like "No. He didn't... OMG the madlad, he did." — the music, the visuals, the scale... And then there's the thopters, and I was having moments of prescience myself, seeing actual ship/spaceship nerds rise up, foam frothing at the mouth. Modeling thopters and making videos about them for years to come.

The audio was loud, bold. The music alien. The sound mixing done so well I had a snappy thought 2min in, along the lines of "I hope Nolan sits to this film and learns something about sound mixing from this" (don't @ me, I'm still spicy about my viewing of Tenet).

In short, Dune is spectacular. It oozes with mythos and charm, feels lived in, intimidating yet beguiling. The plot is as sound as the book's the visuals are a cinema/SFF fan's wet dream, the acting and production value are stupid crazy, and the only drawback IMO — for non book readers — will be the "in passing" characters (like Raban, Piter, Gurney, Hawat... Who simply don't have the space and time to shine yet) and the ending, which is 100% "INSERT CD 2"

It feels jarring and leaves you begging for more. But book readers probably won't feel the same pang, since we can now close our eyes and image how bonkers part two can be in such visuals.

I've over-heard old french people saying it was super boring and slow and... lol I can't disagree more, but then again the trailer does market an action movie, and the film is not any more action packed than BR2049 was. When the action comes calling it's big, fast... When it isn't, the movie is moody, deliberate, and meticulous.

It won't be for everyone, but if you've so much as "enjoyed" the books, you'll be having the experience of a lifetime.

Before I delve into some mild spoilers I'd like to make a disclaimer: Denis has begged people to see Dune in cinema, and I was thinking "of course, what film maker wouldn't want people in cinema?" but also suspected he might want the numbers in order to get part 2 started.

I owe him an apology for these impure thoughts. You MUST watch Dune in cinema, not for Denis or part 2 (though, come on...), but for YOURSELF. There is not a single home cinema set up that can do justice to this film. It's the definition of why you go to the cinema for. It's epic in scale, it makes you jump at startling moments, it punches and screams at you, and makes you squint at others, and you walk out of there with a sense of having witnessed something like... To me, like Interstellar. Remember seeing that docking sequence scene in the theater and walking out being like "holy shit" ? Well Dune is very much like that. It was made for the big screen, and anything short of IMAX or Dolby ATMOS would be a disservice to both the film and yourself.

I will be seeing it in France the instant it comes out in September. It begs rewatching.

Now for some spoilery thoughts (mild spoilers, and a warning for further spoilers below).

The film takes surprisingly little time to delve on certain topics. Like the spice. Sure you're told it's important, and the economics that drive the story make it feel important, but not nearly as much as I suspected it would be. There is no clunky exposition on the topic (lol no fucking time for that!) no scene where someone shoves spice in your face and goes “oh but blah blah spice must flow”. It’s said in passing and newcomers better hold on to their seat and pay attention.

Sadly though a fair bit of the dialogue was expositional imo, and too little of it over all felt like that heart warming moment between Paul and Leto. It's not a big drawback, but since I enjoy more character driven stories, I regretted the lack of general emotional investment.

On the point of emotions though, I was taken aback by Jamis! The scene of him in the trailers "I'll show you"... creates a sort of very subtle and implied dynamic that was probably one of the biggest heart punch for me, and started driving home how dire Paul's visions can be. I suspect some viewers won't interpret it the way I did though.

THE VOICE WAS SO WELL MADE YOU GUYS!! The thopter escape scene was always a "meh, sure, they get away" moment for me in the books. Good teamwork between Paul and Jessica... But *hearing it* was a completely different business. I was at the edge of my seat, I LOVED IT.

There's also a lot of actual signing in the film! And the Sardaukar don't speak english but a super guthural language. Kind of like making a conlang merging German and the Black Speech of Mordor and giving it to a Danish to speak. Felt very cool.

The shields were just as badass as you think they'll be. The slow impact weapons are just... *chef kiss*

Finally some heavy spoilers on book story details (jihad, Muad'dib, some characters) :

There is no mentions of Jihad, but not because it's avoided. The visions of a fight Paul has are rare, and he mentions them once. At that time he says war or massacre but not Jihad. I didn't notice until I was asked.

He also doesn't chose the name Muad'Dib. If I recall that's right after killing Jamis, but doesn't happen here, even if we see the literal muad'dib in the desert. It's also fine. Those scenes were at the very end, and I felt like slamming newcomers with such a significant moment with alien language at the very end might be a mistake. I'm curious to see how it's handled in part 2 though.

I was looking forward to Piter... His role is uber minor. As much as Hawat's. Like, the Bull that killed Leto's father gets more screen time, funnily enough. There's a heavy imagery around it that's going to fuel many video essays.

#Dune #biennale di venezia #venezia 78 #Denis Villeneuve #paul atreides #lady jessica #duke leto #baron harkonnen #muad'dib #film review #spoilers hidden #mild story spoilers #Dune review

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general-kj · 3 years ago

Note

Are you really so sure of Byler’s endgame? I’m asking this sincerely, not maliciously.

It’s just… I’ve seen this before in multiple fandoms. People read deeper and deeper into the “subtext” that just actually isn’t really there, when it’s all said and done. These ultra subtle clues that the creators are theoretically leaving just… don’t make a lot of sense. TV isn’t that subtle. The Duffers aren’t that deep.

They literally had Mike say he loves Eleven, in front of everyone. Pretty bold for this type of drama. He tried to tell her directly in the grocery store. And Eleven said I love you… and then kissed him. It’s romantic love.

I guess I just worry about people’s disappointment because while it’s fine to ship Byler, I think it’s likely going to remain a crack ship.

Hmm I cant tell whether you are actually being sincere or not because I've seen people acting like this before to try and get rid of my hope but I'm going to answer like your being sincere. I'm not a theorist so I'm not going to explain this as eloquently as others but I'm going to give it my best shot.

I'm not going to deny the fact that queer baits have been a problem in media for a very long time. But I've never been invested in those ships nearly as much as Byler because there is just something different about it. The duffers are very supportive of the LGBT community so I sincerely doubt they would do a queer bait. If anything Mileven is a straight bait, the duffers already done it once with Stobin, why cant they do it again?

This is actually a very deep show, if you've seen Kaypieces theories on things like the DID system you would know this. There is so much going on behind every action. There has to be a first time for everything and this is it. As soon as you look behind the surface level Mileven its all Byler. You could call it coincidence if we had only a few proofs but we have literally hundreds.

Lets talk about specifics now for a bit. In s3 I believe Mike uses El as a beard, he may not be aware he's doing it but he is. Mileven start of the season by kissing to cant fight this feeling anymore which is about someone falling for their friend, El wasn't his friend as they jumped into romance too quickly. Hes only known her properly for a few months and in those few months all they have done is make out. How can you fall in love with someone if you never talk to them? Its also awfully suspicious how he removes her hands from his shoulders when she tries to touch him whilst they kissing.

Throughout s3 Mike seems to be annoyed at her, there is a large compilation of pictures of Mike pulling weird expressions at her. If that's what love is I don't want it. When the mileven breakup happened Mike again seemed more annoyed than upset and the whole scene was framed as a joke whilst the garage sequence with Will was easily the most heart breaking scene of the season. Mike didn't chase after El but he did chase after Will.

I don't think El loves Mike either. She liked the idea of him she formed whilst sitting alone in Hops cabin watching soap operas but she doesn't like the real him. She gets annoyed when Mike starts singing and shows no interest in any of his hobbies. The only interest she shows in him is the fact that he's male and was kind to her. Within minutes of breaking up with Mike she was thinking of new boyfriends. She showed more interest in the karate kid than she did in Mike. At the end of s3 she went back to Mike because she needed the stability of a relationship after losing her father figure not because she actually loved him.

At the end of s3 Mileven kissed after presumably being separated for 3 months. Mike was taken completely by surprise because he had accepted it was over as the only reason he said what he did in the cabin because he was trying to win the argument he was having and just spat it out. Mike made no effort to kiss back and kept his eyes open the entire time, they even kissed in front of a open closet whilst Wills stuffed toy was in the background for goodness sakes. Meanwhile the scene with Will was arguably more romantic with Mike worrying about Will finding another party and at the end of the season I believe Mike makes his full realisation that he's in love with Will when he cries in his mothers arms.

Mike and Will were giving each other heart eyes from the first scene of s1, they might not of realised at the time they were doing it but they were. Mike constantly considered El a weapon he could use to find Will throughout s1 and only got the idea to kiss her because Lucas kept suggesting it. In s2 he stopped calling El the second Will needed help again and he was calling El out of guilt, he made no attempt to search for her like he had Will even when he thought he saw her. The crazy together scene is iconic and I don't think I even need to go into how much of a I love you scene that is. Then there's the best thing I've ever done and the you said yes scene which sounds an awful lot like a marriage proposal.

So in conclusion, both El and Mike are using each other in different ways whilst Mike is in love with Will. There is so much more I can talk about but I will save it for now. There are so many instances that have no hetero explanation like Mike and Wills reaction to the lingerie store and the sauna compared to Lucas's. The only things Milevens can come up with in return is that they kissed and said I love you. If you think that equals love god help you. Mileven is a toxic relationship and I'm glad the duffers aren't romanticising toxic relationships like other tv shows have in the past.

#byler #will byers #mike wheeler #byler is endgame #ask

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something-tofightfor · 4 years ago

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More thoughts on Prospect

so, @the-streamer-girl posted about people’s feelings on the Ezra/Damon dynamic when it comes to Cee ... and it turns out that I have a LOT to say.

So the question of Damon vs Ezra was one that I thought about a LOT when I first watched Prospect, and continued to watch closely with each additional viewing. The simple answer: Ezra is a better role model + influence in Cee’s life than Damon was, even after such a short time together.

The long answer:

I hope this doesn’t jump around too much, but it might. When we first meet Damon, he yells at Cee for exploring because she can’t sleep. She’s a teenager (I HC her to be about 16/7 years old at most) and she’s sassy about the gum/stim stuff, but instead of even giving her the courtesy of an answer, he just tosses the thrower to her and essentially tells her to make herself useful. You can look at it as treating her like a kid and forcing her to learn from her actions - but I view it as him ignoring what she says and giving her busy work to keep her out of his hair. When they’re talking about the Green and mining, he talks down to her. Doesn’t give her the space to ask questions, doesn’t give her straight answers, and seems almost bitter that they’re in the position they’re in - presumably because their family is fractured, which comes down to … the death of his wife - which he is likely reminded of every time he looks at Cee. I personally thought Damon telling Cee that she reminded him of his wife was kind of creepy. I know that it wasn’t meant to be, and that the sleep aid was clouding his brain a little, but the look he gave her and the WAY he was speaking didn’t sit right with me. It was an uncomfortable scene, and again, it featured him talking down to her - about the way she pronounced the name of the planet, about the way she felt about The Pug, etc. That could have been a really important instance of father/daughter bonding, and it wasn’t. I don’t think that it gave Cee any happy feelings to fall asleep to, either. The whole landing sequence, too, was just … him, focused on the task at hand, which is fine. He needed to get them safely to the ground, but at the same time, he treated her like she was just there and only served a specific purpose. The only time he ever acted like a father to her was when they found that first aurelac deposit - and even THAT changed very quickly when he saw how large the gem was. He was short with her about the chemicals and that’s fine with me - it’s a safety issue, so there’s no time for coddling. But as soon as she suggested that they take the gem, get square for the pod, and play it safe, he changes. He doesn’t care what she thinks or wants - he wants the gems and the money and the thrill of the harvest. Again, that’s why they’re there, so it’s alright, but … he’s not even willing to listen to her (And in the future, that makes me question how he would have been with the mercs, because he’s so… short-fused, I guess? He wouldn’t have been able to or willing to negotiate with them the same way Ezra did, and they would have been in the exact same circumstances. They still needed a way home, and I TRULY don’t think Damon would have been willing to cut profits, even if only by a little.)

I’m not sure what Damon’s plan was when it came to Ezra and #2. Yes, he needed to keep Cee a secret, but … what was the end goal? Stealing their stuff and then just running off and hoping that the two of them - with a giant gun - didn’t somehow find them and take revenge? Damon again got greedy - with his daughter standing RIGHT there, and was only focused on what he could gain from the situation. He wasn’t thinking ahead - and it’s what got him killed. Ezra could have shot Cee in that field. He did not. It would have been simple to do so - shoot her, take her filter, go about his business. He hesitated. Damon did not hesitate when he shot #2.

Enter Ezra into the pod. Cee shot him - and I believe that he believes he deserved it. He stays calm and collected, talks to her like an adult the entire time, and provides a logical solution to a problem that they’re both in. He lets her make a choice. Damon didn’t. Damon didn’t listen to her, or give her a chance to make a point, or to decide anything for herself.

Throughout the time they’re traveling to the merc camp, Ezra KNOWS that he is hurt, and that Cee is the cause, but doesn’t take it out on her. He continues to engage her in conversation, to trust her to feed him, to pull off this scheme with him. It’s like he said in the pod; if Damon couldn’t do these things, or understand what was necessary to survive on the Green, he shouldn’t have been there. He would have likely gotten Cee killed at some point, and probably wouldn’t have felt as guilty about it as she did that he was dead.

I firmly believe that by the time they’ve made it to the Sater camp, Ezra feels protective for the girl, despite what’s at stake. He’s coaching her on what to do, speaking rationally to her, and guiding her behaviors in the tent, just because he knows what the etiquette is. He’s very literally being poisoned to death, and still lets the scene play out like it needs to to - just be respectful. But they make a mistake and assume that like so many others, Ezra values the financial gain of this aurelac over human life.

