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2am-theswifthour · 4 years ago

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The 8 Theory-Folklore’s Commentary on Youth

Yesterday, I took note of @taylorswift and her careful attention to the number 8.

“Not a lot going on at the moment” had 8 words. The 8th track is “august,” which is also the 8th month in the year. She has 8 deluxe editions of her album. Many attributed this to Folklore being Taylor’s 8th album. I thought it meant either a.) we needed to pay very close attention to track #8 or b.) that 8 references infinity, a.k.a “forever and ever.”

To my surprise, I was actually selling Taylor Swift short.

When listening to the album, there’s a lot of back and forth in emotion and circumstance. I was confused about the order, especially when the strikingly sobering “hoax” followed the self-aware almost-tranquility of “peace.” Then it hit me. There are two schools of thought going on.

There are 16 tracks on Folklore (excluding the bonus track none of us have heard). 16/2=8. This means there are 2 equal emotional song threads on the album. In other words, you can get two drastically different lessons listening to each group of 8.

When you separate the even numbered tracks from the odd numbered tracks you get the following:

Odd

the 1

the last great american dynasty

my tears ricochet

seven

this is me trying

invisible string

epiphany

peace

Even

cardigan

exile

mirrorball

august

illicit affairs

mad woman

betty

hoax

Odd Interpretation:

Starting with “the 1” and “the last great american dynasty,” the lyrics are very upfront in showing that the protagonists are making fully intentioned mistakes. “the 1” says, “in my defense, I have none for never leaving well enough alone” (I see you “ME!” reference). In “the last great American dynasty” it says, “she had a marvelous time ruining everything.” These characters’ folly is their youth-induced selfishness. They’re casual in the harm they cause because they distance themselves from it. They’re fine with what they don’t look at closely. When you’re young, you make a mess of things in service of YOUR need. Your need for companionship. Your need for the thrill of danger. Your need to make your mark, to be somebody, to leave something behind. The marvel of the excitement and the chase and the very vitality of teens to 20-somethings’ shenanigans blinds us to the scale of our destruction…

…until you have no choice but to face the consequences of your recklessness.

The next track, “my tears ricochet” is not your average track 5. It functions as a pivoting point. Now our narrator is the hurt party, the one baring the brunt of callous treatment. Fickle mistreatment is no longer so casual. Now it’s a torment, and the tormentor learns the scale of their damage. So much so, that they get burned too. They learned their lesson at a terrible price, but what’s most important is that they learned.

“seven” is a long-overlooked memory revisited. In this picture of naïve innocence, the narrator tells of their childish belief in the impossible. Through magic and play pretend and fantasy they are invincible. They have all the control in the world to control the world they live in. Obviously, this is a flawed perspective that everyone eventually grows out of. Fairy tales don’t solve real problems. The point is that their sense of self-importance is in service of a stronger moral compass than the first two songs. If we accept our responsibility to others, to do what we can to ensure their welfare, are we not better and more satisfied people for it?

“this is me trying” hears that lesson and attempts to walk the walk. Part of being responsible to your fellow human is taking accountability when you fumble. The narrator doesn’t know what to say or how to make it right. What they do know is that they’re here, they’ve put the bottle down, and that they’re willing to try what’s necessary to heal what they’ve hurt.

“invisible string” gives us the reward we’ve been waiting for. The narrator says, “cold was the steel of my axe to grind for the boys who broke my heart, now I send their babies presents.” This is someone who has gone from lashing out in anger at a partner from a burned relationship to genuinely wishing them well in their next stage in life. It’s a powerful testament when you can recognize that youth drives us all to make hurtful decisions and that no one is immune to change if they truly want to change. When you let the anger and lies go, the strings that tied you to them fade away. All that’s left is the string you want to hold onto. The string tied to the one who matters, because you’ve made the conscious decision to deduce that their worth as a person should equal yours. It’s a painful path to traverse through, but when you do it’s all worthwhile. That’s why the narrator can say with confidence “hell was the journey but it brought me to heaven.”

In any other album, a song like “invisible string” would be the quintessential emotional payoff for this story arc. However, because this album is a masterpiece, we have a different payoff point in “epiphany.” “epiphany” takes us out of the world of a romantic relationship. We hear descriptions of war and nurses dealing with the despair of this international pandemic. This point in this emotional thread is that it powerfully declares it’s not enough to do no harm nor is it enough to just empathize with your romantic partner. You MUST show your responsibility to your fellow man. Stand beside them. Empathize with them. See them as whole human beings. Do good by them. In other words, it is our duty to do right by everyone, for everyone bleeds, loves, and dies.

The 8-song selection ends with “peace.” The song begins by saying that their, “coming-of-age” has come and gone.” I believe this (along with “invisible string”) to be the most overtly “Taylor Swift” track in perspective. This is her speaking as herself. She lets us know that she’s grown through taking her mistakes, and the mistakes she learned through folklore, into account. She is overly aware of her flaws and feels she pales in comparison to her partner. Rather than allow those insecurities to manifest in unchecked rage or resentment, she takes it as a challenge for herself to do better. She knows she can never give him complete peace (due to inside and outside factors), but she can make the choice to give him unselfish promises and embrace the entirety of her partner’s life. This is a person who has learned the value of selflessness in love and life, which makes this whole thread worth everything.

Even Interpretation:

“cardigan” foreshadows the eventual failure of the even path. The odd interpretation I just described culminated in the narrator finding their place with “the one” because they’ve left everything petty and casually cruel behind. In “cardigan” it says “chase two girls, lose the one.” On top of this directly referencing the first track, it also implies the partner’s self-destruction. By toying with two girls, James is losing “the one.” I don’t think losing “the one” means that you keep one of the two of them. I think it means that engaging in that kind of behavior makes you into a person that isn’t ready, or worthy, of “the one” that they are meant to be with forever. Meeting and keeping “the one” has to require each partner to love themselves and their partner wholly, truly, and selflessly. They can’t be a cardigan you pick up and only wear on the weekends. They must be a wholehearted commitment.

“exile” shows the blowout from “cardigan.” The two couldn’t stay together, and Bon Iver’s (character’s) toxicity comes out full force. He thinks her new man is lesser than him. He’s prepared to throw punches despite being at fault over a hundred times. He’s seen the film before, and he didn’t like the ending because it didn’t work out for him. He wants her under his thumb, not having learned from his prior relationships that that just can’t work. They leave out the side doors, neither fully ready to confront the problems head on.

“mirrorball” is daring in its shift of focus. While all of the tracks I’ve mentioned thus far have dealt, in some way, with the problems that result from a young person’s selfishness, this song doesn’t do that. This song illustrates an extreme that young people participate in at the opposite end of the spectrum; radical selflessness. To be selfless means that you should never allow something that harms someone else to happen just because it benefits you. Young people, girls in particular, are often groomed to interpret selflessness differently. Their definition is synonymous with accommodation. Change your looks, change your personality, don’t object, and embody what your partner wants so that they’re happy. That’s why the symbol is the mirrorball in the song. It reflects everything in the room but itself. By explicitly not factoring in their own sense of self-respect in a relationship, they are unknowingly and tragically enabling their partner’s mistreatment. To be clear, that doesn’t mean abuse is their fault if they have low self-esteem. It’s not, even remotely. But not having the capacity to defend your self-worth is what keeps so many drawn into toxic relationships there for so long. This radical selflessness manifests itself in the other woman too. In “august” it explicitly says that she was living on the, “hope of it all” and that she would cancel plans in the name of a potential hookup with someone who was never hers. The idea of radical selflessness culminates in “illicit affairs” when one of the women deals with their addictive compulsion toward someone who treats them like a cheap lay. Their relationship is a secret that leaves her feeling used in parking lots and as though any trace of her is gone. These three songs have taken the desperate hopelessness of “Abigail gave everything she had to a boy who changed his mind” to the extreme.

Many have speculated that “mad woman” is a commentary on the Taylor/Scooter conflict and I’m inclined to agree. However, if I were to assign an interpretation that goes with my theory, I would say that “mad woman” details the unforeseen consequences of a tormentor’s abuse. When a toxic partner performs bad behavior, their expectation is that they will always be found in the right. After all, Taylor noted on her previous album that for men, “everyone believes [them].” So in the face of lies about her character that everyone believes, she gets rightfully angry. Her anger is their affirmation. For many, a woman being angry on her own behalf is “crazy” and “irrational.” What kind of a society have we set up? A society that promotes women to lack self-worth and, should they find it, they’ll meet a whole other exile.

“betty” is our complete look into James’ perspective. On its own, it sounds like a big romantic gesture to get behind. However, this path is very clear to put “cardigan” first. “cardigan” says, “I knew you’d miss me once the thrill expired and you’d be standin’ in my front porch light.” Lo and behold, in “betty” he shows up to her party when she doesn’t want to see him and asks if she would, “kiss [him] on the porch in front of all [her] stupid friends.” It’s an absolute punch in the gut. Betty knows in “cardigan” that he would come back after he had his fun with another girl, but that she would take him back when he saw momentary value in her again. James in “betty” claims he didn’t know anything, but that’s just an excuse. He knew what he was doing, he knew that he would be able to pick up her broken pieces with ease, he knew he could isolate her from her friends, and he knew that he could capture the imperfect “comfort” of that cardigan again.

This path ends in the final even-numbered song, “hoax.” In the odd numbers, “peace” shows a lesson learned. This even path shows what happens when we don’t learn. The seeds of youth-driven mistakes have led us here. The narrator wants nothing outside the pain of this faithless love. Without learning what it means to be selfless, the traumas of these young relationships create a never-ending cycle. The narrator knows that the “love” is a “hoax” but doesn’t care because that’s all they have. There’s no point to wanting anything else. Without the perspective of age, of truly going beyond that, they’re stuck in a truly dark place.

Final Thoughts:

Taylor Swift is an exceptional artist for a lot of reasons. No one makes albums this good this far into their career. Most artists teeter off after two or three because they retread. Their audience inevitably gets bored of them e same thing time and again. Repeating themselves is something that a lot of artists do because they want to go with the formula of what works. With Folklore, Taylor has done what few artists have dared to do. She’s allowed her discography as a place to uncompromisingly expand her worldview and challenge her listeners. She’s not reiterating previous lessons to make another quick sale. Instead, every album prior has been a steppingstone. As she said at the Time 100 Gala, she has truly turned her lessons into her legacy. From a variety of narrators, she has brought what I decree to be her best album to date. This wouldn’t happen for anyone else 8 albums into their career, but she’s done it by devoutly embracing age’s wisdom.

Learn from the highs and lows presented in these paths. As all good folklore does, it teaches us how to live better. It is our duty to live selflessly and with self-assured dignity. These writings, I have no doubt, will become integral to the legend that is Taylor Alison Swift.

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firemanwhenthefloodsrollback · 4 years ago

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side character deaths in buffy

I've been thinking a lot recently about death in buffy, mainly inspired by Help and everything that has to say to us about avoiding, accepting and understanding death

obviously the main characters' deaths are heartbreaking, because they're written to be heartbreaking and break our relationships with characters we love and know well. buffy (twice), angel, spike, joyce, tara, anya, and all the many alternate universe and dream vision deaths that kill the main characters rip my heart out of my chest for obvious reasons. but today I've been thinking more about the deaths of people we didn't know that well and whose deaths we watch without knowing them well. so I'm gonna talk about some of those cause it's my blog and you can't stop me.

(for the purposes of this post I'm counting main characters as anyone who was in the credits, with the addition of joyce because come on)

Deputy Mayor Allan Finch/Warren in Bad Girls and Villains

These two deaths both make you gasp for the same reason - they're sudden, physically icky (warren has the edge here with the flaying but the dark blood and death rattle for allan is also horrible to watch) and while we don't have a lot of positive feelings for the victim, we gasp because of what it means for the murderers and how we suddenly realised this season is going to get darker than we thought. faith and willow both spend the rest of their time on the show dealing with the consequences of these deaths and the audience knows in the moment they happen what it has to mean for the main characters. we want to save faith and willow from the consequences of having done this. just like faith, we're confused in the dark when a figure comes towards the slayers and we don't realise what's happening immediately, and with willow we've been watching her friends approach through the forest the whole time she's giving her evil speech thinking they have to be in time to stop her because no way would the writers let willow torture a man to death on screen. If warren or the deputy mayor had died because of a demon or accident we probably wouldn't have noticed (in the deputy mayor's case) or we'd have actively applauded (I rly wanted to watch warren die).

