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lee-scribbles-and-doodles · 4 years ago

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My Top Ten Overlooked Movies With Female Leads In No Particular Order

Note: When you see this emoji (⚠️) I will be talking about things people may find triggering, which are spoilery more often then not. I mention things that I think may count as triggers so that people with them will be aware before going in to watch any of these.

Edited: 3/16/21

Hanna (2011)

So, before I get into why you should watch this movie, I just want to take a moment to say why it's near and dear to my heart. Growing up as a queer kid in the early 2000s, seeing portrayals of people like or similar to myself on anything was rare at best. It was mostly in more "adult" movies or shows that my parents would occasionally let me watch with them that I'd see any lgbtq+ rep at all. Often times they were either walking stereotypes, designed to be buried, evil, or all three.

Then here comes this PG-13 action thriller with a wonderfully written main female lead who, at the time, was close to my age, and who got to kiss another girl (her very first friend, Sophie) on screen in an extremely tender and heartwarming scene. To say the least, it was a life changing moment for me personally.

Now that I've gotten that out of the way, Hanna is a suspenseful movie about a child super-soldier named, you guessed it, Hanna (played by Saoirse Ronan) and her adoptive (?) father Erik Heller (played by Eric Bana) exiting the snowy and isolated wilderness of their home and taking on the shadowy CIA operative, Marissa Wiegler (played by Cate Blanchette) who wants Erik dead and Hanna for herself for mysterious reasons.

It also has an amazing soundtrack by the Chemical Brothers, great action scenes, and it has an over arching fairytale motif, which I'm always a sucker for.

⚠️ Mild blood effects, some painful looking strikes, various character deaths, and child endangerment all feature in this film. However, given its PG-13 rating, a majority of viewers are presumably able to handle this one. Still, be aware of these going in.

Sidenote: It's recently gotten a TV adaptation on Amazon TV, although I have not watched it, and do not know if Hanna and Sophie's romantic/semi-romantic relationship has transferred over.

A Simple Favor

A Simple Favor is a "black-comedy mystery thriller" centered entirely around the relationship between two mothers, the reclusive, rich, mysterious, and regal Emily (played by Blake Lively), and the local recently widowed but plucky mommy blogger, Stephanie (played by Anna Kendrick). When Emily suddenly goes missing, Stephanie takes it upon herself to find out what happened to her new best friend.

It's a fantastic and entertaining movie throughout, with fun, flawed and interesting characters. The relationship between the two female leads is also implied to be at least somewhat romantic in nature, and they even share a kiss.

⚠️ The only major warnings I can think of is that the movie contains an instance of incest and one of the main plotlines revolves around child abuse, although both of these potentially triggering topics are not connected to each other, so there is thankfully no csa going on.

Edit: I legitimately forgot there was drug use in this movie until now. So, yeah, if that's a trigger, be careful of that.

I Am Mother

I became mildly obsessed with this movie when it came out. I Am Mother is a sci-fi film that centers entirely around a cast of two woman, and a female-adjacent robot who is brought to life on screen with absolutely amazing practical effects.

The plot is such, after an extinction-level event, a lone robot known only as Mother tasks herself with replenishing the human race via artifical means. She begins with the film's main protagonist, Daughter. Years go by as Mother raises her human child and the two prepare for Daughter's first sibling (a brother) to be born. However, on Daughter's 16th birthday, the arrival of an outsider known only as Woman shakes Daughter's entire world view. She begins to question Mother's very nature, as well as what's really going on outside the bunker she and her caretaker call home.

⚠️ This movie features child endangerment and reference to child death.

Lilo and Stitch

When I decided to add a single Disney film to this list I initially thought it was going to be hard but almost immediately my brain went to Lilo and Stitch, and specifically about the relationship between Lilo and Nani.

On the surface, this film is about a lonely little girl accidentally adopting a fugitive alien creature as a "dog," but underneath that the story is also about two orphaned sisters and the older sister's attempts to not let social services tear them apart by stepping up as the younger sister's primary guardian. Despite its seemingly goofy premise, Lilo and Stitch has a very emotional and thoughtful center. It's little wonder how this movie managed to spawn an entire franchise.

Despite the franchise it spawned (or possibly because of it), I often find that Lilo and Stitch is overlooked and many people only remember it for the "little girl adopts an alien as a pet" portion of its plot, and I very rarely see it on people's top 10 Disney lists.

⚠️ This movie could be potentially triggering to people who were separated from their siblings or other family members due to social service intervention. There's also a bit of child endangerment, including a scene where Lilo and Stitch both almost drown.

Nausicaä and the Valley of the Wind

Unlike the above entry, I did struggle a little bit with picking a single Studio Ghibli film. Most media of the Ghibli catalogue have strong, well-written, unique, and interesting female leads so selecting just one seemed like quite the task.

However, I eventually settled on this particular film. In recent months, Princess Nausicaä has become my absolute favorite Ghibli protagonist and I'm absolutely enchanted by the world she lives in.

Set in a post-apocalyptic world overun by giant insects and under threat of a toxic forest and its poisoness spores, Nausicaä must try to protect the Valley of the Wind from invaders as she also tries to understand the science behind the toxic forest and attempts to bridge the gap between the insects and the humans.

For those who have never seen the film, I think Nausicaä's personality can best be described as being similar to OT Luke Skywalker. Both are caring, compassionate, and gentle souls who are able to see the best in nearly anyone or anything. She's an absolutely enthralling protagonist and after rewatching the film again for the first time in well over a decade she has easily become one of my all time favorite protagonists.

Whenever I see people talk about Ghibli films, they rarely mention this one, and when they do mention it, it's often in passing. In my opinion it's a must watch.

⚠️ This movie contains some blood, and the folks who either don't like insects or who have entomophobia may not appreciate the giant bugs running about throughout the movie. (Although most insects do not directly relate to real life bugs, and are fantasy creatures).

A Silent Voice

A Silent Voice is an animated movie adaptation of a manga of the same name. While I've never had the pleasure to read the manga, the movie is phenomenal. It covers topics such a bullying, living in the world with a disability, the desire for atonement, social anxiety, and depression in a well thought out manner that ties itself together through the progression of the relationship between its two leads, Shoya and Shouko. It's also beautifully animated. Although very popular among anime viewers, I've noticed that it's often overlooked by people who watch little to no anime. So I suppose this is me urging non-anime viewers to give this film a chance.

⚠️ As mentioned above, the movie deals with bullying, anxiety, and depression (with this last one including suicidal thoughts and behaviour). If discussion of those topics are triggering to you, than you may want to proceed with caution or skip this movie all together.

In This Corner of The World

Another manga adaptation, this one taking place during WWII-era Japan. In This Corner of The World follows the life of a civilian Japanese woman, Suzu Urano, as she navigates simply living and her new marriage as the wartime invades nearly all aspects of everyday life. I think this movie is a good representation of what it must be like to be living as civilian in a country at war where the fight is sometimes fought on one's own soil. It was also an interesting look into pre-50s Japanese culture in my opinion. It's also beautifully animated featuring an art style I don't see often.

Despite it being well known among anime fans, I never really see it be brought up, even among said anime fans themselves.

Side note: I've seen many WWII dramas centering around civilians but they've almost always been about American or UK civilians. This was the first movie I'd seen that features the perspective of a Japanese civilain.

⚠️ Features the death of a child and limb loss. There's also a disturbing scene featuring a victim of one of the atomic bombs near the end.

Wolf Children: Ame and Yuki

This film follows Hana, a Japan-native woman who fell in love with a magical shape-shifting wolf-man, and her trials with raising their children, who can also magically shape-shift into wolves, on her own. It's a very heartfelt movie about a mother's love and the struggles of doing right by your children when you have limited resources to actively guide and care for them. All the characters feel unique and alive in my opinion. Also, the animation is so good that my sister and I initially mistook it for a Ghibli film.

Again, like the previous two anime entries, I don't see it ever brought up outside of anime circles.

⚠️ There's some child endangerment present in the film, although none of it is the fault of Hana as far as I can remember.

Roman Holiday

Roman Holiday is about the fictional Princess Ann (played by Audrey Hepburn), who while on a whirlwind tour of Europe, finally reaches her breaking point over having her entire life be one big schedule and all her words and actions being rehearsed. In the spur of the moment, she runs away in hopes of experiencing what life is like for other women. Unfortunately, she was previously given a sedative, meaning she doesn't get too far before it takes effect. Fortunately, she is found by the kind reporter Joe Bradley (played by Gregory Peck). Believing her to be drunk and unable to get an address from her (because she has none) he ends up taking her home for safety's sake and allows her to sleep off her suppose drunken stupor. The next day, he realizes who she is, and decides to take her on a fun sight seeing trip across Rome in hopes of getting the big scoop. Along the way, they begin to fall for each other.

This is my favorite black and white, old romance film. I think the relationship between the main characters is absolutely beautiful and I have a lot of fun watching it.

⚠️ I'm not entirely sure what kind of warning this film would need. However, it was released in 1953, so values dissonance will probably be at play for many viewers to at least some extent. For example, early in the film Ann is given sedation drugs by her doctor for her behavior, something that is very unlikely to happen today. Also, Mr Bradley deciding to take Ann home to keep her safe rather than call the police or an ambulance is a very pre-90s decision in my opinion.

#hanna 2011 #a simple favor #i am mother #lilo and stitch #nausicaä of the valley of the wind #a silent voice #in this corner of the world #wolf chilren ame and yuki #wolf children #roman holiday #black and white film #anime #disney #studio ghibli #movie recs #top 10

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letterboxd · 4 years ago

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A Leaf in a Stream.

The matriarchs of Minari—Youn Yuh-jung and Han Ye-ri—talk to Aaron Yap about chestnuts, ear-cleaning, dancing, Doctor Zhivago and their unexpected paths into acting.

A delicate cinematic braid that captures the sense of adventure, sacrifice and uncertainty of uprooting, Lee Isaac Chung’s Minari might be the closest approximation of my immigrant experience on the big screen yet. Sure, Arkansas is a world of difference from New Zealand. But those dynamics and emotional textures of a family in the process of assimilation—authentically realized by Chung—remain the same.

The film is a wonder of humane storytelling, with the American-born Chung encasing deeply personal memories in a brittle, bittersweet calibration that recalls the meditative, modest glow and touching whimsy of an Ozu or Kore-eda. As Jen writes, “To describe Minari? Being embraced in a long, warm hug.” Or perhaps, it’s like Darren says, “floating along peacefully like a leaf in a stream”.

Neither is alone in their effusive praise. Minari rapidly rose to the top of Letterboxd’s Official Top 50 of 2020, and by year’s end our community had crowned it their highest-rated film. Despite its cultural specificity—a Korean family shifting to the Ozarks in the 1980s—the film has transcended barriers and stolen hearts. Run director Aneesh Chaganty says, “I saw my dad. I saw my mom. I saw my grandma. I saw my brother. I saw me.” Iana writes, “Its portrayal of assimilation rang so true and for that, I feel personally attacked.” The versatile herb of the title, Kevin observes, is “a marker of home, of South Korea, but it can grow and propagate as long as there is water.”

Though a large portion of Minari was vividly drawn from Chung’s childhood, a few of the film’s most quietly memorable moments were contributions from its Korean-born cast.

Youn Yuh-jung as Soonja in ‘Minari’.

Veteran actress Youn Yuh-jung, who’s extraordinary as the visiting, wily grandmother Soonja, traces the origins of the scene where she cracks open a chestnut in her mouth and hands it to seven-year-old grandson David (Alan Kim), to her time living in America. “I’ve seen one grandmother visiting at the time—we don’t have chestnuts in Florida—she brought them all the way from Korea. Actually it was worse than the scene. My friend’s mother brought [the] chestnut. She chewed it and spit it out into a spoon and shared it with her grandson. Her husband was an Irishman. He was almost shocked. We didn’t do that, but I shared that kind of thing with Isaac.”

Most viewers watching this scene will likely recoil in horror, as David does, but co-star Han Ye-ri, playing Soonja’s daughter Monica, notes the practicality of the gesture: “If you give a big chunk to children they could choke on that, so it’s natural for them to do that for their children.”

In another brief, beautifully serene scene—one that is so rarely depicted in American cinema that it’s almost stunning—Monica is seen gently cleaning David’s ears. Han came up with the idea. “Originally it was cutting the nails for David,” she says. “Cleaning your wife and husband’s ears is such a common thing in Korea. Initially the producer or somebody from the production opposed the idea because they regarded it as dangerous, but because it is something that is so common in our daily lives I thought we should go with the idea.”

Neither actress comes from a traditional movie-oriented background. With no acting ambitions, Youn began her fifty-year career with a part-time job hunt that led her to distributing gifts to an audience at a TV station. “It was freshman year from college and they gave me pretty good money. So I thought, ‘Wow, that’s good!’.”

“I’m kind of ashamed about that, as nowadays all the kids plan their future,” she says. “When I talk to the younger generation, they start having dreams about being an actor in the sixth grade. In the sixth grade, I was just playing—nothing. I didn’t plan anything. [Laughs.]”

Han Ye-ri and Noel Kate Cho in ‘Minari’.

Before acting, Ye-ri trained as a professional dancer, and while she wasn’t specifically inspired by movies to cross over into acting, she was an avid film watcher in her formative years. “Working as an actress made me realize how many films I’ve seen growing up.”

“My first memory of a non-Korean-language film left such a strong impression on me, especially the ending,” she says. “The film is called Doctor Zhivago. I saw it on TV and not in theaters. The first film I saw in theaters was Beauty and the Beast. But even growing up I remember because Koreans love films so much they would have films on TV all the time. I watched a lot of TV growing up because both my parents were busy, and in retrospect that really helped become the basis of my career. [Laughs.]”

She also grew up “taking reference from Miss Youn’s body of work to study from, as did many other actresses”. Grateful for the opportunity to work with her on Minari, Ye-ri says, “On set working with her, it made me realize how wonderful it is that this person still carries her own distinct color and scent. And seeing her taking part in this production in a foreign country—she’s over 70—it just really encouraged me that I should be more fearless like her.” She adds: “One of the things that I really want to learn from her is her sense of humor but I think I’m going to have that for my next life. [Laughs.]”

As for Youn’s adventures in early movie-going, she recalls the first Korean film she saw with her father was the 1956 historical drama Ma-ui taeja, based on a popular Korean fairy tale. “I was so scared. I cried so my father had to take me out of the theater.”

“At [the] time, we always had to watch the news on the screen before the movie. It started with a national anthem and every audience from the theater would need to stand up and pledge to the Korean flag. It’s a very stupid thing for you guys but it was like that 60 years ago.”

Han Ye-ri as Monica in ‘Minari’.

For Minari fans who want to discover more of Youn’s work, she recommends starting with the first movie she made with the late, great director Kim Ki-young, Woman of Fire—a remake of his own 1962 Korean classic The Housemaid. “A long time ago I couldn’t see it. Of course I first saw it when it was shown at the theater back when I was twenty. But later on we had a retrospective, so I saw that movie 50 years later. Wow, he was very genius. I was very impressed. That time we had censorship and everything but with that crisis he made that film. That was a memorable movie to [me].”

Youn admits finding it difficult to be emotionally invested watching a film starring herself, including Minari. “It’s terrible, it’s killing me,” she says. “I always think about why I did this and that scene like that. I’m just criticizing every scene so I’m not enjoying it at all.”

Asked which films she enjoys, she offers: “Some other people’s movies like Mike Leigh and Kore-eda Hirokazu. Your Chinese movies I fell in love with. Zhang Yimou when he started. Then later on when he became a big shot, I don’t enjoy [them]. [Laughs.]”

During the shoot, members of the cast and crew caught Lulu Wang’s The Farewell, 2019’s powerful, heartfelt Chinese-American immigrant story. While Youn missed it (“I was just staying home trying to memorize the lines and resting”), Ye-ri watched with interest: “That film also had a grandmother character, so did ours, and these two are completely different. But at the same time from both films you can feel the warmth and thoughtfulness of grandmothers in different ways. To me they are both very lovely films.”

Of her recent viewings, Ye-ri reveals she found Soul made her as emotional as Minari did. “It made me look back at how I live and my day. It’s not necessarily for children but I think it’s a film for adults. [Pauses.] I’m Thinking of Ending Things. I love that film also.”

‘Minari’ is out now in select theaters across the US and other territories, with virtual screenings available to US audiences in the A24 screening room.