Is Ezra a killer? Of course he is. But he doesn’t seem to be the type to turn to violent first, or just because, and I also believe that the way he speaks is an indication of what he believes in - honor and being a man and making the right choices based on the situation. Damon would have left Cee in a heartbeat for that much aurelac - that’s what, 90-115000 credits, easily? Each gem was at least as big as the original one they found. So he takes those, gets the supplies, LEAVES Cee and still goes on to the Queen’s Lair?

Yes. Then he doesn’t have to split profits. He doesn’t have to argue for two spots on a ride off. He doesn’t have to worry about taking care of Cee into the future. He would have made her some sort of “I’ll come back for you” promise, and wouldn’t have meant it. Ezra’s facial expression doesn’t betray him - yes, he’s interested in the aurelac in the case, but not at the expense of a teenage girl’s future.

When she finds him in the tent, he again trusts her, even after she left him at the mercy of the Sater. Yeah, he needs her, but it’s more than that. He’s still willing to continue on and continue their plan, because he’s still focused on getting both of them off of the moon and back home. It would be easy to go on on his own after she cuts his arm off, or to say “Hey, I might not be able to do this”, but he never loses his cool or outright lies to her about their chances.

He argues for her with the mercs in a way that Damon never would have. He’s rational. He lets her speak. He includes her in every single aspect of it - and the only time he acts in his own best interest is when he attacks with the blade and requires her to act. But they work well as a team there, and she picks up on what she can do to save him/them very quickly. They’re on the same page, and it’s only been a couple of very trying days.

They don’t leave each other. He doesn’t run when it gets hard to let her fend for herself. When they decide how to attack Inumon, they make the plan together - and they need each other for it to work. And yes, he might think that he’s a goner after it goes wrong, but he’s sincere about telling her to go and save herself - he wants at least one of them to get off the planet. She might still be mad at him for Damon’s death, but there’s no way that she would have tried so hard to get him to that ship if she truly blamed him and still had any thoughts of revenge in her mind. She answered his question - are you a killer - and it turns out that they’re the same. Yes. Definitely - but only when necessary. AND I SAVED THE MOST IMPORTANT THING FOR LAST: THE STREAMER GIRL SCENE.

We know that Damon thought what she was doing was pointless and stupid and shouldn’t have been her focus. We know that he wanted her to focus on prospecting and learning “useful” skills all the time. We know that he was set in his ways, and had a certain idea of how she should act. Ezra is the opposite. He encourages her to tell him about the book, and about what she’s adding to it. He listens to her when she tells him why she likes it so much. He’s intrigued about her contribution to the story, and doesn’t think that having these wild ideas and fantastic imaginary interactions is stupid. She’s still a kid, and she needs a distraction, and Ezra doesn’t put her down for it - he encourages her. He tells her to do what makes him happy, and this whole scene might be the first moments of levity that Ezra has had in MONTHS. In the short time they’re together, he encourages her in so many ways that Damon didn’t - that we saw or that we learned from what she said about him. He hasn’t seen a kid in a long time, but it seems like even all of his time on the Green hasn’t jaded him to the same point that a life of odd jobs and rental pods did to Damon. I don’t think Ezra sees Cee as a burden. I don’t think he looks at her as someone simply there to control/boss around. The sunlight in that scene does a lot to show the expressions on their faces - they’re relaxed. They’re open with each other, and it’s a conversation that neither of them will forget. (I was telling @the-blind-assassin-12 yesterday that I think it might be the most important scene in the whole movie.)

I think that when they get off the Green, they would stick together for a while. Obviously, they’re both going to go live their lives at some point, but Cee’s got Ezra now. They went through these traumatic things together, and she’s invested in his life. He - I think - feels protective of her, too, and would want to make sure she was OK on her own when they get back to civilization. Might not be a point in a formal adoption, because she’s so close to being an adult, but I don’t think that’s necessary. So, a short answer to my long answer: Damon was a shit father, and got what he deserved for being so damn greedy. Ezra is a dangerous man, but he wouldn’t ever be dangerous to Cee in the way that Damon’s actions made him dangerous (after the first encounter). She is much better off without Damon, because she needed to be around and influenced by someone that was willing to include her in decisions and let her make her own choices, not boss her around like she’s still 5.

There’s so much more I could say, and I’m sure you didn’t want to read 1500 words as a response do I’ll stop here … but this movie has hit me in a way that I didn’t expect it to.

I’d love to know your thoughts, too!

#prospect #damon vs ezra #damon is a terrible father #absolutely terrible #cee deserved better #ezra (prospect)#ezra and cee #just some self indulgent thoughts on a friday #friday thoughts on prospect #prospect (2018)#pedro pascal character #ezra pedro pascal #i love space cowboy miner dad #the-streamer-girl #i also love ezra more and more each day so there's that #sophie thatcher #cee #prospectmovie

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historyman101 · 3 years ago

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Fena: Pirate Princess First Impressions

I watched the 1-hour premiere on Toonami with my friends on Discord. After sleeping and having a chance to collect my thoughts, I have a few things to say about it, both positive and negative.

Toonami has fallen by the wayside for me in recent years as they did not have any anime that grabbed my interest. This is actually the first time I’ve watched Toonami in many months. Fena: Pirate Princess and Uzumaki, first announced back in 2020, caught my attention as potential shows to latch onto.

It’s obvious to me that Adult Swim is investing heavily in this anime’s success and I thought that was one reason why we had a 2-episode premiere on Saturday night. However, after watching, I realize that it was also strategic: the two episodes don’t really do much other than set up the main conflict going forward and introduce the core cast of characters. Episode 3 seems to be where the action kicks off.

I’ve noticed a lot of people compare Fena to One Piece, and while I can see why given the importance of pirates and the vaguely 18th-century world, but beyond that initial aesthetic, that’s where the similarities end. If I can compare this to anything, it reminds me more of Scrapped Princess or Yona of the Dawn, especially the pirate arc of that story. In fact, the anime hits a lot of the same beats from shows of the late ‘90s and early 2000s from the animation, character designs, and overall plot.

Fena: Pirate Princess follows the titular Fena Houtman, who escapes an arranged marriage to uncover the secret of her deceased father’s final mission and become an independent woman. She’s accompanied by a troupe of ninjas who are all sworn to protect her family. I will say that it’s a fun, clever way to put an end to the eternal ninjas vs. pirates debate and I can’t help but think the folks at Adult Swim had a hand in that.

Starting off with the positives, I’ll begin with the center of the story: Fena.

We’re only two episodes in and I already love Fena. She’s cute, funny, upbeat, and clearly has a wild, independent streak to her. That being said, some people may be a little chafed to see her largely being a distressed damsel for the majority of the first episode. However, that was never really a problem for me, as it’s obvious the anime is about her personal growth to being a take-charge woman. Her positive personality is also a good contrast for the world around her, since she starts off initially treated as an object to be bought and sold to the highest bidder. Fena’s introduction also serves as another positive for me in the series: the comedy.

I’ll be honest: I was rather taken aback to see the use of comedic slapstick in this anime when it looked to be billed as an action/adventure anime, but I never found it so overused that I started rolling my eyes. The comedic lighthearted moments weren’t too obtrusive for me to stop watching it, but it did catch me off-guard to see so much comedy in what I thought would be a serious show.

Speaking of disparate elements, there is some romance in this anime. The reason for this might be because of who’s directing the anime: Kazuto Nakazawa. In the runup to this anime’s premiere, Nakazawa cited one of his influences for Fena as shojo manga and it’s obvious that those elements are very present here, from the very first episode. And that wouldn’t necessarily bother me if Fena’s love interest wasn’t so cold and distant.

That brings me to my first criticism: Yukimaru.

I’m sorry, I just don’t like this guy. At one point I even called him “bargain bin Sasuke” in the stream and people immediately agreed with me. I get that he’s supposed to be this cool and aloof tsundere type who undergoes growth, but for someone who is supposed to be Fena’s oldest childhood friend, he treats her more as a nuisance than as someone to protect. For god’s sake, the first thing he does when they reunite is knock her out when she gets too chatty (a potential running gag that may turn off some viewers). I’m willing to give him a chance since we’re only two episodes in, but he still has a long way to go before he gets into my good graces.

Speaking of Yukimaru, the other problem I have is the other ninjas don’t really stand out to me in any meaningful way. Karin is the only one who I could potentially like as she’s portrayed as not only a gun afficionado and a gearhead (channeling some Winry Rockbell here) but I could also see her as a good friend and foil to Fena. The twins Kaede and Enju I see as either the funniest characters of the crew or the most annoying, depending on who you ask. Shitan is another cool hot guy that could provide grounds for a love triangle. Again, we’re only two episodes in, but if this starts going into shojo romance territory, I may be turned off. I can’t even really say anything about the others as they lack any kind of presence for me.

Let me circle around to another positive: the art direction. This anime looks visually striking and has some interested and varied locales so far. The island Fena escapes from reminds me a lot of sets from Pirates of the Caribbean. The entire island is covered in this purple light which gives it a foreboding air, especially in the red light districts. Fena’s room was packed with a lot of intricate details that tell me a lot of work went into the backgrounds and sets.

The animation is no slouch, either. All the action sequences are eye-catching, the opening and endings are gorgeous to look at, and even the comedic asides looks visually appealing. If nothing else, this anime is pretty to look at, which is to be expected from a studio of such high caliber as Production I.G. (Ghost in the Shell, Psycho-Pass, Haikyu!!).

My last criticism I have is the pacing of the show, which is rather breakneck and could cause some problems later if it continues at the current rate. Even the dialogue moves at a fast clip. I never felt like I got a chance to know all of the characters in this anime (except Fena) or understand the world. It might be because Jason DeMarco (VP of Toonami) has said this will only get more seasons if the first one does well in ratings, so they might just be going at the pace of a 1-cour anime to play it safe. However, I think that might work against the anime since there is only so much you can hope to accomplish in 13 episodes.

Overall, Fena Pirate Princess doesn’t get off to a perfect start, but it’s sure a fun ride along the way. Fena is a cute and endearing protagonist who has the potential to be more, the world is a visually beautiful and interesting blend of 18th century steampunk, and there are even some moments that will make you laugh out loud. The potential love story might turn out to be lacking and the pacing may be too fast for some, but I’ve learned to never say never and always give everything a fair chance.

Can’t wait to see Episode 3.

#fena: pirate princess #toonami #Adult Swim #anime #production i.g.#fena houtman #fena #yukimaru #japanese animation #anime review #first impressions #kaizoku oujo

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official-impravidus · 4 years ago

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Just A Kiss (i don’t wanna mess this thing up)

Peter had been a fan fiction writer for quite some time. When he was in middle school, his schedule balancing robotics club, band, and AcaDec, he needed a creative outlet that wasn’t rigidly confined by STEM or saxophone repetoire.

So, he found himself writing stories.

They weren’t good. They were actually quite horrendous at first, but he expressed his love for the Star Wars stories, exploring character interactions in as many ways as he could imagine. He made canon divergent fix-it fics and cringey OC fics and even modern high school AUs.

However, as he grew older, his skills blossomed, just from the sheer magnitude that he wrote.

Every day, when he got back from his extracurriculars, already having finished his homework during school, he would find himself at the chunky computer he had rebuilt from garbage scraps, typing away until Ben called him for dinner, and then back at the keyboard when he finished washing the dishes.

It wasn’t until Spider-Man entered his life did his stories really get somewhere.

Peter had become known for his hyper-realistic, extremely detailed action sequences. After a particularly long patrol, he took notes on form and the choreography of it all, the different way that the criminals attempted to fight against him.

Of course, he took a lot of creative liberty to adapt the fights to fit his characters, but people appreciated the ebb and flow, how it didn’t focus on the gore, but instead the intricacies of technique and battle preparation.

But, his modest AO3 following wasn’t something that he broadcasted in his real life. There were enough reasons for people to make fun of Peter Parker, and he didn’t want to add to the list.

So, after almost a year of knowing Harley Keeer, Peter didn’t think to mention it.

Harley was great. He was really, really, really great, and Peter didn’t want to ruin what he could only hope was respect and mutual friendship that he shared with Harley by divulging his deepest, darkest secret with him. (Because despite what one would think, Spider-Man was not his deepest, darkest secret.)

Because Peter maybe, just maybe, just maybe a teensy tiny little bit, had a big, fat, embarrassing, brain-goes-offline-and-he-makes-stuttering-static-noises-when-he-tries-to-talk crush on Harley.

Harley was effortless charismatic. He was funny in a dry and sarcastic kind of way that could keep up banter for what felt like hours. He was kind in a genuine benevolent generosity kind of way. He was intelligent, and he made it very clear that he was competent and capable. He was confident, unwavering and strong. And he was really pretty. Sparkling blue eyes and soft, bouncy blonde hair, and a crooked smile.

So, sue him! Harley was dreamy and exactly Peter’s type.

So, when Harley approached him one morning, Peter slurping down a mango smoothie, saying “hey, Peter, so I was checking out your AO3,” was it really his fault that he snorted it out of his nose and coughed for a good two minutes in pure shock and also so he could delay the conversation as much as he could?

Class started before Harley could bring it up again that day.

But Peter knew it was coming.

The two were lounging in Harley’s room, Peter at his desk finishing his research essay for AP Lit, and Harley lying on the carpeted floor, scrolling silently on his phone.

“I just finished “ Thnks Fr Th Mmrs (even if they weren’t so bad) ,” Harley announced.

Peter choked. “ What ?!”

“Yeah, it took me a good couple hours because I mean, Jesus, 236,000 words, but I finished, and I gotta say, wasn’t expecting that ending.”

Peter swiveled around in the rollie chair. “How did you find my AO3?”

“It’s linked on your Tumblr,” Harley said with a shrug. “Anyways, I know that it was tagged major character death, but killing off Rey like that, I mean, that was heartbreaking. I felt physical pain in my chest while reading that. I didn’t even know a book could do that.”