Jesse in The Harvest

I'm guilty of forgetting about Jesse (and so is the buffy writers room when they fail to mention him for seven years) but killing off a character who looked all set to become a scooby in the pilot and then making his best friend dust him as a vampire was both shocking and showed us a lot of the issues the show would go on to consider in miniature, right at the start. we've had campy vampires running around and wisecracking, we've had vampires being cool and edgy, the master being a total ham, but then we suddenly have to watch xander grapple with the idea that vampires are more than strangers in graveyards, they're the people you knew with yellow eyes and no soul, they can talk to you with all their childhood memories of you intact. season one might do a lot of floppy cardboard monsters but Jesse's death tells us they fully intend to Go There with the horrifying psychological implications of what vampires can do to you.

Jenny Calendar and Kendra Young in Passion and Becoming

I think of these deaths together because they were both characters that we half-knew and thought we'd get to know more. they were both characters who we felt could have gone on to be in the credits, have their own plots, and had a lot left to explore on the show. having two slayers in town could have been interesting (and would go on to be interesting in season three) and as well as her love story with Giles, we'd just had the veil pulled back about Jenny's heritage and reason for coming to Sunnydale - so both of these deaths were in the horrible sweet spot of having got to know the characters more than someone like Jesse, but not feeling 'done' with them yet. they were both killed by vampires who didn't even feed on them, by neck injuries that weren't bites by 'big bad' vampires who were really after someone else. after their deaths they both set more in motion and had long thematic afterlives - we think about Kendra when faith is called, and when we meet the potentials, and Jenny gives us the soul curse and gets willow started casting spells. Kendra definitely deserved more remembering than she got, and in a world where Joss Whedon had more time for Black characters I like to think we'd have got more of her and Mr Pointy.

the normal teens buffy couldn't save

before I started writing this post, I knew this was where we were going to end up.

(Jonathan maybe doesn't totally count here but I did because his final lines made me so sad)

characters who chose to join a battle between good and evil and died as part of that fight break my heart, but at least with Jenny and Kendra they knew at least partly what they were signing up for. Larry and Harmony we knew enough to have compassion for, and even when they were mean they were mean in regular school kid ways rather than big bad evil ways. I went to school with all of these people and probably so did everyone else.

Larry and Harmony died on graduation day when they were meant to be becoming adults under posters that said 'the future is ours' - Larry was newly out as gay and Harmony was about to get out from under the popular girls and maybe become a person who could stand on her own two feet, and Buffy could have helped them if there'd been less murder and death going on everywhere around them. harmony as a screaming blonde teen was exactly the type of victim buffy saves ten times an episode in alleys outside the bronze. Jonathan had more of an arc but at the end, back in high school after making an optimistic, bittersweet speech about coming to terms with high school and being optimistic about the rest of his life, leaving behind Andrew and Warren's bitter obsessive revenge of the nerds fantasies.

and Cassie, my heartbreaking queen, the one that gets me more than anyone that I wrote about a lot yesterday, knew what was coming and that no one could save her, and all the things she listed that she knew she'd miss were teenage coming of age things. she wanted to go backpacking, attend college, go to a dance with a boy, and fall in love one day. the whole of Help, she's considering the rites of passage she won't get to do, and in her therapy sessions Buffy tries to inspire her to want to go to college or join the french foreign legion. for buffy, saving Cassie means giving her a future. we haven't met the potentials or heard the word potential yet in Help but this episode is all about potential, and Buffy's attempts to save a life meaning safeguarding someone's potential and right to grow up.

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terramythos · 4 years ago

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TerraMythos 2021 Reading Challenge - Book 12 of 26

Title: A Wizard of Earthsea (Earthsea Cycle #1) (1968)

Author: Ursula K. Le Guin

Genre/Tags: Fantasy, Young Adult, Third-Person

Rating: 8/10

Date Began: 5/6/2021

Date Finished: 5/12/2021

Ged is a talented young magician with incredible potential-- possibly greater than any before him. He sets off to join the wizarding School of Roke, and quickly surpasses all of his peers. But in an act of arrogance, Ged tries to bring back the dead to impress a rival student. He unleashes a malevolent shadow upon the world, leaving him traumatized and permanently scarred.

Soon Ged finds himself hunted by the shadow wherever he goes. None of his magic seems to work on it. Worse, he lives in fear that if the dark creature overtakes him, it will use his body as a weapon to harm others. Ged journeys from island to island in an attempt to find the solution and banish the shadow once and for all.

Only in silence the word, only in dark the light, only in dying life: bright the hawk’s flight on the empty sky.

Content warnings and some spoilers below the cut.

Content warnings for the book: Violence and death, including child death and animal death. Traumatic injury.

As a fiction writer, Ursula K. Le Guin is best known for her Earthsea series, but I haven’t read them until now. She had a big impact on my childhood via a series of picture books called Catwings (they're... about a family of cats who can fly). As an adult, I’ve grown more intrigued as I've learned about Le Guin’s philosophies, especially anticapitalism. I read her famous horror story The Ones Who Walk Away From Omelas last year and found it unsettling and thought-provoking. So I decided to read some of her longer works! And, of course, speculative fiction is always the way to my heart. My wonderful sister gave me the first four books of Earthsea for the holidays last year, and I’m finally getting the chance to read them.

Overall I had a good time with A Wizard of Earthsea. It’s structured differently than a lot of fantasy novels I’ve read. While there is a big overarching plot, the individual chapters usually have their own complete story arc. It’s the type of book where you can read one chapter before bed and feel like you got a whole story; each part advances the main narrative while also providing a complete side adventure.

There’s a lot of travel in A Wizard of Earthsea due to the setting. Earthsea is a giant, possibly world-spanning archipelago, meaning there’s a ton of islands, each of which has its own way of life. The conflict naturally has Ged travel from island to island and interact with various peoples and creatures. The closest comparison I can think of is The Odyssey, and I’d be shocked if Le Guin didn’t draw inspiration from that. Both stories involve the protagonist traveling by sea and meeting a variety of characters and mythological creatures through smaller, discrete conflicts and interactions. Usually I find long travel sequences boring, but in this case they were one of my favorite parts of the book. There’s always a sense of anticipation on where Ged’s journey will take him next.

The magic system is also is pretty cool. The idea is that all parts of nature, from humans to goats to oceans, have hidden “true” names. Knowing something (or someone’s) true name gives one power over it (or them). Thus wizards use true names to manipulate nature; giving another person your true name is an act of absolute trust and devotion. However, a big theme of the book is equilibrium. One must always be aware of potential consequences when using magic. Changing the wind in one part of the world could cause a devastating storm one island over. Sort of a butterfly effect type thing.

Even though violence is one of my content warnings, I’m impressed that Le Guin largely circumvents it in the story. In many fantasy stories, a wizard/mage character uses their magic to fight and crush their foes. Not so much in this novel. While Ged clashes with various entities through the story, he usually just outsmarts them. Thus his showdown with a big, fuck-off dragon boils down to Ged guessing its true name and telling it to leave. Antagonists are usually the ones instigating violence.

One thing I found odd about the pacing of the book is it slowed down a lot in the last few chapters. There’s a big action sequence with serious consequences around the novel’s midpoint, but everything after that is slower and more reflective. On a surface reading level, I’m not sure I liked this. I’m used to stories ramping up the tension more and more until the end. However, I did like the climax itself, when Ged reveals the shadow’s true name. The central moral of the novel is that one needs to accept everything about themselves, including their past mistakes. Everyone has a dark side, which ties into the central theme of balance, and even the opening poem of the novel (which I used as the excerpt for this review). It’s a pretty universal idea, but Le Guin presents it in a thematically satisfying way.

I tagged this as a Young Adult novel because Le Guin wrote it for a teenage audience. YA didn’t exist as its own genre at the time, but��A Wizard of Earthsea is a coming of age story (a staple of YA), and even has a moral message of sorts at the end. However, sometimes it’s really obvious that it’s intended for a younger audience. As I get older, I’ve noticed that YA tends to be pretty blunt about its meaning and symbolism in a way adult novels aren’t. For example, while pursuing the shadow, Ged gets lost in a mysterious fogbank. To me this was a clear callback to the first chapter, where Ged outsmarts a band of barbarians by trapping them in a fog. But Le Guin also made sure to tell me several pages later, in case I missed the parallel. I’m torn on this when reading YA. While I’m not the intended audience, I feel this approach underestimates teenagers’ ability to critically examine a text. But YA teaches many how to view things that way, so I see why authors do it. Teens aren’t a monolith, but it is interesting to see this tendency to over-explain in a novel from 50+ years ago.

A Wizard of Earthsea is surprisingly progressive in many respects. Perhaps the most obvious is race. Ged and most of the main cast are explicitly nonwhite and described as such in the text. This isn’t a huge revelation in 2021, but it’s amazing to see something like that in a mainstream fantasy novel from 1968. Apparently Le Guin struggled with publishers for a long time, as many early covers whitewashed Ged for the sake of “sales” until she gained more creative control. And the (shitty) film/TV adaptations of Earthsea are just as guilty. I went through a LOT of covers while researching this book, and even newer editions often opt for heavily stylized art, nonhuman subjects, etc. The cover I chose is from 1984, when Le Guin presumably had more influence on Ged’s portrayal. I’m interested to see how past book covers stack up when I deep dive on the other books.

However, I found the book to be not so progressive when it came to gender roles (I know, I wasn’t expecting that either). Le Guin makes it very clear that all the famous and powerful wizards/mages in Earthsea are dudes. The wizard school toward the beginning is all dudes. All the adventurers and sailors in the story are dudes. Ged himself makes some pretty sexist comments (though to be fair, that was pre-character development). There are relatively few female characters in the story, and many are either bit parts or (in one case) a seductive, power-hungry villain. Portraying sexism in a fantasy setting isn’t an inherently bad thing. Jemisin’s Dreamblood duology, which I read earlier this year, introduced stringent gender roles in order to explore the insidious nature of misogyny. But A Wizard of Earthsea doesn’t really go beneath the surface level. Yarrow is probably the most well-written female character in the story, and she only shows up in the last few chapters. Again, I’m interested to see how Le Guin handles this in later entries; the next book stars a female protagonist and Ged’s the deuteragonist.

I liked A Wizard of Earthsea overall, and I think it serves as a good introduction to both the series and a central recurring character. While I have some criticisms of the first book, I do realize it’s a relatively early work of Le Guin’s. The last novel in this series was published in 2001, so I’m interested to see how the characters and writing changed over 30+ years.

#2021 reading challenge #8/10 #taylor reads

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elenathehun · 4 years ago

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Watching the Clone Wars, part 2

Another week, another batch of episodes watched. Some of these were (dare I say it) actually good, and some of these are rather bad. Read on for the details of my opinion on “Clone Cadets”, “Supply Lines”, “Ambush”, the three-episode “Malevolence” arc, and “Rookies”.

“Clone Cadets” (3x01)

This was very clearly a way to capitalize on the success of episode 1x06 “Rookies”, one of the top five episodes in the first season of TCW, providing background on the mostly-doomed Domino Squad. Unfortunately, I couldn’t really warm up to it, even though I liked all the characters, and was excited to see 99 and Shaak Ti. I think the core issue is that it was framed as a coming-of-age story, but coming-of-age stories imply agency. No clone has agency in this war - or if they do, it’s something they have to carve out themselves. Their entire existence is dependent on their martial performance, damn all their other qualities. Success throws them into the meatgrinder of the war; failure dooms them to an ignomious existence as janitorial staff. There is a lot a viewer can pick out regarding how physical disabilities are seen by the Kaminoans and the trainers, as well as how those values are transmitted to the clones, in 99′s story, as well as further hints of some kind of inter-clone caste system, but none of this is ever elaborated upon, at least in the episodes I recall.

Either way, Domino’s “success” left a sour taste in my mouth. TCW insists on portraying war as worthy and necessary, and in certain situations, that can be true. But the Clone Wars is not one of those situations.

“Supply Lines” (3x03)

Another day, another episode where we see some cool characters die! RIP Captain Keeli, you deserved better. TCW did not have a military advisor, as the tactics used as abominable. Like, I’m not asking for much, but hey, a little bit of mass fire wouldn’t go amiss, or even the use of an infantry square...

