#but he is the most compelling character in the whole movie BECAUSE HE HAS LIKE... SOMETHING GOING ON

[the-acid-pear]

Btw if you're a fan of the movie and you saw any of my criticism OR NOT I deeply encourage you to tell me why you love this movie and maybe counterpoint my takes. I'm so into getting a new perspective thru the eyes of a lover.

That said the fact that around 8 people saw me asking if I'd watch this movie and Fargo and everyone voted Fargo (of that group, like 2 went for nope) gives me such hope about the fans in the crowd. True lulyheads knew I was gonna hate it before I knew that. Wild.

[mordredsheart]

disney villains ranked by how good they would be as a toxic romantasy love interest

10. gaston. make no mistake, he ranks highly in toxicity, and would no doubt excel in one of those romance novels about douchebros reenacting the most dangerous game with nondescript brunettes. but there’s simply no way he can hold his own against the faeries and monsters and sorcerers you’ll meet in chapter three.

09. hades. lord of the underworld is a fantastic gig, but i personally feel that his reliance upon comedy and snark somewhat undercuts the promising menace of him shouting that he owns you. he’d make a real charmer of a sidequest flirtation, though, if you survive it.

08. captain hook. manipulation is the bread and butter of your common or garden toxic romantasy love interest, and we all saw the way he played poor tinker bell. it ruled. do me next. extra credit for an underplayed tragic immortal angle (hey, he’s stuck in neverland, too!) and being figuratively and literally haunted by his own doom.

07. shan yu. for a villain with limited screentime he really has a way of setting the imagination aglow. what if your village was razed by a warlord and you ended up encountering him repeatedly in battle and for all the casually contemptuous evil he’s previously displayed he faced you with respect as an equal (and he *remembered* you) and oh no he’s hot. what then. he also gets bonus points because i think they made his hawk a beautiful lady shapeshifter in the live-action movie. two for the price of one.

06. the evil queen. she sets a high bar for unhealthy obsession, and “mad scientist” is an underrepresented flavor in this genre, plus the magic mirror has a lot of creepyhot stalking potential. she’s pretty high-maintenance, though, and her vanity simply wouldn’t allow your heroic quest and/or the other corner of the love triangle to share the spotlight with her. she might be better off as a supporting character in the deadly decadent court who calls you menacing endearments and strokes your face and gives you the feeling that you’re suddenly in way over your head.

05. frollo. oh, i hear you gnashing your teeth and wringing your hands. “not frollo!” yes frollo. if i was reading a romantasy novel and the villain told the protagonist that they were just imagining a rope around her beautiful neck, i would feel ripped off if they weren’t at *least* furiously making out in secret by the climax. your conscience may demur, but who hasn’t secretly yearned to have a city burned to the ground over them?

04. mor’du. who? you know mor’du. the big fuckoff bear from brave. the big fuckoff bear who once was a brooding, hulking celtic prince who massacred his whole family and underwent a devastating transformation-by-curse into a literal monster. it’s only his sheer bad luck that he ended up as a minor character in a heartwarming mother-daughter narrative and not the villain protagonist of a romantasy that’s half beauty and the beast and half texas chain saw massacre. but, with your help, we can change that.

03. jafar. he doesn’t rank more highly because it’s less fun when they’re only creepy to you and obsessed with you for, like, five minutes at the end, but still. he pulls it off *so* well, he’s got just the right kind of megalomaniac agenda, and he gets extra credit for style and the hypnosis thing. cue the agonizing yet erotic internal monologues from our protagonist about how he *compels* them.

02. TIE! between two gentlemen who operate on very similar levels of charming toxicity and would therefore thrive in this setting:

hans. it’s honestly a shame he’s in a disney children’s movie and not a five hundred page novel called a realm of ice and snow or whatever. he would not only be endgame but he would also have a small army of booktokers calling our protagonist names for doubting his love for them after one eensy little lying to them and leaving them to die incident. he’d be exactly as awful as he is canonically and he’d come out smelling like a rose.

dr. facilier. the *perfect* balance of tragic backstory versus inexcusable jackassery, and no one is immune to the charms of a roguish magician dabbling in that which he should not. he’ll sell you the prettiest vision of a future together that you ever did see, and then he’ll sell you out to evil forces to further his personal agenda, and he will not be sorry about it. he’ll call you doll while draining every drop of your blood for The Ritual and he won’t lose a wink of sleep. no romantic groveling apology from this one, either, i’m afraid. but he’d be so worth it.

01. maleficent. evil sexy faery who lives on something called the forbidden mountain, who devoted sixteen years of her life to tormenting a beautiful peasant with a secret royal lineage, up to and including kidnapping the “correct” love interest to prevent them from saving our protagonist from her own wicked plans? if there *isn’t* already a romantasy novel out in the world that is blatant aurora/maleficent fic, i will eat my hat.

honorable mentions:

rasputin. sure, he’s only a disney villain by technicality. but what romantasy protagonist worth their salt would kick the rotting lich-priest who murdered their whole family, and is trying to murder them, out of bed on a technicality?

bruno madrigal, who wasn’t a villain at all, but by gods he should have been. secret uncle who lives in the walls and is tragically haunted by your seemingly immutable shared fate *and* you’re his *favorite*? the gothic romantasy fans would devour him.

[astriiformes]

Okay as promised earlier, a post about Marty McFly and gender.

The reason I find a trans reading of Marty specifically so compelling beyond some of the superficial things--like the fact that he's smaller and wears a lot of layers and generally looks the way a lot of younger trans men do--is because if you interpret him as trans, there are other parts of his character that become extremely interesting.

Because, like, Marty is a decent guy. I am not the first to comment on the fact that, when compared to a lot of other young, male 80s protagonists especially, he comes across as much kinder & more empathetic, generally a lot more earnest, and less complicit in certain kinds of toxicity. But a huge huge aspect of that is that he is generally pretty respectful of the female characters in the series. Which is pretty noteworthy considering most of the other male characters have some pretty big blips in that department -- George spies on Lorraine, Doc is dismissive of Jennifer and treats women like a mystery to be solved, Biff is, well, Biff.

--And I will say that I could write a completely separate essay on masculinity in Back to the Future in general, because the other male protagonists, at least, do end up having whole character arcs about this (George coming to Lorraine's rescue at the dance and Doc realizing that he has a lot in common with Clara are both genuinely good examples of how men who have certain flaws courtesy of the patriarchy can learn to be better!) But Marty has a totally different arc related to masculinity, that stems from something else entirely, and it's a very interesting contrast!

Marty's problem is that he's insecure about being seen as weak or cowardly, which is why he's so easily goaded into doing dangerous, stupid things just because another guy dared him to (and it's very noteworthy, I think, that it's always other guys). His character arc revolves much more around accepting that it's okay to follow his conscience in those situations, and also learning to let go of other people's perception of him.

So like. You could very easily read him (as was intended) as a young cis man who has generally been raised to stand up for and treat women well but still has some very teenager insecurities. BUT. There is so, so much going with him on if you instead look at him through the lens of transmasculinity. Suddenly what you have instead is a character who probably has personal experiences with misogyny that make him sympathetic towards the women he knows, but who has very complicated, deep-seated insecurities around being seen as "enough" of a man. It explains why being a jerk to women is not only a line he won't cross, but something he actively calls other people out for, while still being deeply entrenched in other toxic ideas about what being a man looks like -- of course a trans Marty would be insecure about being seen weak or less masculine compared to other guys! He's had to fight to be seen as a man in the past, and doesn't know when and where to draw the line!

I just think it's a reading that has so much rich, interesting stuff going on--in part because the Back to the Future movies, as I said in my other post, are actually extremely full of Gender and so Marty is caught up in that already--and I am rotating him in my mind constantly. Do you understand.