“You read my fic?” Peter asked.

Harley looked to him, confused. “Yeah, I said that didn’t I? I’ve been reading your whole page, though it’s gonna take me some time because you’ve got like at least a million words total.” He scrolled through. “I started from your earliest fics because I figured they’ll just get better the further I get, and I’m about fifteen fics in because that last one was so long, and I don’t have that much free time…”

“Why are you reading my fics?” Peter blurted out.

“Because you wrote them?” Harley responded, as if the answer was obvious. “Why wouldn’t I?”

“It’s… it’s embarrassing.”

“I mean, yeah, your earlier work had some formatting issues with the dialogue and some grammar mix ups, but I wouldn’t say it’s embarrassing. If anything, it’s really well written. Thnks Fr Th Mmmrs got a lot better as it went on.”

“That was my first multi-chap,” Peter said.

“You could tell. At least, at first you could. But like I said, it got better as it went on.”

“You liked it?”

Harley tilted his head. “Yeah. I did. You’re a really talented writer, Peter.” He looked to him with confusion and a hint of hurt. “Why didn’t you ever tell me about this? Did you not trust me? Did you think I was going to make fun of you?”

“No!” Peter said quickly. “Well, I… I just, people think it’s weird. And that I’m weird. And it’s just one more weird thing, and I just didn’t want you to think I was weird.”

“I could never think you were weird,” Harley said softly.

Peter ducked his head, averting his gaze. “So, uh, do you have any notes? The feedback is pretty mixed in my comments, but usually the criticism I receive isn’t quite constructive.”

“Well, your action scenes are impeccable,” Harley said. “You really know how to capture movement. And the team dynamics are spot on. The build of trust and eventual camaraderie doesn’t feel rushed at all, and as a reader, is really fulfilling and satisfying.”

“But?” Peter prompted.

“But,” Harley continued, “the non-platonic relationships are lacking.”

Peter bobbed his head in understanding, hand going to rub the back of his neck. “Yeah…” He sighed. “It’s just, it’s hard, y’know? Because I’ve never… I mean, the closest I ever got was with Liz, and you know how that ended up.”

Harley sat on the edge of his bed. “Have you tried reading it more?”

“I just don’t tend to read that stuff. I’m not… it’s just not as interesting to me because I don’t get it. And that’s the problem. I just don’t get this stuff. Even if I did, I wouldn’t be good at it enough to really retain that information,” Peter said with a pathetic shrug.

“What do you have trouble with?” Harley asked, leaning forward, invested and curious.

“It’s the physical side of things. I don’t… in theory, I get how the feelings should feel. But, getting the logistics of stuff like how it feels when they finally break that physical barrier or how a kiss should be described, I just, I’m hopeless.”

“Well, I could help you?”

Peter looked up. “What?”

“I could show you. And explain it to you. Show you how it should be written.”

Click Here to Read More!

#parkner #peter parker #harley keener #spiderman #fan fic #fanfic #fan fiction #fanfiction #parley #harter #keenker #marvel #mcu #avengers #parkner week #parkner week 2020

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theusurpersdog · 5 years ago

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So Game of Thrones ended on Sunday, and for now it’s going down as potentially the worst ending of any TV show ever. Some of the backlash has come from the more nonsensical elements, such as Bronn being on the Small Council, anyone in Westeros defending Daenerys (the show literally framed her like Hitler, come the fuck on), Tyrion deciding who was King while in shackles, etc. But the truth is, none of that would’ve mattered if the emotions rang true. And that’s been a problem since the show started; go all the way back to Winter is Coming and you’ll see that the Starks have always been sidelined - both as individuals and as a family - in favor of the Lannisters. George Martin is writing a character piece about the Starks and how they survive, and the show was never going to stick the landing when they fundamentally didn’t understand that.

I’m not the first to point this out, but man did it really bother me this episode. D&D really could’ve phoned in 95% of this story and just shown up to love the Starks and everyone would’ve been at least satisfied, and they just couldn’t do it. So many years of bad writing and idiot plots and plain stupidity hasn’t lost Game of Thrones hardly any fans, because the ones they had were deeply invested in the characters GRRM had created and were willing to overlook just about everything to see those characters have some sort of conclusion. That’s why their entire audience has turned against them now - they didn’t care about the Starks for 8 seasons, and GRRM’s ending required the audience and the writers care deeply for Jon, Sansa, Arya, and Bran.

For all of GRRM’s talk about wanting to break his reader’s hearts, and D&D’s version of his story as this GrimDark nightmare, GRRM’s story has a real, emotional heart to it. People debate whether it was a fantasy story with the false premise of a political period piece, or a political story with a touch of fantasy intrigue - but the truth is, this story is and always has been a character piece centered around the Starks and how they survive and rebuild after family tragedy. In number of povs and chapters, they literally overwhelm the series. Jon, Sansa, Arya, Bran, and Catelyn all are in the top povs as well as Ned, who is still competitive despite being in exactly 1 book of the series. Having the Starks as the center of the story, the point in which almost all the action revolves, is what grounds all of Martin’s series even as his povs reach 30+. Martin was being very serious when he said Arya, Sansa, and Bran were the heart of his series. You need them because they make it worth it.

So let’s break down how D&D ripped the heart out of asoiaf’s chest. The biggest problem the show had was something book readers have known for a long time, but didn’t fully realize until Sunday night: The Bran Problem. GRRM has stated multiple times that Bran is his hero, yet the show has never had any interest in his story. They made an entirely random decision not to include flashbacks or dream sequences, which immediately cuts out about half of Bran’s content. But not only did they take away his magical importance, they also stole his political importance. Bran was Robb Stark’s heir, Lord of Winterfell and first in line to be the King in the North. Yet they took Bran’s story away from him and gave the focus to Theon Greyjoy, a character more appealing to the tastes of David Benioff and Dan Weiss. So we never got to see the King of the Six (should be eight but whatever I’m just dying inside) Kingdoms acting in any leadership capacity. And, last but certainly not least, D&D took all emotion from Bran. And no, I don’t mean when he came back from beyond the wall a husk of a person. That was awful, but the damage was done seasons before. If you’ve read the books, you’ll know and love Bran Stark because this is who he is:

He sent sweets to Hodor and Old Nan as well, for no reason but he loved them

Bran was a sweet boy. Everyone loved him

The roots of the trees grow deep, and under the ground the Kings of Winter sit their thrones. So long as those remained, Winterfell remained. It was not dead, just broken. Like me, he thought, I'm not dead either

Old stories are like old friends, she used to say. You have to visit them from time to time

He is a sweet boy, quick to laugh, easy to love

Bran has always represented happiness and people coming together in GRRM’s story. Ned wants to bring him to King’s Landing because he’s universally loved and will ease the conflict between Joffrey and Robb, and just the thought of him being alive makes Jon bury his ego and reach out to his Night’s Watch Brothers. He is Meera’s little Prince, someone that Howland Reed’s children are willing to go beyond the wall and die for. He accepts food on the road beyond the Wall, and promises he’ll repay his debt many times over. He’s the boy who looks back into the past and just wants to see his dad again; who reaches out to save Theon, even when Theon took everything from him. He is Eddard Stark’s son, soft and kind and loving, brave when he is afraid, loyal and honorable, and he is a good person. He’s young, but he is fit to be a King one day.

But no, D&D didn’t stop at Bran. Let’s talk about Arya Stark, and the little girl who never was. Was there ever a character more suited to D&D’s tastes than a little murder girl hellbent on revenging her family’s killers? But was there ever a character further from Arya Stark? She is nine years old when Ser Ilyn takes her father’s head, of course she is brash and reckless and childish, wanting to avenge him. But she is all of those things because she is still a kid. Below the surface, she is very scared and very hurt. Unlike the show’s version of Arya, who is upset Joffrey died because she couldn’t do it herself, the Arya of the books has a realization that Joffrey dying means nothing because she’ll never get Robb back. Arya isn’t turning into an assassin because it would be cool, she’s running away as far as she can.

You can watch the season finale of Game of Thrones s4, and be right in concluding that Arya Stark leaves The Hound for dead in a ruthless move of brutality as she goes to pursue her dreams of being an assassin. Now read the end of A Storm of Swords, and you’ll find an Arya who refuses to let Sandor take a piece of her no matter how he abuses her, and goes to Braavos because she is so afraid that no one could love her anymore - and most of all she leaves because with Winterfell sacked and held by the Boltons, she genuinely thinks she has lost her home. Arya doesn’t make a well-adjusted decision to leave Westeros, she’s trying to keep her head above water before she drowns in grief. Disassociating from her pack is the only way she can cope with the unbearable amount of loss she has suffered, especially at such a young age. But GRRM’s version of Arya is fierce, brave, loyal, loving, and above all she loves her family.

Then there is Sansa, the most empathetic character in GRRM’s whole world. The unfailing hope and kindness in which she views the world are her defining character traits; she echoes GRRM’s own worldview, one where you can see the good and the bad in everyone, and choose to forgive - and if not that, still refuse to be cruel in kind. Sansa is the only one who looks at Sandor Clegane, looks at the ruin fire made of his face, and see that his eyes are why he’s so ugly - and then reach out to show him mercy. The girl who was beaten everyday of her time in King’s Landing, and still mourned Joffrey because he was a person and he died and she understood that it was still awful. She wishes knights who literally beat her bloody would fall off their horse, then feels bad and ashamed when they do. Sansa Stark is kind above all.

And the show took this character and made her cold. They tried to make her Littlefinger. Surprise! Nobody cares about the emotional well being and happiness of Petyr Baelish for a reason. Thankfully Bryan Cogman was there to run interference between Sansa and D&D, so she wasn’t fully the Ice Queen D&D wanted her to be, but goddamn how do you take Sansa “if I am ever Queen, I’ll make them love me” Stark and make her cold?!

The biggest problem with stripping the Stark kids individually of their emotions, is that they can no longer exist as the family GRRM created them to be. Without Arya, Bran, and Sansa’s emotional arcs, everything becomes meaningless. Who cares that Ramsay Bolton is the one to rebuild Winterfell in the show? Certainly not an audience that hasn’t been told to care.

You’ll notice a trend in the type of chapters that D&D decided not to adapt into Game of Thrones; think of all the chapters that are the emotional heart of GRRM’s story. Not the shocking character deaths, or dragons, or plot twists. The moments of intimacy between GRRM, his character, and you as the reader. The moments so small yet so impactful, the lines you remember not because they pushed the plot forward but because they honestly moved you in a way that you felt hope, longing, love? Those chapters are almost always either from Bran, Sansa, or Arya; and are always about their connection to their family. D&D adapted none of them. Here’s three great examples:

Done with Wooden Teeth

When Arya is a serving girl at Harrenhal during A Clash of Kings, it really sucks. Unlike the show, she is not cup bearer to Tywin Lannister; she is just like everyone else: abused, mistreated, underfed, miserable, and uncared for. She’s already at a pretty low moment in life, then the news breaks that Bran and Rickon were murdered by Theon Greyjoy and Winterfell has been sacked. And Arya doesn’t even have someone to grieve with; the one person she tries to tell, Elmar Frey, tells her nobody cares about a serving girl’s brothers when he’s just lost his Princess (the irony...).

The news that her family is dead almost breaks her:

As Arya crossed the yard to the bathhouse, she spied a raven circling down toward the rookery, and wondered where it had come from and what message it carried. Might be it’s from Robb, come to say it wasn’t true about Bran and Rickon. She chewed on her lip, hoping. If I had wings I could fly back to Winterfell and see for myself. And if it was true, I’d just fly away, fly up past the moon and the shining stars, and see all the things in Old Nan’s stories, dragons and sea monsters and the Titan of Braavos, and maybe I wouldn’t ever fly back

This is Arya giving up. Everything she’s done in this book so far has been to get back to Winterfell, or to Jon at the Wall. Her making the decision to fly away (which she’ll follow through on in A Storm of Swords) is a defeat, the acceptance that she’ll never get her family back.

If the chapter had ended here (it doesn’t), D&D still would’ve gutted it, because no Stark gets to react to Bran and Rickon’s death in the show. Not even a minute of screentime given to the Heir to the North and his brother dying; not a moment where their family can grieve the tremendous loss.

But Arya is a Stark, so before she gives up on her identity, she visits the Godswood:

“Tell me what to do, you gods,” she prayed.

For a long moment there was no sound but the wind and the water and the creak of leaf and limb. And then, far far off, beyond the godswood and the haunted towers and the immense stone walls of Harrenhal, from somewhere out in the world, came the long lonely howl of a wolf

The Godswood is very important to the Starks for a couple different reasons. First, only the men of the North worship the Old Gods, and the trees is the connection they have to them. The Old Gods were who Ned went to for guidance, and every single Stark has huge moments of understanding in front of a Godswood (none of which made it into the show...). But, more specific to the Starks as a family, Bran speaks to his family through them and guides them toward home. So even though they don’t understand that Bran is calling to them, the Starks are drawn to the trees for help.

And the trees always answer them. The Starks get a real, physical response when they ask the Godswood for help:

Then, so faintly, it seemed as if she heard her father’s voice. “When the snows fall and the white wind blows, the lone wolf dies, but the pack survives,” he said.

“But there is no pack,” she whispered to the weirwood. Bran and Rickon were dead, the Lannisters had Sansa, Jon had gone to the Wall. “I’m not even me now, I’m Nan.”

“You are Arya of Winterfell, daughter of the north. You told me you could be strong. You have the wolf blood in you.”

“The wolf blood.” Arya remembered now. “I’ll be as strong as Robb. I said I would.” She took a deep breath, then lifted the broomstick in both hands and brought it down across her knee. It broke with a loud crack, and she threw the pieces aside. I am a direwolf, and done with wooden teeth.