There is sort of an interesting theme in this episode about the duty of the government to it’s people. Cham Syndulla is right to be upset that his people are being hung out to dry, but on the other hand...it happened to Naboo ten years previously. It’s honestly surprising the Republic hasn’t fallen apart faster. I’m rather neutral on the mission to Toydaria. On one hand, it’s nice that Star Wars is trying their best to redeem Lucas’ very obvious and horrible stereotypes. On the other hand...idk, Bail Organa vs Viceroy Gunray wasn’t really a great showing for what either side believes in? I’ve already forgotten most of it

However, I feel like this is the first time I’ve ever seen Jar Jar Binks subvert his own reputation for good. If he was always like this, he would be much better as a character.

“Ambush” (1x01)

This episode is mostly a showcase for Yoda, an 874-year-old murder machine. This guy is basically a one-man army. I like all the clone companions, and it was nice of him to give them a pep talk, but they were sort of superfluous to his reign of destruction, you know? It would have been nice if we had seen the obvious end result of this natural-born killer fighting and beating Asajj Ventress. Not really sure he actually has any mercy in him in the heat of the moment.

Boy, the writers are trying so hard to make these battle droids personable! It’s should be funny, and it occasionally is, but it mostly leads to many questions about computer programming in the GFFA. I like to think that Dooku has pulled a Krennic (or did Krennic pull a Dooku?) and he has a whole team of unwilling computer programmers writing the code for the droids, which is why they are so badly programmed.

Of course, the real answer is that Star Wars is space fantasy, and the real answer to the droids is magic! Bad magic. One might even say...incompetent magic.

“Rising Malevolence” (1x02)

I really intensely enjoyed this episode. Finally, a superweapon that makes sense! A giant ion cannon to be used against capital ships! That’s actually brilliant. Now, I have my quibbles with the design: since the CIS is mostly staffed by droids and drones, it doesn’t really makes sense for there to be a missive ship superstructure around the cannon. It would make more sense for it to basically be like the old Legends Darksaber, which was basically the Death Star laser sans the battle station. The ion cannon, repulsors and a hyperdrive, turbolaser emplacements and attached hangar bays for starfighter drones, as well as a screen of protective cruisers to defend the cannon against more maneuverable ships - that would make more sense. But of course, it would have a much different silhouette in that case.

More truly graphic clone death. Seeing several men get spaced is not PG, idek how this managed to get past the censors. That is actually a real war crime, and I have no how parents explained this to Little Johnny and Sally (age six) when it aired on Cartoon Network. And although I do love the relationship between Ahsoka and Plo, the central emotional question of the episode was left unresolved. Who would come for a clone? As it happens, a Jedi, but only if they’re looking for another Jedi :(

“Shadow of Malevolence” (1x03)

This was an OK-but-not-great episode? Unfortunately, I read the X-wing novels multiple times as a pre-teen and teenager, so I have pretty high standards for starfighter combat and this didn’t really measure up to it. I did love the space manta ray scene, though, it was very pretty. Also a nice shout-out to the Y-wings, the perpetual butt of all the jokes in the X-wing series.

Again, I have no idea why “it’s a kid’s show!” was ever even tried as an excuse for the shoddy writing. This is the third episode ever released, and the CIS is deliberately targeting a hospital. Again, this is not appropriate for small children to watch!

On the bright side, a fun AU would be to play with the fact that this ion cannon apparently shorts out anything. It would be pretty funny to see a story where the 30,000 walking wounded (I think) who were being medically evacuated, as well as Wolffe, Boost, and Sinker (plus Shadow 7, 8 and 10) are spread throughout the GAR when Order 66 comes through - and it doesn’t work for them, because the cannon shorted out their chips and no one realized.

Just a thought, that’s all.

“Destroy Malevolence” (1x04)

This episode mostly exists to show that Anakin will definitely put the greater good aside for the purpose of rescuing his main squeeze. I think it could have been cut for that reason alone. Also to have some standard R2 and C-3PO hijinks, as well as Obi-Wan just being insufferable in general.

Honestly, I would like this episode better if Padme was a Sith apprentice that Palpatine was trying to kill, that would at least make it more interesting. Aside from that, it could have easily been cut.

“Rookies” (1x06)

This is definitely one of the better episodes of the first season. Finally, Filoni gives the people what they want: an episode mostly dedicated to clones! For a show about the clone wars, they’re in awfully short supply. This was a nice war story, artfully executed. I wouldn’t call it original, but honestly, originality is over-rated. Cody and Rex are delightful as always, and unlike “The Hidden Enemy” (or “Clone Cadets” for that matter) it portrays clone relationships in a more positive, wholesome light.

I also loved the droid commandos. Kudos to the animators, who gave them a unique, more menacing walk and style. However, I do dislike the continuing use of instantaneous communications through hyperspace even in star wars. It’s a shame that the writers are either unwilling or unable to use the tension of time in their stories so far.

Next Week: “Downfall of a Droid”, “Duel of the Droids”, “Bombad Jedi”, “Cloak of Darkness”, “Lair of Grievous”, “Dooku Captured”, and “The Gungan General”.

#watching the clone wars #star wars tcw #television is hypnotoad

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lligkv · 4 years ago

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almost calculated to rivet the reader

I was recommended the book The Bestseller Code: Anatomy of the Blockbuster Novel by another editor at the publishing house I work for, who was impressed at the thought of an algorithm that could predict whether a book would be a bestseller with 72 percent accuracy.

As someone who reads “literary” novels, has a disdain for tech evangelists bordering on the visceral, and regards the development of data-driven publishing with mistrust, I expected to be annoyed by the book. But it’s ultimately not quite as offensive to those sensibilities as it might seem. Rather than a “code” to help people write novels that’ll sell, or an algorithm of some kind that might drive book acquisitions in years to come, The Bestseller Code is about exploring why bestsellers like The Da Vinci Code or Fifty Shades of Gray appeal the way they do. And it offers support, through text mining (the process by which one discovers and extracts particular textual features from a book) and machine learning (the way one might process those features by feeding them into a machine that goes on to make predictions about, say, whether a given manuscript will achieve bestseller status or not), for research that was already done by folks like the scholar Christopher Booker, who read hundreds of books over decades, the old-fashioned way, and identified seven main plots for fictional narratives that authors Jodie Archer and Matthew Jockers find are corroborated by their own data.

Granted, there’s a bit of Jennifer Weiner-type “the commercial lit popular authors write keeps getting badmouthed by critics and the Literary Establishment!” stuff in the book. There’s also one baffling moment where Archer and Jockers make a claim that “the range of existential experience was much greater in bestsellers,” and defend that claim by talking about particular verbs that appear more often in bestselling novels than in non-bestsellers: “bestselling characters ‘need’ and ‘want’ twice as often as non-bestsellers, and bestselling characters ‘miss’ and ‘love’ about 1.5 times more often than non-bestsellers.” Verbs and isolated actions do not existential experiences make! But at root, Archer and Jockers’s research is the product of curiosity about what makes mainstream bestsellers sell the way they do, and whether readers have figured something out that acquisitions editors at big houses may not have yet.

As it turns out, there’s a degree of technical sophistication in Fifty Shades of Grey or The Da Vinci Code in the way these books follow a plot arc that manages to perfectly satisfy a commercial-fiction reader’s desire to be thrilled by dramatic stories and the fantasies they play upon. Specifically, for these books, it’s the “rebirth” plot, in which a character experiences change, renewal, and transformation. Which doesn’t sound revolutionary. But if you look closely at the plot structure, and the sequence of emotional beats in both novels, you see a rollercoaster shape that’s almost calculated to rivet the reader: these peaks of high, low, a high-high, a mild low, another smaller high, a low, and a final high (unless, like Fifty Shades, you need another low to set the reader up for the sequel). Authors and readers alike seem to have stumbled on such perfect, sophisticated structures. The writers happen upon them, rather than consciously being educated in them or consciously crafting them as more literary writers often do; readers seem to hunt them out by instinct: the books that best follow one of the seven plot structures are the ones that rise to the top.

There’s also one moment in The Bestseller Code that’s genuinely affecting, in the context of a discussion of Maria Susanna Cummins’s novel The Lamplighter, which in its time was scorned by Nathaniel Hawthorne and James Joyce. As Archer and Jockers put it, bestsellers and commercial novels are set in emotional terrains, more so than public ones. That is, they’re about their characters as they feel and act, within a world that’s taken as a given, rather than what novels classified as “literary” are often about—characters having to navigate a sociopolitical world that is itself a subject for the author’s comment, or an author’s self-aware exercise of and experimentation with language. And these novels “work for huge numbers of readers not because of what they say to us but what they do to us.” As such, these novels “need no shaming”: they just exist on a separate plane from the literary ones.

In the end, I didn’t mind getting this dispatch from that plane. I make occasional trips to other such planes: sometimes I’m in the mood for, say, Joe Abercrombie’s brand of fantasy, and I’ve read all the Harry Dresden novels; I also love some books that are the literary equivalents of summer blockbusters, like the Expanse series. But I know I won’t descend to the bestseller plane very often—and I do consider it a descent. To my mind, craft and thrill alone don’t give novels the most merit. I don’t read just to be entertained or to be moved, which is what bestsellers offer. I read in order to be made to think, in precisely the ways those literary, public-terrain, sociopolitical novels make me think. And I value them because they linger. They don’t just do things to me, work on me, crash over me like a wave and then recede; they speak to me, just as Archer and Jockers say, and what they say to me lives inside me for years to come.

What’s more, I already suffer enough with the tendency to “identify” with the characters in books I read without venturing into ones that indulge or depend upon that instinct as bestsellers do.

Finally, while Archer and Jockers’s algorithm does a fine job anatomizing bestsellers in a way that speaks to the merit they do have and the function they do serve, I don’t know that I’d trust its recommendations even if I were a passionate reader of bestsellers, considering the book the algorithm picked as the absolute best representation of what it considers a bestseller is Dave Eggers’s The Circle.

Which does reinforce that what an algorithm can’t understand is context. What keeps The Circle from being a bestseller, to my mind, is that the conceit—a woman who goes to work for a tech firm and is schooled in the particular inhumanities she needs to adopt in order to succeed in that increasingly human environment—is not the most engaging. The story may be too close to a specific reality, as opposed to the everyday worlds (e.g., in John Grisham, Jodie Picoult, or Danielle Steel) or the heightened settings (e.g., in The Da Vinci Code or Fifty Shades) in which bestsellers are best set. Perhaps the world in which The Circle takes place is so specific, and its concerns so urgent, that it doesn’t even need to be fictionalized to be of most interest; it seems that representation of Big Tech in memoir, like Anna Wiener’s Uncanny Valley, does better in the marketplace. And finally, Eggers himself is more a literary than a commercial author, something buyers of commercial fiction might be mindful of and trust less than one of the established names in the bestseller market. And he represents a different, past era in even literary fiction. We’re not in the age of the “Brooklyn Books of Wonder” anymore—the humorous triumph over adversity, the twee search for meaning and for love that characterized books of a certain time in the early 2000s. Really, all Eggers’s attempts to succeed beyond that trend—Zeitoun, What Is the What, The Monk of Mokha, A Hologram for the King—seem to me to have been tepidly received. The culture has moved on from his particular moment, and it moves in vogues an algorithm can’t always track.

I’ll also say that, seeing how Donna Tartt’s The Secret History, another book I reread recently, did so well in its day, and how it holds the fuck up—the plot and writing remain absorbing, and the atmosphere as seductive and pleasurable as ever; and that it gets namechecked so often in trends like dark academia suggest teens are exercising their beautiful prerogative to learn all the wrong lessons from that book to this day—I’ll say it’s a safe bet you can write a literary bestseller too, if you wanted to.

Anyway. Perhaps you’re reading this piece hoping to learn how to write a bestseller yourself. If so, here’s the skinny:

Keep your primary focus on two or three themes. And keep those themes basic. Archer and Jockers list ones like “kids and school”; “family time”; “money”; “crime scenes”; “domestic life”; “love”; “courtrooms and legal matters”; “maternal roles”; “modern technology”; “government and intelligence.”