[trainsinanime]

I rewatched Knives Out the day before yesterday, and one thing I love was the symbolism of the Go board. Marta wins at Go more than either Ransom or Harlan because she's not playing the game their way at all. She literally says (jokingly) that she's just laying pretty shapes, while Harlan and Ransom are all trying to outsmart everyone. And that perfectly mirrors the resolution: Marta wins because she's the one person they're not acting like she's in a murder mystery (Benoit Blanc outright says so). Nice little parallels.

The same thing happens in Glass Onion (spoilers) with the mystery box. The way to beat Miles is not by playing along with the mystery box, but by smashing it open (disrupting it, if you will).

Both movies are in an interesting sort of conversation with the classic murder mystery. They are heavily inspired by them, in terms of settings, plot, even the whole twists and turns of who did it. But at the same time they're also playing with the concept, subverting it and ultimately destroying it. Marta and Helen gleefully break the rules, and are rewarded with justice (and also an insane amount of cash).

It's no mistake that both movies feature characters who are deeply steeped in the murder mystery genre. Harlan is a mystery writer, and sets up his own murder mystery; Miles Bron does a similar thing, but as a game for his guests. Whether mystery writer patriarch or rich tech bro asshole, they fully believe in the world of Agatha Christie and in their own brilliance. And they are proven wrong by people who don't share their class or their pretensions, and really just act like people.

Benoit Blanc is a very interesting point in these movies. On the one hand, he is the classic detective who is part of the classic mystery, and when the movies deconstruct and then rebuild the mystery, he is part of the people on the wrong side. In both movies, he brings the plot together and solves the mystery, but in both movies, he isn't the one that solves the actual underlying problem. It's the actions of Marta and Helen that ultimately save the day and bring real justice.

The most central character of the classic detective story, the detective, is not actually the hero of the movie here; he's here as support for the real hero, who has nothing to do with mysteries and riddles and the like. The Knives Out movies play at being whodunnit mysteries, but they're really discussions of the whodunnit mystery as a whole. That's what makes them so damn compelling.

[arcielee]

How House of the Dragon’s Ewan Mitchell became TV’s most chilling villain [interview + pictures]

He played Barry Keoghan’s geeky friend in Saltburn. Now, the 27-year-old from Derby is riding dragons as Matt Smith’s terrifying nephew.

House of the Dragon, the Game of Thrones prequel series, is coming to the boil for its second-season finale, a cauldron of Targaryen civil war, court skulduggery and dragon-on-dragon dust-ups. For many, the highlight of this season has been the emergence of a beguiling new villain in Ewan Mitchell’s Prince Aemond Targaryen, who has a character arc that’s more like a zigzag. Spoilers follow.

Aemond lost his eye to the knife of his cousin, Lucerys, got airborne revenge when his dragon, Vhagar, swallowed Lucerys whole and is now on the Iron Throne as prince regent after Vhagar barbecued the king, Aemond’s despised brother Aegon, into a walking kebab. What makes the character, though, is the chilling panache with which Mitchell plays him; an impassive psychopath behind his eyepatch.

The showrunner, Ryan Condal, has said that he was at times taken aback by the Derby-born actor’s intensity. “I sometimes forget to blink,” Mitchell, 27, says with a smile. “I need to just chill out a little bit.” Not if it means losing the edge that defines Aemond, the same contained menace that fuelled Michael Corleone. It’s a Dornish-hot day in Covent Garden. Mitchell is softly spoken like Aemond, with striking blue-grey eyes, but considerably more courteous and less terrifying. His hair, which he buzz-cuts for the show to accommodate a wig, has grown to a tousled mop, dyed a Targaryen peroxide for this publicity tour.

To help him to get into character Mitchell listened to Metallica and Slipknot (“Aemond’s straight out of heavy metal”), while cinematic inspirations included Kirk Douglas’s titular swashbuckler (“with his strong chin”) in the 1958 movie The Vikings, the icily evil android played by Michael Fassbender in Prometheus and slow-walking horror villains such as Michael Myers in Halloween. “That’s the message that Aemond wants to give off: that he has you in his sights and you won’t be able to escape him,” Mitchell says. Sometimes he took it too far. In one scene he stalked into the council chamber, “and [the director] Alan Taylor said, ‘Can you speed up the walk, please?’”

His dragon’s knack of pouncing midair (“She comes up out of nowhere like Jaws”) helps Aemond’s aura, as does that eyepatch, even if it took Mitchell a while to get used to when riding horses. He often kept it on between takes, he says, “because over the course of a couple of hours you develop a headache”. That, in his world, is a good thing because it helps to suggest a “volcano that’s boiling underneath the surface”.

We are increasingly invited to compare Aemond with the show’s other compelling bad boy: his uncle Daemon, played by Matt Smith. Both are spares who believed they deserved the crown more than the heir. “Aemond is a prince who stands to inherit nothing,” Mitchell says. “He recognised, similar to Daemon, that everything he wanted to achieve he’d have to go out and get himself. Daemon and Aemond — their names are anagrams of each other and he definitely looked up to Daemon growing up.”

Similarly, Mitchell was a fan of Doctor Who as a child and Smith was his favourite Doctor. “There is a certain resemblance as well. I remember my nan saying that,” he says. Now, though, Aemond and Daemon are on opposite sides, the former fighting with the “Greens”, the latter, nominally, with Queen Rhaenyra’s “Blacks”. Two men with brutal self-confidence, a sense of grievance and prominent chins … the stage is set for a bloody confrontation, as it was in the original Game of Thrones between the brothers Sandor and Gregor Clegane. Aemond has already said he would “welcome” a chance to test himself against his uncle.

When it will happen, Mitchell can’t say. In preparation, though, he and Smith have been avoiding each other on set. That was Mitchell’s idea, but Smith and Condal agreed that it would help them to keep their grudge-match powder dry. “In the same way that Aemond keeps Daemon on that podium, I wanted to keep Matt Smith on that podium,” he says. “Our stories are very much contained and we shot in different studio spaces, so we never really brushed shoulders.”

Mitchell has also decided not to watch or read the original Game of Thrones. “I didn’t want it to influence me whether it be subconsciously or consciously,” he says, before asking me, “Which one do you prefer, House of the Dragon or Game of Thrones?” It’s hard to say until this show is over, I say, although both are equally obsessed with incest. He looks puzzled. “There was only one Targaryen in Game of Thrones, right?” Erm, not quite but I don’t want to spoil it. He smiles. “I’ll get around to watching it.”

He has certainly steeped himself in the world of House of the Dragon, which was adapted from the book Fire and Blood by the Thrones creator George RR Martin and is set more than a century before the first saga. Mitchell drew Aemond’s family tree when he got the part and can’t hide his annoyance when he briefly confuses Driftmark and High Tide, respectively an island and its castle in the show. “I’m kicking myself,” Mitchell says, which feels typical of his obsessiveness.

What is it about the Midlands that produces actors with such bristling presence? Mitchell, like Paddy Considine, who played Aemond’s father, Viserys, in the show, is a working-class son of Derbyshire and studied at the Television Workshop, an affordable, inclusive drama school in Nottingham whose other alumni include Samantha Morton, Jack O’Connell, Bella Ramsey and Vicky McClure.

“It’s just an amazing platform that champions raw talent,” Mitchell says. “I didn’t necessarily possess the means or the finances to go to drama school — no one in my family has ever done it.” His father’s side is “very much military”, he says, his grandfather having served in the SAS in Malaya and Oman after the Second World War. “He was very stoic; didn’t show much at all.” So that’s where Mitchell gets it from — his friends in Derby, where he still lives, call him “the Iceberg”. “I keep my cards quite close to my chest,” he says and he certainly does when it comes to saying if he has a partner.