#minari #a24 #lee isaac chung #lulu wang #the farewell #hirokazu koreeda #Youn Yuh-jung #han ye-ri #han yeri #steven yeun #korean film #korean director #korean films #letterboxd

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myhahnestopinion · 4 years ago

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THE AARONS 2020 - Best Film

Believe it or not, there were movies released last year - 75 of them at the very least, as that’s how many I watched. That’s 30 less than last year, even though I spent approximately 300% more time inside my home, but I’ll cut myself some slack. 2020 may have been a loss, but there were still some real winners to come out of it. Here are the Aarons for Best Film:

#10. The Assistant

It’s a sin of omission: No name is spoken in the film. No crimes are labeled. The towering chair in the middle of the shot sits empty, and yet the dangerous jaw of the doorframe is unmistakable. Kitty Green’s office procedural is made more nauseating in its minimalism; loosely based on the Weinstein sexaul assault scandal, The Assistant counts on a viewer’s familiarity, not just with the broad strokes of abuse, but the minutiae that enables it. By following a junior employee, played by the always tactful Julia Garner, through a series of daily mundanities, Green’s film shifts the spotlight, questioning our collective culpability in creating toxic environments. Every act must be an act of rebellion, the film says, or else we are assisting.

#9. Happiest Season

Happiest Season hit a snag last year: what was set to be a landmark in wide-release studio rom-coms became another victim of a pandemic that pushed people apart for the holidays. The homey movie might have hit harder in its Hulu-Original release though, as a needed reminder of the power of patience during difficult times. Harper (Mackenzie Davis) waits too long after an invite home for Christmas to tell her girlfriend Abby (Kristen Stewart) that she’s not out to her parents, imploring they keep the relationship a secret for the time being. It’s an unreasonable ask, prompted by unjust circumstances. By honestly exploring that conflict in hilarious, heartfelt fashion, Happiest Season was the most wonderful time of an interminable year.

#8. Wolfwalkers

Wolfwakers doesn’t run in a pack with the output of other animation studios, despite sharing a similar gravitas to the best of the Disney Renaissance. The wild style of its swirling sensory colors shed realism for an immersive, uninhibited fantasy world. Formatted like a proper fairy tale, the film centers on a moral: as wolfhunter’s daughter Robyn gains the ability to transform into the animal at night, the film walks viewers through overcoming fear of “the other'' in order to identify the true monsters among us. The howl of its voice actors, backed by a repurposed single by singer Aurora, completes this captivating creation. Released on the Apple TV+ streaming service, the film can rightfully boast of being one of the best of the year, so there’s no need to buy a wolf ticket.

#7. Onward

Onward put Pixar back on a forward-thinking path after a series of skippable sequels. Like director Dan Scanlon’s previous effort, it’s a smaller-scale saga for the studio, riffing on a classic comedic conceit rather than voicing existential crises: in a modernized fantasy world, two brothers take a road trip to locate a mystical artifact that can bring their father back for one more day. The quest is Pixar at its most magical, tweaking traditional tropes and tugging at one’s heartstrings. Despite the pieces being present, the film circumvents the jealousy of “knowledge vs. natural talent” that fueled Scanlon’s Monsters University; its vulnerable, supportive, affectionate sibling relationship made Onward especially moving.

#6. The Vast of Night

The Vast of Night plays on the vastness of imagination, tracking a young radio DJ and a switchboard operator through interviews that untangle the extraterrestrial events of their small town. In effect, the film is the Super 8 of the podcast world, plugging into the particular power of its medium by way of a retro-sci-fi adventure. For those on that wavelength, the atmospheric indie is an equally eerie and enticing beacon to the thrill of discovery. This audial focus doesn’t come at the expense of its visual format, mind you: the film’s hypnotic hold is only broken once - by the absolutely stunning construction of its midpoint tracking shot, one for the record books.

#5. Tenet

A question of cause-and-effect: did Christopher Nolan’s newest blockbuster fall into my top five for the year, or was a new Nolan novelty destined to place there before the year even began? His filmography has been on a roll since its inception, and the director keeps that forward-momentum going with the twisty Tenet, a time-bending thriller about agents unraveling a temporal cold war. Any way you look at them, the innovative, physics-based action scenes astound. Meanwhile, the midpoint movement turns on wondrous, child-like glee. With this grand of a scale, it’s a shame that Nolan’s devotion to the big screen despite the pandemic hampered the release; it seems some of the director’s tenets are better than others.

#4. His House

The works of Jordan Peele will likely be at the forefront of a viewer’s mind during His House, but, make no mistake, the film has horrors all its own. It’s a similar set-up to Get Out: a South-Sudanese refugee couple endure the various racist micro-aggressions of trying to assimilate or accommodate to an unwelcoming environment, even before learning their government-mandated housing is haunted. While that’s the foundation, His House’s ultimate form is unexpected, linked not to the guises of progress, but to the guilt of the past. Its supernatural sequences are made more startling by the raw performance of stars Sope Dirisu and Wunmi Mosaku; they own His House.

#3. First Cow

Behind every successful man, there stands a cow. Director Kelly Reichardt continued her career-long deconstruction of the Western last year in her best bittersweet concoction, First Cow. Pioneers Cookie and Lu seek the promise of the frontier in 1800s Oregon Country, sneaking milk from a wealthy land-owner’s cow to start an oil-cake business. The camaraderie is lovely, but that contract is a lie: the truth is a world in which only capital begets capital, where the rich are more concerned with having something than using it. Reichardt doesn’t beef up this drama with overblown conflicts, instead milking the minimalism to ‘udderly’ devastating results: they were the first, but we’ll all be waiting on that Western promise of prospect ‘til the cows come home.

#2. The Invisible Man

Often, movies will ask viewers to look at their monsters as metaphors; sometimes, they’re just monsters through and through. The Invisible Man, an update on the classic Universal film, polishes up the original’s special effects, but makes its titular character much uglier. Bringing the invasive nature of invisibility to the surface, the film reinterprets the character as a domestic abuser, gaslighting his ex, Cecilia, from beyond his supposed grave. Elizabeth Moss makes it a must-watch, never letting the audience look away from the trauma and terror of that situation. It’s highly-disturbing horror, made more so by an ending that leaves viewers in the dark, and the craft is always phenomenal. Director Leigh Whannell clearly had vision since his very first film project, but after The Invisible Man, everyone will be saying, “Saw who?”

AND THE BEST FILM OF 2020 IS...

#1. Straight Up

Straight Up? One of the best rom-coms of recent memory, and my favorite film of an odd year. It’s a fittingly off-beat premise after all: a young gay man and an equally-witty young woman, each struggling with intimacy in different ways, explore an unusual romantic relationship with each other. In a time when we were all cut off from connections with other people, Straight-Up reexamined internalized phobias and millennial malaise to forge new ones, uncovering the rare occurrence of a platonic ideal. With whip-smart dialogue, reflective filmmaking, and two star-making central performances, you will surely fall as in love with Straight Up as I did, and that is nothing less than My Hahn-est Opinion.

NEXT UP: THE 2020 AARON FOR WORST FILM!

#film #TheAarons #best film #best picture #best of 2020 #top 10 #straight up #the invisible man #first cow #his house #tenet #the vast of night #onward #wolfwalkers #happiest season #the assistant #TheAarons2020

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sw-daydreamer · 5 years ago

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Why The End of Rey and Kylo Ren's Story Is So Disappointing

Darkness rises, and light to meet it.

(Another article deconstructing the why of the unsatisfying ending with a REYLO focus / source below)

With the Star Wars sequel trilogy now concluded with The Rise of Skywalker, fans everywhere now know how Rey and Kylo Ren’s story comes to a close. Those who have long shipped "Reylo" and yearned to see "Bendemption" finally saw it happen, but the film doesn't quite do the work to earn those moments, and forcing these issues highlights how profound the thematic disconnect between TROS and its predecessors. What started out as a compelling dynamic between protagonist and antagonist in the The Force Awakens and The Last Jedi was unfortunately derailed in the last act, delivering an unsatisfying conclusion to Rey and Kylo Ren's relationship.

A Knight and a Scavenger

(...)

They spend all of The Force Awakens and most of The Last Jedi being enemies, and as presented on paper in all three films, there’s simply not enough build-up to sell the romance that the final film wants to go for. Not even The Rise of Skywalker fully commits to this concept, because the first half of the film is so focused on Rey’s struggle with her burgeoning Dark Side power, and her big team-up with Ben at the end is cut short because the movie also wants to get to the “all the Jedi live in you” finale, which Ben has nothing to do with. Perhaps moving towards a romance in Episode IX was always the plan, but the way it’s realized here, what’s supposed to be their heartfelt final moments together are lacking the emotional weight they needed.

A Shattered Alliance

(...)

The Force connection they share is exploited further in The Rise of Skywalker, but rather than being used to explore their dynamic, it’s used more for the sake of spectacle. Consider how small moments of physical exchange in TLJ (some drops of water materializing on Kylo’s hand) are replaced with lightsaber duels happening in multiple locations. Cool? Sure. But the deeper meaning of why this bond was even established feels subdued here, particularly when Rey and Kylo destroy Vader’s helmet, not in a conscious cooperative act, but accidentally mid-battle. The thematic coherence of this aspect of their relationship feels lost in the chaos of the film’s frantic plotting and roller coaster pacing.

A Broken Promise

But with two major plot turns, The Rise of Skywalker tries to get Rey and Kylo back on the path towards not just reconciliation, but romance.

The first is the reveal that Rey is Palpatine’s granddaughter, which once again sends Rey into an existential crisis about her parentage, but this time saddling her with the same issue Kylo had: a grandparent on the Dark Side. Now her bloodline does matter, and it's no coincidence that Kylo is the one who reveals this information to her. After all, he is a tragic example of how the weight of an important lineage can turn someone to the Dark Side -- and now Rey is being crushed by it. While the attempt to create another mirror between the two makes sense in theory, it comes at the cost of being completely divorced from Rey’s character journey in the last two films. The shape of her own destiny she forged across the trilogy, the idea that her origins don’t need to define her capabilities, is destroyed. Becoming the Light Side’s new hero despite “having no place in this story” was powerful. Revealing that she did have a place in it all along feels like a shortcut to ensure Rey has another connection to Kylo rather than a natural evolution.

The second is Kylo’s rushed redemption arc, which makes no sense in the context it appears in. After Rey and Kylo's duel on the Death Star wreckage, a defeated Kylo gets another chance to turn to the Light with some help from the memory of his father, and this time he takes it. However, nothing that has happened to Ben in the previous movies or this one indicates that this would turn him. His opinion of his father hasn’t changed in any way since he murdered him, and his mother reaching out to him through the Force sadly falls flat given that they haven’t shared any scenes across the whole trilogy. Rey says she wanted to “take Ben’s hand” after healing him, and while that is an effective call-back to TLJ that could possibly get him to reconsider his morality, it also feels like a small piece of what should’ve been a larger arc across the movie. Instead, everything related to Ben’s turn has been shoved into this one scene. It’s not enough to communicate why, after all the horrific things he’s done, now is the moment he is redeemed. Rather than getting us invested in an ending that felt thematically connected to the previous films or even coherent on its own terms, The Rise of Skywalker shuffles its pieces to get where it wants to go without justifying how it gets there. Ben joins Rey in her duel with Palpatine, running in with his father’s blaster, and all of his darkness is simply washed away. The idea of their connection being based on how they were representations of the Light and Dark Sides, how one came from nothing to become the last hope for the Light while the other was born from the Skywalker legacy and still turned to the Dark, is tossed aside. After such a strong first two acts, Rey and Kylo deserved a better conclusion, one that truly solidified the emotional bond these two characters were supposed to share. (...)

------------------------>

read the full article, link below,

I don’t agree with everything the author says, but I find it interesting that Reylo, now that it has happened is deemed worthy of a greater effort at story telling, compared to where we stood a few years ago. Obviously it does not change anything to the final movie now.

SOURCE : ign.com/articles/2020/01/03/why-the-end-of-rey-and-kylo-rens-story-is-so-disappointing

#reylo #article #deconstructing the ending #tros #analysis

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brynnmck · 5 years ago

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So. BIRDS OF PREY. (Non-spoilery outside the cut.) The short-short version is that this is the woman-driven superhero/action movie I've been waiting for and I have been fizzing with excitement and glee ever since I saw it and I really REALLY encourage you all to check it out because a) I truly feel it might very well improve your lives and b) I want it to make a billion dollars so that they make more because I NEED IT.

Also I want to make clear that you do not have to have seen or liked Suicide Squad, or have read the comics, in order to understand and enjoy this movie. (One of the best tributes I can pay to it, though, is that BOP was/is my first and truest comics love, and even though this movie is a pretty drastically different take on them and in fact leaves out my favorite character entirely, I still ADORED it. In large part because it DOES contain one of things I loved most about the comics, namely: a variety of interesting, complex, and multifaceted women interacting with and supporting each other. And ALSO kicking ass using a variety of skill sets!)

Just. THIS MOVIE IS SO FUN. As a warning, there is some pretty brutal violence in it (though mostly not against women, for a pleasant change). But it's also hilarious, and really cleverly set up and executed, and grounded in real and relatable feelings, and bright candy colored and just the right amount of unhinged and the soundtrack is PHENOMENAL and the costumes are incredible and the fights were fantastic and honestly, I don't recall a single line in the whole movie that made me cringe for the person saying it. All the performances are brilliant, especially Margot Robbie (who gets the most to do, since Harley is the central character here, but she crushes it all), and Ewan McGregor cheerfully devouring scenery, and Jurnee Smollet-Bell is just. The PERFECT stunning badass Dinah. (Also I found out that she does her own singing in this and it has ruined my life because ONE PERSON SHOULD NOT BE ABLE TO DO AND BE ALL OF THOSE THINGS it's TOO MUCH.) Also it is just generally PACKED with extraordinarily hot women who have agency and depth. So. I THOROUGHLY enjoyed the ride and I wanted it to be at least an hour longer and I am absolutely going again as soon as I feasibly can.

Spoilery thoughts and feelings under the cut!

Okay, first of all, I have never had strong feelings about Harley as a character but holy shit, I had no idea Margot Robbie was such a good actress, and I loooooooooved what they did with Harley here. She's definitely unstable, but I adored that they kept reminding us how smart she is, and the fact that she's got all this education and this ability to analyze people that's a vital element of her power. And she's so much FUN, and her drive to be her own person and to figure out what that means is so poignant and so relatable, I really thought they struck the ideal balance with her of making her larger-than-life but still grounded and complex, someone we could care about and sympathize with. And I loved that she ultimately came into her own, and ultimately did it in part because she chose to make connections with people who fundamentally value her.

And then DINAH. MY BELOVED. I love that even though she starts out working for the enemy, she still has that essential kindness and sense of justice that I feel like is so crucial to the character, and I thought using her mother's death as context for how she ended up where she is now was really clever and gave the story space to show her becoming a hero instead of just being born as one. (And she ALSO gets to parallel what Harley is experiencing, i.e. she's not sure who she is without the man who's been exerting control over her for so long, but she's increasingly ready to find out.) I loved seeing the way that slowly built in her over the course of the movie, that "I'm not getting involved I'm not getting involved FUCK IT I'M GETTING EXTREMELY INVOLVED" bursting of the dam that happened a few different times in a few different ways, all leading up to the Canary Cry moment, which was SO MUCH MORE than the plot device it could have been because we know EXACTLY what she's choosing to embrace by using her powers, backed by all the catharsis of "I'm not fucking taking this anymore and I'm going to defend what I love and what is right with every ounce of my strength and RAAAAAAAAAAAAR." SO GOOD. Also I never thought I would ship Harley/Dinah but here I am? That first meeting between them in Roman's club hit me HARD, just that moment of connection, and actually that was one of my favorite things about the way the movie was structured: a lot of times with team-up movies I feel like things don't really get going until the team-up happens, but here I thought they included so many lovely moments with different combinations of the characters that they felt connected even when they weren't actually all together, so the team-up was still enormously satisfying but it also didn't feel to me like the rest of the movie was just waiting for that moment. (Also clearly the shipping potential here is OFF THE CHARTS because any or all of the four adults in this movie would be FASCINATING together so I'm very much here for THAT.)