Make sure your book has a central conflict—and make sure your protagonist is an active agent in that conflict and in her life generally, knowing what she needs and going for it, acting and speaking with a degree of assurance. Characters in bestselling novels grab, think, ask, tell, like see, hear, smile, reach, and do. Characters in lower-selling literary novels, on the other hand, murmur, protest, hesitate, wait, halt, drop, demand, interrupt, shout, fling, whirl, thrust, and seem.

Shape your story to fit one of the seven archetypal plotlines the authors identify:

A gradual move from difficult times to happy times

The reverse, a move from happy times to more difficult ones

A coming-of-age story or rags-to-riches plot

A “rebirth” plot in which a character experiences change, renewal, and transformation

A “voyage and return” plot in which a character is plunged into a whole new world, experiences a dark turn, and finally returns to some sort of normalcy

Another “voyage and return” plot in which the character herself voyages into the new world, fights monsters, suffers, and finally completes some sort of quest

A story in which your protagonist overcomes a villain or some threat to the culture that must be eliminated so she can change her fortunes back to the good

And make sure you time the emotional beats of your story to follow the curve of your plotline. For instance, The Da Vinci Code and Fifty Shades both follow the “rebirth” plot, and the respective authors ensure the arcs of the romances in both books match the curve of the plotline too, keeping the reader hooked in a way that’s, ultimately, structural.

Be sure to pepper your plot with scenes in which characters are intimate in casual ways. Much is made in The Bestseller Code of the intimacy reflected in a tactic John Grisham uses in a couple of his novels, which is to have his protagonist go over to a love interest’s house with wine and Chinese to just hang out and let her in on how he’s feeling.

Sex that doesn’t drive the plot forward doesn’t go over well. Avoid it. Even in romance novels (as opposed perhaps to erotica), sex is usually in service of the storyline.

Seek for a balance between features in your prose that speak to the more literary, refined style that often comes from institutions of education and letters, and the more journalistic, conversational, everyday style of writing one might intuitively associate with commercial fiction (shorter sentences, snappier prose, with more conversational and casual writing, more words like “okay” or “ugh”). These aren’t especially rigorous categories, I’m aware. Just use your best guess; you’ll probably be fine.

#books #literary #jodie archer #matthew jockers #dave eggers #anna wiener #brooklyn books of wonder #commercial fiction #e. l. james #maria susanna cummins #jennifer weiner #donna tartt

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joyofcrime-elinorhigh · 4 years ago

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Hello everybody, my name is JoyofCrimeArt, and legacy can be an fascinating thing in regard to animation. Since cartoons are made with the intent of being seen years or even decades after they're created, it can be interesting to see how the general consensus people have about a series can change over time. One day you can be on top of the world, and your series is loved by critics and audiences alike. But then, something happens. Sometimes it's a specific episode. Other times a season. Maybe it's a controversy within the fandom. But whatever it is, something happens that causes peoples opinions to turn. And suddenly your show has gone from being universally praised to becoming much more divisive. And when something like that happens, it can be hard to recover. It happened to Steven Universe. It happened to Rick and Morty. And it happened to Star vs. the Forces of Evil.

Created by Daron Nefcy, Star vs. The Forces of Evil premiered on the Disney Channel and Disney XD in 2015, and quickly became one of the hot cartoons that everybody was talking about. It makes sense, as it came outright around the time where more continuity based fantasy series were really starting to take off, so it's natural that it became a hit. While the series was generally well regarded upon its debut, as time went on the series became much more of a "love it or hate it" type of show. And while that's not too uncommon for any show that amounts a large flowing, what makes Star vs. so interesting is that it seems like nobody can seemingly agree when the show got bad, if it did at all. Some people say the quality dipped after the first season. Others say the third. Some say the fourth. Others say that the show was good until the finale. And some say that the show was solid throughout. This divide among fans is why I feel confident calling Star vs. The Forces of Evil one of the most divisive shows of the 2010's, even if the debate around it isn't nearly volatile as other series. But now that the series has ran its course I have to ask, does it hold up? Did the show really go down hill, or is the hate undeserved? That's what I'm here to find out.

I feel like I'm in an interesting place to talk about this series because, while I tend to try to keep up with all the big name animated show coming out, I actually didn't watch most of Star as it was running. I watched the first season until my family cut cable right before the finale of season one (You know, around the time people started to care about the show.) And only caught up with the show in the last year or so while doing research for my "Top 30 Cartoons of the Decade" list. So I went into the series mostly blind with the exception of a few spoilers. I just felt like this was important to point out as I feel it may have an effect on my view of the show.

Also, while I usually try to go spoiler free when I do a general overview of a series, for this review I may have to go into some spoiler territory. Since this series features an ever changing status quo, as well as a lot of major characters who aren't introduced until late in the series' run, doing this review completely spoiler free would be difficult. So I'm going to be doing this review under the assumption that anybody reading this has already seen the show, and are just curious to hear my take on it, or don't care about being spoiled. So if you wanna go in blind I suggest you sign out now.

But to everyone else, let's dive in and talk about Star vs. the Forces of Evil.

https://www.youtube.com/watch?v=8hJ5ecrpp8k

Star vs. The Forces of Evil stars (He, get it. I'm funny.) Star Butterfly. A princess from the dimension of Mewni who, upon her fourteenth birthday is given a wand of unbelievable magical power. However, after causing nothing but trouble with her new found powers in her world her parents decide to ship her off to Earth, where she can be somebody else's problem. There she befriends a human boy named Marco Diaz and the series mainly follow these two as they go on all sorts of magical adventures as they battle all sorts of evil monsters and ne'er-do-well who want to take the wand and use its power for themselves. Or at least that's how the series goes at first. As the series goes on it begins to focus more on the world building, as Star and Marco discover that the kingdom of Mewni isn't as great as they first believed, and are forced to battle political corruption, conspiracy within the royal family, and the generation spanning systemic racism against monster kind.

The best place to start when talking about the show are the characters. Lets start with the main leads.

We got Star, your typical fun-loving, ditzy, hyperactive action girl. Which seems to be a common trend in Disney Channel cartoons now that I think about it. But she does enough to stand on her own. She's a fun character, and an overall good lead for the series. I admit that her bratty nature and general stupidity could turn some people off, and there are times where it can get a little annoying, but I never minded it all that much. I think that's kinda suppose to be the point of her character. She's a royal, and spent her whole life with a silver spoon in her mouth. So it makes sense she would be a bit selfish and be unaware of the world around her. And she does improve over the course of the series, as she begins to take her job as a princess more seriously and spends much of the series actively fighting against monster prejudice. Though I'd be lying if some of these less desirable elements of her character don't continue to pop up every now and again, even later in the series and especially in the last couple of episodes. Also she's kinda a sociopath. Like especially early on in the show there are like...a lot of casualties to Star's antics. I'm kinda surprised Disney let them get away with that.

Also, can I just say that I am sick and tired of people asking "When is Disney going to include their first LGBTQ+ princess, completely ignoring the fact that Star is bisexual as fu*k. Like, come on now!

Marco is also a good lead. He's a neurotic, responsible, karate student who often acts as the straight man to Star's antics. However, I like the fact that he's not a total stick in the mud. Sure he's more cautious than Star is but he's still capable of getting in on the adventures as well. He comes across as a realistic teen with his own set of flaws. Namely his insecure nature and general social awkwardness. I also like that due to his expertise with karate he's able to hold his own in a fight even without magic. He always feels like Star's equal and never like a sidekick. He and Star have a great dynamic in general, and the two play off each other well. They contrast with each other and It feels like the two really cover each other's flaws. And it's kinda refreshing seeing two characters who are so different manage to genuinely get along with each other.

But of course, we also have the forces of evil that the shows title so clearly mentioned. Each season focuses on a different villain, and something that I really like is how all four major villains are introduced relatively early on. So the show doesn't suffer from that "Dragon Ball Z" type thing where it's like "Haha! I know you just defeated the villain, but now's there's an even BIGGER villain who we just haven't happened to mention until now!" They've always around in the world, and many of them even start out as joke villains only to become more serious later down the line. And they manage to do that in a way that feels very believable.

The best example of this is the shows first villain, Ludo. Who upon introduction is portrayed as a completely comedic villain who Star could easily take in a fight. But things change when a new more serious villain, Toffee, usurps him as the season one antagonist. Stealing his castle and army in the process. Come season two and Ludo is left alone, having lost everything, and is forced to toughen up in order to get back what he once had. He builds a new army, stronger than his first. He finds a new castle to form his base in, and becomes a genuine threat to our cast. Scrappy underdogs villains who lost everything might be one of my favorite tropes in fiction. Other examples of this trope used effectively would be Peridot in Steven Universe and Jamack in Kipo and the Age of Wonderbeast. However, while those shows use this trope as an opportunity to have these villains go through a redemption arc, Star goes the other way and uses it as an opportunity to make a character become more of a threat. That said, he never loses the comedic charm that made his fun to watch in the first place. Part of me honestly kinda wish that Ludo stayed the main villain of season two, instead of being usurped Toffee yet again. That said, the episode "Princess Quasar Caterpillar and the Magic Bell" does a good job giving his arc a satisfying conclusion.

Speaking of antagonist, let's talk about Tom Lucitor. Star's demon ex-boyfriend. While not a season spanning villain like Ludo or Toffee, he has several appearances early on as a recurring antagonist only to go down the more traditional "redemption arc" route later on. And I just want to say upfront, Tom is one of my favorite characters. Not in the show, but in fiction in general. It would of been so easy to make Tom your generic "toxic boyfriend" arch-type but even early on it's made clear that even though he's an antagonist, he isn't pure evil. His love for Star is genuine, but the problem is that he hasn't earned it. He tries to improve himself and become a better person but his own anger issues and jealousy keeps getting in the way. Specifically jealousy of Marco because he seems him as a romantic threat. But as time goes on, he does become better. He learns that he and Marco have a lot in common and eventually accepts that he can't make Star love him, and lets her have her space. And that, ironically, causes Star to becoming willing to open up to him again. They become friends and eventually get back together. But what I like is that while he has gone through efforts to improve and work through his problems, they still persist throughout the series. He's still very insecure and is looking for constant approval from Star. He still is jealous of how close Star and Marco are even though he has become friends with both of them. And it's shown several time that Tom tends to put his own problems above the problems of others. It shows that even though he wants to change and is willing to change, that doesn't mean that change come easy. It takes time and can be a long process. These are realistic character flaws that make Tom such a more complex and relatable character in my eyes. I relate a lot to Tom with his desire and constant struggle to improve as a person, and I feel like it's a struggle that's easy for a lot of people to relate to. Also...he's just such an edgy dork. He's...he is good boi.

Another fantastic character is Eclipsa. Introduced about halfway into the series, Eclipsa was a former Queen of Mewni who was imprisoned in crystal due to dabbling in dark magic and for running away from her arranged marriage and marring the King of the Monster, Globgor. The show builds up mentions of Eclipsa early on, with characters talking about how evil and dangerous she was. Eventually she becomes free from her prison (cause lets be real, whenever there's a villain sealed away somewhere you KNOW they're going to get out.) But surprisingly, when we see her she actually doesn't seem that evil. She's polite, kind, and is even willing to go through the proper legal channels to prove that she isn't as bad as people say she is. She is an excellent example of a morally ambiguous character cause for the first several episodes we the audience don't really know if she is actually a good person who's just been judged too harshly by society or if she is actually evil and this is all an act. As even as the show goes on and it becomes clear that Eclipsa is a good person at heart they still manage to keep the audience guessing. Much like Star, Eclipsa can be kinda selfish and impulsive, making her a bit of a loose cannon. Despite the shows title "Star vs. The Forces of Evil" Eclipsa goes to emulate one of the shows major themes. That life isn't that black and white.

The show deals a lot with shades of gray when it comes to its characters, as all characters have there own motives and backstories and relations with each other that can make them either allies or enemies depending on the circumstances. An example of this is the Magical High Commission, a group that monitors magic across all the dimensions. throughout the series it is shown that they stand on the side of Mewni. So in season two when Mewni is being conquered by Ludo and Toffee they're good guys. But just like most most people in Mewni they hate monsters and believe that Eclipsa is evil. Making them antagonist in seasons three and four. Their motives stay the same, but their role in the series changes.

However despite my praise not all the characters are great. In fact the show can be kinda hit or miss with their cast. The characters that are great are really great, but then you get characters like...