After graduating he got his break in The Last Kingdom, the medieval drama series, playing Osferth, a kinsman of King Alfred. Good practice for the sword swinging, horse riding and dagger tossing to come. There was also a small role in High Life, the sci-fi-horror film starring Robert Pattinson, and a bigger one in Saltburn, Emerald Fennell’s remix of Brideshead Revisited, as Barry Keoghan’s geeky mathematician friend — one of the few non-plummy characters. “Emerald would give me something new every single take: ‘Play this one like Travis Bickle, play this one like a serial killer,’” Mitchell says.

• Before Game of Thrones — the story behind House of the Dragon

Like Robert De Niro as Bickle, Mitchell is brilliant at showing vulnerability beneath the menace. He loved shooting the scene in House of the Dragon where a smirking, pre-barbecue Aegon finds a naked Aemond in bed with the brothel worker who has become a mother figure. Aemond’s real mother is Dowager Queen Alicent Hightower (Olivia Cooke), whom he, as regent, has just ruthlessly stood down from the Small Council. “He doesn’t want anyone else to notice that he actually really loves his mum,” he says. “Once the war ends he wants to be sat on a Dornish beach with her sipping piña coladas.”

“Horror is definitely a genre I’d love to venture into at some point.”

They may not get that far, although you sometimes feel that Aemond knows how things will pan out — he accepted the regency with a cool sense of inevitability. Condal has stressed the parallels of his story with the Greek myth of the Cyclops, Mitchell says. “He traded one of his eyes to Hades so he could see the day he would die.” Recent events have tested Aemond’s prescience, though, notably Rhaenyra’s recruitment of low-born Targaryen bastards to ride dragons. In the finale “you’ll see Aemond lose that composure”, Mitchell says. “He’s gonna get desperate, and you don’t want Aemond desperate because that’s when he starts to overextend.”

What next? Mitchell won’t say how many seasons of House of the Dragon he has signed up for and we know by now that anyone can be killed off with zero fanfare. He clearly loves movies, peppering his chat with references to Inglourious Basterds, The Untouchables and the M Night Shyamalan film Split, and says he would love to work with Jodie Comer, the Safdie brothers, who made Uncut Gems, and Rose Glass, who directed Love Lies Bleeding. Oh, and “horror is definitely a genre I’d love to venture into at some point.” He would be a natural.

tagging my beloved @assortedseaglass fuck the paywall

copy pasta from The Times

[ewanmitchellcrumbs]

How House of the Dragon’s Ewan Mitchell became TV’s most chilling villain

He played Barry Keoghan’s geeky friend in Saltburn. Now, the 27-year-old from Derby is riding dragons as Matt Smith’s terrifying nephew

House of the Dragon, the Game of Thrones prequel series, is coming to the boil for its second-season finale, a cauldron of Targaryen civil war, court skulduggery and dragon-on-dragon dust-ups. For many, the highlight of this season has been the emergence of a beguiling new villain in Ewan Mitchell’s Prince Aemond Targaryen, who has a character arc that’s more like a zigzag. Spoilers follow.

Aemond lost his eye to the knife of his cousin, Lucerys, got airborne revenge when his dragon, Vhagar, swallowed Lucerys whole and is now on the Iron Throne as prince regent after Vhagar barbecued the king, Aemond’s despised brother Aegon, into a walking kebab. What makes the character, though, is the chilling panache with which Mitchell plays him; an impassive psychopath behind his eyepatch.

The showrunner, Ryan Condal, has said that he was at times taken aback by the Derby-born actor’s intensity. “I sometimes forget to blink,” Mitchell, 27, says with a smile. “I need to just chill out a little bit.” Not if it means losing the edge that defines Aemond, the same contained menace that fuelled Michael Corleone. It’s a Dornish-hot day in Covent Garden. Mitchell is softly spoken like Aemond, with striking blue-grey eyes, but considerably more courteous and less terrifying. His hair, which he buzz-cuts for the show to accommodate a wig, has grown to a tousled mop, dyed a Targaryen peroxide for this publicity tour.

To help him to get into character Mitchell listened to Metallica and Slipknot (“Aemond’s straight out of heavy metal”), while cinematic inspirations included Kirk Douglas’s titular swashbuckler (“with his strong chin”) in the 1958 movie The Vikings, the icily evil android played by Michael Fassbender in Prometheus and slow-walking horror villains such as Michael Myers in Halloween. “That’s the message that Aemond wants to give off: that he has you in his sights and you won’t be able to escape him,” Mitchell says. Sometimes he took it too far. In one scene he stalked into the council chamber, “and [the director] Alan Taylor said, ‘Can you speed up the walk, please?’”

His dragon’s knack of pouncing midair (“She comes up out of nowhere like Jaws”) helps Aemond’s aura, as does that eyepatch, even if it took Mitchell a while to get used to when riding horses. He often kept it on between takes, he says, “because over the course of a couple of hours you develop a headache”. That, in his world, is a good thing because it helps to suggest a “volcano that’s boiling underneath the surface”.

We are increasingly invited to compare Aemond with the show’s other compelling bad boy: his uncle Daemon, played by Matt Smith. Both are spares who believed they deserved the crown more than the heir. “Aemond is a prince who stands to inherit nothing,” Mitchell says. “He recognised, similar to Daemon, that everything he wanted to achieve he’d have to go out and get himself. Daemon and Aemond — their names are anagrams of each other and he definitely looked up to Daemon growing up.”

Similarly, Mitchell was a fan of Doctor Who as a child and Smith was his favourite Doctor. “There is a certain resemblance as well. I remember my nan saying that,” he says. Now, though, Aemond and Daemon are on opposite sides, the former fighting with the “Greens”, the latter, nominally, with Queen Rhaenyra’s “Blacks”. Two men with brutal self-confidence, a sense of grievance and prominent chins … the stage is set for a bloody confrontation, as it was in the original Game of Thrones between the brothers Sandor and Gregor Clegane. Aemond has already said he would “welcome” a chance to test himself against his uncle.

When it will happen, Mitchell can’t say. In preparation, though, he and Smith have been avoiding each other on set. That was Mitchell’s idea, but Smith and Condal agreed that it would help them to keep their grudge-match powder dry. “In the same way that Aemond keeps Daemon on that podium, I wanted to keep Matt Smith on that podium,” he says. “Our stories are very much contained and we shot in different studio spaces, so we never really brushed shoulders.”

Mitchell has also decided not to watch or read the original Game of Thrones. “I didn’t want it to influence me whether it be subconsciously or consciously,” he says, before asking me, “Which one do you prefer, House of the Dragon or Game of Thrones?” It’s hard to say until this show is over, I say, although both are equally obsessed with incest. He looks puzzled. “There was only one Targaryen in Game of Thrones, right?” Erm, not quite but I don’t want to spoil it. He smiles. “I’ll get around to watching it.”

He has certainly steeped himself in the world of House of the Dragon, which was adapted from the book Fire and Blood by the Thrones creator George RR Martin and is set more than a century before the first saga. Mitchell drew Aemond’s family tree when he got the part and can’t hide his annoyance when he briefly confuses Driftmark and High Tide, respectively an island and its castle in the show. “I’m kicking myself,” Mitchell says, which feels typical of his obsessiveness.

What is it about the Midlands that produces actors with such bristling presence? Mitchell, like Paddy Considine, who played Aemond’s father, Viserys, in the show, is a working-class son of Derbyshire and studied at the Television Workshop, an affordable, inclusive drama school in Nottingham whose other alumni include Samantha Morton, Jack O’Connell, Bella Ramsey and Vicky McClure.

It’s just an amazing platform that champions raw talent,” Mitchell says. “I didn’t necessarily possess the means or the finances to go to drama school — no one in my family has ever done it.” His father’s side is “very much military”, he says, his grandfather having served in the SAS in Malaya and Oman after the Second World War. “He was very stoic; didn’t show much at all.” So that’s where Mitchell gets it from — his friends in Derby, where he still lives, call him “the Iceberg”. “I keep my cards quite close to my chest,” he says and he certainly does when it comes to saying if he has a partner.