In her lowest moment, Arya re-finds her strength by remembering she is a Stark, a direwolf who belongs to a pack. The Godswood gives her Ned as comfort, as a reminder of who she is and what she should do. There is an incredible emphasis on family here. It would be impossible to adapt this chapter unless the writers and audience fully understood just how committed to each other the Starks are - which is why they didn’t adapt it.

I’m Not Dead Either

When Bran finally leaves the crypts at the end of A Clash of Kings, he’s close to giving up on himself entirely. He spent three days inside Summer, and returning to the body he views as broken (”Bran the Broken” is something he calls himself when he feels upset, not the monikor he’d give himself as King) is really hard for him. And when he finally leaves the crypts, he comes out to a Winterfell that has been destroyed; Ramsay has set the place ablaze and killed everyone. Bran knows Ser Rodrik is dead and Maester Luwin is soon to be as well. He looks around him and sees all this destruction, all he smells is fire or blood. But one thing in Winterfell stands unharmed; Summer takes off running for the Godswood:

The air was sweeter under the trees. A few pines along the edge of the wood had been scorched, but deeper in the damp soil and green wood had defeated the flames. “There is a power in living wood,” said Jojen Reed, almost as if he knew what Bran was thinking, “a power strong as fire.”

After Bran says goodbye to Maester Luwin, and him and Rickon part ways with no idea where either is heading, Bran has one last moment to look on Winterfell and find hope:

Beyond, the tops of the keeps and towers still stood as they had for hundreds of years, and it was hard to tell that the castle had been sacked and burned at all. The stone is strong, Bran told himself, the roots of the trees go deep, and under the ground the Kings of Winter sit their thrones. So long as those remained, Winterfell remained. It was not dead, just broken. Like me, he thought, I’m not dead either.

Bran looks back at Winterfell, and because he’s able to see the unharmed Godswood and the Kings of Winter still seated on their thrones, he can understand it’s not dead, just like him. Again, a Stark is drawing strength from their connection to each other, and through a Godswood.

I Am Stronger Within the Walls of Winterfell

This next one, you’re probably thinking “but the show did adapt Sansa’s snow castle chapter”, and I’m here to tell you they didn’t. I could write an entire book on how that scene is the perfect example of how adaptations fail; they *technically* adapted it, with pretty much the same events, but it was completely stripped of its emotional impact and narrative importance. It is the perfect microcosm of why Game of Thrones was a bad adaptation of A Song of Ice and Fire, as well as how D&D consistently missed the emotional beats the Starks were supposed to have.

The show’s version of this chapter somehow centers it around Littlefinger, while simultaneously underselling the fact that Lysa killed Jon Arryn (they sandwiched this episode and scene between Tyrion’s trial and Oberyn’s death, when this chapter ends A Storm of Swords. All of the climaxes in that book, and GRRM saved this one for last). The end product is a rather forgettable scene that most people overlook.

In the book, this chapter is everything. It is the best chapter in asoiaf, and the best writing of anything ever. Period. And it’s a chapter centered around Sansa’s relationship to her home, to Winterfell. Unlike the very small castle of the show, Sansa spends hours building a castle big enough that she can step inside and continue building details. The fact that she can stay outside for hours, while several onlookers get too cold and go back inside, is a reminder that she is a Stark.

And this chapter is centered around a Godswood. The tree never took root, because the Eyrie is too high for weirwoods, but the courtyard Sansa’s in was meant to be a Godswood. And since she doesn’t have a real one, Sansa builds her own inside her snowy Winterfell.

Being up in the mountains is also the first time Sansa’s seen true snow since she said goodbye to Robb in Winterfell, and just the thought of it makes her dream of home and of memories with Bran and Arya. She wakes up having dreamed of home, and thinks she’s sleeping next to her sister until she wakes up enough to realize she’s not in Winterfell.

When Sansa’s alone with no real connection to home, she finds the closest thing to Winterfell (the failed Godswood) and builds her own. She literally gains strength from it:

She wondered where this courage had come from, to speak to him so frankly. From Winterfell, she thought. I am stronger within the walls of Winterfell.

Her home and her family give her strength to stand up to her abuser, just as Arya was able to escape the abuse of Harrenhal and Bran escaped the Boltons.

There is way more than these three instances, but these are the best examples of D&D failing to adapt the Starks as a pack, or as individuals with feelings. Of course the ending didn’t feel right emotionally, because we had no explanation for what emotions led our Starks to their destinies.

I’ll probably make a post specifically about this in a couple days or weeks, but I can see GRRM’s ending stuck within D&D’s sloppy rush to the end:

The first time Arya leaves Westeros, she leaves because she thinks all her family is dead or taken, and that Winterfell is gone forever. At the end, she’ll leave because she is sure her family loves her, and that she has a room in Winterfell whenever she wants to visit Good Queen Sansa. Arya is also fast to make friends of all different people, and would start her own pack of rogues as she travels the world.

Sansa won’t be alone because she, like Arya, is good at finding her own pack. (And GRRM has built his world out so extensively, it’s honestly a joke to think we could be in a crowded room and recognize no one). Sansa’s friends are her people. She throws feasts constantly, and like Ned, always has a seat at the High Table for the small folk. She has many ladies in waiting, true friends of hers that help her write songs and stories, and sew dresses. She is a good and kind Queen, and visits the Wall constantly as she helps the Lord Commander resettle the Gift.

King Bran the Wise (or ya know, just not broken) rules from his Weirwood Throne on the Isle of Faces, at the heart of his kingdom. After Daenerys burns King’s Landing, he moves the capital since The Red Keep was a monument to Aegon’s Conquest - a symbol of tyranny King Bran is trying to move forward from. He fills his council with highborn and lowborn alike. He constantly talks to his siblings; Sansa waits for him at the Godswood, and Arya and Jon see him through Ghost and Nymeria.

Just because they’re far in distance, doesn’t mean they aren’t a pack. They all know the others are safe, and that they’ll see see each other soon. GRRM will invest the right amount of time explaining the emotional beats of this ending to make it feel right. He cares so much about the Starks. He wrote them a whole epic fantasy because he saw Bran finding pups in the snow. He loves them more than we do, guys.

The Starks are the Giants!!!!!!!!!!!!!!!!!!!!!!!!

#game of thrones #Sansa Stark #Arya Stark #bran stark #asoiaf meta #if you're wondering why Jon wasn't included #it's because that boy was a whole mess #needs his own post to explain the unique injustice that was done to him

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professorspork · 5 years ago

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Frozen 2: first impressions

Hello friends! As you know, Frozen was a HUGE part of my fandom life ~back in the day.~ So of course I saw the sequel opening night and of course I have thoughts after ruminating on it for 24 hours. I’m sure there will be many things I forget or don’t cover--after all, I’ve only seen it the once. And I make no guarantees that my thoughts are coherent or consistent. (If I contradict myself, I contradict myself-- I am large, I contain multitudes.) I’m also sure my opinions will evolve upon rewatch. Lord knows they did last time.

Is that enough disclaimer yet? OKAY. Some of my thoughts are negative! Some are positive! It’s a grab bag! Here we go!

Spoilers under the cut, pals.

IN SHORT: As an expansion on the world and the characters I adore, I pretty much loved it! As an extension of uh Big Capitalism and what it means in terms of real world ramifications... I have questions/comments/concerns!

IN LONG: I think I’ll start with what didn’t work for me and work my way around to fangirling at the end.

the meh

I feel like... part of it is that Disney has just gotten worse and power-grabbier in way more blatant ways in the last few years, and part of it is that I’m ever-more cognizant of these things. And the fine line they want to walk of “We can tell stories about progressive concepts! Princesses are woke now, actually!” without taking a single financial risk when it comes to alienating foreign markets, homophobes abroad or Nazis domestically is just a fundamentally untenable position to be in. You don’t get to retcon Elsa and Anna as being somehow less white than they clearly are and then try to tell a story about reparations in which no one actually gets reparations. You don’t get to get points for that. It’s in some ways admirable to want to try, but all you do when you’re coming at it from the position of being Disney when you tell this story is show the cracks in it.

I can see how, on a purely storytelling level, having Papa King Arendelle Agnarr be of Arendelle and Iduna be of the Northuldra and having their daughters be the bridge between the two communities is a really tempting, tidy, tie-a-bow-on-it narrative. And I also see how creating the backstory of the war and the mist neatly explains the absence of indigenous faces in the first film. But like... come on. Introducing an indigenous group like the Northuldra and then declaring that Elsa and Anna are a part of it is insulting. There’s no other way to say it. It just feels gross. I’m glad that Disney consulted with the Sámi on the movie, and I acknowledge that both real-life Sámi folks and the onscreen Northuldra come in a broad variety of skin tones and phenotypes. But even with the most generous possible reading of the choice-- that it’s well-intentioned, albeit misguided-- falls flat for me. It feels like Disney trying to have their cake and eat it too. And I don’t really see any way around that. It just... gives me tremendous pause, and it’s so core to so many of the things the movie chooses to be that it’s really disquieting and disappointing.

But then again, Disney being racist isn’t exactly news, and there’s still plenty of flaws to tackle even when we put this (massive) issue aside.

This movie is... weirdly allergic to stakes? It’s not like I wanted Elsa to stay dead, or that I expected Olaf to (more on that in a minute). But Anna’s decision to go full Thor Ragnarok and, as @theseerasures jokingly put it to me last night, “throw the first brick at Stonewall” and destroy Arendelle felt right. It felt appropriate to the story they were telling, and it would have had the film put its money where its mouth is re: how atoning for the sins of our forebears requires massive systemic change. So having Elsa charge to the rescue on her water-type Rapidash extremely queer steed daemon Gay Horse and save the city felt cheap. (Also, side note: is Arendelle really just... that one seaside port town and nothing else? Are there only like fifty people in Arendelle?) The citizens had already been taken to safety. The society would live on; they’d all get to rebuild. What was the point of saving the castle, just for saving the castle’s sake? To what end? I don’t see how that’s more inspiring or reassuring or worth it than watching the sisters lead their people from the ground up and starting anew. I don’t understand what they thought was worth protecting, when, again, all of the people were safe. Stories need stakes in order to have meaning! HTTYD has impact because Hiccup loses his leg in his attempt to save his dragon and his people. You know? You don’t get to just... keep everything the way it is and call that restorative justice, and the film clearly wants us to. And I don’t understand why. The only reason that makes any sense at all to me is that they thought it would scare little kids, but like. THIS COMPANY HAS PORTRAYED WAY MORE TRAUMATIZING THINGS THAN THAT. MANY TIMES.

Point in fact: Olaf’s death! Genuinely disturbing! Sad! For the most part I really liked the way it was handled, but it also felt very. Y’know. “Mister Stark, I don’t feel so good.” This is perhaps my most uncharitable nitpick, so I’ll keep it brief, but having Olaf drift away Snap-style just felt like an extremely synergistic, Disney+ nod at Infinity War instead of an organic decision. Which maybe isn’t fair, because it makes more sense for Olaf to become a flurry than for the Snap to make people dust! But nevertheless, the weird wink-and-a-nudge feeling of it totally pulled me out of what should have been an extremely poignant moment. Elsa’s revelation during “Show Yourself” felt similar--like. Not to take away from your moment, Elsa, but the call isn’t out there at all, it’s inside me was already covered by this larger canon, and in a more elegant and eloquent manner.

Which--tbh, the music overall was a bit of a letdown (though “Into the Unknown” slaps and a boyband of five joshes “Lost in the Woods” was perhaps the best sequence in the whole movie). I respect that they clearly wanted to give everyone a solo this time around in a deliberate way, but the songs felt perfunctory for the most part--describing moments instead of advancing them. This film was such a departure from how Disney normally makes sequels (mostly in a good way, actually) and I couldn’t help but wonder what it would have looked like to make a version of this movie where no one sang at all. It didn’t feel cohesive.

And, though it would kill me to get rid of “Lost in the Woods” because it’s perfect... I kinda wish Anna and Kristoff had gotten engaged at the end of act 1, as I think they pretty clearly did in the first draft of this script. Their relationship drama felt like a hat on top of a hat, and they could still have addressed their codependency/insecurities while being engaged. Leaving the proposal for the end just made it an anticlimax after everyone’s been brought back from the literal dead. And it maybe would have left them with more options than having Kristoff just vanish from the narrative for the entire back half of the second act.

Also Honeymaren should have had at least two more scenes. I can’t justify this on a narrative level; the movie didn’t actually need more of her. But like. If you’re going to go out of your way to keep Elsa carefully single, and even give KRISTOFF a new boyfriend, I feel like the least you can do is let us get to know the obvious throw-us-a-bone offering a little bit better. Like. Literally. the actual least you can do.

anyway. all of that said.

the yay!

I can’t tell you how gratifying it was to me, personally to open with a flashback of the girls that demonstrates as clear as day that Elsa is an ace lesbian and Anna is bi and polyamorous. Thank you, snow action figures.