(Art by JelloApocolypse)

You know what, I have to be honest. I kinda like Pony Head. I know a lot of people say she's annoying and selfish and contributes next to nothing to the plot...and they're right. But I also just kinda like her. I think what makes her more bearable to me is that she's kinda disliked in-universe. Even Star, who is Pony Head's best friend, often times get sick of her crap. Real talk though, can we all agree that Pony Head is basically just a discount Lumpy Space Princess from Adventure Time? Like, they're nearly the exact same character.

A character who I don't like as much though is Glossaryck, the magical spirit guide that lives in Star's spell book. I never really got his deal. Sometimes it seems like he likes Star and genuinely wants to help her become a better magic user, while other times it doesn't seem like he really cares. He dies in the beginning of season three only to come back a few episodes later acting like a wild animal and yelling "Globgor" over and over again without any explanation as to how or why. Than at the end of season three it's revealed that it was all an act and he was fine the whole time. Like...why? We later learn that is a highly recognized historical figure in Mewni. Why is he yelling his name? And why does nobody question why he's doing this? I can buy that Star and Marco might not know who Globgor is but most everybody else seems to. I keep expecting that moment for his motivations to click. Where it's revealed how everything he's done was all an elaborate ploy to help Star or something, but it never really happens. Though my opinion of him does slightly increase in season four, but that's just because Keith David took over the role of voice actor. And adding Keith David can make anything better.

Some characters can even change in quality between seasons. Janna is this edgy punk girl who joins the main cast in season two as a new friend to Star and Marco. I liked her well enough in season two even if some of her more abrasive elements could be somewhat obnoxious. She's more or less absent for most of season three. Then come season four she returns and I found her more annoying. I don't know if her character got worse or if it was just the fact that her character didn't work as well in later episodes after the show had become more dramatic. But near the end of the season, they give her some long overdue character growth. Not a lot, but some. And I found myself liking her more.

There are other characters in the series as well, and they tend to vary. Star's mom, Moon is a BAMF and I like Buff Frog a lot. Jacki and Kelly are fine characters, though I admit there's not that much to them outside of being love interests for Marco, though they still have there own personalities. King River's kinda annoying but I've seen worse examples of the "dumb dad" trope and Alan Tudyk gives a great performance.

And since I don't have time to go over my thoughts on EVER character in this series, I'll do what ever online review does when they don't have time for nuance. Create a tier list!

If It's not apparent by now, the characters in this show run the gambit. With the best ones being some of my favorite characters of all time, and the worse one's just being generally annoying. However, if there's one thing that this show excels at is not painting things as black and white. No character is evil without a reason and all the heroic characters have un-heroic flaws to their characters with unique motivations that make sense for their characters. (For the most part anyway.)

The shows animation is also really good. Featuring thick outlines and a lot of nice coloring on the characters. (Even if some of the background colors can be a bit drab at times.) Most of the first season is done in flash, but it's good flash, which does well to accentuate the character expressions and the fluid action scenes. Part way through season one though the show's animation changes to more traditional animation. I think there is a bit of a divide on which style people consider to be better, but I personally prefer the look of the later seasons. The bouncy look of the early season one episodes look good, but I don't know how well that would of worked in the more dramatic and somber moments that happen later on.

I also appreciate the world building. The first two seasons are set mostly on Earth in the town of Echo Creek, but the last two seasons changes things up and focus much more on Mewni, allowing us to explore both settings. I know some people don't like the change as it resulted in several of the characters introduced earlier being written out of the show but I never really minded that. I think Mewni and the cast of characters who inhabit it are on the whole more interesting than the people of Echo Creek. (I mean does anybody really miss Sensei Brantley?) Plus the change in setting allows us to get a bit of a role reversal with Marco being the fish out of water, and Star having to show him how her world operates. And even if you do prefer the Earth setting we still cut back to it on occasion. And when you add it all up the total series runtime between the two setting is fairly evenly.

I like how characters can kinda come and go in this series, as it shows that the world doesn't revolve around Star and Marco. And it allows the writers to see which characters people gravitate to and focus on them while keeping less interesting characters out of the way. It also allows for character arcs to actually have conclusions, without the need for them to be drawn out just for the sake of keeping characters around longer.

Let's talk about themes for a moment. Specifically the main theme of prejudice and systemic racism in the show. It's handled...okay. It's kinda standard stuff and it doesn't go super complex on the issue, but for what it is it works though. That being said the show can be a bit confusing in terms of what counts as "monsters" and what are just regular races in this world. Which can make the metaphor a little muddled. I get that the idea is that there is no difference, and that monsters are only deemed as bad as an excuse for mewmans to justify their mistreatment of them, but it can still be confusing as to who's oppressed and who isn't and to what extent. I feel it would be even more confusing for a younger children watching who might not understand all the nuances of this stuff. However, the way the show tackles this isn't bad either. And the fact that the show tackles this element at all is admirable.

But who cares about systemic racism! That's not the real reason people are watching this show! We all know that everybody is really here for the shipping!

Yeah, as the series went on the shipping seems to become a much more major element within the series. So much so that to many the increased focus on the shipping is often cited as one of the main elements that caused the show to go down hill. However I never really minded it. I mean Star vs. has always been a bit of a love letter to the shojo/magical girl genre and romance is a very important element to those types of shows. So it makes sense that it would be used here. And I think it's used pretty well here overall. These are just kids struggling through these types of feelings for the first time, So it makes a lot of the stupid decisions that they make feel a lot more believable. But if this kind of thing isn't your cup of tea, it might end up bothering you. Because they do devote a good amount of time on it.

But you're probably wondering, who do I ship? Am I team Starco or team TomStar? And honestly, while shipping has never been something I've ever gotten too invested in, if I had to pick I would probably have to say team Starco. Which may be surprising as I previously went on and on about how Tom was one of my favorite characters of all time. But this is the way I see it. Tom's whole arc is about learning how to get over his jealousy and controlling nature regarding his relationship with Star. And it's shown that even after he's dating Star, and has everything he thought he wanted, he still couldn't fully get over his hangups. Even though he loves Star and Star loves him, it's clear that the relationship still isn't exactly the most healthy. And it's clear that they are going in different directions in their lives. Tom knows what he wants. To be with Star. But Star doesn't know what she wants. Not all relationships have to end because one person does something wrong or because one of the parties involved is a bad person. Sometimes two people just aren't compatible in that kind of way. And seeing Tom be the one to break up with Star shows just how far he's come as a character. Plus, like I said earlier, Star and Marco have great chemistry. And I do genuinely see them working as a romantic couple, beyond the fact that there the two main leads.

Besides, StarTom is technically incest so....

*record scratch!*

Oh wait, you didn't know about that.? Yeah, according to the official "Star vs. the Forces of Evil Magic Book of Spells" Star's Great Great Great Grandmother Rhina Butterfly was in a relationship with John Roachley, a second cousin to the Lucitor's. Now granted that would mean that Star and Tom aren't THAT related. But still. Incest none the less. Not that it even matters anyway since all of the Mewmans are descended from like five random people!

Seriously, this is some Ishigami Village levels of incest we got going on here.

But despite how heated the flames wars can be, I think we can all agree that Tomco is the best ship anyway. Like come on now.

So yeah, even the shipping elements didn't bother me. To be completely honest, while the show did have some problems here or there, I found myself enjoying the show well into the fourth season. But I knew it was coming. Since I was watching the show months after the series had concluded, I had heard things about the finale. A finale that figuratively "cleaved" the fan base. But in order to talk about the finale we have to go a few episodes back and talk about the episodes leading up to it. Obviously spoilers ahead.

To briefly recap, at this point in the series Eclipsa had become Queen of Mewni along with her husband Globgor after Star relinquished the crown to her. And many of the Mewmans are upset by Eclipsa's new "pro-monster" policies had left to live with the former Queen Moon. Meanwhile Mina Loveberry, a legendary monster fighter from generations far gone, had begun building up an army to invade Eclipsa's castle and take Mewni back from the monsters. A lot of people I hear don't like Mina as a final villain, but honestly I was surprised by how threatening they were able to make her despite how goofy she is. And her backstory about basically being a magically altered super solider driven to the point of insanity really helped to make her sympathetic. (Like I said, in this show everyone is painted with shades of gray. Even genocidal lunatics.) She invades with a Solarian Knight, a giant magic powered mech and it takes all of our heroes working together to barely defeat it. Until it is revealed that it was only one of many. It's an amazing twist that really leaves you wondering "How are or heroes going to get out of this one." Up to this point I was digging this final arc. But that's when I finally got to it.

To me, the moment where Star vs. the Forces of Evil got bad was the moment it was revealed that Moon was working with Mina to reclaim the thrown from Eclipsa.

It just doesn't fit Moons's character to do this. While it is shown throughout the season that Moon does not agree with Eclipsa more extreme policies, It was still shown that while Moon may be against Star's decision to give the crown to Eclipsa, she acknowledges that since Star was queen at the time and was within her right as queen to decide what was best for the kingdom. And in previous episodes she seemed generally happy not having the responsibility that comes with being queen anymore. But now she suddenly wants her kingdom back? If she wanted it back, all she had to do was say so from the start. At the start of the season most Mewmans still hate Eclipsa. It would not be that hard to stage a coup if she really wanted, especially since the magic high commission and all of Mewni would be on her side. Why would she work with Mina, who Moon knows is insane and racist even by Moons standard? Sure Moon and Eclipsa definitely don't see eye to eye on a lot of things but Moon still wouldn't want her dead, and Moon knows that Mina wants to kill her. I know she thought she could control Mina's army but that's still a big risk. It seems uncharacteristically reckless for a character as intelligent as Moon to make these choices.

So then, after it turns out that Moon can't control Mina's army, our heroes are basically screwed and are forced to hide out in a special tavern located at the edge of the universe to wait things out while Mina begins rounding up all the monsters in Mewni. They are all trying to figure out a plan on how to possibly defeat Mina's army when Star suddenly goes on a rant about how magic is bad. And this idea had been brought up a few times in the series, but overall had never really been portrayed as a major aspect. But suddenly the show treats this as if it's all the magics fault, and that everything would be better if it was gone. And that's when Star comes up with the genius plan to use go to the magic dimension to destroy all the magic. Thus making Mina's forces useless. And while I admit that yes, they are very much been pushed to a wall here, this has to be one of the most overkill ideas they could of possibly think of!

Now, I've seen a lot of people online saying that by doing this, Star would be committing mass murder on a multiverse scale, potentially destroying many universes. And I think that is a bit of a reach. From what we see in the series, it seems to me at least that magic is kinda a rare thing in the universe. That's why so many villains are trying to steal the magic wand away from Star. And I see very little implying that there are whole universes that are reliant on magic outside of Mewni. THAT SAID THOUGH, this would result in the deaths of a lot of innocent people. But Star really only seems concerned with the fact that once magic is destroyed, all people who come from parallel universes will return to their home universe, meaning she won't be able to stay with Marco. Which makes Star seem beyond selfish and generally pretty horrible.

Hekapoo, one of the high commission members, despite being made of magic and knowing that she will die from this, is totally on board for this plan because plot. And our heroes travel to the magic dimension to destroy all the magic. Which they do. Defeating Mina's forces and leaving her powerless. She still manages to escape however because nobody decides to actually, you know, try to arrest the person who just committed a political coup and nearly whipped out an entire race. They just let her walk off, because she's powerless now. I mean what's the worse she could possibly do, right?

So yeah, Mina is defeated, but everybody is sent back to their home dimensions. But somehow, through the power of love I guess, the universes of Earth and Mewni begin to merge. Thus allowing Star and Marco to be together. Happy ending, I guess? I don't know. Like Star and Marco being together is treated as a good thing. But we also see humans screaming as there world have now been overrun by monsters. Is this suppose to be a joke? A bittersweet ending? I'm not really sure.

In concept the idea of a universe merge is actually a pretty interesting idea. As it feels like a natural progression of the shows themes of racial tolerance and mutual understanding. Now that we've gotten semi-tolerance between monsters and mewmans we could now have an arc about trying to bridge the cultural gaps between the humans and the mewmans. Plus it would be a good way to appease both the people who enjoyed the earlier seasons focus on Echo Creek, and fans of the later seasons who preferred the stories set on Mewni. It's not a bad idea, but it needed to A.) be set up better and B.) needed more time to be fleshed out. I get that it's designed to be a sequel hook, but it's not like this is something that the series had been building up to to the point where we the audience can put together what happens next. As is, it's just weird.