After graduating he got his break in The Last Kingdom, the medieval drama series, playing Osferth, a kinsman of King Alfred. Good practice for the sword swinging, horse riding and dagger tossing to come. There was also a small role in High Life, the sci-fi-horror film starring Robert Pattinson, and a bigger one in Saltburn, Emerald Fennell’s remix of Brideshead Revisited, as Barry Keoghan’s geeky mathematician friend — one of the few non-plummy characters. “Emerald would give me something new every single take: ‘Play this one like Travis Bickle, play this one like a serial killer,’” Mitchell says.

Like Robert De Niro as Bickle, Mitchell is brilliant at showing vulnerability beneath the menace. He loved shooting the scene in House of the Dragon where a smirking, pre-barbecue Aegon finds a naked Aemond in bed with the brothel worker who has become a mother figure. Aemond’s real mother is Dowager Queen Alicent Hightower (Olivia Cooke), whom he, as regent, has just ruthlessly stood down from the Small Council. “He doesn’t want anyone else to notice that he actually really loves his mum,” he says. “Once the war ends he wants to be sat on a Dornish beach with her sipping piña coladas.”

They may not get that far, although you sometimes feel that Aemond knows how things will pan out — he accepted the regency with a cool sense of inevitability. Condal has stressed the parallels of his story with the Greek myth of the Cyclops, Mitchell says. “He traded one of his eyes to Hades so he could see the day he would die.” Recent events have tested Aemond’s prescience, though, notably Rhaenyra’s recruitment of low-born Targaryen bastards to ride dragons. In the finale “you’ll see Aemond lose that composure”, Mitchell says. “He’s gonna get desperate, and you don’t want Aemond desperate because that’s when he starts to overextend.”

What next? Mitchell won’t say how many seasons of House of the Dragon he has signed up for and we know by now that anyone can be killed off with zero fanfare. He clearly loves movies, peppering his chat with references to Inglourious Basterds, The Untouchables and the M Night Shyamalan film Split, and says he would love to work with Jodie Comer, the Safdie brothers, who made Uncut Gems, and Rose Glass, who directed Love Lies Bleeding. Oh, and “horror is definitely a genre I’d love to venture into at some point.” He would be a natural.

[thebirdsareafterme]

maxiel, galex, scaniel, brocedes!

OOOH OK I am ready.

Maxiel: makes sense, compels the FUCK out of me

I genuinely don’t think there’s been a ship that has compelled me like Maxiel. They make me so insane and I’ve spent the last 8 months of my life going up and down all 200ish AO3 pages in the tag like some kind of deranged possum, searching for more Maxiel content. They just make so much sense in my mind. You have Max, who has been taught his entire life that his only purpose in life is to win races, who is this angry, strung up little kid when he first joins F1…and then he meets Daniel, who is so kind and charismatic and has always been taught to enjoy the moment and the process of it all and just treats him with so much love even when he’s not winning or when he’s getting criticized by the media…and Max finally learns how to enjoy life outside of racing for the first time. Even outside of the general RPF scene of it all, the absolute pivotal Maxiel moments are so important and have so much significance in the grand scheme of the sport. Daniel leaving Red Bull because of Max (to an extent) which then caused a ripple effect on a whole bunch of people’s careers and ultimately led to the Horrors that we are currently living through, but at the end of the day, it’s about “If it can’t be me, I’m glad it’s him” and that fastest lap into “Thank you, Daniel.” Yeah, I could talk about them for DAYS if given the chance.

Galex: makes sense, compels me

They’re everythingggg to me. I love the childhood friends to lovers thing they have going on. The Galex lore is so interesting, like the throat infection incident, the collarbone biking accident, the whole thing about George being Alex’s hype man/personal photographer as a kid… underrated ship fr. They have the best chemistry and their sense of humour actually work so well together, and I NEED more content from them. I also CANNOT ship either of them with anyone else because it just does! Not! Work! In my head. They are each other’s ride or die and I love that for them.

Scaniel: makes sense, does not compel me

I love their friendship a lot and I think they have so much weird gay energy between them, but unfortunately my day one Daniel ship is still Maxiel. I think Scaniel has potential for growth, but unfortunately they do kinda give off besties to me. I will admit they have had some good, shippable moments, but Scotty just feels like a straight man in my mind. I think it’s just the DR effect (every man within a 5 mile radius falls in love with him) that drives this ship forward tbh.

Brocedes: makes sense, compels me A LOT

THIS is THE SHIP of all ships. The lore goes so hard and it’s so devastating to me. I’m a sucker for a good childhood friends to lovers to enemies storyline, so they are right up my alley. It’s just the most insane story that when I tried explaining it to my casual F1 fan friend, they asked me if it was from a movie and I was like NO! This is irl!!! The way that they have a 6 hour, 3 part YouTube docuseries about their relationship is crazy. No other ship has as much angst as them, and no one will ever come close to being them. It’s the way that they fundamentally are a part of each other’s careers and that you cannot mention one without the other, it’s the way that Nico talks about that era of his life and how he could only stomach their childhood favourite cereal on the weekend before cinching the championship, how he ruined his body and soul to beat Lewis and how his retirement changed Lewis’ whole outlook on the sport!!! And through it all, there is an awkward third-wheel in the form of either Daniel Ricciardo or Sebastian Vettel just smiling through the most disgusting vibes a room could ever have, which, in my opinion, adds to the whole drama of the ship. This ship has so much narrative and character and it is so so devastating to think about, I need to see or make a Brocedes movie before I die.

[bethanydelleman]

Taking a break from my usual programming to talk about Megara from Disney's Hercules being an awesome, flawed, complex, female character who has a very compelling arc.

The backstory, given by Hades, is that Meg sold her soul to him so her lover could live, but he left her for someone else. This makes her one of the very few Disney women who actually has romantic relationship baggage and experience. She is also older than Hercules (I think unique in Disney) though I think she's still mortal and within a normal lifespan. But the point is, she thought had the "Disney princess" perfect sacrificial romance, but then was betrayed.

She does fall in love and begins to believe that Hercules is a really good person, which inspires her to be better as well. Then Hercules finds out that Meg has been working for Hades the whole time and is heartbroken and betrayed. Meg sacrifices herself to save him, JUST LIKE BEFORE, but this time, she did pick a better guy and her sacrifice was honoured. Hercules probably has a far better reason to abandon Meg than previous boyfriend, but he doesn't: he goes to the underworld, retrieves her soul, and then, in another huge personal sacrifice, opts to stay with her instead of joining the gods on Mount Olympus.

She is shown as cynical, amoral, and sarcastic; not seeming to mind that she's helping Hades attempt to overthrow the other gods. Even though she likes Hercules, she agrees to attempt to find his weakness when Hades offers her personal freedom (that seems to be lifted from the story of Delilah and Samson, by the way). While she is a slave to Hades, that doesn't fully excuse her actions because we learn that she can refuse to serve him. Her motivation seems to primarily come from her not really thinking humanity is worth saving after her betrayal.

I loved this movie so much as a kid and I think I imprinted on Meg like some sort of baby duck. I love her song, I Won’t Say (I’m in Love) and how she struggles to get over her cynical views of relationships and men. But now, I'm amazed that she exists at all. She's a femme fatal who tried to take down the hero of the story and she both survives and gets a happy ending! She commited the Ultimate Narrative Woman Sin: she used her sexuality against a hero! She does make a huge sacrifice, dying to save both Hercules and the world, but in most stories she would have saved him and died (permanently). Instead, she's completely forgiven and Hercules risks his life to bring her back.

I love her. I love her story. She's the best. Can we have more of her please?

[artist-issues]

And another thing—the whole premise of Asha’s motivation, her whole character, is that she believes the people of Rosas deserve “more” than what Magnifico is giving them.

And I’ve already made posts about how that’s already kind of lame, because the movie doesn’t give you a good look at the citizens of Rosas really “suffering” because of Magnifico. They’re not all dull, or diffident, or zombies or anything. So she’s not really rescuing them from anything too bad, in that sense.