And like. Overall the way the movie tackled the sisters and their relationship was pure *chef’s kiss.* (And I think for me, the strength in this particular bullet point probably outweighs all of my complaints and concerns from above, in the end. At least from an “I still derive enjoyment from this flawed thing” standpoint, though perhaps not from an “I’d recommend this to anyone without caveats” standpoint.) THEY LOVE EACH OTHER SO MUCH. THEY WERE SO THEMSELVES. I do think part of the fear of any sequel where there’s been a significant amount of time since the last one and you were so emotionally invested in it the first go-around is like... what if everyone feels OOC? What if what I saw wasn’t what was really in them after all? What if they feel like strangers? What if they let me down? And there was none of that, even for a second, with this movie. Their parallel journeys were character-appropriate and impactful. Elsa finally gets the freedom she’s always been looking for. Anna finally gets the responsibility she’s always been ready for. Anna, the caretaker, is positioned to take care of everyone. Elsa, the lesbian, runs away to the forest to hang out with beautiful powerful women. Elsa, the force of nature, is finally allowed to commune with it. The scene at their parents’ ship truly anchors the whole movie in the best possible way. And also, like... this movie showed how fucking weird Elsa is, and I feel so vindicated. SHE’S SUCH A DORK. I can’t believe I never realized that Elsa would totally choose Charmander as her starter, and the way she talked to the fire salamander was literally the most charming thing I have ever seen. “They’re staring at us, aren’t they?” GOSH. [IMDb says the salamander’s name is Bruni, and I’m very sad they never spoke it aloud.] [Someone do a rotoscope of the Tangled short where Pascal and Max almost ruin Rapunzel and Eugene’s wedding by losing the rings but it’s Bruni and Sven at Kristoff and Anna’s wedding, thank]

Anyway. All of that goes double for Olaf, because I really wasn’t sure they could pull off the miracle of him not being annoying twice. And they did! Olaf’s grappling with his burgeoning maturity was adorable and profound in equal measure, and his plot reenactments were sublime. And when he realized to Anna for the first time that he was feeling angry, that he was capable of feeling angry... what a tremendous moment. (Actually, I’ll extend what I said about the boat scene to include the Earth Giants river sequence in total, because. Again. Wow.)

And I have to say... as much as I am given real pause by their execution of the concept, “you just do the next right thing” is such beautiful (*cough* Jewish *cough*) praxis. I love that. In the broader Disney Revival canon of Tiana’s work ethic and Rapunzel’s abuse narrative and how Wreck-It Ralph talked about PTSD and all of the myriad things the first Frozen did, I might love “the next right thing” most of all. What a simple, powerful, evocative message. It’s so lovely. A perfect gem.

Also worth acknowledging that the animation was straight-up stunning. Which I expected, generally, but the water droplets in the ship? The way Elsa just loses it sobbing when she sees her mother’s face in the ice? The tender, shattered way Anna pulls Olaf in closer to her as he fades? W.O.W. And, y’know, while I stand by what I said above about stakes, I will say that the moment we first see that Elsa is experiencing cold, that Elsa is freezing? Genuinely--and please forgive the pun--genuinely chilling.

I love Gail the Gale. I love Mattias and Yelana and Ryder and Honeymaren. But mostly I just... loved the dialogue and these characters and that I got to spend a little more time with them. And I’m sure I’ll do so at least two more times before it leaves theaters.

... apparently this is over 2k words now so that seems as good a place to leave it as any. Thanks for coming to my TED talk.

#does #anyone #use #tracked #tags #anymore?#either way #let's stay out of them #that should do it #frozen 2 #frozen 2 spoilers #frozen #frozen spoilers #spoilers

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thoughtfulpaperback · 5 years ago

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SPOILERS!!! Charmed 2x10 Review

Okay, y’all. . . I am seriously ticked off at the writers for a number of reasons which I will address after I go over the things I actually loved about the episode. I thought the episode was entertaining and well-paced. On the entertainment scale, it was an 8 out of 10 for me. But in case no one has figured out from my previous reviews, The way I rate an episode on entertainment is not indicative of how well written I think it is. When I rate entertainment, I think in simple terms of was I bored? Did I feel like I could look away from the screen?, is this relatively fun to watch or is it something that feels like a chore?

So for sure, this was entertaining and I was invested more so than the episode before. So anyways . . . Standard format. Thinks I liked, things I disliked, episode highlights.

THINGS I LIKED

1. Jordan and Maggie’s relationship and Jordan in general.

I am just going to say it. Jordan is the new Harry and his relationship with Maggie is what I had wanted the writers to do with Hacy.

What do I mean? Think about it. Jordan is a supportive friend, who-although doesn’t always react the best or know exactly what is going on-goes out of his way to help Maggie. He is obviously developing feelings though she is mending from a romantic loss and going through big life changes. He isn’t pursuing her, just trying to be there for her, but you can see his feelings grow the more they interact and get to know each other. Though Maggie is hesitant and not ready to be in a relationship, the foundations of her starting to care and appreciate Jordan are being set. Is this not what many of us all the way back in season 1 thought of when we imagined Hacy interactions in the future?

Anyways, I fell in love with Harry’s character based on those sorts of behaviors and of course his own personality, so it stands to reason that Jordan displaying those characteristics and being his own really good person with a magical curse on him is going to make me want this character around for a while, if not forever.

Jordan now knowing about magic and the curse is so exciting to me, and I think he and maggie going on adventures and trying to “balance the scales” to lift his curse or just do good. It is content that I need, and it doesn’t have to even be romantic. I mean outside of his fraternization question. There haven’t been any huge romantic moments or intentions displayed. But that not bad! it actually makes it feel more realistic, that the two are building a friendship and getting closer as they grow and learn. So Just having Jordan fulfill that old Harry role and a bit of OG Charmed Morris role is compelling and interesting to me. I really hope the writers don’t screw this up, and to be clear I am talking about his character in general, not related to a romance with Maggie. Because I am definitely afraid they will try to kill Jordan off or abuse his character the way OG writers did with Morris.

2. The ghost storyline and Maggie kicking butt

The Ghost was great and is what made the whole episode entertaining. I still think ghosts trapped in mirrors is like the most stupid movie/ghost troupe out there because mirrors BREAK!!!! So thank you, writers, for at least showing the very thing that I always bring up when ghost stories include mirrors.

The action sequences were great in my opinion, and though this episode felt like some of the video games I have played in terms of the possession and the way the scenes were staged, I liked it. If I liked the games, then, of course, I would like a show that does simpler (if not outright copies) those things.

3. Mel and Ray’s side plot

Okay, so I want more of this. It doesn’t have to be with Ray. Mel has been the most underused and abused character on the show so far.

Listen, I am not a person who thinks every character needs a love interest or story to be interesting. If Mel is going to be out of the game for a while that’s fine, but give me good reasons why. Don’t just tease things only to take them away. And don’t underuse a character who is supposed to be one of the Main characters.

If they had wanted to focus on character developing Mel and having her heal from everything that happened last season, and/or set her up to investigate this non-magical threat to the magical community then they should have never brought Kat in. They should have had the sisters talk about it and made it clear how Mel was planning on going about things. Then actually give her those scenes which show her struggles and character growth throughout the episodes, not in chunks every two or three. I mean they set up some Mel struggles (insecurities about not having their powers, her being the one who wanted to run the magical community, and her protection of maggie and their dad issues) but they only really showed the struggles in episode three, solve most with a mirror monologue rather than build-up to the mirror monologue. I mean really Mel only gets a couple of highlight moments every couple of episodes and when she is on screen it is actually refreshing. Getting to explore Mel’s character is great! but the writers just set up things only to pull away from them or try to solve them quickly so they don’t have to give us more. Which they should because that is what is actually compelling!

This episode with Mel and Ray was an example. I loved the mirroring of their personalities and physical behaviors. I loved that they gave her a chance to actually learn what happened between her parents.

You guys this has actually bothered me since Maggie's parentage reveal in season 1. They never talked about how Mel might be feeling after finding out her mom was cheating on her dad. I mean even if you did resent your father and thought the world of your mother, that would be a pretty big thing to learn. They show that she is hurt by the fact she didn’t know her mom as well as she thought. Again things they teased us with but never went deeper since those and these writers seem not to know what to do with Mel (which is dumb because again they introduce really great stuff, but do not follow through).

I want more Mel. I think the stuff with her and Ray was well done and interesting. I still think Ray is dumb and a not so great person, but he has earned a bit more sympathy from me given that, while he wasn’t a good dad, he still loves both Mel and Maggie equally even knowing that Maggie isn’t his biological daughter.

MEL IS BAE and I want to see powers in combat, writers if nothing else please give me this.

But side note, I am not upset about the Ladies or Harry using their powers a bit freely because season 1 set up that some the Sarcana wanted to be able to use their powers semi-publicly to dispense justice and it was the elders who were set against any type of exposure. The elders are gone, rules have changed, but I do hope they will eventually address this.

THINGS I DISLIKED

1. Abigael

They are ruining her for me! I actually love Abigael as a villain. She is at her best when she is ambitious and going for it. I mean they just had her lock up her brother, take over as Overlord, and manage to get at least some trust from the Charmed ones, and hinted at some bigger plans, only to have her show up this episode after SELF-HARMING to get the attention of a man!!!!

WHAT THE ACTUAL HELL?!?!? Listen, if they go the route of Abigael is being manipulative and trying to take Harry, but still going to be a badass demon boss. then fine I will buy into this for a bit. But they have made it seem like she is desperate for his affection, and I just can’t. I could never get behind Harry x Abby because of all she has already done and her manipulativeness, but I actually liked that she told Harry she thinks of him as a whole person. Someone needed to say it, but I don’t want her to turn into the “crazy other woman” stereotype. In that, her plans and ambitions get out staged by her obsession with getting the guy. I am not down for a desperate Abigael. I hate this type of troupe, so the writers better not be going there.

2. Hacy

Julian has got to be the big bad or the one funding these collecting of magical beings and artifacts. Because if he is not, there is honestly no reason that Macy shouldn’t be with him. I mean he does seem to move fast, so maybe that could be a reason, but other than that . . . nothing. Unless she is not really interested in him. And if that is the case, this makes Macy seem like a jerk for using Julian like that.

okay so I gotta organize this or else it will get crazy. So my biggest issue with Hacy so far, which was just brought out the most this episode, was that the writers haven’t earned the angst.

There has been very little build-up of Macy and Harry’s feelings. We got smacked with it in like the first four episodes, but at the same time were being introduced to the “distractions” or obstacles. And the truth is the obstacles are stupid.

The first question you should ask yourself if you plan on keeping characters apart if the obstacles are valid and unavoidable.

For example. Harry and Macy not admitting their feelings was totally valid at the start of this season. Macy and Harry both lost love interests in the season before. It has been less than a month since then when the first episode, there should be some confusion and repression over feelings. and Macy is not open at all when it comes to her feelings. All of this is valid and mostly unavoidable.

But the writers messed up. Because they have mostly glossed over everything in season 1. They have not put in the effort to show us what Macy is thinking or feeling. They have done this with Harry (well in some places and poor in others). But they haven’t done anything with Macy so far. Hints then some little moments, but nothing overt. We don’t even know what she was going to say to Harry when she had planned on talking to him before the Abigael kiss.

And that is actually the bigger issue too. They showed that Macy was willing to talk about her feelings, though what exactly they are and what she wanted/wants is unclear. So her not being great at communication is no longer the obstacle especially since Harry does pretty much say he has feelings for her.

"Well he was kissing abigael!" So that would shut down a want to communicate. Completely agree, but he tells her that it was just a moment and granted they should elaborate on that in an actaull conversationsation. But the point it that he is showing his cards, although he definitely could be clearer. So if she wanted to communicate she could versus previously where she actually had a hard time communicating. She communicates but is angry and holding back versus just not having it in her to do it.

Although it was an argument and for sure you aren’t going to be inclined to admit you have feelings during an argument. The writers showed us that Macy had been willing to communicate, so if something has changed (I mean internally as she has moved from being closed off to just being unwilling to communicate) they should show us,because Harry basically is saying “the ball is in your court” and yet she is . . . I don’t know what she is doing.

If she genuinely has feelings for Julian and spending time with him is healing then that is where she should want to be. There hasn’t been enough build-up of hacy (and this is coming from a Hacy fan) to make me believe that enough feelings and good moments exist to beat out a genuine and healthy human connection.

Stop telling women it is only love if it is miserable most of the time. They continually put unnecessary and totally avoidable roadblocks to Hacy and have been putting the two at odds. It's not cute or romantic. at this point it is just frustrating. So the writers need to show them bonding more. They better plan on getting them together by the end of this season and then having that healthy relationship stuff (angst and fluff) next season, because I honestly couldn’t take another season of this. I for sure wouldn’t be able to take a whole relationship like this either. If the writers can’t figure out to write healthy relationships I don’t want them near Hacy.

Honestly, I feel that they are relying on the fact that those of us in the Hacy fandom, have put in most of the work. We’ve done all the imagining, and dissecting into their actions and possible feelings, and put in the fantasy hours of how great a relationship they could be in, but the writers have actually done very little on that front.

Now don’t get me wrong. Mads and Rupert are killing it. I think the reason I am still holding out is that they work really well in scenes together and they are great actors. I mean for the little the writers have given us, Mads and Rupert sell it. I mean the “I’ll just know”. The looks, the smiles (although rare this season), all that we have gotten so far in building that connection, is great even though compared to the angst and drama it feels like small crumbs.

For those who are trying to pick sides or claim Harry is in the wrong, or that Macy is being stubborn and stupid.... yes and no.

One of the biggest plotholes or unknowns has been what Macy does know about Harry’s feelings. At the end of season 1 suggested she found out about Harry’s feelings. But her conversation with Mel episode 8 suggested she had no idea about Harry’s feelings.

Harry hasn’t been overt, yet I think it is obvious from the clues. Jimmy is interested in Macy and is overt in that interest. That’s a bit of a clue that Harry is possibly into her (more likely than not). Harry is obviously jealous of his darklighter and the fact Macy told him she liked him or at least him being different (although she wasn’t aware it wasn’t Harry at the time). Then, of course, Mel tells her.

Now it would be preferable that Harry just come right out and say it. Harry has no right to assume that Macy knows exactly what he feels, although he is right to assume that she knows He does have feelings for her. He is right though to put any relationship conversation on her at this point.