Cass was also DELIGHTFUL despite bearing almost no resemblance to any canon version of Cass that I've ever seen, but she was still a LOT of fun and resourceful and snarky and secretly sweet and her pragmatic-and-then-actually-affectionate bond with Harley was absolutely adorable. I love that Cass is the only one who doesn't know anything about the Joker, so she just takes Harley for who she is, and that's part of what Harley responds to (eventually).

I also LOVED Renee, how SMART she is (her breaking down that crime scene early on was soooooo fucking cool and also HOT AF), how snarky she is, how OVER IT she is. I also loved that she was a little bit older, and obviously CANON LESBIAN YAY (as was Harley being canonically bi!!! see how easy that was???), and I loved that she was flawed but still doing her best (as are all of them, really). I loved the way they used her to illustrate all the bullshit that women face in so many workplaces, and it was INCREDIBLY satisfying when she quit at the end. (Also her telling Dinah that Dinah wouldn't have been abandoned on her watch gave me CHILLS. The conviction!!! The dedication!!!)

Huntress gets left out a little, and I wouldn't have minded seeing her explored more, though I ADORE BEYOND WORDS what they chose to do with her, up to and including her being kind of disconnected until she shows up at the end and she's like "uhhhh, look, I'm just here to kill this guy, I don't want any of this drama," HEEEEEE. But Helena is so broody (though also extremely snarky!) in the comics and I love her very much but it's not my favorite quality, so choosing to show her deliberately cultivating that broody exterior (and somewhat failing at it) was GENIUS and made me love her SO MUCH. Her moment with Cass during the last battle was such a fantastic one, too--that was a moment that very easily could have been skimmed over, and honestly I don't know that I'd have thought of it, but it was PERFECT and such economical character development for her and just generally evidence of a writer/writers who think of all these characters as three-dimensional people with their own thoughts and feelings and experiences. Also Harley's heart-eyes when Helena rolls up on her motorcycle to save her were BEAUTIFUL.

Also beautiful: the fight scene once they all team up, seeing all their different styles and how they support each other and how they take care of Cass. And that scene in the diner at the end was just. ALL I EVER WANT IS THAT SCENE AND THEY GAVE IT TO ME. The snark! The margaritas and shitty food! The exhausted, semi-awkward bonding (Helena being like, "Um… you also… did cool things…! Is this how humans communicate?" was AMAZING)! And even ending with Harley stealing Canary's car was perfect, because at the end of the day she's not really a long-term team player, so I loved them all kind of sharing this moment and then Harley and Cass go on to do their thing, their way, and Renee/Dinah/Helena do THEIR thing, their way, and everyone gets to live their best lives, fundamentally. And it would also be VERY VERY EASY to slot in Babs (Oracle Babs PLEASE, this movie was so good in a lot of ways about diverse casting and I'd love to see them take that a step further) in a future iteration of this, like, I can perfectly see her just being like, "Uh, you guys are doing okay but you could really use some help" and coming in with all her technology and her strategic bat brain and taking things to the next level. (Also Christina Hodson, who wrote this, is also supposedly writing the Batgirl movie, so… hmmmmmmmmmmmmmmm.)

Basically it was just… everything I wanted and pretty much nothing that I didn't (though I couldn’t help noticing that there were a lot of POC in this movie who were… not great people, though there were also three central POC who WERE great people, and the two main villains were white, so maybe that helps give a more multi-faceted perspective, but). It has SO MUCH POTENTIAL as a franchise but even if this is all we ever get, I think it's a glorious shiny batshit heartfelt gift and I'm so SO glad we got it, and hats off to all of the amazing women involved who pushed so hard to make this as amazing as it was. YOU ALL DID FANTASTICALLY.

#birds of prey #LIFE: CHANGED #i love everyone in this bar

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razberryyum · 6 years ago

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The Guanyin Temple Event: another essay

(spoilers for episode 47 - 50 and the novel. All novel excerpts taken from the wonderful translations provided by Team Exiled Rebels Scanlations)

I didn’t read the Mo Dao Zu Shi novel until I was about a dozen episodes into The Untamed, but once I did, there were two events that I was most looking forward to seeing depicted on-screen: the Phoenix Mountain Hunt and the climax at the Guanyin Temple. The main reason for my heightened anticipation was because they were both critical and awesome events in the novel and also because I couldn’t wait to see how Team CQL was going to work around the blatant WangXian-ness present in them. Since I already wrote at length about the Phoenix Mountain Hunt, I won’t delve into that topic again, but suffice it to say I was quite pleased at what the drama team came up with in place of the blindfolded make-out session between Lan Wangji and Wei Wuxian.

For the Guanyin Temple event, I knew Team CQL had their work cut out for them because it wasn’t just a kiss they had to work around, but a whole ton of WangXian moments since that’s pretty much when Wei Wuxian, our completely awesome and lovable but dense AF protagonist, finally finds out that Lan Wangji has been in love with him for like…forever…and they acknowledge their feelings for each other (in front of family and foes no less). From the moment WWX finds out about Lan Zhan’s love for him until the end of the Guanyin Temple incident, it’s so loaded with WangXian cuteness that I almost died laughing while reading those passages: for me, at times their lovey-doveyness actually crossed into cringe-territory. Not that they didn’t earn the right to be completely corney, mushy puppies in love, but I still had to cover my eyes, shake my head and turn away in embarrassment a few times. I mean, I was literally suffering from a diabetic attack during some of those scenes.

Of course I didn’t expect mushiness to that level in the show…there’s still censorship to consider after all…but I was hoping for a ghost of what happened in the novel so that once again the spirit of their love confession can still be captured on the show. Or at the very least, I was hoping for some Easter eggs that would let us know that the production team understands our pain and wishes they could’ve given us all the WangXian love too.

Unfortunately, there didn’t seem to be any of that. In fact, with much regret, I have to say that in terms of WangXian quotient, I was a rather disappointed in CQL’s adaptation of the Guanyin Temple event.

It almost felt like in the end, Team CQL couldn’t really come up with anything to replace the abundance of WangXian love we were given in the novel, so they chose to just completely avoid any hints of it altogether. If I’m going to be honest, LWJ even seemed grumpy most of the time. I don’t blame Wang Yibo’s performance for this at all (I will never blame him for anything LWJ…he has given us such an amazing LWJ that he is blameless forever in my book. Same goes for Xiao Zhan and his WWX), I’m sure that’s the direction he was given, which makes me really scratch my head in perplexity. To jump ahead a little, a good example of this is during the scene where LWJ is protecting WWX from Fairy. In the novel, we had this exchange during that moment: (from chapter 101):

Wei WuXian, “Hug me!”

Lan WangJi, “I am hugging you!”

Wei WuXian, again, “Hug me tight!”

Lan WangJi, also, “I am hugging you tight!”

Whereas in the drama, we didn’t really have any dialogue and Lan Zhan didn’t even look too pleased about having to protect Wei Ying from the fluffy puppy. In fact, I was actually a bit bummed when he raised his arm to protect WWX: they started out with Wei Ying clinging to Lan Zhan’s body but raising his arm like that actually caused Wei Ying to move away from him, making their interaction less intimate.

Then there was that pivotal moment in the courtyard of the temple in the beginning, where WWX was being held hostage by Jin Guangyao and his guqin string: that was a scene I was especially looking forward to since that’s when Wei Ying blurts out the line that he’s always wanted to sleep with LWJ, which pretty much sets off his confession of love and devotion afterwards. I was extremely curious what dialogue Team CQL would put in place of something as blatant as that. I was hoping for something along the lines of “no matter what, you will always be my 知己” from WWX, which would’ve served as another callback to what they said on Phoenix Mountain and what they were thinking about during that snowy evening on Cloud Recesses. Just something poignant yet meaningful to capture all the love WWX has for Lan Zhan. Sadly, all we got was forgiveness from WWX about what happened during Nightless City, which, as heartfelt as the words were uttered (WWX saying it all teary-eyed got me all teary-eyed as well), they still felt almost a little unnecessary at that point. Especially since we already got that pardon when Lan Zhan was drunk and Wei Ying was telling him all of it was not his fault. Sure, Lan Zhan’s sober this time around and I did sense all the emotions in their expressions, but in terms of what was actually being said, as a replacement for “Lan Zhan! Lan WangJi! HanGuang-Jun! Back then, I-I really wanted to sleep with you!”? I’m sorry, it fell wayyyy short.

I also didn’t like the fact that once they were inside the temple, sitting side by side, the dialogue was changed to the following:

Where’s the love in that?? Again, it’s not like I was expecting anything hot and heavy like it was in the book (from chapter 100):

Wei WuXian couldn’t let out another sound. Amidst the darkness, Lan WangJi had already embraced him tightly, stopping him with his lips.

Lan WangJi’s breaths were short and disordered. His hoarse voice whispered beside Wei WuXian’s ear, “… fancy you…”

Wei WuXian hugged him tight, “Yes!”

Lan WangJi, “… love you, want you…”

Wei WuXian raised his voice, “Yes!”

Lan WangJi, “Cannot leave you… do not want anyone but you… it cannot be anyone but you!”

But maybe just a little more affection? In the book, there was so much love going on between WWX and LWJ at Guanyin Temple that even Jin Guangyao was nice enough to step aside and give them some alone time to talk out their feelings. Big bro Lan Xichen and Jin Ling also made sure to sit away from them so that they could hug and kiss it out. The show actually kept the seating arrangement intact, which I guess was meant as a nod to the fans, but I would’ve rather they kept the sentiments instead.

Not that Guanyin Temple was completely devoid of WangXian moments, thankfully, we did get the following little touches:

But if you read the novel, I have to believe you’d agree with me just a bit that all of that was hardly comparable to the source material. I don’t know if Team CQL decided to change things this way so that the ending with LWJ deciding to separate from WWX (although temporarily) would make more sense, or if the censorship monster finally got to them; either way, I wish they had been just a little more…creative and generous, I guess? It pains me to say that since it sounds like I’m being rather ungrateful—they have given us so much already—but Guanyin Temple was just so important to WWX and LWJ’s relationship, I can’t help but wish it was…better? At least in terms of WangXian.

Not to mention, strangely, there seemed to be more technical problems with the Guanyin Temple episodes than with any other consecutive batch of eps prior to them. The issues ran the gamut of bad production choices: awkward pacing (I love Wen Ning and it was cool seeming him possessed by Baxia, but it felt like it took him at least half an hour to get from the courtyard to actually inside the damn temple), very obvious editing errors (one moment WWX has his hand on LWJ’s hand, the next he doesn’t, and then he does again), clunky scene transitions, bad sound editing/mixing (why are we hearing the flute on top of Wei Ying’s whistling and the melodies aren’t even the same?), and if I’m going to be honest, the fight choreography and scene set up were kind of mediocre too. It felt like only the actors were bringing their A-game during those scenes while the production team was already getting ready for the wrap party since the show was going to be over soon. I mean, look at this, where the hell was A-Yao running off to?

Why couldn’t they show his death? It was so much better and creepier in the novel. Or is he even dead? Did they keep that open-ended too just in case they want to bring him back for the movie? And will LXC even get his sword back???

I know I sound rather negative, and I actually debated for a while on even sharing my feelings because I hate being so critical of this show that gave me so much joy for the most part. I also didn’t want to bum anyone out with my criticisms, however, even though I love, I can never love blindly, so I just have to get all the griping out of my system.

On the bright side, despite being disappointed by the WangXian quotient and the technical shortcomings of these eps, I was quite pleased by some of the changes Team CQL made from the novel which, imho, I thought were actual improvements from the source material (sorry, MXTX-laozi!). First of all, I really appreciated the closure we got between Jiang Cheng and Wei Ying. I LOVED that the two Yunmeng brothers got to talk things out and really reconciled. I especially loved this look JC had as he watched WWX play his flute:

As if he was both proud and relieved that WWX found a way to be strong again even without his golden core. We didn’t get such a sweet moment in the book. There actually wasn’t much interaction between them after Wei Ying told JC to just forget about the past; in fact, there seemed to still be some residual bad feelings which made me think the Yunmeng brothers weren’t really ever going to be ok again. WWX definitely didn’t wipe away JC’s tears or even touch him. That affectionate exchange we were given in the drama was just so precious and needed after all the pain both of them have been through, and it made me feel so much happier and reassured about their relationship. I’m glad that in both versions JC didn’t tell WWX what actually happened the day he was taken by the Wen Sect: it would’ve been just yet another heartache to burden Wei Ying who obviously was ready to move on with his new life. That little consideration made me love Jiang Cheng so much more.

Another improvement was the resolution between Lan Xichen and Jin Guangyao. I tried really hard not to ship big bro and A-Yao, but dammit, the show pretty much forced me to, especially towards the end with their last scenes together. Before I say anything else, I must really commend Liu Haikuan and Zhu Zanjin, the actors who brought LXC and JGY to life respectively: they really delivered during their scenes in Guanyin Temple. Zhu Zanjin is always on the verge of overacting and sometimes actually crosses the line, but all of his choices really worked for me within those scenes. I completely felt the hurt and anger from JGY when he thought LXC never trusted him, just as much as I felt the same emotions from LXC when his A-Yao revealed his true colors. They made my heart hurt for both of them and wish for a happy ending for them, which is just crazy because JGY is not a good person. As WWX pointed out, JGY really is a lot like Xue Yang, but he probably didn’t realize just how alike they are: they’re both technically monsters but still somehow capable of love…or a twisted form of it at least that passed for normal for them. One of my favorite pieces of dialogue in the entire novel was actually JGY’s (chapter 108):

“In this life, I’ve lied countless times, killed countless times. Like you said, I killed my father, my brother, my wife, my son, my teacher, my friend—of all the evil in the world, what haven’t I done?!” He took in a breath, rasping, “But I’ve never even thought of harming you!”

That moved me so much, and I actually teared up when JGY uttered basically those same words in the show because I believed he meant them, it wasn’t just a ploy to manipulate LXC again. And then, at the very last minute when JGY was about to pull LXC into the coffin so that the two of them could die together, in the book, JGY just suddenly pushed LXC away. I loved that in the show, we are shown LXC’s acceptance to the fate JGY intended for them…

…and that is why he pushes his second brother away. It was enough for him to know LXC didn’t regard him the same way that Nie Mingjue did after all, that he did genuinely care for JGY all these years. Although JGY probably didn’t deserve such satisfaction before his death considering all the people he‘s killed and harmed (except for Jin Guangshan…that asshole deserved everything he got…I’d count that as a PLUS on JGY’s karma scale, even if that was his dad), I still couldn‘t help feeling a bit happy that he attained it. I can‘t help it, JGY reminds me of a Puss-in-boots half of the time.

Finally, as heart-breaking as it was, I appreciated how much more affected Wei Ying was by the revelation that he had just been an unwitting pawn and victim in JGY’s schemes all this time. In the novel, the truth seemed to mostly rolled off his back, probably because he was too busy cuddling with LWJ to even care anymore, but in The Untamed, WWX seemed downright devastated. I have to say, Xiao Zhan really has mastered the laughing-while-crying combo-hit so damn well that he never fails to make my eyes well up every time he delivers that killer move.

I really felt his pain and anger at how much he suffered because of what JGY and Su She did, and how wronged he was by them, even if JGY tried to partially lay the blame on him and Jiang Cheng. What made JGY’s words especially hurtful was the modicum of truth to them, because WWX was being incendiary and arrogant during that time, and JC really didn’t have his back at all. He definitely never stood up for him like Shijie did at Phoenix Mountain. Again, I should hate JGY for hurting them with such painful truths and hell, I should hate him solely for all that he has done to WWX, whether it was purposeful or happenstance, but I simply don’t. I might feel differently if Wei Ying wasn’t given a second chance at life and happiness, but thankfully he was and that does make all difference in the world. I don’t even hate Su She…I just think he’s really pathetic and I’m glad he died the way he did.

So, do all of these positive factors balance out what I thought were definite missteps in the drama’s version of what happened at Guanyin Temple? If we had another 10 episodes of Wei Ying and Lan Zhan interactions to look forward to, the answer would probably be yes. OR, if we were given a bona fide, neat as a bow, unquestionably happy ending for them, the answer would also be yes. However, because this was the last couple of episodes we would ever get in the series before its conclusion and the ending was not quite as neat as I wish it would’ve been, then the answer is, sadly, no. I feel we were simply deprived too much of WangXian–I think they spent half the time just spectating at what was going on–and therefore for me, the execution of the Guanyin Temple events by Team CQL unfortunately leaned more on the side of being a disappointment overall.