So yeah, the last couple of episodes of Star vs. where a total mess. It's fitting that the finale to Star happened to come out the same day as the finale of Game of Thrones. While I'm not going to act like there weren't some parts I liked or some good ideas sprinkled throughout, this finale was pretty bad. How do you have a show that preaches acceptance and equality and end it with a genocide?! But hey, genocidal problems call for genocidal solutions am I right?

https://www.youtube.com/watch?v=0Ufmrn7BCuA

My God, It's Dragon Ball Super all over again.

And the worse part is that the series didn't have to end this way. Cause the show actually had a pretty good episode about half way through the season, "Cornonation" which would of acted as a great series finale! With the series ending with Eclipsa as Queen and ruling with Globgor by her side, with the mewmans finally accepting monster kind. You'd have to change a few things, like rap up Mina's plot and put Star and Marco together, but other than that it could of really worked. Admirably it may end up feeling more like a finale for Mewne as oppose to a finale for Star but it would thematically fit with the message of the series. Or if you really wanna keep this finale more in tack just don't have Star destroy the magic. Just have Star, Moon, and Eclipsa go off and do the one thing the three of them had never tried doing. Working together. And have them defeat Mina the old fashion way. They even allude to this idea in the tavern episode before Star goes on her whole "We gotta destroy the magic" kick.

It is a bit ironic to think that a show that's whole message is about unity could end up being so divisive with it audience. I genuinely believe that had the show ended on a better note, people would look back on the show more fondly. Despite the flaws. To the people who don't like Star vs. The Forces of Evil, I can understand where you are coming from. Even if you ignore the finale there are things to not like. A lot of things aren't very well explained and the show has its fair bit of plot holes. The series can be repetitive with its frequent shipping and "racism is bad" episodes. And some of the characters can be a bit annoying, including our main lead at times.

That being said though, I have to say, I can't bring myself to hate this show.

I don't know what it is, but I just found myself getting really invested into this series. Maybe it was due to me hearing so much bad things about the later seasons that I had low expectations, and while that may be part of it I don't think that's the whole reason. When you watch as many cartoons as I have, and for as long as I have, it becomes harder for things to impress you. Sometimes it can feel like your just checking shows off of a box, which is something that I've been trying to improve upon. But watching this show, it brought me back to the way I felt back in the early 2010's when I first started getting into these types of series. For all of Star's flaws, and trust me there are many flaws, it felt like it was doing something unique. Like it was in it's own little world that wasn't quiet Adventure Time and not quiet Steven Universe. And the series stuck with me after I finished watching it, which is surprisingly kinda rare. It's why I became interested in doing this review in the first place.

Star vs. the Forces of Evil is a flawed show. Very flawed. But I'd rather have a flawed show that's unique than a perfect show that's something I've seen a million times. And while I may not be a fan of how it ended, I don't think that should completely take away from all the good that this show has to offer. This show isn't going to be for everybody, and If you somehow made it this far into the review without seeing the show than I hope I've said enough to help you figure out if this show is right for you. But for me, despite everything, the series still has it's magic.

What did you think of Star vs. the Forces of Evil? I really genuinely want to know on this one. Did it go downhill and if so than when? Leave those thoughts in the comments down bellow. Please fav, follow, and comment if you liked the review. And have a great day.

#Star vs The Forces of Evil

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gideonthefirst · 5 years ago

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Thank you @oddsynchronicity for enabling me to make this post lmao. Here it is: my thoughts on NADDPOD Episode 80: Your Own Personal Hell

First of all, broadly speaking, all of the flashback sequences were perfectly chosen. There are a lot of things they could each have been, but @frogndtoad and I were just talking about it and, to quote her, they got “right to the emotional heart of the show.” By which I mean, each flashback sequence forced us to reexamine how we looked at the characters, while also staying fundamentally true to how they’ve been fleshed out and developed over the past eighty episodes. And they were perfectly designed to hit the emotional beats that each player is best at playing to. tl;dr Murph is a very very good DM and storyteller and also I want him to write a book

Second of all, still just in general, the choice to split them up was very bold and also an incredible flex on Murph’s part. One of the greatest strengths of the show is the party dynamic and how much they all care for each other - to split them up for half of an episode, and likely most of next episode as well, is…well, it’s a choice, and imo it worked because it hit HARD. The only other times they’ve been split up for any extended period of time, Hardwon almost died on an airship + Bev and Moonshine ran out of spells and were down to 1 hp, Gemma died, and Beverly got offered a deal by Akarot. Like, unless I’m missing some because it’s late and I’m sick, those are the three. So by separating them it triggers an immediate fear that is much different from the usual fear at seeing an enemy, and you can hear it in the immediate tone shift. They went from harassing Ilsed in the group chat to being completely focused on their scenes and each other’s scenes and it was a different feeling than we’ve gotten since…I don’t know, Queen Ezra? Marabelle? I don’t know if it even happened then.

Okay, individual stuff! Hardwon! Murph talked about it in the Short Rest a bit, but the choice to give Hardwon something to justify his caring so deeply about the dwarves and Irondeep? Inspired. Perfect. Devastating. He’s been in the bodies of two different races, but deep down, he still sees himself as a dwarf and always has, and King MacGannis was the first one to ever acknowledge him as such. It’s such a trans narrative, first of all, but it also is uhhh sure something when taken in conjunction with Moonshine’s flashback. But anyway, Hardwon went from being someone who was always excluded but still cared about the dwarves and Irondeep for some reason to being someone who was still always excluded but had something deep inside to hold onto and someone to look up to. And then he GOT the Kingshammer and now that whole scene is so much more specific and important and. Hardwon never had a home but now we know he always had the aspiration/idea of a home and that fundamentally changes his character. “Looks like a dwarf to me” are you KIDDING me?

Miscellaneous Hardwon thoughts: Playing Kingshammer under that scene was a direct attack. And Hardwon saying “yes, sir” to MacGannis in exactly the same way that Bev said “yes, sir” to his dad in the first Galaderon episodes is something that definitely wasn’t intentional but I am going to cry about.

Moonshine! Man, how do I even…how do I even start. Moonshine is the genuine love of my life she’s so deeply, genuinely good. Bringing Marabelle in was an incredibly low blow, and also possibly a hate crime? Investigations are ongoing. However. Moonshine immediately deciding to welcome the spores into her own network and then her fungal form morphing into something closer to Marabelle’s…Marabelle was known as She Who Has No Hospitality. Moonshine welcomed in her spores without once doubting their intentions in possibly the greatest gesture of hospitality ever known. Even in death, even as barely an imitation of Marabelle, those spores are going to get to be part of a family and a network and have what Marabelle ended up losing because of Ilsed because Ilsed put them in Moonshine’s way.

The scene with Jolene and Paw Paw is adorable, but also I’m having approximately nineteen different emotions about it. First of all, the line “things that don’t belong find a way of belonging when you’re around” was such a perfect summary of Moonshine, and also hit especially hard directly after Hardwon’s scene; Hardwon has never belonged anywhere (even where he so desperately wanted to) until he found Moonshine and the same, honestly, is kind of true with Bev (more on that later). Second of all, this scene fully switched the framing of the Moonshine/Marabelle/Jolene dichotomy (trichotomy?). Up until this point, it’s essentially been framed as Marabelle is who Moonshine could become, but Jolene is who she is. But the ways Moonshine and Jolene deal with Paw Paw are reflective of a much deeper difference - Jolene, even though she is the Crick, is lawful, and does kind of want to control people and the things around her, whereas Moonshine just…is not. And then, with Moonshine literally now having part of Marabelle as part of her, Moonshine isn’t either Jolene or Marabelle; she’s both, and more Marabelle than Jolene. She’s Marabelle if she hadn’t been corrupted, and if her loved ones had stood by her, like Bev and Hardwon always have.

Miscellaneous Moonshine thoughts: Playing Sumpin’s A Mess Out West at the beginning of this was a Choice but at least it wasn’t Mee Maw’s Burden. Also I always pictured Moonshine as having gotten Paw Paw when she was very young, and it’s adorable that she was already a full adult when she adopted him. Love that, it’s so much more perfectly Moonshine than what I had thought

Beverly. Do y’all ever…cry. This was the culmination of his arc. I mean, I’m sure it’ll go other places, and I trust Caldwell and Murph to keep him interesting and growing, and he has growth to do, but…his entire story has been building to this. “A child has a duty to his father, but a hero has a duty to the world” is the final sign that Bev isn’t a kid anymore, and hasn’t been able to be for a long time. But also, for the first time, he gets to make a choice about it: does he want to be a kid, or does he want to be a hero? And he chooses hero. He chooses hero even though he’s sixteen and may have to kill his own father, because that same father has been teaching him that he has a duty since before he was even old enough to start high school.

The flashback scene also very much emphasized how deeply alone he’s kind of always been - which is something we’ve literally never seen before. We’ve gotten very brief jokes about him being bullied in school, but that’s never been explored, and we also know for a fact that he was an excellent Green Teen and also the son of the captain of the Green Knights. But this was…he’s the only Green Teen there. Erlin, Derlin, Cran, they don’t see the execution - the execution brunch is likely their first, and Erlin isn’t even there (we do know Erlin’s parents are dead at this point, but that is a very different thing than watching your father execute someone in front of you without showing any emotion, and not being allowed to look away). All he has is Egwene, who is also completely alone, and it’s not like they’re really friends after this. They share one moment, and that’s all there is, and then it’s back to Bev being alone and doing everything he can to make his father proud of him. And then, when he finally succeeds in making his dad proud, his dad gets ripped away to another dimension, ages 20 years, and signs a deal with the devil. So once again we come back to “things that don’t belong find a way of belonging when you’re around”, and Bev only really belonging somewhere once he finds the Boobs.

Finally, like…Bev’s introduction was “according to his mother, a very good boy”. He’s a Green Teen because that’s what his father was, and his father before him, and his father before that, and he’s the fifth of his name and the best of the Green Teens and all he wants to do is impress his mom and dad and be good enough, and here he’s given a chance to be with his dad again and do what he says - which is all he’s ever known how to do - and he has to make the choice not to. And the only reason he’s able to make that choice is, once again, Moonshine. Reaching out to his friends, to the family he chose, to the family who lets him be a kid and loves him unconditionally, to the family who says “I’ll love you whatever you choose” but trusts in him to make the right choice.

Miscellaneous Bev thoughts: Pulling in the main theme at the end there was the best editing choice Murph has ever made. I started crying fully in public and also got chills and also my jaw dropped. “I look at him like I did that day: with a mixture of hate and love.” The level to which Caldwell has perfectly captured the gay teen experience and translated it over to a high fantasy d&d podcast and the metaphor of his dad selling his soul to the devil sure is a lot to handle. Also, uhh, I don’t want Bev to die, like, ever, but if he does next episode, what an incredibly beautiful story.

Miscellaneous final thoughts: This show is about found family. Even when forcibly separated to different levels of Hell, they save each other and come back to each other. I can’t fucking handle it. Music choice in general this episode? Fantastic, good job Emily and Murph. And then, I can’t wait to see how they handle them being separated for what’s probably an entire episode - a week is WAY to long to wait

#naddpod #not another d&d podcast #oddsynchronicty #long post #my writing #lmk if the read more doesn't work #and also if the formatting is broken

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secretshinigami · 5 years ago

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Masterlist of Spring Roulette 2020

Thank you everyone for giving this a go. It was a fun round and all gifts are now posted. We will return to our regular method of matching in our next exchange and we look forward to your participation.

Here is a compiled list of everyone’s prompts from this round – thank you for letting us post them, and we hope you guys enjoy them! If you use a prompt, please let us know and we’ll reblog your piece!