But that’s not the point of this post.

The point of this post is that Asha believes all the wishes in Rosas deserve the chance to come true, because she believes that all the intentions of the people in Rosas are basically good…she believes they’re all basically good people.

All their wishes are, therefore, good, harmless wishes.

But that’s so boring. And untrue. Not all wishes are good! Very few of the things we choose to wish for are the best things we could choose to wish for. And even less of the things people wish for are what they actually need.

Wish makes a lame attempt at the end, with the clunky Peter-Pan background character, to suggest that what the people of Rosas were missing was a work ethic to achieve their dreams, and collaborate with others, themselves. But it’s lame. And still not compelling. Because not everybody has good wishes. In fact, almost ALL of Disney’s best stories are about a character wishing for something that isn’t completely good for them. I already made a post that was kind of about this, but seriously. Having characters who want something, then discover that something is not so good for them, or something else would be even better, is one of Disney’s trademark tools for making compelling characters and adventures.

Flynn, in Tangled, just wanted to live a life of ease where nobody could bother him or take anything from him. And you know, he’s an orphan. They explained why he has that bad wish, because of his life and the circumstances that made him how he is—so we understand. We don’t hate him for having a bad wish. We get it. But then it’s wonderful to watch him learn to wish for something better! That’s a big chunk of the story! Just like how Rapunzel wished to see the floating lights, because it meant exploring and understanding the world. Not a bad wish, but not everything she could’ve had. Love, with Flynn, was an even better wish.

You could do this with villains, too, as the opposite. You can say,

Gaston had a bad wish. He wished to have Belle, simply because she was the most beautiful girl in town and he felt like he “deserved” her as the most beautiful man in town—and didn’t want to settle for second-best. And he has plenty of evidence to look at in order to recognize that his wish is bad, it’s not good for anyone including him—he has Belle’s selfless love for her father, the Beast’s refusal to fight back, and other adoring girls who would love to have him. But he won’t let it go. He won’t give up his wish or change it to something good—because he won’t acknowledge that it’s bad. So you have a great villain.

You get lots of great villains that way. Having bad wishes, but refusing to give them up. I mean, every Disney villain has a dream too, you guys realize that? And Disney had no problem saying “some wishes are bad” then. So they had strong characters with believable motivations/performances and a gripping story. Plus, actual impactful morals.

Stitch realizing his wish to destroy is bad, and changing it to a wish for family, like what Lilo and Nani have.

Clayton wishing he could “conquer” Africa, right down to selling its most fearsome creatures, right down to refusing to give up in a fight with Tarzan and winding up getting killed for it.

Hercules changing his wish from being a god to being on earth with Meg, because that’s a better fulfillment of his previous wish, which was just to find where he belongs.

Cruella refusing to change or give up her bad wish for a fur-skinned coat made from the pelts of the pets of the friends who insulted her.

The fairies continually giving up their wishes to do what’s best for Aurora and the kingdom—they give up their magic when it fails to undo Maleficent’s curse, then they give Aurora herself back to her real parents even though they’ve loved her, then they put the whole kingdom full of their friends to sleep to spare them the heartbreak of losing Aurora.

I mean, you could think of this as Part II of my earlier post, but what I’m saying is, Wish doesn’t acknowledge one of the most fundamental things about Disney stories: wishes aren’t always good, and they’re not always good for the people making them.

I get that Magnifico was taking away the chance for Rosas to find that out for themselves. No character in Rosas gets to go on their own journey of “is my wish worth getting.” But basing a movie off of that set them up for a boring movie. The whole concept of forgetting the wish you have, but it was probably good/harmless, makes the characters stop being characters, and the story super bland.

The only character that has a wish that he tries to make come true and has to choose to either keep or let go of is Magnifico—and his wish is “maintain absolute power.” Not even the Evil Queen had a wish that was that one-dimensional and bland—at least she had something personal in there. Magnifico doesn’t have a backstory or a personality that hints at a backstory which would explain his being a control-freak. He just has a burnt tapestry hanging on a wall that he sometimes glances at and says super vaguely, “nobody should ever have to live with their wish not coming true!” What wish, Magnifico? What did you wish for that you didn’t get? Say something that makes you real to me, or else I don’t care. Like everything else in this movie.

[adreamingofguns]

oooh what do you think people get wrong about hoffman and gordon??

OH BOY. Starting with Hoffman, people who characterize him as a daddy dom miss the character entirely. This man is a sub. Put this man in a dog collar immediately. in all seriousness, I also think the characterization of him being a murder maniac also feels... Wrong. We see him getting rid of everything, id and so on, and that feels... Final, to me. Like his Hoffmanator Murder Spree was not intended to be survivable, and only through sheer dumb luck did he manage to live (and because the cops in Jigsaw City are like. Very bad at their jobs). I also think that Hoffman is an extremely lonely man who WANTS to help people (his volunteers of America mug for sure, but also the fact that he comforted Corbett Denlon with a stuffed animal when he didn't have to, and the fact that out of everyone, he is the Only apprentice to target multiple white supremacists) and who only really sticks around because John was leading him with affection like a horse with a carrot on a string. We see this textually when John is encouraging Mark by touching his shoulder in a parental sort of way. I think Hoffman is passively suicidal throughout most of the series because it's the only thing that makes a Lot of his decisions make sense. Also kinda fucked up to make a suicidal guy go after a suicidal target, John.

ALSO THE WHOLE SLOB HOFFMAN THING. This man redecorated his house, this man has an ART NOOK and tasteful black leather that goes with his dark cherry or mahogany furniture. This man wears suits even when he doesn't have to. This man probably smells amazing. And he's fat. Stop drawing him skinny.

ALSO Lawrence is canonically a misogynist with a criminal record who either a) punches walls or b) fights people. This is in text, in the script and in the video games (which ARE canon). Lawrence kinda sucks and he FROM THE BEGINNING doesnt think John is a murderer, so him disagreeing with jigsaw is ooc because he canonically in the movie says "jigsaw doesnt kill people". I think also Lawrence is convinced of how jigsaw does actually help, which is why he goes to the meetings. ALSO LAWRENCE DID THE BOBBY DAGEN GAMES IN MY HEART WHICH KILLED JOYCE BECAUSE HES A MISOGYNIST. Lawrence sucks SO bad as a person, but as a character he's so compelling.

IN FACT STOP DRAWING LAWRENCE SKINNY TOO

[astridhoff03]

My thoughts on Season 2 of the greatest Chaos in the World of DreamWorks TV…

Oh my gosh, did this season yet again not disappoint, even if it has a bit of a slow start, it is still a great story. I definitely can see past the little flaws, because it’s still a good show with emotional moments and thrilling adventures. Also at the end of the season it will get really dark, darker than the Jurassic World Trilogy ever could’ve gone. I got goosebumps just like watching the Jurassic Park movies. And more emotional than every movie in the Jurassic Park/World franchise. Such compelling, complex characters with well developed backstory’s. I honestly was speechless when I finished season two and thought again, wow they scored again with this show,

My favorite episode is definitely two because how they showed us, how Brooklynn reacts to the loss of her arm and the fact that everyone thinks she’s dead. Kiersten Kelly does a great job in executing Brooklynns emotional journey in this, I think she has took a bit inspiration of herself loosing an important part of the body.

And Soyona Santos is an incredible villain, her backstory is also really interesting and how she interacts in the whole show with Brooklynn is just amazing. My favorite scene of her is when she draws Brooklynn, she never was so intimidating and seems extremely intelligent and dangerous. Together with the Raptor Lady she’s now one of the best villains in the Jurassic Park franchise. Also I just noticed that the thing with the lazer makes actually a lot of sense, even if I think it’s not as scary as the whistle of the Raptor Lady. Also Soyonas animated version is prettier than her live action counterpart. It’s just funny how much more intimidating and dangerous the JW: Dominion villains are in the series.