Thank you once again for reading my second thesis. I have no idea if I will ever be able to earn my doctorate in MDZS/The Untamed, but I will continue to work hard at it. At the very least, I hope all this blabbering has granted me the privilege of being a somewhat worthy disciple-in-training.

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irinapaleolog · 5 years ago

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A Knight and a Scavenger

Even before we learn exactly how they will be connected, The Force Awakens portrays Rey and Kylo as diametrically opposed. Both are introduced wearing masks, yet Rey’s lasts for barely a minute while Kylo doesn’t take his off until two thirds through. Rey is a scavenger on a backwater planet, scraping by on her own skills to survive, while Kylo is a major leader in an autocratic military organization about to achieve dominance in the galaxy, a position he secured via his connection to his grandfather, Darth Vader. Setting aside how we now know the story ends, as initially presented in TFA, Rey is from nowhere and Kylo is our heir apparent to the Skywalker name.

We understand by the midpoint of the movie that Kylo has a familial connection to all three of the Original Trilogy heroes, and yet he has inherited none of their heroism. Rey, meanwhile, has everything to gain from selling BB-8 and doesn’t, and within seconds of learning his importance to the Resistance is ready to put herself on the line for it. Rey looks to Han Solo as a potential father figure; Kylo cuts him down because he’s his actual father. Their opposing views are even literalized by the massive canyon that tears them apart after their duel in the snow. But there is something that does connect their characters in this film beyond their strength in the Force: their fascination with mythic iconography. Rey, a starry-eyed collector of Star Wars memorabilia (she lives in an AT-AT!), and Kylo, a vindictive child who prays to the burnt husk of Vader’s helmet. Both of them are children of the OT’s legacy, but one pulled to the Light, the other drawn to the Dark.

A Shattered Alliance

Before we ever hear the term “Force Dyad” from Palpatine, The Last Jedi effectively communicates that Rey and Kylo are intrinsically linked just as much as they are fundamentally opposed. The connection Snoke forges between their minds through the Force gives us some of the film’s best scenes, and it’s understandable why they are drawn to each other after Rey’s journey into the Dark Side cave. After learning what might have been the worst possible answer to the driving question of her own existence, Rey lays her cards on the table. “I’ve never felt so alone.” Her emotional vulnerability is conducive to her reaching out to Kylo, a man who feels just as dejected by his origin story as she does by hers, and to mistakenly believing that she can turn him to the Light just as much as he hopes to seduce her to the Dark.

This tension (of multiple varieties) explodes in the throne room, with a lightsaber battle against the Praetorian Guards that glistens with passion and rage. The Light and the Dark, for a dazzling moment, unified in purpose. Yet when the battle ends, both of them believed they’ve won the other to their side. Rey begs for Kylo to tell the First Order to stop firing at the Resistance shuttles, and Kylo asks her to take his hand and help him rule the galaxy. Neither of them have changed. They are still opposing forces, and they once again pull apart, literally tearing the Skywalker saber in two during their struggle. Rey accepts her place as the last Jedi, while Kylo doubles down on his darkness by assuming the mantle of Supreme Leader. At the end of the film, even though they briefly united, they end with Rey closing the door on him. If anything, The Last Jedi reinforces their disparate nature rather than subverting it.

Rather than getting us invested in an ending that felt thematically connected to the previous films or even coherent on its own terms, The Rise of Skywalker shuffles its pieces to get where it wants to go without justifying how it gets there. Ben joins Rey in her duel with Palpatine, running in with his father’s blaster, and all of his darkness is simply washed away. The idea of their connection being based on how they were representations of the Light and Dark Sides, how one came from nothing to become the last hope for the Light while the other was born from the Skywalker legacy and still turned to the Dark, is tossed aside. After such a strong first two acts, Rey and Kylo deserved a better conclusion, one that truly solidified the emotional bond these two characters were supposed to share.

Midway through TROS, Rey says “People keep telling me they know me. I’m afraid no one does.”

Maybe she was right.

#the rise of skywalker #kylo ren #rey #reylo

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themrswallace · 5 years ago

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Hannigram headcanon: The conclusion.

Even if season 4 never comes, we have our minds (And broken souls) to keep us company and well sated with possible endings as to how Hannibal truly wraps itself up. Even if we never come to know EXACTLY how it ends, we can guess, and hopefully, we imagine something so off peak that the creator has to confirm/deny our ideas because his heart can’t take it. Here is my script: Cliff fall, jagged rocks, bumpy thrashing against the ocean floor until a miracle sees two bodies wash up on a nearby shoreline, not so much a beach, more a spot for pathetic loners to vibe our their eternal rejection. One man sputters for breath, despite his being having multiple stab wounds in all the worst places, he’s alive, moving, looking around frantically for help while the second remains still, chest faintly bopping for air rather than it’s usual, healthy, rise and slow fall, the other is barely hanging on as their forms are get bathed in a contour of dulled reds and blues as undercover police cars line the area and several familiar faces come to the rescue, regardless of the previous violence occurring minutes ago, everyone rushes to their former colleague and fight to get him into a separate ambulance, he argues, demands to follow his partner in some vague sense of “If he dies, I need to see it for myself, to prove he is really dead”, and perhaps their boss views his request with some ounce of grief fueled mercy, or maybe he just can’t be asked to preach reason in the midst of what is a crime scene he will later have to deal with. Will Graham follows Hannibal Lecter in their shared ride to the hospital, faking simple interest in the possible, likely death of the man who drove him insane to mask a viable concern, that of a lover, that of someone dedicated to another beyond the realms of what others consider normal, healthy, and upon arrival Will makes it evident to medical staff the extent of Hannibal’s injuries, in the moment forgetting he is no longer part of the agency and what he is listing is bringing all sorts of questions, from the nurses and Jack’s crew. Once the situation is manageable, Will is patched up, deemed stable (Regardless of a few broken ribs, concussion and dislocated hip) and kept on surveillance while Hannibal deteriorates enough to warrant resuscitation, emergency surgery and soon after, time in the ICU on numerous machines to take the stress off of his body, the fight with the Red Dragon and near fatal journey to dry land taking it’s toll beyond anyone’s comprehension. For the first time, Hannibal’s life is in gods hands, his reckoning is neigh and the lord has come to collect. Days pass, questions are made, agents flutter around the hospital like bees to a dying queen and those days become weeks and Jack is battling some brothers in mourning urges while Alana and Margo offer up their home to a now discharged Will who has somehow avoided being instantly taken into custody, again...miracle, and had every file on him and Dr Lecter thrown onto a judges lap. Despite the circumstances, it is a sad time, and against everyone’s better judgement, they cannot help but offer solace, early condolences and heartfelt gifts of food, advice and lame comfort to the broken Will Graham, speaking false hope of regaining his job on the force or at the university, of a book deal detailing all the events leading to this moment, to clarity and rising from the depth of being dominated, controlled, gas-lighted, misguided and framed by the infamous Chesapeake ripper! obscuring his true identity behind the veil of a psychologist working under the FBI. Whether or not Will should be feeling betrayed, hurt, generally confused by the elements contributing to this change, his transformation has reached its peak and there is no turning back as he struggles to explore his new life beneath the microscope, behind those his holds dear and without causing anymore suffering to Alana, Margo or Jack. As you can guess, tensions, indifference and lack of love cause Will’s relationship with his wife to break down, she sees him as a danger to the family and so, takes everything, including the dogs (THAT MONSTER), his wife doesn’t blame him, but she doesn’t see the man who stood by her and her son, who loved animals and a glass of scotch before bed, whose dry humor raised enough eyebrows in their social circle to bring worried friends to her door, only for Mrs Graham to giggle them away with the flick of a wrist. Will used to be hers, now he belongs to another and Molly’s only hope is that they understand what it is they’re taking on with her ex husband. In a flurry of past, present and future coming at them from all angles in a Montague that would puts most 80′s movies to shame, Will and his friends are thrown around like rag dolls as he is tormented by romantic feelings, platonic intrigue and dreams of an echoing phone call from the hospital, there is no longer rationality in their world, only shadows, mystery and unspoken truths which send everyone scrambling for normalcy. After months in a hospital bed, Hannibal awakes and has to start his life over again, Will as his guide, his protector, the hand of god with the capability to give or take, and in such a weakened state...Hannibal wonders if all he will receive...is take. Their newfound identities are plagued by Jack’s presence in every aspect, no more than two days go by before he is there, pretending to come on behalf of the bureau who’ve offered them both a get out of jail card if they draw out other serial killers, allow routine check ins and not leave the state without permission or multiple logs of where they plan to go, the deal is not a perfect one, or something they feel they should have to agree with but with Hannibal a former shell of his previously glorious self and Will learning the ropes of double agent, no better can be asked for, especially if they want to stay on the other side of the bars. their relationship dynamic has manifested into one of codependency, of love, worship, respect and slight distrust but if Hannibal wanted to be killed by anyone, it would be his Will. always his Will. ---- I might continue this later or leave it just because my butt is too lazy to write most ways. Enjoy and if anyone wants to fight me...lemme have my coke first

#hannigram #omg #duuuuuddddeeee

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paperclipninja · 6 years ago

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Younger post-ep ramble 6x03

This week’s episode of Younger, ‘The Unusual Suspect’, was a big one. No scenes felt wasted, each one moving the story along and it all felt very purposeful. Despite some capital H hotness and really light and funny moments being scattered throughout, mostly thanks to fave (and only) NYC agent Redmond and the resurrection of some truly classic Diana Trout, there was definitely the sense of tension on the rise. It’s been simmering since the end of this season’s first episode and I feel like this week we have hit an apex.

We open with brunch at Maggie’s and what one can only assume is a time jump (either that or Clare has recovered remarkably well from birthing a baby the size of a four month old) and right away an overarching theme for this episode is established, as Lauren enters raving about the latest hit podcast, Exonerated. I’m gonna come straight out and say that I am so into this premise. The excitement around the table sounded like the break room in my office most days, they definitely nailed the trend of true crime fixation. It immediately allowed for Maggie’s quip about white women loving murder, a delightful array of OTT facial expressions from Liza and Kelsey dropping in that Millennial will be meeting with Audrey Colbert, subject of the podcast, to nab her book before anyone else does. Of course the other big news is that Josh and Clare appear to be happily family-ing it up (though mommy wipes, daddy dipes = vom in my mouth a little bit) and Maggie is dealing with unresolved BoUBT (Back of Uber Birth Trauma). Lauren’s vow to help get Maggie back on the ‘h for hunt’ once again epitomises why I love her character so and I want to record her sympathetic ‘oh Divaaa’ as my ringtone. I just love that Maggie, of all characters, is the one who seems like she should be the most pragmatic when it comes to something like birth yet her coping level is zero here.

You know who else wasn’t coping? Me and my Liza and Charles loving heart as Liza suddenly up and left the brunch because she ‘was late for a thing’, cue the scene that was released as a sneak peek last week that I have definitely only watched a normal number of times *cough*. The set up for The Rubin Museum from the opening conversation was fab and the fact that Charles and Liza are using the podcast to frame up a role play situation is just too much. Obviously I had seen the scene prior to the ep and while it is certainly *insert flames here*, I can’t help but wonder what it would’ve been like not to have expected it (actual combustion probable). I mean regardless, I will never think about a trip to the museum in the same way again. The voice-over narrating what we were seeing was such a great device that is really different to anything the show has done before, it built the anticipation of what was playing out and it felt like a scene from a movie. The moment when Charles turned and came face to face with Liza was a great reminder of how electric the chemistry between these two can be (actual lightening bolts were sighted) and quite frankly, seeing these characters being adventurous and lustful in their relationship is a yes on all fronts. I think the fact it all took place in a place of intellect and culture was extra fitting, it somehow kept the whole thing true to the characters and I am here for the #nerdlove.

The office drama was amped this whole ep and that of course was largely due to the ever growing reign of our season 6 villain, Quinn. With the time jump since last episode confirmed by the fact that Quinn’s book is both published and sitting on the best seller list, Kelsey and Diana’s first encounter with Quinn as she uses the WiFi for a conference call included a) Diana saying goodbye in Mandarin, which was yet another lovely tidbit to add to this character while also setting up the classic Diana we got throughout this ep and; b) some of the best fashion and hairstyles all in one scene (and episode as a whole) ever. I mean the fashion on this show is always next level but this episode in particular took it up a notch: Diana’s high-neck printed electric blue top and Kelsey’s hair/makeup/outfit in the conference room were so stunning I was actually distracted by them.

Kelsey’s office refurb was also noted, loved Liza’s ‘set it (Claw) on fire’ comment and of course, Diana telling Kelsey that now she is publisher, maybe she should stop speaking like a trucker was D. Trout golden line no.1 for this episode. Even better was seeing Kelsey, Diana and Liza settling into this new way of working. I adore the dynamic between these three and the way we’re seeing Diana adjust to her former assistant now being a peer without a fuss is why this show is so wonderful. It would have been easy to have Diana trying to assert herself and maintain some sort of authority, but to see her just want to get on with the work and do the best job she can gives a great credibility to the notion that this character is the best in the industry. I could pretty much write out every Diana Trout line from ‘The Unusual Suspect’ and leave this entire ramble at that (’why is everybody in this country obsessed with true crime? Actual people have died and they’re selling branded beanies on Etsy’ LOLLLLL) but I would then need to do that for Redmond because the fave one and only agent in NYC was back this week and as always, he was in fine form.

The pitch of Audrey Colbert’s book is up there with the funniest scenes of this series, from the creepy af Audrey (A+ casting of Willa Fitzgerald) to Liza and Kelsey trying to play it cool while being hella freaked out to Redmond’s attempt to present a compelling pitch being railroaded by Audrey’s ‘crippling lack of media training’, it was Younger writing and delivery at its finest from start to finish. Seeing Redmond so unnerved by Audrey was unnerving in itself and really, I am so happy with the amount of Michael Urie in this episode. Our next encounter was of course when Kelsey and Liza interrupt his infrared sauna treatment (again, so many hilarious lines, I really feel that a transcript of the entire episode is about the only way to do it justice but may be problematic to pass off as a recap/review…or would it?) and discover that Audrey’s book is being shopped around thanks to the dagger next to Claw on the bestseller list, which = bulk sales = dodgy business = Chinese bots tweeting = Quinn is the worst (math doesn’t lie) = Audrey doesn’t want to be associated with anything suspicious on account of the fact she’s been accused of murdering two ppl (fair). I do want to back this truck up a little though to the way Kelsey and Liza discovered their next big hit was being pitched to half the major publishing houses around town.

Diana Trout hobbling into the office on crutches before dropping the bomb that her injury was the result of being so frazzled upon hearing the news re: Audrey going elsewhere, that she got caught up in her reformer (just go and re-watch this scene, you will not be sorry) is everything I never knew I wanted to see. The reference to Jackie Dunn, who you may remember has been a longstanding nemesis of sorts of Diana’s, was such an utter delight as a long time fan and once again, seeing Kelsey, Liza and Diana all equally vexed by the news was so great and continued to solidify them as a team. I promise no more direct quotes* (*this is a very loose promise), but ‘postpone the power-trip Kelsey, I am handicapped’ in response to Kelsey’s stunned expression upon Diana’s request for espresso, is so outrageously funny and makes this whole scene an absolute stand out on account of its hilarity.

I missed Lauren and Diana interacting this week, however I appreciated seeing Lauren be the wonderful friend she is to Maggie and Josh. Taking Maggie to the support group obviously allowed us to meet Beth, who Maggie engaged for some one on one tutoring (looking forward to seeing where that goes this season) after returning to the store to apologise for running out during the group session. While Maggie was lining up her ongoing therapy, Lauren and Josh shared a sweet and heartfelt moment that highlights why their friendship is such a lovely one on this show. Obviously Josh had told Lauren that he and Clare had a moment that made him think, ‘maybe we should make this relationship work’ and Lauren is following up to see where his head and heart are at.

I absolutely loved said scene between Clare and Josh, when he had finally settled the baby, asks Clare if she wants to go to her bed and then joins her on the floor when she says she sleeps where she can now. There was such a sense of unity and care and it made my heart swell. So in his discussion with Lauren we also find out the baby is named Gemma (last name TBC, for both father and daughter) and when pressed about what he actually wants, Josh reveals that he doesn’t think he and Clare are right for each other. I have said it before, but for all the wacky that Lauren can be, she is the most incredible friend who only wants the best for those around her in such a relentless and genuine way and this scene really highlighted that once again (the line about her dad having such a little bottom though brought us straight back to Lauren light in the best possible way).