Prompts are organized by their submitter, so feel free to ctrl+f to find character-specific prompts.

theallknowingowlagain

Girls’ night with Sachiko and Sayu

Five times Beyond Birthday lost to A, and one time he came out on top

Office AU

A date with Naomi and Raye

What L sees in the dark

L as an actual frog, Light as whatever animal you prefer

hazblogs

Naomi Misora and BB have a fun time looking for clues for the LABB murders, with cheeky banter and Naomi getting a little attached to Beyond

L wins AU, where Light never recovers his memories, but Misa did (following canon). explore how L, knowing that Light is Kira but being unable to either prove it without making Light a criminal, deals with the whole "Light is Kira but he doesn't remember it" situation

Mello is a witch and Near is a vampire he's been hunting for a long time - maybe to discover that he was chasing the wrong target all along

Mello and Near hugging, if possible in casual clothes

Light's mind-shelter, the place in his head he retreats to when the pressure of being Kira becomes too much and he starts to doubt (extremely early in the manga or post L's death)

Naomi Misora and L wearing traditional japanese yukatas at a summer festival

missmomentss

Beyond Birthday going a blind date with A

L meeting Beyond Birthday for the first time

Misa and L have a sleepover party

A switched roles with Beyond Birthday

Sayu is Kira

Mello meeting Beyond Birthday in prison

almostsane-things

DN cast goes to college together, has some unfortunate roommate matches, hijinx ensue

The Kira case from Sayu or Sachiko's POV

AU where Soichiro actually dies from the heart attack he had in the first arc and Light is accused of murdering his dad.

Lowlightprimed AU: The fight between B and L at Wammy's house at the end of the first arc (BBAL)

Lidner and Misora go on an undercover mission on Halloween

Near in harajuku fashion(s), creatively dyed hair is a plus

Beyond Birthday dressed as Winnie the Pooh and eating jam out of a honey-pot.

Mourning the death of various DN characters (Who gets large crowds? Who gets one or two heartfelt mourners? Who gets mourned by no one at all?)

Fake dating sim screenshot featuring character of your choice

beyondplusultra

Wammy House-era Near, Mello, and Matt trying to give L something for Valentine's Day.

The origin of the "Dear Mello" photograph.

Mikami being catfished by Beyond Birthday.

Anything involving Mello, Matt, and Near hanging out (as friends, romantically, or with one of them third-wheeling is fine).

Sayu giving Light his obligatory Valentine's chocolate at his grave.

Light surrounded by chibi versions of the other Kiras, who are clambering over one another to try and be the first to give him their chocolate.

jeepersjeevas

(Anyone!) Person A comes home during a blizzard covered in snow and all grumpy. Person B warms them up with their pj’s and cuddles

Matt/Mello: They get into a heated argument over something trivial in canon. They say some pretty harsh stuff to each other, but make up later

Wammy’s Kids: In which they all sneak out one night to go to the drug store. Upon discovering they’ve forgotten their money they decide to shoplift, using B as their distraction.

B and Matt as best friends post-timeskip

L hardcore crushing on Misa, and she lowkey liking him back (canon)

Makeshift boyband in someone’s garage. Löded Diper vibes. B’s lead singer

jeevas-exe

mello & matt but they have magical powers au

fem!light and takada but one of them borrows a book and doesn't return it so they have to find each other au

canon-compliant character study on sayu, post-canon (when Light dies); pre-canon L first getting into the kira case

au where Light and L become accidental roommates because SOMEONE forgot to pay rent

canon-compliant Mello and Matt find each other between the explosion and the ending

Light and L in some ugly fashion, like dads-on-vacation-in-Florida fashion

Naomi Misora with lots of tattoos!

Rem and Ryuk in human form, with some punk fashion

complicatedmerary

Light and Sayu bake a cake for a birthday surprise party for either parent (Soichiro or Sachiko) of your choice. A lot of family silliness and sibling bickering.

Light and Misa's first official romantic date was a disaster. While it does not shake Misa's devotion, her feelings are hurt.

Death Note is a reality TV show. Yes, there's still a Kira to be caught, but cameras are now involved! The more dramatic, the better!

Mikami and Takada walking side by side out in the winter.

L meeting Wedy and Aiber for the first time.

Demegawa being pampered like the king he believes he is.

babelfell

Reverse!Noel AU (Noel by TzviaAriella): Light won, and threw Near in the cage meant for himself. It's been three years since his victory, and he's starting to get lonely; he goes down to taunt Near. (NOT SHIPPY. Disgusting rivals only, thank u).

Terrace House AU (or 'we all are strangers and have to live together' reality show AU) with the Death Note cast.

Pirate!AU. L is the captain of the ship, and Light is his first mate and plotting a mutiny with his most 'trusted' crew: Takada and Mikami. It's all going well until Misa hears about the plot and wants in...

Light/Near dating sim CG.

Beach Episode feat. Light and Mikami getting iced drinks under an umbrella.

Kiyomi Takada and/or Teru Mikami in a kimono, having tea alone or with one another.

Anonymous

A holiday at Wammy's House (could be Christmas, Halloween, Valentine's day, etc)

Raye and Naomi's first date

LABB beach episode

Older Light braiding Near's very long hair

Naomi and cats

Spider-Man meme but it's L (from the anime/manga) and L (from the 2015 tv drama)

In a no!kira world, both fem!L and fem!light have a crush on misa. how do they try to impress her?

Beyond Birthday “accidentally” (its totally on purpose, he just doesn’t want to admit it) gets involved with the Kira case, and he and Misa become friends while they both annoy light.

Light Yagami wakes up in his teenage bedroom after he died at the Yellow Box warehouse. He still has all his memories, and it’s exactly one day before he originally found the death note.

The Kira case ended years ago, the Wammy’s House is shut down. Only very few of the original Wammy’s kids are still in touch with each other. Linda hasn’t talked to anyone from Wammy’s in years. One day, Near knocks on the front door of her atelier in LA.

Light Yagami is for whatever reason a Wammy’s kid. (Pre-canon, so not even LABB has happened yet, and we’re ignoring the timeline, so L, Light, Beyond, and the other Wammy’s kids (Near, mello, matt, linda) are all the same age.) Chaos ensues.

Fantasy!AU. The noble knight Light Yagami was tasked with slaying the “evil” monster Ryuk. On his journey through a fantasy land while trying to find and defeat the beast he meets many people, like the cutesy goth witch Misa Amane, the baker’s son L Lawliet (Watari’s the baker) and his twin Beyond Birthday, or the group of 4 students from a wealthy orphanage (Wammy’s House is the orphanage, Linda, Matt, Mello, and Near are the students).

Misa posing, while Linda is painting her.

Misa, L, and Light in modern fashion (Misa as an egirl, what fashion L & light wear is ur choice!!)

Misa’s reaction after she used the death note for the first time, viewed through the shinigami eyes. (Maybe she’d also have some blood on her clothes)

An interaction of Mello and Near pre-canon when they were still in Wammy’s House.

A drawing of the characters mentioned the fantasy!au fanfic prompt, goofing off. (doesn’t have to be all characters, just choose the ones you wanna draw!!)

Misa Amane sitting in a Wammy’s House foyer with the Wammy’s kids (Near, Mello, Matt, Linda). They’re all the same age, Misa’s also a Wammy’s kid.

Several years post-canon, Near decides to (or has to because circumstances) tell Sachiko and Sayu the truth about Light.

Pre-canon Light and Yamamoto hanging out at an arcade, being early 2000s teens in peace.

Actor AU. Light is a young Japanese actor getting his first Hollywood role under L, a notoriously difficult director who never shows his face. (Not Lawlight, other ships welcome.)

Near and Light playing a piano duet.

Naomi kicking ass in her wedding dress in a Kill Bill-esque fashion.

Ryuk trying to play Switch and struggling to use the Joycons with his huge hands, to Light's amusement.

#death note #prompt list #Spring Roulette 2020

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lotty-do-nothing · 5 years ago

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Goodbye to the Decade- SPOILERS

This is a warning, most of this will probably be cheesy but I just wanted to express my admiration and love for this decade’s literature, TV and film. I grew up this decade, I went from child to adult, but I got to experience the incredible Young Adult genre the whole way through but along this adventure I also had to say goodbye to a lot of these stories.

The books of this decade have revolutionary in thinking, take The Hunger Games, a series that tells us to reject and rebel against corrupt, capitalist dictatorships that label themselves as democracies. As well as the Maze Runner, Twilight, the incredible books by Adam Silvera and Nicola Yoon. These books have taught me hope, love and how to fight for a better world of acceptance and equality. I was also brought into the woks of Sarah.J.Maas, whether it be A Court Of… or Throne of Glass, my heart has been shattered and reborn in the adventures these books hold, never have I felt more passion than I have reading these. But of course, these addictive fantasy reads had to come to an end, and it seemed like in a turn of a page I was having to say farewell and pull myself away from these worlds. Another author who has captured my heart is Cassandra Clare. Bless this woman with my heart for keeping me alive this decade. Her continuous additions to the Shadow World are truly a blessing. I love the characters and her appreciation for the LGBT. In this decade I went in my own adventure of self-discovery and having an author like Clare who frequently represents me in her work brings me joy and hope for the future. Finally, how can I forget Rick Riordan, my God from the start of this decade. This man who showed me from a young age the burdens that are placed on the younger generations to sort out the problems, his humorous writing allowed me to delve deep into this world and get the undertones of how hard life is.

Where do you begin with TV? So many shows, so many heart-warming and breaking moments and most of all, so many goodbyes. I guess you could say that I put my soul into these shows because I fall in love with the world and the characters so much. I have no idea what I’m going to watch next year as so many of them have ended. Firstly, The Vampire Diaries, this show really had a sense of family between the characters and to say I was wrecked when it ended is an understatement. The same with Teen Wolf, mostly because of my love for Dylan O’Brian, but through the funny moments it showed me the pain of humanity and how we all hold each other up. Linking back to Cassandra Clare, the TV adaptation of her books Shadowhunters has become my favourite show and ended way too soon. Now, normally shows/films that go off this far from the books normally annoys me, but the growing quality and character development of the show distracted me from that and left a beautiful original in its place. I can’t re-watch the finale without bawling like a baby. I also live for Malec in this show. Though there is a lot of displeasure in the finale of Game of Thrones, I love it. I agree that some of the writing was shabby to say the least, but I enjoyed the show as a whole that when the end credits came up I was a mess, I had fallen in love with the characters and their actors and I didn’t want to say goodbye.

You know Harry Potter is popular when the poster for Deathly Hallows doesn’t even have the title on there. This was one of my first loves and goodbyes of the decade. I’d grown up reading and watching them but when the decade began my love for it grew stronger, you might as well say it’s my horcrux. There are many reasons I love this series, film and book form, but a large part of it comes down to my want and belief in magic and I just really want to be sitting in the Ravenclaw common room right now. Many of my book favourites are also my film favourites, such as The Hunger Games and The Maze Runner because of how they were well interpreted for the screen and let’s be honest if you’re not wrecked by “please Tommy please” the are you even human?

There have been two major series in my life this decade which ended this year. The first one being The Avengers, the unity and friendship between the characters, Tony’s whole character arc, the fandom as a whole and our love for Stucky, Iron Strange and Stony as well as the acceptance that Tony and Stephen are Peter’s dads now. I went into Endgame with theories and hopes, most of which came true which to me gave the character’s the perfect send off but having to say goodbye to those character’s and having to walk out of the cinema was heart-breaking as it was an experience I would never have again. I’ll always remember the guy who came up to me and asked me if the film was any good and I just looked at him crying.

The second series I had to say goodbye to was Star Wars, I grew up loving the original trilogy and fell in love with the new characters back in 2015. As my farewell to Star Wars, I saw a triple bill of this era, with a midnight screening of The Rise of Skywalker. Watching them together made me realise how much love I have put into this series, with the characters and re-introductions to original trio and how each film marked a farewell for each of them. I thought Endgame had ruined me but there I was at 3am in the morning crying so hard I couldn’t see and I couldn’t stop.

This decade has wrecked me as all I seem to do is cry at finale’s but that is because each of the books, authors, shows and films I have mentioned have left something in me that has helped me grown into the person I am today and I would like to thank each of the creators for what they have done for me.

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katelynrushe26 · 5 years ago

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Welcome to Everworld

If you were a kid in the '90's, chances are you crossed paths with the book series Animorphs in some way. Written by K.A. Applegate and Michael Grant, this sci-fi/action epic about kids turning into animals to fight off an alien invasion was one of the Scholastic Corporation's most popular IP's of that decade, rivaled only by Goosebumps. It had sixty-four books, numerous video games and toy lines, a TV show that ran for two seasons on Nickelodeon, and even cross promotions with fast food chains like Taco Bell and Pizza Hut that sold Animorphs collectibles with their kids' meals. An official graphic novel adaptation is now in the works, and the series still has a devout fanbase.