What Brooklynn does is not good for her but I can also understand her, she wants to protect her friends and family. But it was sad to see that Ben was near at a panic attack when Brooklynn called him. Also Yaz and Sammy are still the cutest and heathliest relationship in the entire camp fam but I like that Darius and Kenji finally get along again, I missed their friendship and dynamic so much. Kenji has gone through so much, he’s the most tragic figure in the entire cast of how much he experienced loss in his life. And Yaz and Sammy have grown stronger together. I love how Sammy tries to decorate the container and Yaz watches her with so much love and admiration.

And don’t let me start on the dinosaurs this season. They were incredible. The Suchomimus or as Billy would said it Suchimimus has a beautiful design and many incredible action scenes, my favorite is when he fights the hippo. I also like the the communication between the Albino Baryonyx and the Atrociraptor Red, was very scary and also how he walked behind Brooklynn was bizarre. Leucotistic Baryonyx is also the perfect combination of the idea of the hybrids and the normal dinosaur from Jurassic Park. It’s like they’ve found a perfect compromise where every fan gets something out of it. The chase in the dark with the eyeless Baryonyx was scary as hell, I can’t find words for it and also with what calmness Soyona Santos guides Brooklynn through the darkness, while her friends get chased. Geba was also pretty cute and funny, I feared for her life in the last episodes. It was actually a really good Idea to show how humans, animals and the dinosaurs get along on other continents. Was very interesting to witness and also helped to understand the world better our heroes are now in. The Majungasaurus was also very cool to see finally in the Jurassic Franchise and I am happy that my favorite dinosaur of all time, the Allosaurus has a final hurrah in episode two. This magnificent beast was going through a lot, blindness, serval fights who could’ve easily ended deadly, she was blamed for killing Brooklynn, was hunted and serval times imprisoned. I feel very sorry for my favorite predator of the Jurassic Park franchise, hopefully she can find finally peace in her future as our Camp Family. But I guess we have to wait until season three. I am happy when I see DODGSON again and the biosyn valley.

[toy-powerhouse]

The Rise of the Teenage Mutant Ninja Turtles turtles have some serious “No Friends” energy: Or the turts lack a support network of allies and friends, so it makes the series feel empty

Maybe one of the biggest failings of Rise of the Teenage Mutant Ninja Turtles (out of many other failings) is how the titular characters lack a (non-familial) support network. They don't really have any friends or allies, and what few friends/allies they do have are very underappreciated, underrepresented, and underutilized (Todd Capybara and Señor Hueso) or "upgraded" to the much more valued status of family members (April and Draxum).

Despite possibly being the most attention-seeking turtles ever to be created so far, they never seem to have any desire to receive attention from outside the family unit. They're all so insular despite constantly showboating in a world where largely no one has any issues with them being mutant turtles. For the most part, the whole world, both human and Yōkai, is their oyster, and they’re free to roam around and mingle as they please. Yet they're largely content to remain detached from it all. And, that lack of connection makes the series, and its entire universe feel so empty and so small in scope. This emptiness is made especially obvious when compared to other TMNT adaptations that do give the mutant turtles a stronger and plentiful network of friends/allies or at least have the turtles working towards building such close-knit ties with others outside their family unit. The 2003 series was so chock full of friends/allies, it ended on a big damn wedding attended by all the folks they befriended. Even if RotTMNT continued beyond 1 ½ seasons and a movie (technically, it’s two seasons, but let’s be real, season two is too truncated to count as its own season), it’d be highly unlikely that the turtles of that series would ever amass that many notable friends/allies.

We see some glimmers of interest that the turtles have in being a part of a world outside themselves, but aside from those fleeting instances, their disinterest in anything apart from themselves is palpable and never challenged in any major way. This limits the characters’ experiences, their development as well as the overall narrative. It makes all their wacky adventures or dramatic exploits seem repetitive and hollow in a way better kids’ shows mitigate with a compelling cast of supporting characters (i.e., friends and/or allies for the protagonists).

Instead, what RotTMNT lacks in platonic support it more than makes up for in enemies, albeit mostly underdeveloped enemies. The turtles just sort of gain enemies time and time again (because they’re usually unfunny obnoxious screw-ups), which makes their lack of reoccuring friends/allies even more noticeable. Big Mama, Warren Stone, Hypno-Potamus, Repo Mantis, Meat Sweats, the Purple Dragons, Ghostbear, Baxter Stockboy, Sando Brothers, etc., (Rise of the Teenage Mutant Ninja Turtles, more like Everybody Hates the Teenage Mutant Ninja Turtles, lmao). You get the idea; the turtles seem to have a talent for making more enemies than friends/allies.

But, with friends like the turts (correction: turds), who needs enemies?

The biggest middle finger the series shows to the idea of allies is when in the season one finale, “End Game,” the following allies join April and Splinter to rescue the turds as the B-Team: Bullhop, Franken-Foot, S.H.E.L.L.D.O.N., and Todd Capybara. Only for the quartet to be captured immediately and left for dead because they’re never brought up again in the episode. While each of the so-called "allies" of B-Team aren't given much respect both in- and out- of universe, Bullhop (real name Stanley) may be the least respected. In short, the turds ruined Stanley's life, showed little grace to the poor guy before he got unceremoniously ousted from the series. He got mutated by the Oozesquitos the turds had accidently released from Draxum's lab, the turds let him stay at the lair with them for a bit to make amends but were on the verge of kicking him out because he was annoying to live with (Gee, those sure are a lot of pots calling the kettle black…), only for him to leave anyway of his own volition. He then shows up one more time in "End Game" to get captured by the Foot Clan, and because this was his last appearance, it's probably fair to assume that he died/was killed while the other three managed to escape unscathed. RIP Stanley, I know he must be ballet dancing his heart out somewhere in cartoon heaven.

It's characters like Bullhop combined with other infrequently or one-time occurring allies like Casey (Sr.), Señor Hueso, Marcus Moncrief (aka Jupiter Jim), Sunita, Piebald, Red Fox, and so on that show how little the series wants to commit to giving the titular characters a stable support network built on trust and camaraderie. The closest we get to a true, ride or die ally and friend is Todd (see “Todd Scouts” and “Anatawa Hitorijanai”) and even he barely gets any respect. In “Anatawa Hitorijanai,” he provides them with a haven away from the Shredder when he’s taken over New York, forges them weapons they use to save the day, and he receives no thanks or any real acknowledgment for doing any of it which makes the turtles come off as very ungrateful to their greatest ally and friend. The way in which the series represents friends and allies is, at times, tinged with a dismissive, even mean-spirited undertone that feels like a slap in the face to themes and messages that the franchise often represents.

TMNT is a franchise that’s narrative is built on connection and the desire for misfits to find acceptance. In many adaptations, the turtles pine for meaningful relationships outside themselves and Splinter. And, while this theme doesn’t need to be the focus of every adaptation, its absence in RotTMNT does strip from the characters an extra layer of depth and misses out on an opportunity to make them more relatable to members of the audience, especially those who’ve ever felt alienated.

If RotTMNT wanted to focus more on the familial relationships of the titular characters instead, that would be one thing. However, even the development and depth of those familial relationships are lacking. For instance, Splinter’s neglect of the turtles is never truly confronted along with the impact of Raph’s parentification (the underdeveloped family dynamic is something to be expanded upon for another entry in my lengthy list of grievances with this adaptation).

There was so much potential to explore new relationships for the turtles outside their own little world. The introduction of Yōkai opened new possibilities for the characters with them being able to be among other non-humans (the underdeveloped role of Yōkai and their Hidden City is also a topic for another day). Even the more lenient human world offered a new perspective. But, like all things surrounding Rise of the Teenage Mutant Ninja Turtles, it was just more wasted potential.

[annymation]

What things annoyed and infuriated you the most in Wish 2023 (or Canon!Wish)?