The divorce proposal was such a great scene and while I was hoping that perhaps Clare and Josh could work things out, I am thrilled to see that the writers put both these characters on the same page right from the get go. I love that this show constantly bucks stereotypes and expectations of how certain characters and relationships will play out, so to see two adults who have an agreed desire to put their child first but know they need to do so outside a romantic relationship is something really unique on television. I have always enjoyed Josh and Clare’s dynamic and I hope we get to see a real, loving co-parenting arrangement play out.

Kelsey’s interaction with Zane when she is buying a bottle of Dom Perignon to celebrate scoring Audrey’s book (eek!) is my favourite interaction of theirs this season. Their banter was really effortless, Zane’s, ‘you’re not listening’, as he pulled out the cash to pay for the one remaining bottle smooth and a little bit over confident, but really played up that he has something in the works that is legit. I especially love that we later discover both are buying champagne to celebrate the same win. I feel like we also need to stop and appreciate that they were about to drop $400 between them on two bottles of bubbles like it was no big deal. What is this life? How do I get it?

Though admittedly Kelsey deserves a nice glass of something this ep considering all that she is dealing with. I have made no secret that I have struggled with Kelsey’s character these past couple of seasons and no one is more surprised than me at how much I am getting on board with her this season. Kelsey calling out Quinn point blank that she faked her best seller was so good to watch and seeing Liza backing her up and standing her own ground made this extra satisfying. Gah, I just LOVE how Laura Benanti plays Quinn and her stating that ‘the money is real, what else do you need?’ is so cold and matter-of-fact. What I love most about this whole confrontation is that it immediately made me think back to the first time we met Quinn - her whole presentation was about the fact that no one wants your success more than you do and that women helping women is actually holding women back. That right there should’ve been the red flag that her “helping” Liza and Kelsey was not legit.

And so her true motivation for investing in Empirical becomes evident. It had nothing to do with saving an ailing publishing house, it was to ensure her book would be published, she could have some control over how big it would become and be seen to have the support of a reputable publishing house, all in order to gain name recognition so she could successfully run for Senate. In her mind, Kelsey and Liza benefit from the whole thing financially so it’s a win win but she also holds the power so feels like she has the upper hand. Which is why the scene at The Cut (which is so fab, the looks Quinn shoots Kelsey are searing), when audience members question the dagger next to her book, is so damn satisfying. Kelsey’s move to announce Quinn’s run for Senate is so bold, I am very on board and boy oh boy Kels, I think you’ve got yourself quite the adversary. I was very much Liza watching this all unfold, shocked, impressed and a little bit scared for and of Kelsey and what this all means.

Now Liza was late to the event because she was living out the next chapter of the podcast at the Brownstone which we need to discuss, however I first owe some of you an apology. At the end of last week’s ramble I suggested you may need a fire blanket at the ready after seeing the museum scene sneak peek to you know, contain the flames. I fear some of you may have deployed it prematurely (this is not a euphemism though I am very aware it sounds like one) in response to how damn hot that scene was, but I was not to know that we were going to get this later scene, in which Liza just wanders into the townhouse BECAUSE SHE HAS A FREAKING KEY (suspected ep 2, confirmed ep 3, appreciated always) and decides to have a good old snoop at her bf’s mail. Similar to the museum scene, this set up felt more like a movie than a typical Younger episode. There was an ominous weight to it; the music, the lighting, the Charles padding silently up behind her (barefoot again?) and the tension was palpable.

Liza asks Charles about what’s going on, he provides a vague answer about moving some things around before asking her if she’s listened to chapter 7 of Exonerated, which conveniently mirrors almost exactly what just occurred, with Audrey’s ex finding her going through his things. Ok, so this is where it gets tricky for me. This entire exchange, from the way these two fall into that speaking in third person and wrapping a narrative around themselves, the way Charles wraps his arms around her, the way they look at each other, I mean, this whole thing makes my heart spontaneously combust because it is sexy and flirty, dripping with desire and just really really hot *reaches for backup fire blanket*. But then Liza is clearly distracted by that letter and Charles’ deflection and part of me is wondering why on Earth she isn’t pressing him harder for an answer or following up, I mean, we saw how open they were with one another last season, but then the other part of me looks at Liza and thinks, you are a person who has eyes and that whole situation is right there in front of you so I get it, go with it and worry about it later.

I am aware of how long this ramble already is, but I am going to do something a little different here and digress slightly away from the episode itself and put out some conjecture on my part. It could well be completely over-analysing (lol, I’m neck deep into a freaking novella about a 25 min episode of TV, I think that’s a given) but I know that there is concern about Charles behaving secretively and I have seen some people expressing disappointment in this season so far.

For what it’s worth, my take on it is that it might seem as though some of the characters are behaving a little out of character but I feel that actually, the characters are behaving in ways we haven’t seen before because they’re in situations we haven’t seen them in before. As invested viewers we feel like we know these characters as whole people in every aspect of their lives when in fact, we’ve not seen Liza at the top of her game in her career or Josh as a parent or Charles in a romantic relationship or away from the office. So while the way they behave might not be the way we imagined it, to me it isn’t so much out of character as seeing a new dimension of the character. Also, the addition of flaws does not necessarily equate to destroying a character, it builds them out and makes them more real, if anything.

In relation to Charles and Liza’s relationship and the ‘Charles is being shady’ concern, IMO the key purpose of that is to create tension and you can FEEL it building. As crazy as it may sound, I think the Liza/Charles dynamic thrives in the build and resolution of tension and that’s why their moments in this episode felt so electric and hot, it’s like those unspoken, unresolved tension points charge their chemistry. As much as I think I would love to have Charles and Liza sitting around blissfully happy (I mean, I would obvs), the reality is, it’s not that fun to watch. I believe the tension is building towards a resolution of sorts that will actually put them in a better place and move the relationship forward. (*Full disclosure: since writing this I listened to the podcast from ATX fest and Joe Murphy, one of the writers for Younger, said very similar things so if you listened to that podcast I promise I have not just taken what Joe said and pretended they’re my thoughts, I legit had this written and then heard (ngl, I may be feeling a little smug as a result). I’m putting it down to us both being Australian because clearly that is a thing that makes sense).

I also think there is an unsettled feeling this season because the entire premise of this show, the roles these characters played, the interactions we have grown accustomed to week after week, has been completely flipped upside down. As viewers we garner comfort from the routine of watching a show but also from knowing where the players are positioned, how they will behave and what it looks and feels like. I think the writers know exactly what they’re doing and are achieving exactly what they would’ve hoped (apologies writers if this is wildly inaccurate and I’m just assuming things incorrectly left, right and centre) - everyone is sitting in discomfort and it’s largely due to the unfamiliarity of it all. The set up, the way we’re seeing characters etc, it reflects what the characters themselves are experiencing on our screens, which is all kinds of meta and actually pretty cool. But the further you push that discomfort and make viewers sit in it, the greater the impact and more satisfying the resolution. It’s like waiting for a beat to drop in a song, the build up can become almost unbearable but damn it’s good when it lands. That’s how I feel this is all going to go.

That is what I meant by this episode feeling like an apex, it feels as though there’s a limit to how far an audience can be taken in a state of flux without some resolve somewhere. And the writers know this, it’s what they do, it’s WHY we tune in. I’m not suggesting that everything is going to go back to the way it was, the evolution of a show like Younger is exciting and part of the fun is seeing where it goes, but we are three episodes in to a twelve episode season and while we consume it week to week, it ultimately has to make narrative sense across the whole season. It’s as though we’re at the end of an ‘establishing’ phase right now. So I am reserving any judgement until I see how it all comes together, but have no doubt there will be many resolutions and many new points of tension throughout.

Right now, I am thoroughly enjoying all that we’re getting and I think the writing this season has been excellent so far, with moments like the final scene of ‘The Unusual Suspect’ providing us with the first true cliffhanger of the season. Our last bit of Redmond for the ep was peak Redmond (I love that he dashed off to a better table uptown), and of course the big Mercury reveal, YESSS. That moment of realisation washing over Liza’s face, props to Sutton Foster, and I cannot WAIT to see how this all goes down. The prospect of inter-generational team ups of Kelsey/Liza vs. Zane/Charles while members of each team are in relationships with one another is the kind of set up I live for in a TV show. Is it July 10th yet?

#original post #incorrect spelling in link

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starryburglar-archive · 6 years ago

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Hans Info

Full name: Hans Westergaard

Species: Human

Age: 23

Sexuality: Pansexual

FC(s): Domhnall Gleeson

Bio: As the youngest of 13 brothers, Hans found it pretty difficult to stand out in his family or as a prince. It almost seemed like, no matter what he did to an exceptional degree, one or several of his brothers would do it BETTER. It didn’t help the fact that most of them either ignored him or bullied him for being the youngest. The only sort of love he receives from his family is from his mother, who only seems to be truly content around him.

The young prince knew from an early age that her marriage to his father was arranged. The two never loved each other, never grew to be fond of one another, they can’t even stand being in the same room together. But their marriage united two kingdoms and saved The Southern Isles from disgrace.

One would think that being basically ignored by almost every member of his family would mean that Hans has the freedom to do anything he pleases, but that’s not the case. His father barely spoke to him but his eyes said everything. If Hans didn’t do what the king wanted, he would be punished -- it was the silent treatment version of ‘You may be a waste of space but you’re still a prince of the Southern Isles. Act the part.’. Etiquette, diplomacy, politics, geography, economics, manners... Hans had to master them all.

His only moments of solace were when he would be by himself on his private chambers or in the royal library. The young prince would do nothing but read -- read books about the mysteries of the world, about the different kingdoms and their customs, and, last but not least, fairytales. Yes, fairytales -- something unfit for a prince but Hans found enjoyment out of them. They were that one thing that brought a smile to his face because of how hopeful they make him feel. They made him wish for a better future, one where he was able to find true love and be happy, unlike his parents.

Years later, some months after his 22nd birthday, he was sent by his father to represent The Southern Isles at the coronation of the new queen of Arendelle. Why him? It’s still puzzling for Hans how his father doesn’t consider Arendelle a possible strong ally but was happy to be able to travel away from his homeland for a while. A few days without his family is better than nothing. Not long after a few minutes after arriving at the closed-off kingdom, he accidentally stumbled upon the princess of Arendelle, Anna.

She was the sweetest and prettiest girl he had ever seen -- prettier than all of the wives of his married brothers. And despite the unfortunate way they happened to meet, she didn't think ill of him after almost accidentally pushing her into the sea with his horse -- she even laughed! At that moment, Hans was convinced that the warmth in his chest was love. It has to be, right? What else could it be but true love? Maybe it was fate what made his father choose him to come to the coronation and meet the young princess.

Later that day, when the two were alone, he didn’t hesitate to propose right on the spot, even though it was the craziest move he could’ve done. Propose after meeting her that same day? His father would’ve thought he had gone bonkers -- you can imagine how shocked and overwhelmed he was when she said yes, a genuine and heartfelt yes. Hans thought nothing could ruin that evening.

Oh, how fate had different plans for him and everyone involved.

He never anticipated for the new queen to have any sort of magic abilities like he would so often read about in his fairytales. But she did, queen Elsa had power over ice and snow. Because of a misunderstanding, Anna’s frustrations and the evil intentions of the Duke of Weselton, her powers were exposed and everyone feared for the worst -- even he himself was unsure of how to feel at first. After Elsa ran away scared, Anna left the kingdom determined to find her and fix this mess, but not without leaving Hans in charge.

It was rough at first, trying to calm down the townsfolk as well as the other royal visitors currently stuck in Arendelle during the frozen winter in the middle of July. But he did his best, applying everything he has learned back home while adapting it to this current predicament. It worked well enough for the first hours.

When Anna’s horse returned but without its rider, his worries only increased. Dedicated to finding his bride-to-be, Hans formed a team of volunteering men to search for the princess and the queen. Hours later, he was surprised, once again, to find queen Elsa in what seemed to be a place of her creation: a palace made out of ice, truly magnificent. He was planning to reason with the queen and try to make her return to Arendelle peacefully, but those soldiers from Weselton ruined everything by scaring her and almost killing her.

The men returned to Arendelle with an unconscious Elsa. Hours later, Hans found himself with the queen, who was put in the dungeons and chained due to the worries of the other lords present. He pleased her to bring back summer, but she couldn’t. Unsure of what to do, he reassured her he would do anything to help her and returned to the comfort of the chimney. Not too long after that, Anna returned weaker than ever -- her hair was whiter than before and her body was freezing. Apparently, when anna tried to reason with Elsa, the queen accidentally froze her sister’s heart and now anna was slowly turning to ice, only to be told that an act of true love would thaw it.

The young couple stared at one another after being left alone. An act of true love... a kiss! If they kissed, she would be saved. Hans was extra careful while holding Anna, resting her against the sofa in the room that was near the chimney, all while cupping her cheek gently and smiling warmly at her. He leaned closer until his lips met hers in a closer embrace. They stayed like that for what it felt like an eternity... but neither felt anything, not a spark, not warmth, not anything. The kiss not only didn’t work, but both were dumbfounded by this revelation.

It took the help of a curious but strange talking snowman ( which shook him to no end ) for the lovebirds to realize their situation. What they thought was true love was not it -- it was a fling of the moment, a passionate desire for comfort and happiness while sharing it with another person, something both had wanted for years due to not getting any sort of love from their families. This didn’t make things awkward between them ( or at least not THAT awkward ); both knew the truth know.

Now their objective was to get Anna to Kristoff, her actual true love. Hans helped Anna get around the castle due to their weak form and her inability to walk in her current state. They reached the frozen fjörds, where Kristoff was also looking for her, but so were Elsa, the duke of Weselton and his men. Hans left anna so she would go with the blond man, while he grabbed his sword and tried his best to stop the men from killing the snow queen. However, they were three against one, two of them being much taller, bigger and stronger than him.

It all happened in a matter of seconds. The short Duke sneaked past him to strike Elsa, but then Anna stood in the way, using her last ounce of life to stop him while her body became ice. The ground shook as a wave hit everyone who was nearby. The scene was devastating to behold. Anna, who he had ground fond of and now realized she really was a good friend, stood frozen in the middle of the fjörds; Elsa hugged the statue devastated while sobbing her heart out.

No one anticipated the return of princess Anna. But it was that act of true love, the self-sacrifice she did for her sister what thawed her frozen heart. There was rejoicing all across the kingdom of Arendelle, its citizens and the lords visiting as Elsa brought back Summer.

A few days later, Hans was rewarded for his bravery and all the help he brought to Arendelle and the sister, despite the young prince insisting that he didn’t deserve anything while anna said otherwise. He was a hero, as much of a hero as Kristoff, the ice harvester, was. He and Elsa also were able to start again while building new relations between the kingdoms -- The Southern Isles and Arendelle would be their greatest allies.

Hans was content to have done a good deed and for some of his naïvete to have vanished thanks to this experience -- he’ll be careful in the matters of love, but still hopeful for a bright and loving future.

Note: Hella canon divergent. Mostly based on his personality pre-twist and first impressions from the trailers.

[ MAIN || INBOX || HEADCANONS || VISAGE || MUSINGS ]

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V001: Youngest of 13

Default main verse. Hans is the youngest child of the king and queen of Westergard and without any chance to get a claim to the throne, not without his 12 brothers being more favoured by his father in all ways possible. He is determined to stand out in any way possible without going against his moral compass, which includes forming better relations with other kingdoms and start having friends.

NOTE: Mostly takes place after the events of the first movie. I’ll have to see the sequel to see how I can work him into it.

V002: Working Towards a Better Life

Modern verse. As the youngest of 13 brothers, Hans was often ignored by his siblings and his father, only occasionally receiving a caring word from his mother and, if he was lucky, a full conversation with his father.

Currently, at the age of 23, he’s working to get a degree in History so he can become a professor in the subject -- history has always fascinated him, even as a child, so having the possibility to share this passion with a new generation made him happy. On top of that, Hans is also working on a novel during his free time. He also moved out of his home as soon as he was able and had the resources; at this point of his life, he didn’t want anything to do with his father’s company and connections ( not that he would get any of that ) and instead focus on making himself happy.