He has stated at the very least that he does have feelings for her with his “you know damn well how I feel about you” comment , even if the depth or exact nature of them has not been stated. Which it needs to be. The ball does need to be in Macy’s court. She obviously--or it just seems that way based on the writing--does not know what she wants or at least right now is unwilling to go for it. Harry being the pursuer would come off belch to me. Especially given that both are in vulnerable places right now.

I am not sure that even if they admit thier feelings, the should or would be in a relationship. In fact I think that would be infinitely more interesting to watch. Not two people using others to deny thier feelings, but two people who decide to revisit thier feelings when they are both in better places. in the mean time they save people, heal, and carry on more healthy interactions until they are ready to be together. That’s the Slow burn I’d want to see. not two people just being angry and hurting each other becuase “welp, jealousy and love make you irrational”. Show us a different way or at least cut down on some of the most toxic portions of all this.

EPISODE HIGHLIGHTS

1. Maggie and Swan fight

2. Jordan having a mini break down over magic and ghost reveal

3. Mel and Ray drinking coffee

4. “I used to protect you”, “Now we protect each other.”

5. Abby telling Harry she wants him and thinks of him as a whole person

but . . .

#Charmed #Charmed spoilers #charmed 2018 #charmed cw #the cw charmed #charmed reboot #charmed 2018 spoilers #harry greenwood #macy vaughn #Hacy #macy x harry #harry x macy #julian shea #abigael caine #maggie x jordan #Maggie Vera #Jordan Chase #mel vera

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micahcharlson · 4 years ago

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Is It Time to Rethink Swain's Sequels?

This post is in response to a guest post by Peter von Stackelberg on K.M. Weiland’s blog, and what he had to say about creating scene structure (An Intuitive 4-Step Process for Creating Vibrant Scene Structure), as well as the questions it raised for myself and others.

An understanding of Dwight V. Swain’s Scene and Sequel technique is necessary for every writer hoping for success, but if you’re unfamiliar with it then reading Katie’s excellent series on How to Structure Scenes in Your Story should get you up to speed.

This will be my attempt to synthesize Swain’s concepts with what von Stackelberg had to say about creating scene structure, specifically regarding how I feel von Stackelberg’s concepts fits into Swain’s. (It’s entirely possible I’ll find it makes more sense looking at it the other way around—how Swain’s concepts fit into von Stackelberg—though when all’s said and done, I’ve knows about Swain’s work longest.)

When relying on comments left on Weiland’s blog, I’ll give credit to the commenter and note the time/date of their comment.

To begin…

My Initial Thoughts

Here are my initial thoughts before reading any of the comments readers left. That is, my initial thoughts based solely on von Stackelberg’s post.

I believe before implementing von Stackelberg’s four questions under “Scene Structure as a Writing Template”, writers must understand the character’s scene goal.

Once the character’s scene goal has been determined, it’s possible to proceed to those four questions. After they’re used to flesh out the scene, they can be interwoven into Swain’s scene structure. Sequels are another matter entirely.

The resulting merging of the steps looks like this:

Step 1: Identify the POV character’s immediate goal for this new Scene.

Step 2: Determine what the Scene’s Peak action is.

Step 3: Identify what set into motion the Peak action? What is the Initiate element?

Step 4: What is the result of the Peak action? What is the Release?

Step 5: Where did this all happen? When? Who was involved? This is the Establish element.

Step 6: Fill in Orienting information about the setting, timing, or context of the scene which will help the reader understand the where, when, and who of the scene.

Step 7: Fill in additional Details about character’s, settings, or significant objects in the Initiate (or, sparingly, the Release) elements.

Step 8: Add Prolongs, additional actions that prolong the overall action, to create suspense—which heightens dramatic tension—typically in the Initiate sequence (or, rarely, in the Release sequence.)

Step 9: Write the Sequel (Reaction, Dilemma, Decision) as normal, creating the character’s goal for the next scene.

My Subsequent Thoughts (During/After Reading Comments)

Reading through all the comments forced me to reconsider some of what I earlier determined to be true.

In these comments below, any italicized text indicates points I found to be of particular interest.

Based on this comment from Peter Moore (JULY 13, 2020 AT 12:52 PM):

Great post. Thanks for having Peter as a guest. The more us newbies learn about the craft, the better. I have a question though. How do scenes that end with heightened tension fit into this scene structure? For example, chapter ending scenes in action/detective/sci fi/fantasy movies and books where characters are wounded, the scene fades and we don’t know if he/she lives or dies. I’m thinking of Peter Jackson’s movie adaptation of The Return of the King where Frodo is stung by Shelob. He immediately sends us to scenes with other characters. Tolkien handles it more like Peter states, even placing it as one of the last scenes of The Two Tower, and ending the book with ‘Frodo was alive but taken by the Enemy.’

I’ve seen a lot of posts that advise increasing the tension at the end of each chapter as a page turner device instead of releasing the tension. Is that one of the ‘except when it doesn’t’ things that Peter says at the beginning of the post, or am I misunderstanding something?

And this response from pvonstackelberg (JULY 13, 2020 AT 1:58 PM):

In my opinion, the use of cliffhangers needs to be approached with great caution. As a reader or viewer, I absolutely HATE obvious cliffhangers that appear manipulative and intended solely to get me to move on to the next chapter/episode. An example of this kind of thing is when the shot is fired…and then nothing…there is no Release.

From the story flow perspective, this kind of cliffhanger is very disruptive for a couple of reasons:

1) It leaves readers hanging without any sort of resolution to what happened in the scene

2) It disrupts the flow of the story because you then need to have the Release at the beginning of the next chapter/scene or, if there are intervening chapters/scenes, at the beginning of the scene where you return to the part of the storyline where you left off with the cliffhanger. The research (and I tend to be a believer in research) tells us that the sequence of Establish > Initiate > Peak > Release is important for readers/viewers understanding of what happens in a scene.

As a writer, I want my scenes to end in a way that prompts readers to move on to the next chapter.

You can certainly do it by going Release (for previous scene) > Establish > Initiate > Peak. However, as both a writer and a reader, that sequence of elements leaves me feeling unsatisfied. I want some sort of conclusion to the scene.

I think the answer to “Where do you end a chapter?” is not in moving the Release to some other chapter, but to focus on using the Release as a place where you basically let your audience know whether the scene’s main character achieved his/her scene goal. The suspense comes not from withholding information (i.e. the Release), but by adding a tidbit of new information.

For example, your protagonist has achieved (or not achieved) his/her scene goals but…is now in deeper doo-doo because…

This raising and releasing of dramatic tension is a real challenge to pull off. Once you master it, however, you are well on your way to writing some real page-turners.

And this response from Elizabeth L Richards (JULY 22, 2020 AT 11:07 PM):

Your comment about not liking cliffhangers resonated with me. Giving the reader more information to ratchet up the tension is so much more difficult but also more organic/less contrived.

Thinking about why cliffhangers are not fun, I realised that a cliffhanger requires me as the reader to devote part of my attention to maintaining the unresolved scene. Which leaves less of my attention to focus on the next part of the story. And given that humans have limited ability to hold multiple concepts in working memory (4-7 depending on what you read), you are actually Distracting your reader from the next scene. With less attention To focus, they are less invested. And so they wander off – maybe to jump ahead and see how the dangling bit gets resolved or to do something else that caught their limited attention.

But more relevant information, that builds on what the reader already knows, thrusts/carries the reader forward into the next scene with the confidence that their questions are going to be resolved. They are eager to read to the end of the next scene.

I think it’s like going into a restaurant that smells really good, reading a compelling menu, oRedoing something that sounds great…and then waiting too long for the entree to be delivered. Waiting doesn’t increase my pleasure, And it doesn’t make me want to come back.

I must conclude that a scene isn’t finished until the Release has been incorporated. The resulting suspense isn’t built so much from “What happened next?” as it is from the reader asking “How did what happened just affect the character, thereby changing the character’s thinking, plans, and the character’s core being?”

Based on this comment from Jennifer Bobrowicz (JULY 14, 2020 AT 9:40 AM):

Your article helps me better understand how to keep my scenes focused while including important details. This is my first attempt at a novel, so my learning curve has been steep. In a nutshell, the scene’s Peak drives the writing of that scene.

However, I’m confused on how I could use your framework along with the model of scene/sequel KM Weiland explains in her books. Katy’s method has helped immensely with structuring my WIP, but I’d like to know if I can meld the two. So, here are my specific questions.

The Peak Action seems like it could be the Disaster in the Scene (Weiland) and the Outcome [Micah Charlson’s note: I believe this is the Release?] seems like it could apply to the Reaction in the Sequel (Weiland). The Outcome would then go into the next scene or even the next chapter. Your framework has scenes divided into 4 parts, while Katy shows two types of scenes (Scene/Sequel) with each divided into 3 parts. Perhaps, I’m splitting hairs or not fully understanding something. The Scene/Sequel framework (Weiland) seems to work well in establishing goal, conflict, and a mini climax (Disaster in the Scene), and then it (hopefully) keeps the reader wondering how the character will respond in the next scene/chapter.

So, can the two methods be melded together? In your opinion, is ending with the Peak and picking up with the Outcome a mistake? Do I understand correctly that the scene should be wrapped up (no cliffhangers) with the Outcome, then a new question should be raised to keep the reader going?

Thanks for this article. This website has been so helpful to me and given me a boost of confidence to begin. Hopefully, this makes sense.

And this partial response from pvonstackelberg ( JULY 14, 2020 AT 1:51 PM):

…

These two scenes from “All the President’s Men” — https://www.youtube.com/watch?v=Gn3MSQogVeY — for a great example of how to use the Establish > Initiate > Peak > Release structure. As well, these two scenes are an excellent example of how to do the 1-2 punch of Scene & Sequel that Katie talks about.

The terminology of “Scene” and “Sequel” can, I think, be somewhat misleading because it makes it appear that there is one of each. In fact, I think as Katie has pointed out, both the “Scene” and “Sequel” are scenes as we would normally define them — they have their own set of characters interacting in a well defined time and space.

Both the initial scene and the one that follows should be developed using the E.I.P.R. structure. In the clip from All the President’s Men, these phases are pretty clear in the first scene but a little more subtle in the second scene but also follows the E.I.P.R. structure.

I’ll admit this twists my thinking a bit.

To explain, I’ll use the following definitions of Scenes and Sequels as I’ve always understood them:

A Scene is a scene in which the character attempts to achieve an immediate goal—this attempt being one type of action in the cycle of “Goal, Conflict, Disaster”, though I prefer the terminology of “Goal, Conflict, Outcome”—in the service of achieving the overall story goal, whatever that may be. I think I’d say most of the time, if not always, Scenes provide the external action, or the plot. (But it is early as I write this, “early” herein defined as “I haven’t had nearly enough coffee yet.” Still, I’d bet I’m correct, keeping in mind I did say “most of the time.”)

A Sequel is a scene in which the character processes the Scene’s Outcome (good or bad)—this processing itself being simply another type of action, in the pattern of “Reaction, Dilemma, Decision” (leading to the next Scene’s Goal.) So a Sequel, it could be said, is just a scene with a different type of goal than the goal of a Scene:

The goal of a Sequel could be stated as “to process the previous Scene’s Outcome, weighing the pros and cons of each option going forward, and considering all the benefits and consequences inherent in each possible action, in order to determine the best course of action for continuing to pursue the overall story goal.” This processing of the Outcome is, in a Sequel, known as the Reaction. (This is a kind of cost-benefit analysis (CBA) of the contemplated actions for the next Scene.)

This pursuit of the Sequel’s goal—the actual performance of the CBA if you will—is the Sequel’s version of the Scene’s Conflict, which in a Sequel is called the Dilemma, an internal conflict.

This internal conflict, this CBA (even if a team effort, with much back and forth dialogue and apparent plot action) must lead the character—alone, in essence—to make a Decision (the Sequel’s version of the Scene’s Outcome) he or she will commit to—if only in the short term. This commitment to the Decision will always be initially an internal act, even if expressed explicitly after the Decision has been made. (You gotta decide before you can tell anyone what you’ve decided, right?)

Now, before I make my controversial suggestion here, let it be known that I still believe Dwight Swain was a genius and I’ll highly revere all that he’s taught all of us. That said, if a Sequel is simply another type of Scene, and should be developed no differently than a Scene employing the overlying mesh of E.I.P.R., then perhaps it’s time to scrap the idea of a Sequel completely. Because, in reality, a Sequel could also be viewed as having these parts:

Goal (react to the Scene’s Disaster and determine the next course of action—i.e., the next Scene’s Goal)

Conflict (struggle within—i.e., an internal conflict—with the pros and cons alternative courses of action and the consequences of each; literally, a Dilemma)

Outcome (whereby a decision is reached and the next Scene’s Goal is established)

So, it might be helpful (to some of us) to forgo any thought of writing Sequels altogether, and instead think of writing internal Scenes in their place.

Probably the same end result, but the change in our own internal thought processes might point our minds in different directions, and unlock other possibilities for our stories.

Another possibility is when, while reviewing previous work writing in the Scene/Sequel format, making the attempt at looking at these Sequels through this different lens.

So, finally, bringing all this back to von Stackelberg and this excellent post, each scene—Scene or Sequel—will end with a Outcome, which will require the Release element be incorporated into the Scene (external/“Scene”, or internal/“Sequel”.) Deleting Step 9 from the merging that resulted, the steps look like this:

Step 1: Identify the character’s immediate goal for this new Scene

External: What action has the character decided upon after the last internal scene.

Internal: How did the previous scenes Outcome affect the character as he or she begins to come to a decision what to do next?

Step 2: Determine what the Scene’s Peak action is.

Step 3: Identify what set into motion the Peak action? What is the Initiate element?

Step 4: What is the result of the Peak action? What is the Release?

Step 5: Where did this all happen? When? Who was involved? This is the Establish element.