OOOOH BOY! You just gave me permission to open a whole can of worms! Let's gooo!

Okay so here's a list:

I don't like how weak the reveal of what Magnifico actually does is. Asha finds out that he doesn't grant all the wishes, awesome, that would be a cool reveal, except, it's not a reveal, she freakin KNEW THIS! Asha herself said to a kid "It could be you someday" COULD! Asha, you said COULD, as in, there's the POSSIBILITY he'll grant that kid's wish, not a certainty! Not to mention if he only grants ONE wish per month then OF FREAKING COURSE not all wishes are granted. Okay, case in point, there's no grand reveal that the king is doing something no one knew, Asha apparently just forgot how their kingdom works.

Now hear me out, I am NOT one of those people that says Magnifico is a hero and Asha is a villain, I wanna make this clear, because although I find people who legit think like that kinda funny and I reblog their takes from time to time, I also find it frustrating that Disney managed to make a STRAIGHT, WHITE, MAN, IN A POSITION OF POWER, MORE LIKABLE THAN THEIR SECOND BLACK PROTAGONIST! ARE YOU KIDDING ME??? IT'S SO EASY TO MAKE US HATE HIM!!!-ahem- But, although Magnifico is the most likable character in the movie, I do not see him as a hero, no no no, keeping the wishes away from the people of Rosas is bad, pretending that he'd grant Sabino's wish only to say SIKE was bad, saying he'd never grant Asha family's wishes was bad. So, am I saying Magnifico is a villain?... No. That's topic number 2, Magnifico wasn't a villain, he was a jerk. A jerk does not a villain make. I didn't feel threatened by that man for not a single minute, and that's including when he was possessed by the evil book, speaking of which.

That dang book both ruined and saved the movie honestly, because yeah, although it's a stupid way to make Magnifico an actual villain, but in a way that makes us sympathize with him since he's not in his right mind, and the last thing you want is for the audience to feel bad for your villain... Well, there's exceptions of course, but that's a whole other subject. But even though the book caused all this damage, it also gave us King unhinged, campy, straight up evil, fruity, voiced by Chris Pine having the time of his life Magnifico, and I loved every second of it, I ate possessed Magnifico up, I was living for every cringe cliche evil dialogue that came out of him, like hell yeah, that's what I've been waiting for, that's what it's all about WOOOOOO!!! I loved him so much I just copy pasted his personality into the Magnifico in my rewrite, although, my version is actually willing to kill teens, while Canon Mag seemed more hesitant for some reason, my headcanon is that Magnifico was fighting the curse deep down, and that's why his magic actually didn't hurt anyone, so... That's sad, hope he breaks out of the mirror and kills them all Idk

We're on topic 4 and this is not even half of my problems oh my... Anyway, Asha is boring. And I mean like, in a way that feels intentional, how did they do it? It's fascinating how she has nothing going for her, she doesn't stand out, doesn't have any internal conflicts at the start of the movie, something ALL Disney princesses have: Belle doesn't fit in with her village, Mulan struggles to make her family proud, Mirabel struggles to make her family proud x10.000, Moana wants to explore the sea but can't, Ariel wants to explore the land but can't, Jasmine wants to get out of the castle but can't, Cinderella is a victim of domestic abuse, ya'll get the idea, all these girls get their struggles that make them compelling, what's Asha's struggle that has been with her for most of her life?... Uh... Her grandpa, this dude we just met and seems pretty happy... Doesn't have his wish granted yet... Ok, what else? Oh yeah everyone in town seems to love her and dance along with her to show tourists how cool the kingdom is... Uhum... So yeah she has no compelling struggles that hook us with her from the start, and the conflict she DOES get, as I explained before, feels underwhelming.

The setting, oh the setting. Like, don't get me wrong, the architecture is pretty, but nothing about it screams SPAIN to me, where is the cultural food? Where are the bulls? Where's the stuff we associate with the Iberian Peninsula? They did such a good job in Encanto, what the heck happened? Oh and did I mention that most of the animals that appear in the forest are not even native to the Iberian Peninsula, there would be no racoons in a medieval setting there, considering they're an invasive species that was brought there from North America, something that, I assume, wouldn't be possible back then, as I don't think the americas were even discovered yet, but anyway, there they are, racoons hanging upside down from their tails, something they can't even do. Sorry for expecting biology accuracy from my disney movie guys, but you can't just make Encanto, that was freaking amazing with it's inclusion of so many gorgeous latin American animals, and then do whatever Wish is, like bruh where were the Lynxes??? They're an endangered species there, Disney could've raised awareness!!!

The music...

Valentino was absurdly annoying, and it would be SO EASY to make a baby goat cute! Baby. Goats. Are. Cute. SO WHY DID YOU MAKE HIM UNFUNNY GOAT THAT MAKES BUTT JOKES???

Characters were unmemorable, Asha's mom didn't do anything, Sabino, whose supposed to be the backbone of the story, is barely a character, and again, it's not like Disney hasn't made likable elderly people before, Moana's grandma, Mama Coco, but my guy Sabino was just... There.

Aaaand I probably could go on and on but I can't think of anything else, feel free to share your own problems with the movie yall.

[unnecessary-dinosaurs]

*Long, exasperated sigh*

Ok. Chaos Theory season two review.

Spoilers below the cut. This might be a long one.

When this show was first announced, I was thrilled. The characters that meant so much to me would be coming back in a new series. I almost cried once after the first teaser leaked because I was just so excited to see Darius again. I was admittedly a little nervous too. Camp Cretaceous ended on such a good note. Did we really need a continuation? Going into the first season, I was cautiously optimistic.

Then it came and went. I liked it fine, but it wasn’t the same as Camp Cretaceous. In the following months I felt the years long grip JWCC had on me start to loosen. So by the time this season two came around, I was the least excited I ever had been for a new season.

For all of its run, Camp Cretaceous was so good because it simply refused the flaws of the current Jurassic movies. Where the JW trilogy prioritized action, JWCC prioritized the characters and their bonds. Where JW treated dinosaurs like scary monsters, JWCC treated them like animals. Where JW didn’t know when to end, JWCC ended when its story was finished.

Chaos Theory feels like this side story finally adhering to the rules of the franchise. The characters take a backseat to convoluted plots and mature dinosaur action. The story continues even though it doesn’t need to.

I’m not saying the season is horrible or even bad. I just feel like this show, despite its many strengths, hasn’t yet justified its existence to me. If you’re going to uproot the amazing ending of the first show, it has to be for good reason. And I’m just not convinced yet.

First, what I liked about the season:

-The first episode was genuinely so good. Like seriously amazing stuff. Great atmosphere and tension and sets up the rest of the season nicely.

-Brooklynn!! My least favorite camper in JWCC was my favorite this time around. Her flaws were layered and interesting and her motivations were compelling. Her flashback episode was my second favorite. Her relationship with Ronnie was good, and I consistently found myself drawn more to her side of the story.

-This kind of goes without saying but the art direction is still just so good. The lighting is so perfect, the models and the way they move are perfect, everything is just really nice visually.

-I liked the ending. I was worried that everyone would be happy and reunited by the end of the season and it would be too easy, so I’m glad they’re stretching out the conflict.

-The video call scene in episode three. It was just really cute. Good cute moment.

Ok. And now what I didn’t like so much:

-I feel like nothing happened this season? Like all the information in these ten episodes could have been condensed to five. Just really frustrating pacing. Felt like a lot of filler (a whole season of filler).

-I’m just really upset with how the characters were written. Why were none of them (except Brooklynn) interesting? Who even are these people? Why do they have the most generic dialogue ever? Like, I’m expected to care about Kenji, but that’s just literally not Kenji. He doesn’t look, sound, talk, or act like Kenji. Why is his character just being angry and making bad puns now? Why is Ben so boring? Arguably the most interesting character in JWCC is just some guy now? I know a lot of people will disagree with me on this but I can hardly be convinced to feel for these versions of the Nublar Six.