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CONNECTIONS

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oscar-isaacs-number-one-bitch · 6 years ago

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“How to Train Your Dragon: The Hidden World” Movie Review

It’s been 5 years since our screens were last graced with the presences of Hiccup and Toothless, the dynamic and impossible not to love duo of the How to Train Your Dragon films. At the end of How to Train Your Dragon 2, audiences were left off seeing Toothless taking position as the alpha of the dragons, and Hiccup accepting the call to be chief of Berk, as his father had wished him to be. With the beginning of The Hidden World, Berk has become the world’s first-ever dragon-Viking utopia, and Hiccup and friends conduct raids on armadas of ships, freeing all manner of dragons from captivity all across the world. But with the presence of a new night fury dragon, as well as a new enemy called Grimmel, Berk is once again in danger, the relationship at this series’ center is tested, and both Hiccup and Toothless must learn that eventually, some things must come to an end, as we learn to let go.

I’ve talked ad nauseum about the How to Train Your Dragon movies and what they mean to be both as a film lover and as a visual storytelling junkie, and I will continue to talk about them until the day I die. The first film is my favorite animated movie of all time (and rightfully so) with a brilliant script, astounding animation (especially for its time), one of the greatest animated film scores of all time, and a narrative that’s both sharply plotted and perfectly paced. The second HTTYD movie followed that up with a story that was more mature, if not quite as naturalistic in its dialogue and pacing, with animation that had advanced during that four-year wait to the height of its capabilities. The Hidden World, then, aims to be that rare trilogy capper that takes the series out on a high note, and for the most part, it does. I just wish the rest of the film, the stuff that wasn’t part of the finale, held up as well as the finale (and the other two movies) did.

See, I did like this film, but I wanted to love it. The adventures of Hiccup and Toothless are some of my favorites of all time, and while with that legacy comes (understandably) a lot of weight that may be difficult to hold, I’ve seen this series hold that weight before with ease. Those first two films have some of the most perfect pacing in any animated features, so the fact that the first two acts of this one are actually kind of dull apart from a handful of moments shared between the light fury and Toothless, as well as a barely 5 minute segment within the title location, is disappointing regardless of how well-animated the action and lighting is. Your mileage may vary on that front, but for me, things just seemed a little bit off what with the intro not including the usual title theme, or “this is berk” introduction by Hiccup until about 6 or 8 minutes in. Those two elements are not necessarily huge missteps for the film, but Dragon devotees like myself will notice their absence. Don’t get me wrong, I’m far from one to endorse pure fan-service as replacement or non-tertiary strengthener for narrative storytelling, but The Hidden World doesn’t quite have as many callbacks to the first or second films as it probably should when considering it’s meant to be the closer to a trilogy nearly ten years running.

In addition to this, whole swaths of the movie go by where not much actually happens at a plot level. Yes, the friendship between Hiccup and Toothless is tested, and Hiccup’s role as chief is challenged somewhat, but both of these things barely have any effect on the overall narrative as it stands. The large driving force of the plot is that Grimmel presents such a huge threat to Berk that they’ll have to relocate, and maybe the dragons will have to relocate too, but the threat he’s meant to represent honestly isn’t all that compelling. Grimmel’s character is not only under-written, but generically so, and doesn’t have anything quite as affecting to him on a character level as Drago being a fellow disabled person because of dragons in the second film. The script tries to do something with him that parallels a real-world anti-immigration allegory, but while the effort is notable, it ultimately feels underwritten, like they introduced the idea, but then didn’t really know where to go with it, and so it just fades into the background.

In fact, this movie has a character development issue that was bothering me for most of its runtime. Hiccup grows and learns something, but virtually no one else does. No one except Hiccup changes at all from the beginning to the end of the film, and while that’s all well and good that he undergoes a transformation (albeit only in one spoiler-ish respect) this time around, one of the greatest strengths of these movies is that most of the supporting characters change along with him, learning their own lessons along the way. The supporting characters in this movie, though, are relegated to small roles usually designed to deliver a low-level joke one too many times or scout something or tell Hiccup he’s better than his self-doubt. They’re no longer characters in their own right; they’re crutches by which to tell the story (apart from a couple of sweet Stoick flashback scenes) and move the plot along, which is sad considering how richly detailed they’ve been in the last two installments.

There is enough to like about the film, however, that despite being kind of let down by it overall, I still had a good time watching it play out. The animal courtship between the light fury and Toothless is one of the strongest aspects of the movie, and plays out in often simultaneously hilarious and adorable fashion. There are some new things she teaches him that come in very handy during the film’s thrilling (if a bit generic) final sequence, and the results are truly marvelous to behold. While she remains unnamed for the entirety of the film, she will be one of the characters audiences walk away remembering the most. The movie is also fantastically animated, and while The Hidden World plays it pretty safe in terms of shot selection (seriously, where did all the rest of the wide shots and flying intensity go?), what’s up on screen is incredibly detailed and looks gorgeous in its coloration and lighting design, particularly in that 5 minute title sequence. The hidden dragon world is a stunning piece of animation that will go down as one of the greatest ever committed to film. It may feel a bit strange to say that about an animated feature, but if you’ve seen the other two films, you know I don’t exaggerate. Some reviews are also touting John Powell’s score as a major strength, and while it does feel weaker than the other two overall (and doesn’t really enhance the film much), I can almost tell what they mean when listening to it on its own.

The Hidden World’s greatest strength, though, is its finale. Sure, the first two acts may be a bit dull and underdeveloped, but once this movie decides to turn on the emotional gauge, it dials it up to 100 and never looks back. Despite feeling like the overall movie wasn’t quite as good as the first two, this finale is by far the best since the original. Writer and director Dean DeBlois has gone on record several times as saying he never wanted to make anything more than a trilogy for this series, and for that level of integrity, I respect him immensely. Film trilogies are quite rare in this modern, franchise-crazed movie landscape, and to get a finale that makes it so hard to say goodbye to these characters and this world despite its gradually diluting quality, is something truly special and remarkable. (Yes, I was absolutely in tears by the end, and you will be too.)

Overall, How to Train Your Dragon: The Hidden World is a heartfelt and sincere, but somewhat flawed finale to what remains a great motion picture trilogy. While I found the supporting cast underwritten and the villain uncompelling, I still had fun watching the friendship between Hiccup and Toothless be tested, and seeing where the characters ended up. The first two acts are really just fine (if not super affecting), and it may be the weakest of all three so far, but this trilogy conclusion also has some of the best moments of the whole overall set, not the least of which is its grippingly emotional finale.

I have loved getting to watch these movies over the past 9 years. I have loved growing with them and re-watching them in anticipation of each entry. I have loved taking this journey which has brought me such joy, laughter, and at times, wonderful sorrow. It is bittersweet for me to say goodbye. Farewell, citizens and dragons of Berk. It has been an honor watching you.

I’m giving “How to Train Your Dragon: The Hidden World” a 7.8/10.

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britesparc · 5 years ago

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Weekend Top Ten #449

Top Ten Moments in Batman: Mask of the Phantasm

…as represented by a line of dialogue.

Every once in a while I choose to do a Top Ten that’s been on my to-do list for some time. It often doesn’t have anything to do with anything; I suppose in this case I could try to tag it onto Batman Day but that was weeks ago now wasn’t it? Anyway, here we are, with me once more returning to the well of “Best Moments Represented by a Line of Dialogue”, a format I enjoy and which I’ve been doing since practically the very beginning.

Batman: Mask of the Phantasm is the best Batman movie, and whenever someone says that you know one of two things: (i) they’re a massive nerd or (ii) they’re a massive contrarian. These two things are not mutually exclusive, but I definitely don’t think I’m (ii); I’ll happily hear your arguments that the correct answer is The Dark Knight or Batman ’89, but I doubt I’ll agree. A more convincing argument might be made for Batman ’66, but even so, I think the best screen interpretation of Batman remains the classic Animated Series by Paul Dini and Bruce Timm (and their umpteen collaborators) and the first feature-length adaptation of that series remains, in my opinion, the purest, deepest, most interesting, most layered, and most damn fun Batman film of all time.

Don’t @ me.

Due to its exceptional voice cast (still the definitive representations of most of these characters) and peerless design work, many moments resonate still. Phantasm is one of those films that's great to watch when you're about ten to twelve because whilst ostensibly a movie made for kids or feels resolutely grown up; people die, people have sex, people who love each other can never see each other again. There's blood and genuine terror and mild swearing. It utterly earns and sells these moments, and in doing so builds a unique and very special interpretation of Batman at both his strongest and his weakness. And it also has a bit where the Joker tries to shag a robot.

"Ain't that a coinkydink?": unsurprisingly, most of the best lines in the film belong to the Joker; Mark Hamill’s performance is one for the ages. When he visits sleazy congressman Arthur Reeves, it’s a scene rich with both humour and terror, but also subtly unpeels the noirish plot of the film. The Joker has never been more Jokerish.

“It just doesn't hurt so bad anymore…": Bruce Wayne is often defined as a person driven by grief and vengeance, but in this scene, on his knees in the rain at his parents’ grave, he’s imploring them to let him live a normal, happy life. It’s beautifully played by Kevin Conroy (and Dana Delany as Andrea Beaumont) and rich with tragedy and pathos.

"I diapered your bottom, I bloody well ought to!”: Alfred (the late, great Efrem Zimbalist Jr.) is an unending joy in the film, offering sarcastic bon mots and some heartfelt pearls of wisdom. Here, though, he stands up to Bruce’s pigheadedness is earnest and also rather amusing fashion, and gets in a mild British swearword to boot. I like it because it shows his love and the history the two share, and also several aspects of Alfred all in one line.

“The only one in this room controlled by his parents is you!”: brilliantly, Andrea has always known Bruce was Batman, and he clearly knows she knows, despite her leaving town before his superhero debut. This scene, as they work out their anger and try to repress their feelings, is just great, Andrea getting some digs in and hurting Bruce, as well as hiding her true motives. It felt, to twelve-year-old me, like a really grown-up scene in this cartoon comic book movie.

“That's what I like to see: a nice big smile...": like I said, Joker is scary in this film; his scene with aging mob boss Sal Velestra, he’s darkly funny, comically gleeful, truly sinister, a force of potential violent threat, and then – right at the end – plays nice. But his final line, we know, is the biggest threat of all – and, sure enough, next time we see Valestra he’s dead in a chair with a rictus grin across his face.

“You? But... but he paid you!”: although I tend to prefer my Joker origins to be ambiguous, fair play to Phantasm for adapting the live-action thread of Joker originally being a mobster. It plays beautifully here, as we find out – in a chilling thirty-second flashback – that he killed Andrea’s father. Delany’s scream of discovery is horrifying, juxtaposed as it is with “Joker” (Jack Napier?) nonchalantly picking up an apple and eating it.

“Whatever... it... takes!”: now I don’t like it when Batman kills, but his fight with the Joker here is epic, and it really feels like it might be the end of the road for one or both of them. Broken by the revelation of the Phantasm, and just generally discombobulated by Andrea’s return, it’s fitting that he’d be a more desperate Batman than usual as he tries to prevent Joker’s escape. There’s a sense of grim finality to their conflict, amplified by the fantastic choral arrangement and score.

"Adaptogenic of course": this one might just be me, but I like the fact that Batman actually does some detecting in this film. Analysing the gas the Phantasm uses, he spouts a bunch of scientific-sounding gobbledegook, but Conroy delivers it with straight-faced gusto; the “of course” at the end, and Alfred’s eye-rolling response, speaks volumes about their relationship. This is a Batman who is self-aware and who can poke a bit of fun at himself.

“Your angel of death awaits...”: the Phantasm had to feel like a real threat, and their ability to pick off the various mobsters in the film is truly impressive. The imposing visage, the freak hook hand, and especially their seemingly supernatural smoke, makes them a force to be reckoned with. Their grim catchphrase underscores this, the sense of inevitable, fatal justice coming to bear on these criminals. Best death? Tough one; I like the intensity and violence of the Chuckie Sol scene, but in terms of an actual death you can’t really beat Buzz Bronski getting crushed by a tombstone.

“Batman! This is the police! You are under arrest!”: not the most dramatic line but certainly a dramatic scene, and a beautiful example of the way Phantasm plays with established elements of Batman’s origin. Essentially an adaptation of the SWAT-corners-Batman scene from Year One, we witness Bats outsmarting the cops at every turn, using all his little tricks until – knackered and unmasked – he’s eventually saved by Andrea. All the more impressive considering it features barely any dialogue.

God, this is a good film. I just love it so much. It was hard not to have every moment just be a different Joker one-liner. I also really like the Harley Quinn sound-a-like at the beginning who talks about “the I-word”, namely “in-gagement”. I strongly recommend you go watch this film at your earliest convenience.

#top ten #batman #batman day #movies #comics #mask of the phantasm #batman mask of the phantasm #batman the animated series

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mattbrothersscriptwriter · 7 years ago

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My Top 20 Films of 2017 - Part Two

Ok, so about ten minutes ago I finished watching my last 2017 film of the year. For my FULL list - all 127 films watched in order of preference - jump on over to my Letterboxd page: https://letterboxd.com/matt_bro/list/films-of-the-year-2017/

Alright, top 10:

10. Logan

In a time when a lot of people still bemoan the existence of so many comic book movies (occasionally, with a point) this has been a stellar year for them. Marvel’s triple whammy of Guardians of the Galaxy Vol 2, Spiderman Homecoming and Thor Ragnarok were all excellent, heartfelt, fun knockouts and Wonder Woman was a terrific showcase for both Gal Gadot and Patty Jenkins (not to mention hugely important in its own right). Only Justice League really fell back on old tired habits and resulted in a bizarre mashup of tone and purpose and featured the single most damning piece of CGI buffoonery ever conceived in Henry Cavill’s ‘we’ll fix it in post’ deleted moustache. That really is one for the ages.

But I could never have foreseen the power and beauty of something like Logan, a near-perfect capper to a spinoff trilogy that began with the God-awful Wolverine Origins. It’s strengths come from it’s convictions – this isn’t an episodic story servicing a franchise, this is a true stand alone character piece, focusing on the rarest of things – an actual ending to a beloved, previously untouchable, immortal superhero. Played out as a tragic western with claws, the film beautifully champions the importance of family and love, seen (at last) through the eyes of those that never dreamed they would experience it, let alone fight for it. With some fantastic action set pieces to boot too, this one really has its cake and its eat and is also a real sight to behold – I saw it for a second time in it’s gorgeous black and white ‘Logan Noir’ cut and every frame is a revelation. Huge props to Patrick Stewart too, delivering a devastating performance of a character is has also lived with for the past SEVENTEEN years.

9. Film Stars Don’t Die in Liverpool

This film is a heartbreaker. My God. Definitely the most surprising cinema-going experience I had this year. I went with a friend of mine and by the time the credits were rolling, there wasn’t a dry eye in the house – best encapsulated by a burly scouser sat behind us who was openly saying “Fuck me, didn’t expect that for a Sunday afternoon. Jesus! How bloody brilliant was that!? Got any tissues?’.

Focusing on the later years of Hollywood starlet Gloria Grahame (Annette Bening on Oscar sweeping form), it finds her semi-washed up and treading the boards in London where she meets and falls for Peter Gallagher (Jamie Bell – never better than this) another actor, half her age. The tenderness and straight forwardness of their pairing is so refreshing, never making an issue or point about the older woman/younger man dynamic unless directly challenged by other characters (including Gloria’s bratty sister Joy) or themselves. The most effective emotional beats of this film aren’t signposted and drawn out for Oscar clip schmaltzyness but instead hit you in a sudden burst of passionate regret; hurtful words said in anger or defence – truly proving that the most harmful things you can say to someone you love are all too easy to let slip out before you’ve had a chance to think about what you’re saying. But the damage is done.

The film-making here is exceptional too. What could have been a rather dry biopic is given such momentum through brilliantly executed scene transitions and a flashback-enhanced narrative that keeps us embroiled in the present day scenes of Gloria succumbing to cancer whilst we watch their initial courtships and brutal arguments from the months and years leading up to it. The supporting cast that includes Julie Walters, back as Bell’s mother and Stephen Graham as his brother are brilliant but this is Bening/Bell’s movie and they knock it out of the park.