Step 6: Fill in Orienting information about the setting, timing, or context of the scene which will help the reader understand the where, when, and who of the scene.

Step 7: Fill in additional Details about character’s, settings, or significant objects in the Initiate (or, sparingly, the Release) elements.

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eisforeidolon · 5 years ago

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Episode: Atomic Monsters

I watched this at least a week ago, but just didn't get around to rewriting my notes into a post 'til now. I did actually find this the best episode so far, but lets be real, that's such a low bar to clear at this point it says basically nothing.

The opening sequence is really fun! I found the whole thing genuinely enjoyable, both the action itself and that it included exactly the kind of return cameo I can actually get behind. No retcons or resurrections that make death somehow even cheaper or ruin the original finish to the character's story! Not even to mention that, instead of existing just for the sheer fanservice of it? A sequence like this is actively improved by giving us a familiar face we have investment in to keep it from being all just random unfamiliar cannon fodder getting offed.

Unfortunately, this isn't the rousing endorsement it could be when we know that both expanding to a big action sequence and bringing Benny back for it were actually Jensen's ideas. Not even to mention that the thing which really works best in the episode? It's the dream sequence that's not actually connected to anything else and doesn't have to worry about continuity to work. This is my surprised face.

I enjoyed the exchange between Sam and Dean in the kitchen. The meat man conversation over the bacon was rather silly, but in a fun way. I've seen some people reading things into it (it's insulting Dean doesn't know the slang, Sam is randomly vegetarian now) that I didn't really see there. I did appreciate how Sam was weirdly jumpy and had trouble meeting Dean's eyes after the creepy alternate world dream. I thought it worked really well for both slice-of-life and Sam’s reaction.

In terms of the Winchester's case, well, for the most part it could have been worse. I don't honestly believe even if I hadn't been spoiled that I wouldn't have immediately suspected the parents from their introductory exchange about how Billy playing in the big game was more important than a cheerleader's death. I think it was supposed to be a retroactive subtle clue, but it was more of a clue-by-four. So the “mystery” of tracking down the monster was pretty lost on me. I did like that the one girl having braces was a clue! But I also thought the scene with her rehearsing her speech on a live mic in an empty auditorium was weird and contrived. I straight out cannot forgive that a girl was literally abducted from the school campus and NOBODY checked the security footage near her car fucking IMMEDIATELY well before Sam & Dean. C'mon. Then, of course, a couple random middle-aged suburbanite humans get the drop on Sam and Dean, because Dabbernatural really just loves to make them incompetent so plots happen.

Then the big reveal and blah blah blah, kid accidentally ate his girlfriend. WHAT WERE WE SUPPOSED TO DO??? Um, maybe try not being scumbags? Idiotic scumbags at that, abducting a second girl from their son's own school instead of somebody that wouldn't be missed or even, hey, maybe encouraging him to try harder not to eat people. Don't try to sell me on this pseudo hallmark 'but they just love him so much' bullshit. At least the kid has more self-awareness and conscience than his fuckwad parents.

Then we get to the infuriating character assassination part of the programme. Having Sam and Dean say that they'd do the same thing as the dad for Jack their “son”? Fuck you very much, show. I could maybe, maybe, see Sam or Dean kidnapping and draining the life out of an innocent to save the other at their most desperate worst. Though I think the only time they even really get close to that kind of an actively, knowingly evil choice is with Doc Benton. Not only do I not buy for a second that they would do that for the totally-really-their-actual-child-for-reasons albatross Dabbernatural has shoehorned into their lives? Struggling to do the right thing even when it hurts used to actually mean something – it was always a very important qualifier that while Sam or Dean might make that choice, the other would not let them. So having them both agree this kind of straight up villainy would be a-okay for oh-so-totally-loveable-no-really-woobie-blob Jack ...

Like carelessly assassinating every human in the BMoL headquarters, it fundamentally fails to understand what it is that keeps Sam and Dean from being the monsters. Hint: it's not just that the show centers around them. “We do the ugly thing so that people can live happy” - these moronic hacks seem to be actually trying to parallel Sam and Dean saving innocent victims and the world to human monsters that were going to selfishly help their son eat his way through the entire goddamn cheerleading squad. Am I getting this wrong somehow? Is there some other, less appalling, reading here that I'm missing? This whole scene honestly made me nauseous.

They talkity-talk on for a while longer, but it's really not much better. Sam declaring that God was totally done with them was the writers putting those words in his mouth based on nothing. At it’s very best, it was Sam’s bad habit of convincing himself conclusions he’s come to are true because he wants them to be. So them both just deciding to believe it's true after Chuck has admitted to orchestrating their entire lives … I'm not sure if we should conclude the Winchesters have brain damage or if that's just the writers. Especially when the underlying reason for it is nothing more compelling than , “Watch the Winchesters see-saw on the angst fulcrum completely at random! Yay!” If this was actually well written, there would be some precipitating reason for Sam to suddenly be the one being all fatalistic while Dean is accepting. Instead, the writers just slap some coin-flipped angst angst angst on the page and meander on in a supposedly forward direction.

So then there's the other half of the episode, the Becky storyline. Am I the only one a little disturbed that Becky's first reaction to seeing Chuck was to look scared and try to run away? Like, they're exes and all, sure, but she doesn't know any of the god stuff yet – I think the only thing she even says about their breakup is that Chuck dumped her. Is that reaction supposed to be yet another bit of “new canon” showing how Chuck was just that terrible all along? But then she does let him in, so maybe we're just supposed to take it as Becky still having a tendency towards dramatics? I honestly don't know, but it was weird to me.

I do genuinely love that they had Becky go to therapy and realize just how absolutely fucked up what she'd done was and ultimately sort herself out to become someone who seems to be a well-balanced adult. A well balanced adult that didn't have to give up being a fan for that! Seriously, kudos to the writers for this, because 7.08 is such a loathsome episode that otherwise ruins Becky as a character. Though I do have to nitpick a bit – while I get that they wanted to put SPN merch in Becky's home as a callout to her still being a superfan? In the show's universe, Chuck's books were never that popular, so I'm having some suspension of disbelief issues that there would be Funkos for them. We could pretend they were customs, but she's got at least one Impala, so even that doesn't quite work. I'm not entirely sure who “people only want them sitting around doing laundry anyway” is a dig at, but I'm giving it the side eye.

I also am not entirely sure what to make of Chuck's whole no one needs me I kinda hate me I'm all lost and don't know what to doooooo shtick. Is this a game he's playing? Is he really that wishy-washy? Did some of Dabb's sad internal monologue as showrunner somehow end up in a script by accident?

He goes on like that and laments he's lost the Winchester's trust and had words with them or whatever, and then he zaps Becky and her family away at the end. Like, if he cared enough about Becky to care about her opinion, why does he turn on her, too, just like that? I guess we're supposed to see it as him having found his mojo in her space and vanishing her because taking over her space that's working for him currently is his latest whim. I suppose they're intending to show Chuck as just being that capricious and flighty, but I don't know that it works for me. The way they've been writing him he's acting so randomly and impulsively that it's kind of unbelievable he can even sit still at a keyboard long enough to write another Sam and Dean installment. Again, I definitely find it unbelievable that the Chuck they're giving us now would be capable of playing the long game that he would have had to for him to be actively behind everything. Until he suddenly got impatient and lazy and popped up in the cemetery at the end of the last finale ... for reasons … and is now just … like that … because.

Not to mention that his powers are, big shock, just as arbitrary as everyone else's in the current show. He can't actually see what is happening to Sam and Dean because of the bullet sapping his power or whatever, but we're supposed to be worried about the ominous ending he's writing for them because … he's got those god powers to make it happen, I guess? Uh...

I will grant that the ominous bobbing of Sam and Dean Funkos' heads to Chuck's furious typing was a wonderfully foreboding shot to end on.

#negativity for ts #long post #anti dabb #anti jack kline #writer incompetence #spn season 15 #spn 15x04

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miranema · 5 years ago

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When you are still talking about a show you are too old for..

warning: it’s loooong (TL;DR section at the bottom)

Just to be clear I have no intention to look into and review any more Winx Club related content and it’s not just because the current environment is not conducive to this kind of endeavor. After I finished paying off my debts I considered getting back to this but eventually decided against it because some of my thoughts regarding this show have changed a little and I overall no longer see the point. One of the things I wanted to accomplish when I first started was to figure out why this show never appealed to me when it first came out on the FoxBox and well, the answer was very simple if not ridiculously obvious. This show was not made for me.

I was a few months short of 13 when the show premiered in the US and had just enough experience in the genre to have expectations, and this was the problem. When western magical girl series started to show up in the early 2000s, I expected shows that improved upon the standards and cliches left by the likes of Sailor Moon and its genre contemporaries, not just in terms of visuals but writing as well. Winx Club however, seemed more in line with the type of cartoons that (since the 80s) popped up every now and then as promotional material for emerging lines of fashion dolls generally targeting younger girls, with the only difference being that it had a progressive story-line. Even if you argue that Winx Club was not so merchandise-driven in its first seasons, contemporary fashion and aesthetics had always been the selling point. By then, shows that prioritized visual appeal over writing and seemed to exists primarily as toy commercials, were starting to lose my interest. I was also getting tired of certain staples like romantic relationships being bland but senselessly overemphasized and characters (specially protagonists) being archetypes with little to no complexity.

As an adult, I since looked back at shows of similar quality/target audience and I have surprisingly been able to find joy within them leading me to another conclusion. It’s not that I am too old and weary to appreciate animated media aimed at young girls. It’s more likely that Winx Club is a sore spot for me because it is the show that made me realize (if subconsciously) that networks in charge of delivering animated media to mainstream television were no longer invested in appealing to me. As a non-white, lower-middle class girl who was never all that into relationship-melodrama I felt that most cartoons of my day didn’t really catered to my interest and I think I saw the rise of Winx Club as a bitter indication that even the animated genres that I liked or tolerated would eventually become completely inaccessible to me.

I had some trouble finding out what the target audience bracket was for the first season. From what I eventually gathered it is either 4-8 or 5-10, although apparently concept-wise the show was intended for a slightly older age group. I give more credence to the first bracket because honestly I think this show works best as baby’s first magical girl series. The less experience you have in the genre, the less fed-up with tropes and the less expectations you have going in, the better.

Lets just make a thing clear. There is no such thing as being too old to watch cartoons. An art medium is not inherently tied to an age group. Unfortunately, everything is at the mercy of capitalism, specially art produced for entertainment. There is a lot of stupidity and outdated ideas governing how mainstream shows are made and to whom they are made for. Industries don’t like to take chances and they are reluctant to change in accordance to society unless an increased in profits can be assured to some degree…

Look, look! I swear I was just going to post a simple paragraph-long note to whoever cared, stating I was not going to continue reviewing Winx Club even though I am no longer in debt. But, I made the HUGE mistake of looking at the Wikipedia page, specifically the part where they quoted show creator Iginio Straffi defending the controversial choices made for season 8, and here I am, annoyed and rambling. To paraphrase, he claims kids around 10 years and older just don’t watch cartoons as much as they used to (sure, Jan) and they just had to retooled their show for a younger demographic and that just means it cannot be as complex as it used to be. Yes, complex is a word he ascribed to the earlier Winx Club content (level of complexity to be clear). I rolled my eyes, I died a little inside and overall I also decided, among other things, to never read another Iginio Straffi interview ever again.

In an effort to wash away this BS and exorcise some demons let me throw here some of my still lingering unwarranted Winx Club thoughts in no particular sequence before this platform collapses any further:

Winx Club is one of if not the longest running western magical girl group series and its success is likely attributed to the fact that back when it premiered in the US, it was the only accessible and visually appealing series to come out of the genre since the beginning of the millennium. It practically had a monopoly of its intended audience. In my neck of the woods, it was available without the need of a cable/satellite subscription. In contrast, Dinsey-owned W.I.T.C.H. didn’t have that same accessibility and I don’t think I even need to bring up anime in general. The one other magical girl show from around the same time that I remembered coming across in syndicated broadcast was Trollz, and well you look that up and tell me how much staying power that looked like it had.

If the show has struggled in recent years is of course NOT because older kids don’t watch cartoons nowadays. Rather I think the show runners are not quite grasping how the circumstances surrounding their target audience have changed since the early 2000s. There are a lot more options out there in terms of entertainment even if you narrow things down to only western magical girl cartoons, not to mention that Winx club no longer has an edge on accessibility. I also think we consume media faster and that along with all the new options of entertainment means we have less head space to dedicate to one single show. Putting a new coat of paint to the newer seasons is simply not enough to remain relevant.

Adding to the above, It’s been well over ten years since the show first premiered. I don’t have data to prove this, but I am willing to bet that a sizable chunk of viewers were there from the beginning or joined at the start of the Nickelodeon era. It makes little sense for changes in writing to include hacking its continuity, rewriting established lore and deleting whatever meager character development they ever had. Maybe it’s not a good idea to turn your show with progressive storytelling including aging characters, into a cash cow you intend to milk for as long as you can and beyond. Maybe they should have given the early seasons a proper conclusion and laid the groundwork for new groups of characters to lead fresh series within the same universe...or you know, a full reboot.

I am not saying that the show should suddenly conform to my tastes (though that would be nice) after all it was not made for me. I just think that people that stuck with it deserve more than what they have been getting. I saw some positive feedback with regards to World of Winx but from what little I saw I don’t think it was good enough to be the series for older fans. Tone might be slightly different but writing-wise it feels more or less the same as the current series. The attempts at humor are still not landing for me at least. Also, how old does Straffi thinks the older fans are? 10? Who knows, maybe season 8 did its job in drawing-in the next gen, and maybe the planned live action series will be all that the older fans have been asking for. I do wish them the best.