-The new characters were ok at best. They were all serviceable and likable, but I just couldn’t really understand why they were there. Zayna was completely fine, but I saw no reason for her to tag along the entire season. I really just don’t think she contributed much besides acting as a tour guide. The scientist guy was just completely one dimensional. Evil scientist. That’s the character.

-And the best new character from last season just never came back. Where was The Handler? She was such a highlight last season and she had one scene. Bummer.

-The Camp Fam finding out that B is alive was so underwhelming? It felt random and undeserved. There was little build up so what should’ve been a really important moment didn’t have much gravity for me.

-I get what they were trying to do with the hippos and lions but I just don’t really care, sorry. I’m watching Jurassic World, I want to see dinosaurs. I at least appreciate the thought though.

-I wish Brooklynn’s plot hadn’t been faking being bad to get cozy with Santos. It felt like a rehash of Darius pretending to be with Kash in season four of JWCC. A much better rehash, yes, but a rehash nonetheless. I just wish they’d done something more interesting there.

-There were several plot points from last season that were hardly/never brought up. Darius’s crush on Brooklynn, Ben’s girlfriend, Sammy and her family, etc. Why?

I have more stuff I could say but I don’t want it to seem like I think this is the worst season of tv ever. Or even the worst season in JWCC/CT. There’s a lot of genuinely good stuff in here, I just feel like it gets meddled with all the junk being in a franchise comes with. Camp Cretaceous avoided it to an extent, but eventually, it caught up. I know a lot of people like this show and I’m happy for them, but I’m just not one of them. I hope my complaints are addressed in future seasons, but honestly, I won’t count on it.

[chthonic-cassandra]

Hello friend, I was thinking about the Mina-as-a-reincarnated-love-of-Dracula's plot element from the 90's movie and once more wondering where the hell it came from. Do you have any idea if the germ of that element was present in some other vampire/dracula-related media?

Hello my friend! This is an excellent question that others have sought to answer over the years. This is my best recollection right now without consulting all my sources; if others (@atundratoadstool, @forthegothicheroine, anyone else?) remember something I'm forgetting here, feel free to jump in.

The Coppola film was not, properly speaking, the first Dracula adaptation to include a reincarnated wife plotline; that dubious honor goes to the 1974 Dan Curtis adaptation starring Jack Palance, though there the reincarnated wife is Lucy rather than Mina, and also takes much less of the attention and runtime than it does in the Coppola. Blacula, made around the same time as the Curtis film, also has a reincarnation plotline, though there it's of course not involving the characters of Stoker's novel directly.

Dan Curtis was previously the creator of the long-running vampire soap opera Dark Shadows, which I have not myself seen but which I understand has a prominent 'vampire finds the reincarnation of his love' story, and really popularized it as a trope.

Most people trace the origins of the trope to a different undead narrative - the 1932 The Mummy, directed by Karl Freund (cinematographer on Tod Browning's Dracula) and starring Boris Karloff. The Mummy, which I finally watched for the first time a few years ago, is a strikingly compelling though unambiguously orientalist film, and there's a lot in it from which I think subsequent Dracula adaptations have pulled.

The relationship between the undead Imhotep and Helen, who recovers memories of their tragic past life together, is in many ways persuasive. Like the occult opportunist Kay in Son of Dracula to whom I think Helen is rather akin, Helen seems stifled in the modern world (in her case the impression is exacerbated by the hints we get of racism she experiences as a half-Egyptian woman), and it's a rather direct line from her characterization to Lucy Seward in the Badham Dracula, Mina in the Coppola, and ultimately Vanessa Ives. Helen and Imhotep's love cannot succeed because he has the unfortunate impression that he has to kill her and resurrect her as a mummy so they can be together, but the sense the movie conveys of her connecting with her whole self when she recovers her earlier memories, and especially of her devotion to Isis, is quite moving.

Stepping back from the specificity of Dracula as a story, I actually think the reincarnation plotline makes a lot of sense as something that comes into play when you're dealing with immortality and undeath. One of the things that I think makes the way that the Dracula adaptations use it so weird and awkward, aside from the pure arbitrariness, is that they're divorcing the trope from the spiritualist connotations it clearly has in The Mummy, leaving it flat and metaphysically inexplicable. The Mummy is a text with clear origins in the spiritualist movements of its time, with their attendant orientalism - questions about reincarnation are all over those.

I played once myself with trying to recuperate the reincarnated wife trope in a Dracula fic, though I didn't touch the spiritualism stuff. I've been thinking about it, though, because I'm trying to work on Penny Dreadful fic and it's all over that canon (and also because I've been reading some Dion Fortune). I'll keep thinking about it.

[poppitron360]

One thing I felt like HoO really dropped on is the characterisation of the Argo II itself.

Where a lot of shows like Star Wars, Firefly, Doctor Who, and Star Trek really shine is where the ship itself becomes it’s own character.

I’m gonna use firefly as an example here, because I started re-watching it today, and this is something that’s a VERY key theme.

I think Joss Wheadon (the creator of the show) talked a lot about Serenity (the ship) actually being the “ninth cast member”. “Serenity” is the name of both the pilot episode and the follow-up movie, it’s name-dropped in the theme song, and the show is called firefly because it is a “Class-3 Firefly Spaceship”. And we as an audience really connect with the ship- despite the show being only fourteen episodes long (If I was only able to throttle 20th Century Fox… I answer to no god)- and I think the reason we do so is because every single character has their own personal connection with the vessel. Wash being the pilot (Also, if I remember it correctly, it being the place he met Zoë), Kaylee being the engineer, for Simon, it being a safe space to hide his sister from the totalitarian government trying to do experiments on her brain, and Mal and Zoë starting the ship together- Mal naming it “Serenity” after the battle of Serenity Valley which he fought in with Zoë (I could lore-dump about this show ‘til the gorram cows come home). And the whole premise of the show being about surviving with your rag-tag crew on this piece of shit that you love dearly, and just… keeping flying. Ugh, there’s something so magical in the writing that makes you adore the ship itself.

Other examples, like the Millennium Falcon, the TARDIS, and the USS Enterprise, are also good for this.

Now, onto how the Argo II itself:

The only person who really has a personal connection with the Argo II is Leo. The rest of the Seven just feel like they’re… on Leo’s boat. All the food is provided by the magic plates from Camp Half-Blood. Most of the piloting/engineering is done by Leo, and a little bit by Annabeth and sometimes Percy when they’re on the water. You never get the sense that any of the others really love the boat, or have any connection with it at all.

I think that’s the reason why the Seven never felt that close in my opinion. There was never a sense of community. Of people united by a common location.

I think, just love for a place in fiction is something really powerful to me. That’s where Harry Potter most thrived, not necessarily the plot, but wanting to be in the world, go to Hogwarts.

Camp Half-Blood had that charm and homeliness. So did the Waystation in TOA. Camp Jupiter didn’t for me, but I think that was kinda the point. But I never really got that from the Argo II, because of the way it was set up so that Leo was the only one who could really bond with it. And this is what makes Leo so compelling to me, is that he actually connects with his flying ship. I just feel like the Argo as its own character, similar to Serenity from firefly, could’ve been so good if it had been written right and was such wasted potential. It would’ve strengthened that bond between the Seven, and made that “familial��� dynamic feel a lot more natural.

In conclusion? Everyone should go watch Firefly on Disney plus. It’s just fourteen, forty-five minute episodes, plus the movie. But man, is it worth it. You will cry at the deaths (why do all the good ones get impaled?). You will laugh at the jokes. You will probably say, “Wait- is that a young Zac Effron?” When a young Zac Effron has a cameo. You will wish you were as badass as River.

Idk, it’s 3:03am and this is basically a good idea of what the inside of my brain looks like most of the time. I’ve mentioned at least six obsessions of mine in this post.