8. Baby Driver

My big birthday blowout screening of the year, following last year’s Aliens 30th anniversary showing, Baby Driver did not let me down. All the usual energy, narrative foreshadowing and tightly controlled construction you’ve come to expect from an Edgar Wright flick blown out onto a much bigger and more confident scale. The genius pairing of getaway driver crime heist flick and vehicular musical allows for some hugely inventive set pieces, from the opening police chase set to Bellbottoms by the John Spencer Blues Explosion to the car-on-car parking lot duel with Queen’s Brighton Rock echoing through the tunnels.

Ansel Elgort delivers a breakout turn and everyone from Jon Hamm, Jamie Foxx and Kevin somebody-or-other are having a ball playing bad. The romance with waitress Lily James initially feels a little under cooked but it all plays into the escapist fairytale of the action and seeing them dance together in a laundromat whilst sharing headphones is one of this year’s purest joys.

7. Get Out

Where It soaked up much of the straight spooky horror acclaim this year, Get Out walked a much more tantalising and complex line between thriller, social drama, satire, comedy and horror – and pulled it all off effortlessly. Jordan Peele has long had grand cinematic aspirations as evidenced in some of the larger scale sketches in his fantastic show Key and Peele but this clearly represents everything he wanted to say and do in a debut feature. I think the odds of so perfectly nailing your voice and intentions in your very first film is astronomical but damn, he must be proud, not only of the film itself but the cultural reach, impact and resonance it has had with audiences.

Daniel Kaluuya is excellent as the everyman battling his own (rational) fears and paranoia before his instincts slowly become the domineering voice in the back of his head. Trust in oneself is the saving grace here and it’s great to see an array of other ‘traditional’ characters for this genre twist the knife and reveal their true colours. The “Rose, where are my keys” turning point is perhaps the tightest I’ve gripped the arm of my chair all year. And the eventual climax is one of the best examples of subverting expected genre tropes. Brilliant.

6. Raw

Speaking of confident debuts, Julia Ducournau’s is equally astounding. Not for the faint hearted, this queasy, cannibalistic coming of age tale is a near perfect slice of fucked up fever dream. It follows a young vegetarian attending veterinary college who is forced to eat rabbit meat in a sick hazing ritual – one that her fellow student and older sister has clearly already experienced. Slowly but surely, a triggering of her animalistic appetite grows, coinciding both with her own first steps into a sexual awakening as well as a growing sense of unease that something isn’t right in her family to begin with.

The plot takes some nutty turns, not least in the last few minutes, but everything works; from the gorgeous imagery to the tonal juggling to the assured performances. This would make an excellent entry in an ‘arthouse does horror subgenre’ triple bill, doing for cannibals what A Girl Walks Home Alone At Night does for vampires and The Witch does for... witches.

5. Jackie

This is a breathtaking biopic - interested less in the broad strokes of history and what we think we know about the aftermath of one of the most infamous events of the 20th century and more in the nuanced, private, personal moments of grief in the public eye. Natalie Portman is astounding as Jackie Kennedy, nailing everything from the look to the voice to the affectations, and its the dreamlike, woozy way that the film unfolds that really draws you in and positions you in the eye of a hurricane. The JFK assassination was a monumental cultural milestone but this story asks you to put yourself in the shoes of a woman who was unavoidably trapped at ground zero - and largely all alone with her memories and emotions, despite the surrounding pressures of aides, the press and the American people.

This is supremely confident filmmaking, incredibly affecting and features another stand out score from Mica Under the Skin Levi.

4. 20th Century Women

The second film on my list for both Annette Bening and Greta Gerwig, this is a wonderful story about the strengths and flaws found in both the family we’re given and the family we choose. With an anecdotal, episodic structure, it is less focused on plot and more on the individual moments that the characters in our lives provide us with; how they affect our own life story and evoke memories of a certain time and place.

It’s highly emotional, with touching asides and rambling voiceovers telling us numerous stories whilst keeping a sense of an anchor through the relationship between Jamie (Lucas Jade Zumann) and his mother Dorothea (Bening). The supporting cast is uniformly great, from Elle Fanning as the girl next door to Billy Crudup as a lonely tenant/handyman, this one really hit me hard. The late 70s period details, along with the soundtrack, and the sun bleached cinematography recalls the joy of discovering yourself through questionable music, bad decisions and rebellious behaviour. Check it out.

3. A Ghost Story

I doubt any other film this year left quite a long lasting impression as this one did. I couldn’t stop thinking about it afterwards and became rather obsessed with pretty much everything it accomplishes. It’s a fairly straight forward tale of a couple (Casey Affleck and Rooney Mara) whose relationship begins to feel the strain as they quietly realise they might want different things in life. We’re not privy to many more details, positioned as a voyeur which will continue as things unfold but before long, Affleck is killed in a simple car accident outside his home and seemingly rises from death to haunt his old home, dressed entirely in the hospital bed sheet his corpse was covered in. It’s a genius depiction of the traditional ghost - simultaneously off-putting, amusing, whimsical and ridiculous - and it’s also rooted in logic too. As the ghost continues to watch his Mara grieve for him (mesmerisingly encapsulated in an unbroken take of a depressed Mara eating an entire pie that her neighbour brought round), he (and us) slowly begin to notice time... breaking.

The way the passing of time is visualised here is beautifully simple - rather than the long slow fades that normally indicate transitions, here it is as sudden as the ghost turning around to look over his shoulder, through a series of hard cuts or sometimes, no cuts at all. That feeling of time literally slipping away is brutal and the ghost can do nothing but wander about, seemingly helpless to how fast things change. One moment, Mara packs up and leaves, the next a new family of three have apparently been living there for months. Ultimately, the film becomes a meditation on the importance we embue in places, not so much people. The house is the anchor - the core - of what the ghost latches on to and if you’ve ever had the feeling of wondering who lived in your home before you and who will be there after you’ve gone, this film will dig deep into your mind.

I found this to be a brilliantly low-fi way to tell a huge thematic story and the use of music throughout - including one central track in particular - only adds to it. If you can get past the pie-eating without thinking ‘da hell is this’, you’re in for a treat.

2. Dunkirk

I’m almost scared to put this so high. I’ve no doubt in my mind that it’s a five star film and it’s certainly the most visceral, immediate cinema going experience I’ve perhaps ever had (I caught it at the BFI IMAX, opening night, at a late showing and it truly does fill your entire periphery vision) but a part of me wonders if it will hold up on second viewing - i.e. if seeing it anywhere other than the IMAX will diminish it. Well, I’m sure it won’t be the same but I’m also convinced it won’t matter either because this is clockwork precision film making of the highest order; an exercise in narrative structure as well as simply being the most accurate representation of the event in question as there possibly could be.

Some people have complained that this film does a disservice to its characters but I disagree. The power of this story is that it’s the tale of the everyman - how all of these people, no matter the extent of their involvement or the merits of their bravery, became heroes. I don’t need to see the ‘movie’ version of this - where characters chat about their backstories or show photos of loved ones or do every other cliche around. I KNOW all that is going on within the frame but I don’t need to see it. What we’re seeing is the immediacy of these events, which heightens the terror and the hopelessness felt by everyone on that beach or in those boats or in those planes. The land/sea/sky split is impeccably done and the devotion to practical battle scenes is stunning. The aerial dogfights - in full IMAX - practically made me feel like I was strapped to a wing. But even looking past the spectacle, the performances DO bring out the heart of the characters we’re presented with. From Cillian Murphy’s PTSD riddled soldier to the steely determination of Mark Rylance to the rather genius casting of Harry Styles - the exact kind of kid who would have been swept up in this war - everyone is all in and they all blew me away. Especially Tom Hardy, in perhaps his most restricted role yet (it’s like Bane meets Locke), who garners the biggest cheers.

And Hans Zimmer’s epic score can make me sweat just thinking about it. A perfect compliment to the tightening framework and increasing stakes of the action.

1. La La Land

Where do I even begin with this? Full spoilers ahead, I couldn’t help myself.

Clearly, this isn’t a film for everyone. And I get that. Some people think it’s fine but kinda hate musicals. Others get frustrated with the character’s choices. Others would have preferred it to actually remain a musical throughout. I understand all of these criticisms but for me, it does perfectly what it sets out to do.

First of all, I personally love the musical numbers - from the jaw dropping opening of Another Day of Sun to the kinetic, glamourous rush of Someone in the Crowd to the heartfelt yearning of City of Stars. I think they’re great tunes, wonderfully performed and exceptionally shot. I think of the long one-shot takes of the first, the swimming pool splashdown of the second and the little smack on the shoulder of the third. They’re rooted in feeling, in character and in the tradition of Hollywood. They wear their influences on their sleeve but never feel like a parody. And to me, the sudden shift away from being a flat out musical at the end of the first act is not a misstep but entirely organic - this is the rare love story that has its head in the clouds (romantic dating montages, dreamlike dancing through the stars) as well as being brutally honest about what we want, how we get them and the sacrifices these things cost.

The movie starts out as this fantastical anti-meet-cute before morphing into a romantic fable full of wonderment but the moment the characters get together, it switches gears and becomes more grounded in reality. The music largely stops and the real world catches up. Arguments are had, compromises are made, promises are broken. This is the harsh truth of getting what you want at the cost of losing what you’ve perhaps always wanted. The tension between Sebastian (Ryan Gosling) and Mia (Emma Stone) becomes uncomfortable - he’s lying to himself about doing what he must to achieve his real dream, even despite Mia’s support and she is battling her own demons in chasing hers. It’s only when the film brings them to their lowest points does it slowly turn back into being something more magical. Sebastian returns to Mia with the news of a new audition, which results in the most raw song/anecdote of the film ‘Audition (The Fools Who Dream), and just as we’re swept into the happy ending we were promised from decades of these movies, the pair realise they have to do their own thing. “We’ll just have to wait and see”...

The film’s extended epilogue is where it really doubles down on this idea. As we’re treated to a return of the ‘full blown musical’, we see the true Hollywood version of this entire story, played out in dreamlike fast forward. Sebastian leaping off his piano to kiss Mia the second he meets her, the villainous J.K. Simmons snapping his fingers and stepping aside, Sebastian giving a standing ovation at Mia’s one woman show that he missed entirely before, the two of them travelling to Paris and crafting a life together that Mia actually did alone. On the surface, it’s a joyous, colourful, happy finale but the final curtain reminds you that it’s all been... a daydream. The road not travelled. So while the film ends with them both achieving their own desires, they’ve lost one another. This is the all-too-often-true cost of creative pursuit and fulfilment and it’s so rare to see it held aloft in the final reel of an Oscar winning movie that appears to be the exact opposite on the surface.

It’s daring, brave and imaginative and it hit me like a ton of bricks. Maybe I’m too soppy and maybe I’ve just ruined the entire plot for you (I definitely have) but I just couldn’t see anything topping this the moment I saw it. And I guess I was right. Damien Chazelle is a wizard and I can’t wait to see what comes next.

#top 10 #Films of 2017 #2017 #logan #film stars don't die in liverpool #baby driver #get out #raw #jackie #20th century women #a ghost story #dunkirk #la la land

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seenashwrite · 8 years ago

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The Nail: August 2017

The Nail isn’t about perfection. It isn’t about award-level contenders. It’s about seeing focus and effort and hard work radiate off of the screen.

And The Nail’s purpose isn’t to highlight genres of fics or specific ships or pieces written during a certain time frame - the sole focus is quality.

Character dimension. Writing with clever readers in mind. Solid world-building. Tension through boundaries. Crazy crisp dialogue. Incredibly tight plotting. Big emotion.

And though yours truly - nice to meet you, new folks, I’m Nash! - is editor of the list, the goal is for YOU to curate the content.

Read more about how all this came to be, find past editions, see what factors are considered when constructing the list, and how to get your recommendations in/be a curator HERE.

Hey, ramblers? Let’s get ramblin’.

For your reblogging convenience, here’s The Nail Master Post of Editions!

Quickie Nash Note:

As this project evolves, I'm still determining the best way to present it for easiest reader use.

And so, faithful followers of The Nail, you'll notice a touch of a categorization change-up. The lengths are still the m.o. vs. type ["angst", "fluff", etc.], but are now listed in order of word count, low to high. The rest of the categories remain the same, plus a new one that may or may not appear on every edition [you'll see why!].

I've also put a new page on my blog, mainly for authors, with explanation for things they may question regarding this format - things I’ve mentioned prior, but it takes up too much space. Some of the current FAQs are....

- Why did someone make up a summary/why didn't you use my summary? - Why did someone make up a title for my story/poem? - What are those Q comments? - Is Nash actually reading all of this?

One last thing: The Nail is meant to go out the first full week of each month, and was mostly ready this weekend, however I just wasn't in a jovial, woo-hoo mood, I made a brief post why, I've no doubt each and every one of you understand, but you have my apologies nonetheless as poor time allocation on my part meant this wasn't out at some point during the past week.

XO - Nash.

* ~ * ALL FROM THE WORLD OF "SUPERNATURAL” UNLESS OTHERWISE NOTED * ~ *

- SUPERNATURAL SUPERSTARS - Organized by length.

THE BOY KING'S DEMONS - @rex-daemoniorum / @vengeuse WORD COUNT - 279

Sam understands that there are exceptions to even his own rules.

Q: Nice detail, pertinents given painted the picture effectively/no belaboring; through-line present of Sam's ability to relate without spelling it out/written for intelligent readers; complexity of situation related in short amount of space

[Nash Note: Additional shout-out to @azazelsocks, who provided a high-quality prompt, as - if your humble editor may be blunt - most fic prompts are beyond lame. Well done, 'Socks.]

--> I cannot tag these folks, if someone could kindly let them know or give it a go in your reblog

CIRCUMSTANCES - @jessmoorechesters WORD COUNT - 347 words As years pass, the Moores have often found their thoughts turning to Sam.

Q: While perhaps started as headcanon, reads third-person omniscient; emotional, rambling, almost panicked cadence/style/lack of caps/punctuation absolutely works for this subject matter; nice full-stop short sentence toward end; inclusion of poignant details/no unneeded detail

[Nash Note: I already had this on the list, had a couple informal suggestions to check it out, spotted it more than once in my feed - overall, this resonated with many of you, and rightfully so.]

DESIGNATED DUTIES - @fanforfanatic WORD COUNT - 412

A tale about the seemingly ordinary things we do for one another.

Q: Moves at a crisp clip; heartfelt without bending sappy; several great lines/points of humor, prevents getting too heavy given the short length/action in question; nice cap-off/prompts reader to use imagination while not ending on a proverbial cliffhanger

HELLO, DARLING - @whispersandwhiskerburn WORD COUNT - 789

Crowley and Billie have a little chat.

Q: Excellent use of vocab in descriptions; quick, crisp dialogue; spot-on characterization; kept story moving/pacing well done; didn't waste time on explaining things/rehashing things readers already know from watching the show/written for clever readers

SHAPE OF YOU - @winchester-family-business WORD COUNT - 1K [minus song lyrics]

In which Dean walks into a bar, has a drink, meets a woman, and whether it's for now or forever, it's definitely meaningful.

Q: A get-in-and-get-out in the opener, setting the scene with just enough information and moving on to the actual story/no wasting time with a long set-up; excellent use of a "gimmick", re: initial communication; nicely fleshed-out protag who has her own thing going on, which he respects, which is in line with the character we know; took a commonly used set-up and took it to a thoughtful but not belabored/shmoopy place

GOOD NIGHT, LITTLE KING - @moonlightcas WORD COUNT - 1.6K

At the age of six, Sam is visited by Lucifer.

Q: in medias res; excellent pacing; perfectly plausible in canon; slightly chilling and pressing and foreboding without being suffocating; timing of the name reveal is Absolutely. Spot. On.

ONE, TWO, THREE - @kathaswings WORD COUNT - 3.4K

A trip to a bookstore turns out to be more than you - or Sam - could have imagined.

Q: in medias res; structure that would please any screenwriter; meet-cute without being immature/shmoopy/saccharine, specifically - protag didn't turn into a pile of weepies or gigglies/displayed strength; nice choice to include action; solid ending/author knew when to step away from the keyboard

[Nash Note: author's inspiration is revealed post-story, however they kept a light hand/did not merely re-hash source material bit-by-bit & just throw SPN atop it, instead made it their own - points and gold stars for this, always]

SUNDOWN, SUNDOWN - @thayerkerbasy WORD COUNT - 6.2K

"Crowley was done. After hundreds of years and one last sacrifice, he was done. Except, somehow, he wasn't."