Regarding things that I changed my mind about (though only a little bit)...In more than one occasion I referred to Bloom as a mary sue and this has been digging at me. Either the term has become toxic and too often unfairly assigned to any female character in a leading position, or it was always an improper way to discuss mediocre writing. There are main characters that are created in part to serve as vehicles of indulgence for its intended audience. I don’t think these these type of characters need to be complex to be successful or serviceable but I do think relatability and/or likability are indicators of whether or not a specific indulgent protagonist is effective. I didn’t find Bloom to be effective but she seems to be popular enough with the younger range of fans and that’s what matters. All I am saying is that Bloom could have easily been better and all it would have taken was for the writers to slightly lower the pedestal they put her on. Otherwise, they should have just stuck with the Magical Bloom title so no one would have delusions that the show would ever focus on anyone else.

I stand by most of my other major criticisms of the series. Though I admit that when I was looking at each episode I would spend an unreasonable amount of time on small things or personal pet peeves.I maintain however that to whom a show is intended for should not be a determinant of quality and there are things worth discussing even if one is not within the age-range of said audience. However, it’s not hard to tell what Winx Club is mostly about; it’s romance-centered. If you are not all that invested on that sort of stuff or you don’t like what the show is offering, then there is little point in sticking around because you are just going to get more and more caught-up on the flaws. The fantasy world elements while ambitious in scope are not well developed and consistency is an issue since the beginning that only gets worse as the series goes on. Unless you can subsist solely on the aesthetics and merch-friendly elements, I wouldn’t bother beyond the first movie.

If Winx Club had been the definitive blue print shaping the future of western magical girls shows, I would probably feel justified in making this much of a fuss. However, pretty much any other show I have seen after the fact has been a deviation and an improvement. I believe that’s because more content creators that grew up with the genre (and understood the many ways it could be improved) are finding opportunities to bring their appreciation for it into the mainstream. It’s pointless for me to still complain about the older stuff. Heck, I can even find good things to say about Angel’s Friends and this is definitely a cartoon that was shaped by the success of the fairy school show.

Winx Club is fine, it has as much right to exist as any other piece of mindless entertainment aimed at any demographic. And that’s that.

TL;DR

I am not reviewing Winx Club stuff anymore. I just had a lot of thoughts that were brought up by an annoying Iginio Straffi quote I saw on the Wiki page while I was working on that last post. Extended rambling is what I apparently do when I am mildly upset. I barfed all this out in the hopes that I won’t think about this show again anytime soon.

If morbid curiosity gets the better of me, I might give future Winx Club content a watch. I just won’t post about it because it seems I am incapable of finding joy in it.

No, I don’t take criticisms of the bad spelling/grammar of my ramblings. Let this mess be. This is also not a place for debate, the only discourse I welcome here is whether or not relatability is a word. Online dictionaries say it’s fine but my word processor says it is not a thing. Discuss! (JK)

Stay safe,

#winx club #ramblings #winx club review #cartoons #i am too old #winx #anyone ever heard of Angel's Friends?#I am either watching that next or Lady LovelyLocks #por que no los dos

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nathanneedsausername · 6 years ago

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The MCU (So Far) Ranked

With Avengers: Endgame right around the corner now feels like a good time to talk about all 21 films that brought us to this moment.

#21 - Thor: The Dark World (Alan Taylor)

Rating - 3/10

Look, there always has to be one.

Thor: The Dark World suffers from the same problem that most bad comic book movies do it is simply forgettable, this is the worst type of film to write about because I have noting to say. Far from being insultingly bad but also far from being any good. Honestly if you ever plan on cramming these films again do yourself a favour and skip this one.

#20 - The Incredible Hulk (Louis Leterrier)

Rating - 4/10

You can skip this one too.

The Incredible Hulk is a product of its time, in the late ‘00s this was about as good as action movies not called The Dark Knight got. This one isn’t unwatchable and the bit were The Hulk kicks Tim Roth into a tree is pretty cool but given how little this film has effected the franchise going forward you really wont miss anything by skipping it.

#19 - Iron Man 2 (Jon Favreau)

Rating - 4/10

I get why they made this movie, but I’d rather they hadn’t.

Iron Man 2 is basically just a teaser trailer for the better movies that were about to come out. This movie consists of boring conversations between Tony Stark and Nick Fury and even more boring scenes with the villains that really kicked of the cliché that these movies have boring villains. The suitcase Iron Man suit is really dope though.

#18 - Ant-Man and the Wasp (Peyton Reed)

Rating - 6/10

Meh.

Ant-Man and the Wasp is actually pretty good. Paul Rudd is allowed to fully explore his comedic talent making this a very watchable film however the script lacks any focus and it is ultimately difficult to stay invested in anything happening on screen. It’s a mixed bag but it’s pretty fun.

#17 - Thor (Kenneth Branagh)

Rating - 6/10

Kenneth Branagh made a super-hero movie, this is about as good as that idea could ever have been.

Thor is a surprisingly small movie, revisiting this film now feels slightly strange given what we have since seen of the character. Branagh was always the wrong choice to direct a Marvel movie especially during a time were the studio had far more say than any of their filmmakers. It’s worth revising this film to set up the Avengers but other than that it isn’t anything special.

#16 - Avengers: Age of Ultron (Joss Whedon)

Rating - 6/10

It took me a long time to come to terms with the fact that this movie is just ok.

Avengers: Age of Ultron should be so much better than it is but it ended up being the poster child for when a studio gets cold feet and tries to take over on directors vision. Joss Whedon is an excellent story teller but this does not so off his talents at all. Once again this certainly isn’t a bad film it just isn’t great, there is some good dialogue and the introduction of both Scarlet Witch and Vision is worth seeing.

#15 - Captain America: The First Avenger (Joe Johnston)

Rating - 7/10

Way more camp than I remember .

Captain America: The First Avenger feels as though it has taken the framework of a more conventional war drama and just thrown in some superhero stuff and I don’t necessarily think that is a bad thing. When this film embraces its campness it can be very entertaining. Chris Evans was a prefect casting choice for Steve Rodgers and this film does go in an unexpected direction by making Captain America basically just a mascot but once again the villain is weak and large sections of the plot are forgettable. Overall worth re-watching it is probably better than you remember.

#14 - Captain Marvel (Ryan Fleck, Anna Boden)

Rating - 7/10

I’m sorry, I like this one.

Captain Marvel might be the most controversial film in the whole franchise. I have some grievances with this one, namely lack of any style or originality in the writing or direction but the chemistry between Brie Larson and Samuel L Jackson helps to make this an enjoyable watch. I know you probably don’t agree with me but this is my list and I like this movie, so there!

#13 - Iron Man (Jon Favreau)

Rating - 7/10

Not as great as I remember but still pretty good.

Iron Man will forever be remembered as a film that changed cinema witch is so weird to me having re-watched it recently. This is a rather slow and somewhat cliché 2000s action flick with a paper-thin plot. Robert Downey Jr. and Jeff Bridges both give it their all and I have nothing but respect for Jon Favreau for turning RDJ’s mad ramblings into a coherent film.

#12 - Guardians of the Galaxy Vol. 2 (James Gunn)

Rating - 7/10

I’m still not sure how to take this.

Guardians of the Galaxy Vol. 2 is the most visually stunning film in the MCU, almost every shot could be used as a laptop wallpaper. This also has quite possibly the strongest theming as its story about fatherhood and toxic relationships can bring a tear to your eye if you let it. So it is such a shame that this film is full of jokes that just do not land and weird side plots that feel like set-ups for movies that Marvel would probably never let James Gunn make. I kinda love this movie but this is as high as I can put it on this list.

#11 - Captain America: Civil War (Anthony Russo, Joe Russo)

Rating - 8/10

The fight scene though!

Captain America: Civil War is one great fight scene that is all anyone ever wants to talk about. I think the rest of the movie is also pretty good, this was our first look at how the Russo brothers would handle a larger ensemble cast and every character gets the screen time they deserve. Really though the airport fight is amazing!

#10 - Doctor Strange (Scott Derrickson)

Rating - 8/10

The word Strange is in the title.

Doctor Strange has a remarkably safe plot given the source materiel, although that can all be forgiven given how amazing the visual effects are. This is a very entertaining film mainly for the creative and ingenious uses of special effects. This film can drag a bit but it is worth it to see something that gives the end of 2001 a run for its money.

#9 - Iron Man 3 (Shane Black)

Rating - 8/10

And you thought my views on Captain Marvel were controversial!

Iron Man 3 is great and I will not change my mind on that. This was the first team up between Robert Downey Jr. and screenwriter/director Shane Black since 2005′s Kiss Kiss Bang Bang and it was worth the wait. The dialogue is sharp and the plot with Tony Stark dealing with P.T.S.D. after the events of The Avengers makes for a great character study.

I am aware that the general consensus is that the plot twist sucks but with Ben Kingsley’s fantastic performance and the wonderfully absurd way that it is reveled I can’t help but love it. In all honesty I just to big a Shane Black fan to hate this (the same logic does not apply to The Predator).

#8 - Ant-Man (Peyton Reed)

Rating - 8/10

I can only image how great the Edgar Wright version of this would have been.

Ant-Man is so much better than people give it credit for. The dialogue is constantly funny and the screenplay is paced perfectly so that the film never has a dull moment even in the quieter character scenes. Moments like the train-set fight and the first time Scott Lang uses the Ant-Man suit are among the best scenes in the whole franchise. Like most people I have to believe that the Edgar Wright version would have been better but I must say that Peyton Reed did a pretty great job piecing what he had together.

#7 - Black Panther (Ryan Coogler)

Rating - 8/10

Marvel’s little awards season darling.

Black Panther is somehow one of the most important and talked about films of the decade and in all honesty it sort of deserves it. Coogler does what other MCU filmmakers would never do and dives head first into real world political issue, ending his film with a poignant note about free trade and open borders. Michael B. Jordan as Killmonger adds a nuance that is missing in most comic book movies. Overall Black Panther is a breath of fresh air in an over-saturated genre.

P.S that soundtrack is awesome!

#6 - Thor: Ragnarok (Taika Waititi)

Rating - 8/10

How did this happen?

Thor: Ragnarok is everything I wanted it to be. Taika Waititi is one of the most interesting filmmakers working today and it is great to see a major studio allow such a unique voice to make the exact film that they wanted to without sacrificing their creativity. This is not only one of the best Marvel films but one of the best straight comedies of the decade. I cannot wait to see what Waititi has in store in the future.

#5 - Spider-Man: Homecoming (Jon Watts)

Rating - 8/10

Things are looking up for Spider-Man.

Spider-Man: Homecoming was my favourite Spider-Man movie up until very recently. This genuinely feels like watching an 80s John Hughes film in the 2010s that also happens to action sequences in it. The scene where Peter Parker and Adrian Toomes are in the car together is brilliantly tense and shows of the dramatic range of both Tom Holland and Michael Keaton. The characters feel real and fleshed out and the breezy feel of the editing brings the world to life through the naive eyes of a young Peter Parker. I honestly can’t believe how good this ended up being.

#4 - Avengers: Infinity War (Joe Russo, Anthony Russo)

Rating - 9/10

This simply should not have worked.

Avengers: Infinity War is one of the most ambitious films in cinema history. I have so much respect for the Russo brothers for managing to make a film with this many characters and this many plot points feels cohesive and endlessly entertaining. I think the real triumph of Infinity War is how watchable and fun this movie is despite being 2 1/2 hours long, full of characters and constantly hitting you in the face with really depressing stuff. Let’s hope that the Russo brothers can pull of the same trick twice.

#3 - The Avengers (Joss Whedon)

Rating - 9/10

This movie isn’t given enough credit anyone.

The Avengers was a huge gamble back in 2012 and although it may now feel quaint given the achievement that was last year’s Infinity War Joss Whedon was able change the landscape of blockbuster cinema and make this whole thing possible. Almost every plot point in this film has since become cliché, Whedon and Feige laid out a blueprint for success that no one else has been able to copy since. The Joss Whedon humour and snarky dialogue helped to pave the way that these characters would interact in the future and his unique approach to utilizing an ensemble cast makes this film worth revisiting over and over again.

#2 - Guardians of the Galaxy (James Gunn)

Rating - 9/10

James Gunn hit the mainstream with a movie about a talking raccoon, I can never complain about the Hollywood system ever again.

Guardians of the Galaxy should not work on most levels but Gunn was just crazy enough to pull it off. The character interactions here rival the Wheadon penned interactions in The Avengers and the Gunn’s direction brings the strange worlds he has created to live in striking ways. Gunn was given a chance to showcase his humour and he ran with it, Guardians goes from dark and meandering to fun and rapidly paced within seconds and it is a complete joy to watch no matter how many times you have seen it.

#1 - Captain America: The Winter Soldier (Joe Russo, Anthony Russo)

Rating - 9/10

The Russo brothers came out swinging.

Captain America: The Winter Soldier is an entertaining, tightly directed, brilliantly acted, fast paced and well edited action film that just so happens to be a squeal to the First Avenger. Many of the best moments in the franchise are in this film including the elevator scene and the fight on the bridge, this film also has great character interactions especially with Steve Rodgers and Nick Fury. This feels like an update on classic James Bond stories with a modern edge, this is everything that a comic book movie could be and I highly recommend checking it out again if you haven’t seen it in a while. There is no question that The Winter Soldier is the best of the MCU.

Franchise Rating - 7.1/10

Nathan Needs A Username’s Must See Movies: https://letterboxd.com/nathan_r_l/list/nathan-needs-a-usernames-must-see-movies/

Nathan Needs A Username’s Avoid At All Cost Movies: https://letterboxd.com/nathan_r_l/list/nathan-needs-a-usernames-avoid-at-all-cost/

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