Q: in medias res; spot-on characterization; tackled character departure in unique manner that could have easily gone shmoopy/author demonstrated restraint in walking the emotional line/kept that slightly off-kilter tone; moved at quick clip/efficient structure/fluid; touched on things/events seen in show but did not belabor/used as tool vs. crutch; phenomenal end dialogue/last line

- POEMS & POETICAL PROSE - Mostly quick reads, these are actual poems of any structure & short [< 2K] stories that have a poetic feel to the narrative with appropriate use of poetic verbiage given the subject matter and / or setting; pieces in the less-than-300 words neighborhood are considered quality in their entirety, therefore no "Q" notations; organized by length.

SECOND FALLING - @vintagesam WORD COUNT - 135

"Despite the silence in the church, the earth is deafening."

INTOXICATION - @copbydayfangirlbynight WORD COUNT - 199

"Out of nowhere, these two guys you’ve never seen show up and slip onto the bar stools next to you."

THE LEGEND - @quailpower WORD COUNT - approx. 300 words

Exploring the costs of immortality, and what one angel chooses to do with his time.

JULIET - @roxy-davenport WORD COUNT - 1.7K [minus song lyrics]

A night in the life of Crowley's beloved hellhound.

Q: HERE [Nash Note: Short version? Knowing when it is appropriate to inject "flowery" verbiage into a narrative. Hint: fits the time period and/or character, is kept crisp, to-the-point, and used sparingly, regardless]

- MULTI-PARTERS - Stories with a minimum of 2 parts, max of 3-to-4, with modestly sized [1-to-2K] chapters; completed as of this list; organized alphabetically by title.

None this time! [but I’ve got a couple bookmarked whose wrap-ups appear to be en route]

- SERIES SPOTLIGHT : SUPERNATURAL & SPN CROSS-OVERS - Works that are completed series, as well as ongoing / in progress series, with at least 3 parts published as of/prior to the edition of The Nail in question; unfinished series must have been updated within roughly 6 months of this post; these are lengthier than multi-parters, getting into a 5K+ range per chapter; organized alphabetically by title.

MISE EN PLACE - @sp-oops

A look inside the ways you - and the rest of the family - help Dean deal with the effects of the Mark of Cain.

Q: in medias res; quick, crisp dialogue & pace; no heavy-handed/laborious descriptors of setting/emotions, whether internal or verbal; nice character development/casual, easy feel to character interactions; sex fit into plot organically/didn't feel forced; plausible reactions by Dean/Sam/protag regarding the complexities of the residual impacts of the mark; witty humor throughout; nice cap-off/author knew when to step away from the keyboard

Curated by @smi727 , who said: "Stumbled upon this little beauty of a series recently. I was seriously blown away by the plot, the writing, the reader’s personality, everything! Please Nash, share this wonderful writer with the world!"

- RANDOM FANDOMS - All types, all lengths, all the things that aren’t SPN but are still pretty damn super; organized alphabetically by title.

AGENT 15 [series in progress] - @bellamysgirl

[MARVEL - AGENTS OF S.H.I.E.L.D.]

"Agent 15 was one of S.H.I.E.L.D.'s top agents - that all changed when a mission went terribly wrong... but Coulson found a way to drag her back."

Q: in medias res; moves at a quick clip/no time wasted on extraneous detail; well-done characterization of both known/O.C.; reads as if watching episodes/movie; nice format/use of time flip vs. heavy exposition telling another character about those events; keeps intensity while splashing in moments of camaraderie

VERY MUCH FAEBLOODED [drabble] - @mickeyrowan

[POTTERVERSE]

"She knows she’s different. She’s always been different... No place lets her forget this."

Q: Introspective without taking the reader on a deep, angst-filled dive; even-handed character portrayal; tone consistent; nice choice of event highlighting vs. a traditional narrative; well done on complementary kick-off/wrap-up

WHO YOU ARE [one-shot] - @blackcaptainrogers

[MARVEL - AVENGERS]

Bucky knows showing love takes on a variety of forms.

Q: HERE

[Nash Note: Short version? Your audience consists of such variety, it’ll take your breath away. And, well...]

On that piece of white paper, Sam wrote, "Write about me sometime." And I typed something back to her, standing right there in her bedroom. I just typed, "I will.” ― Stephen Chbosky, The Perks of Being a Wallflower

- ORIGINAL WORKS - Anything from haiku to novella; pieces in the less-than-300 words neighborhood are considered quality in their entirety, therefore no "Q" notations; organized by length.

IT IS SO TIRING TO BE DIVINE - @mythaelogy WORD COUNT - 52

"The architecture of your bones was built by conquerors."

MYSTERY GIRL - @inkskinned WORD COUNT - 111

"[A] girl who convinces you of magic, who flickers just a little on the edge of reality..."

I HAVEN'T LOOKED AT THE STARS IN A MONTH - @poemsforpersephone WORD COUNT - 125

"It’s an easy thing, to open a window, to step outside."

A TRADITION - @wakor-rising / @wakor & @sonatagreen WORD COUNT - 189

"In peacetime, the ruler grows their hair long. In war, they cut it short."

--> I cannot tag these folks, if someone could kindly let them know or give it a go in your reblog

NEW YORK CITY TO RICHMOND - @haleyincarnate WORD COUNT - 269

"I wonder if he knows that I can see the trying part of him..."

THE HOUSE OF GRUMLY - @erinnightwalker WORD COUNT - 553

"Everyone knew that the Widow Grumly’s granddaughter was a werewolf."

Q: Sharp start with a phenomenal choice of an opening sentence; took a "historical fact", ran with it, and created a captivating world / plot in an incredibly short span of time; formatting, flow, verbiage crisp; nice & layered/written with a clever audience in mind

THE ADVENTURES OF ROXY AND JUJU - @wheresthekillswitch WORD COUNT - 2.4K [part one/series in progress]

"JuJu finally relents and hands over the car keys to Roxy. It couldn’t possibly go more wrong than it did the last time Roxy drove…. right?"

Q: in medias res; crisp dialogue; absolutely engaging, witty characters developed in a short amount of space; vivid descriptors without being heavy-handed; leans into a vignette [character study] feel vs. hashing out a distinct plot; nice intro/kick-off for a series, though if author opts not to proceed, works just fine as stand-a-lone...

[...which is why I broke my own damn series criteria rule, so sue me. -N.]

- STUFF SO CREATIVE & UNIQUE, IT JUST CAN'T BE CATEGORIZED - What it says, organized alphabetically by title.

ENTRIES - @cardinaleyes

An inside look into the journals of Team Free Will:

DEAN

SAM

CASTIEL

Q: an ongoing pseudo-series with a creative concept; keeps distinct style for each; bonus points regarding convenience for the reader by having a "home" for each character vs. all together in one blog

JEOPARDY

In which Team Free Will plays a game.

It began with a piece of fanart by @lastlabyrinth ....

....which got some dialogue by @phantomrose96 ....

.... which got a follow-up by @casonly, and a nice wrap-up from @guntheramvs

Q: Written with sharp, quick-witted audience in mind; spit-take worthy humor; great characterization, spot-on in fact regarding our host for the evening; crisp, fun dialogue; excellent collaboration by all involved

[h/t @waywardafbabygirl ]

JOURNAL OF A MAN OF LETTERS - @petite-madame

From the creator: "[This is] a diary in first-person narrative written from Sam's point of view. Once a week, I post an art and a ficlet inspired by an episode or a scene. I'm following the show timeline as close as I can but I'm taking liberty with canon here and there."

Q: Extraordinary, above-and-beyond, clearly evident care, devotion, countless hours put into this project, and it has paid off many times over - there is some of the most beautiful art you'll ever see, there are stories [have a sample] that will hit you right in the feels, there are moments ranging from light-hearted to introspection, and you even have an option of platform - go HERE for the LiveJournal headquarters. Phenomenal, top-to-bottom. I am not over-selling this.

TWO AGENTS MISSING, PRESUMED DEAD - @bohoartist & @piecesofscully

[THE X-FILES]

Two agents are missing - follow the twists and turns as clues are examined, leads are followed, and information is exchanged.

Q: The planning and execution throughout was nothing short of excellent; written/developed with smart audience in mind; methodology of storytelling unique and, more importantly, appropriate for how the authors chose to unfold the plot; format/use of images was spot-on; clear through-line and tone; mystery that was engaging, teasing but not frustrating

[h/t @itssteaksauce ]

*~* Shameless Self-Promotion *~*

Happy Reading! XO - Nash.

* Authors, I encourage you to express your appreciation to your curator(s). Readers, if you enjoy curator selections & found them to be of quality, I encourage you to not only give the authors feedback, but also thank the curator(s) for bringing the story/series to your attention. I suspect they’ll dig it. *

#The Nail #Nailed It!#Quality Writing #Must Reads

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shingeki-no-ghouls-blog1 · 8 years ago

Text

The swings

Type of story: Oneshot

Pairing: Connie Springer x Sasha Braus (Attack On Titan)

Ratings: PG 13

Wordcount: 1519 words

Summary: Ever since he was young, he’d seen that one girl playing at the park, but never talked to her. Years later, he finds her in the same place.

Everyday when he was a child, Connie would notice a slightly taller girl playing on the swings sets, usually having some sort of food or drink with her. Though, she wasn’t like the other children; she didn’t make a mess eating nor was she gross or hungrily picking at her food.

He liked watching her play and many times he considered talking to her, but he was always too shy. His stomach would make flips and his chest would always be tight, like the air had been sucked out and his heart was tightly tied with a strong rope, so he would resign himself to play on the slide.

“So, looking at Potato Girl again?” Jean asked mockingly, knowing Connie was gawking at her again. Seriously, that was weird for a seven year old,

“That’s not her name!” He called defensively.

“Then what is her name?” Eren asked boringly as he rested his chin on his palm. Connie looked at him with lost eyes. He didn’t know.

“Sasha.” A female voice sounded.

“Oh, Mikasa, hey.” Eren said and Jean burnt up inside. He knew Mikasa was way too much into Eren and - in his own opinion - Eren was way out of her league. The raven haired girl smiled when the boy she had liked for a while greeted her.

“So, you said her name was Sasha?” The boy asked, Mikasa gave a slight nod.

Sasha.

Now wasn’t that a pretty name. Connie thought it went well with her image. The pretty brown locks usually tied into two pigtails at the sides of her head and her bangs covering her forehead, the shiny brown eyes that always glimmered in the sunlight and the petite body Connie was sure he could lift, even if everyone said and Reiner himself bragged, that he was stronger than everyone.

Connie never actually talked to Sasha; he couldn’t bring himself to. But, everyday during summer break, she was there when the sun wasn’t so strong and god, did she look beautiful glistening in the light of the setting sun.

“Oi Connie, wake up.” Eren said as he smacked his friend’s arm during class. They were in French class, Mr. Ackerman writting some weird gibberish words on the white board and babbling them as well. The bald guy sighed as his classmate went back to eyeing their teacher in ways a fifteen year old definetly shouldn’t.

That day after class they all went out together, something they’d usually do. Jean and Mikasa were going on a movie date, so each went to their houses to change and leave their school supplies at home and so it was Connie, Marco, Eren and Armin walking home together. They walked past the park where they used to play a few years ago and Connie smiled at the memories, even though there was a slight angst in them. He had never talked to Sasha and ended up not seeing her anymore. Figures, they weren’t young enough to play at the park anymore.

Though, when they walked past, Connie glanced and saw the familiar brown silky locks, this time tied in a single ponytail. She stood taller and more mature, a curvy body under the light clothes she wore. It was now April and the weather was warm, the flowers blossoming in every tree and bush. Connie looked at her with a glow in his golden eyes, a glow Eren didn’t fail to notice.

“It’s her, isn’t she?” Connie nodded almost dumbfounded. He couldn’t believe that, after about seven years, he was looking at her again. “Go talk to her.” The brunet patted his back and Connie took a deep breath, walking to the girl. He internally gasped when he had to look up at her.

“Hello. Can I help?” She asked when she noticed he had been staring for a minute or two. He gasped and stuttered out a few words, making the girl giggle. “I’m Sasha, nice to meet you.”

“M-my name’s Connie. It’s nice to meet you too.” She smiled at him.

“You look a tad familiar.” She squinted her eyes slightly studying his appearance.

“Oh, I used to play here as a child.” He explained. “I was quite short and had grey hair.” Her eyes lit up in rememberance.

“Yes, I remember! You hung out with Mikasa and her friends, didn’t you?” He nodded, slightly blushing knowing that she noticed him all those years ago.

“Yeah, I still go to school with all of them.”

“Do you go to Titan High too?” He nodded. “I sometimes hang with Mikasa but I’ve never seen you there.”

“Oh, I usually just hit the library with Eren and Armin.”

“Armin’s in my class! He’s really cool.” Connie nodded and smiled.

“Maybe we could hang out sometime too.”

“We definetly should!” She chirped and held out her phone. “Give me your number so I can text you later.” Connie’s hand shook lightly as he held the phone and digited his number there. He saved the number with his name and gave it back. She smiled and put the phone back into her purse. “I have to go home now.” She looked at the boy playing in the park. “Petra, we have to go!” The small girl came running to her sister and immediately grasped her hand. Sasha waved at Connie and walked away with her little sister in hand.

Suddenly, Connie felt a tap on his shoulder and turned to see a pair of green eyes looking at him.

“Great job man!” Eren cheered as Marco and Armin chatted not far from them.

Connie let out a soft sigh as he had one final look at her before she vanished. Eren smirked at his friend and elbowed him making Connie blush.

As she had told him she texted him a few days later asking him to meet up at the park, altough she had to bring her little sister along. Their hang outs became a habit and both Sasha and her little sister became quite fond of the bald boy.

“You got this Springer!” He said to himself looking at the mirror with a determinaded look. He had managed to gather up all his courage to ask Sasha on an actual date. He had his friends at his house to help him sort this out.

“But guys listen to me!” Eren was then cut off by Marco’s voice.

“Eren, I don’t mean to be rude, but you don’t know anything about relationships.” He said and Eren frowned.

“Marco’s right. Eren, for fuck’s sake, you have a crush on a man twice your age!” Eren’s face steamed hot and he hid it with his palms.

“Shut up!”

Their attention perked up when they noticed a new presence in the living room.There stood Connie wearing a white button shirt and black jeans. Eren snorted seeing his friend’s outfit.

“What, do I look that bad?” He asked and Eren shook his head, Armin glaring at his best friend, since he dressed that way.

“You look great, Connie.” Marco commented and the shorter male took a deep breath.

“I can do this.”

“You can.” Marco said, giving him a thumbs up.

“Okay, let’s go then.” Eren said as he stood up and all the boys followed. The walked Connie to the park and immediately left, not wanting Sasha to see them.

He walked up to her and greeted her with a simple hello, the way they always did. No shaking hands, no hugging, no kissing. Just a simple hello.

“Sasha, I’d like to know if you um, would have dinner with me tonight, instead of.. you know, just hanging at the park.” Sasha’s eyes lit up and she nodded her head excitedly, making Connie smile a little.

They hung like they usually would, watching Petra play with her friends but, by the time Connie always walked Sasha and Petra home, the only person that was dropped was Petra, Connie and Sasha walking to a nearby restaurant that was cheap enough for two teenagers to dine at.

Through the whole dinner, they chatted about the most random things. They ate happily and shared a dessert. In the end, Connie paid the bill, despite her protests and they walked out, walking past the park again.Connie came to a stop, eyeing the old swing swet in which he used to see Sasha play. She stopped next to him and smiled at her memories.

“Hey Connie?”

“Yes?”

“Let’s go ride the swings.” He smiled dorkily and pulled her by the hand into the park, each taking a seat on a different swing. They swung back and forth, laughing at nothing, looking at each other with a feeling they hadn’t recognized yet.

The swings came to a stop. Soon, nothing was on them. Everything that could be seen by the boys hiding behind the bushes were two pairs of legs standing in front of each other. They stood up, careless of everything and gasped at the scene before them.

Connie and Sasha were sharing their first kiss.

Eren high fived his friends and they laughed lightly, immediately ducking when the new couple’s heads turned at the origin of the noise. They laughed lightly when they heard the boys shushing one another and hugged, sharing another heartfelt kiss.

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