And rightly so. I started reading Animorphs at age nine, and to this day, it's easily one of the most powerful and formative works of literature that I've ever read. It was funny but tragic, relatable but imaginative, entertaining but horrific, and it often hit you with a sobering dose of reality that made the message of each book stay with you long after you finished reading. Best of all, its mature themes and ideas about the morality of war have made it just as meaningful and relevant to read as an adult as it did as a kid, so I highly recommend the series.

With that said, I want to discuss another book series that Applegate and Grant wrote during that same time called Everworld.

I occasionally saw ads for this series in the backs of the Animorphs books (exactly four of them), but the ads were always vague, and eventually those back pages were used to advertise other things. A promotional CD called The Everworld Experience was given out in bookstores upon the third Everworld book's release, but if the series was ever sold in Scholastic's monthly school catalogues or at any of its school book fairs, I can't find evidence of that. Botton line, it barely had any of the exposure or success that Animorphs did, and the series came to an earlier-than-planned conclusion after two years and twelve books.

This is a real shame, because now that I've finally sat down and read all of Everworld, I think the series is great. It deals with four Chicago teens (David, Christopher, April, and Jalil) who are dragged by a witch named Senna to a parallel world where the gods, monsters, and famous figures from all of Earth's mythologies live at constant odds with each other. The teens exist in this place, called Everworld, and on Earth simultaneously, with their consciousnesses jumping back and forth from one world to the other whenever they go to sleep. In addition to staying alive, their main goals in Everworld are to save it from an invading alien god named Ka Anor and to keep Senna from transporting more dangerous people to—and from—Earth.

I should start by saying that Everworld was written for an older audience than Animorphs; for high schoolers instead of middle schoolers. As a result, it has a much darker and grittier tone with less, shall we say, innocent protagonists. It shares a few themes with Animorphs, such as the stress of leading a secret double-life and having to compromise personal values for the greater good, but it also deals with themes like letting go of old perceptions as you grow up, realizing the cost of your deepest desires, and deciding whether to keep to the safe life you know or venture into a greater unknown.

Everworld's premise is clearly a metaphor for coming of age, a representation of the crossroads between childhood and adulthood where you need to start finding a direction for your life. For all of its fantastic settings and elements, the series is really about the four main characters' internal conflicts, not the external conflict around them. The external conflict is just a device that serves to make the characters deal with their internal conflicts, and this is important to keep in mind when reading the series. We don't see much of how the teens change Everworld by getting involved in its dealings, just how much deciding to get involved changes them.

As for the characters themselves, I think we're given a pretty well-rounded and relatable main cast. We have David, the self-appointed leader who feels unfulfilled in his normal life and is desperate to prove his worth due to his toxic masculine upbringing; Christopher, the less-than-sensitive class clown who leans on immature humor and sitcoms to cope with his problems; April, the wily, religious idealist who takes care of business when she needs to; and Jalil, the level-headed skeptic who tries to learn the science of everything so he can master it. A huge part of the overarching conflict is these four learning to get along and work together, and once that starts to happen, they become a fun group of friends to go through all of these crazy adventures with.

I've read complaints that some of their early character flaws (especially Christopher's tendencies towards xenophobic humor) turn off a lot of readers after the first few books. That's understandable, but the point of giving the characters those flaws is that they eventually see the error of their ways and reform. I don't approve of Christopher's intial brand of humor, but I actually like him the most out of the four because he undergoes the biggest and most dramatic transformation throughout the series. You see how finding a life goal in a world where he can't tune out reality so easily makes him a better person.

The other major character is Senna the witch, who really serves as the main antagonist of the series. Not that she's a villain; a major part of the story is trying to figure out her motives and allegiances, since she seems to help the four leads as often as she gets them in trouble. We even get a book narrated by her eventually, and that does a great job of swaying you to feel one way about her right before the series yanks you in the other direction. She's not as complicated as Snape from Harry Potter or Gollum from Lord of the Rings (even though she does shape-shift into him in one rather amusing scene) but I found her arc just as engrossing and its conclusion extremely rewarding. The whole series is worth reading just to get that rush at the end.

And that level of engagement is the ultimate reason why I recommend Everworld. It's one of the most immersive works I've read in a while, both in setting and tone. It takes you right back to the '90's from Page 1 with its now-nostalgic pop culture references and laid-back view of the world, and then it slowly pokes at that bubble with an ominous undertone until all hell finally breaks loose. The descriptions of Everworld effectively capture the feel of every location and threat, and Applegate and Grant's tongue-in-cheek humor goes a long way in keeping the series self-aware enough to avoid turning hokey. One of my favorite parts is in Book 4 when the teens try to catch a wild boar for food, only to have it beat them up and then suddenly order them in English to give it what little food they do have. It becomes a running joke after incidents like this for David, Christopher, April, and Jalil to mumble, "W.T.E. Welcome to Everworld," and then move on with their business.

Also, borrowing so many of its settings and characters from preexisting mythologies (with the authors' own creative twists, of course) builds anticipation as you wonder what other pantheons the series might explore as it goes on. It also gives the protagonists some prior knowledge going into each conflict, especially when some of them start using their "visits" back to Earth to research mythology. This helps endear them to readers by showing their proactive sides, as well as their overarching growth throughout the series as they start trying to help Everworld instead of escape from it.

What's interesting though is that the scenes on Earth are also very descriptive and immersive. It's easy in cross-world narratives like this for the "real world" to take a back seat to the more creative fantasy world, but the Earth scenes in Everworld have their own overarching story that also builds into a genuinely suspenseful conflict. This really sells the idea that David, Christopher, April, and Jalil still have some grounding in their normal lives that keeps holding them back from fully embracing their new lives in Everworld.

With that said, I do wish that their families had more of a presence in the series. The families in Animorphs were very well defined and prominent in a lot of the B-plots of some books. This made us like them almost as much as the Animorphs themselves by the end of the series, which raised the stakes tremendously whenever things started to escalate. In Everworld, we see the families occasionally but get very little sense of their personalities or the teens' relationships with them.

I don't think either of David's parents ever makes an appearance throughout the whole series, and I actually forgot for a while if Jalil's mother was even alive until he mentions her in one of the other characters' books. Things like this make it hard to feel the full emotional weight of certain events near the end of the series. I guess the idea is that teenagers going through major life changes like these just aren't always that close to their families, but it still feels like this particular element of the story could have had a little more focus to sell how torn the characters are between their two lives.

It's worth noting that Christopher's parents and brother probably get the most character out of all the families, with scenes as early as the second book showing their interests and personalities as they banter with him. Given his similarities to Marco, the main comedic character from Animorphs, I'm starting to think Christopher was the authors' favorite lead as well.

Also, one of the Earth antagonists in Everworld is named Mr. Trent. This was also the human alias of the main villain on the Animorphs TV show, which predates Everworld. I can't find any information on how both of these characters came to have the same name, as Applegate and Grant didn't write the TV show, but it certainly has me conjuring all kinds of theories about the two book series existing in the same universe.

So why wasn't Everworld more successful if it's so good? Why didn't Scholastic advertise the hell out of it to at least try and hook the millions of Animorphs fans back then?

Sadly, I think the answer lies in the reader demographics. When you're dealing with kids, a couple of years can mean a huge difference in maturity and what's considered appropriate material for them. Animorphs was surprisingly graphic and intense for a children's book series, but it was still written for children. I can't recall a single swear word ever being said in it, and things like drugs, sex, and xenophobia were either very vaguely implied, disguised in metaphors, or presented as problems that the alien characters (not the humans) struggle with.

The very first Everworld book features flashbacks where David recalls seeing a camp counselor molest a child and hearing a football coach call a player the "F" word for not being tough enough on the field—and they don't just say "the 'F' word" in the book either. Add a few dollops of religion, sexuality, infidelity, teen alcoholism, and other adult language throughout each book, and there was no way Scholastic could promote this series to the same kids who read Animorphs. The Everworld books don't even have that bright red Scholastic logo at the bottoms of their covers; there's just a tiny, inconspicuous logo on the spine and an even less conspicuous trademark credit on the back.

Again, I can't currently find any information about this. I'm very curious to know how this situation came to be though. Did Scholastic give the authors more leeway for Everworld because of Animorphs' success and then found out too late how far the pair had run with that? Did the company want to experiment with publishing more adult material but then started getting cold feet closer to Everworld's release?

The worst part of this, if it's true, is that Scholastic may have been right to worry. According to some of the YouTube comments and online book reviews I've read, a lot of kids who read Animorphs in the '90's were barred by their parents from reading Everworld. Some say their parents found the series too dark and inappropriate. Some say their parents took issue with it for religious reasons, due to all the pagan deities that it shows to exist. One person even said they were almost barred from Animorphs too after their parents vetoed Everworld. Not the kind of thing a Scholastic executive in 1999 would have wanted to hear.

I know that Scholastic would go on to publish the Harry Potter and Hunger Games series over the next decade, and both of those saw their share of controversy too. All things considered though, I do side a little with the parents when it comes to Everworld. The topics that I listed three paragraphs ago are important for teens to discuss, and it's realistic to include them in a story about teens, but I feel like the series presents them a little too bluntly for me to totally disagree with the parental discretion. There's an entire book about a lustful underworld goddess who does nothing but capture men and force them to "please" her under threat of castration, and there's an ongoing subplot where April questions what the existence of all the different pagan deities in Everworld means for her own Catholic beliefs. Even if this series had come out today, there would be a legitimate reason for the concerns.

I'll never say to bar your kids from reading anything, but here's a thing to consider: the main characters in Animorphs are roughly thirteen years old at the start of the series, they're sixteen by the last book, and the Everworld characters are sixteen throughout their series. Maybe letting your kids read Animorphs first and giving them a chance to mature alongside those characters is a good gauge for when you think they'd be old enough to read Everworld.

And if they decide for themselves that they don't want to read Everworld, then that's them choosing a direction in life, just like the series would want them to make.

#ka applegate #michael grant #everworld #animorphs #book series #scholastic #young adult #scifi #fantasy #david #christopher #april #jalil #senna #gods #goddesses #mythology #loki #ka anor

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scratchybeardsweetmouth · 6 years ago

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Game of Thrones’ Iain Glen on the fiery finale and saying goodbye to Emilia Clarke

Game of Thrones is coming. And as the world’s most popular TV show gears up for its fiery finale, Iain Glen – aka Ser Jorah Mormont – explains what life in Westeros is really like. ‘Tits and dragons’ and all… By Chris Harvey 23 March 2019 Photos by Frank Allias

Put under a read more because I included almost the entire article. It Is quite long:

[...] One abiding memory of Glen will be from the last season, when Jorah, infected with the slow-creeping but deadly greyscale, bites down on a leather strap as the thick, scaly layer that covers his torso is cut away piece by piece with a scalpel. It may not have been his most nuanced performance but the agony on his face made it impossible to look away. ‘I was pretty spaced out,’ he tells me. The prosthetic took eight hours to apply – it had underlayers that would ooze pus and blood as it was sawn off – so Glen had to be on the filming base at 11pm, have make-up applied all night and then shoot a 12-hour day. ‘After what it required, the acting became quite easy,’ he says. We’re in a photographic studio near the Thames. Glen biked here from his home in south London. ‘I’m addicted to cycling,’ he says. He will even cycle to red-carpet events and park his bike around the corner. ‘I find it a very sterile atmosphere being in the back of a limo… and [cycling] is quicker. I duck and dive, and I’m not somebody who will wait endlessly at a red traffic light. I go up one-way streets the wrong way, too.’ He looks fit and lightly tanned. He was at home in Dulwich, where he lives with his partner, actor Charlotte Emmerson, and their two children, Mary, 11, and Juliet, six, when the scripts for the final season of Game of Thrones landed in September 2017. ‘Security around the series has got more and more fierce,’ he says, ‘to the point where nothing was allowed on printed paper throughout the whole season.’ It could only be accessed online, with extensive security protocols – it wasn’t even allowed on the cast’s own devices. ‘There was a bit of resistance from actors to that,’ he adds, ‘particularly of an older generation.’ He performs a convincing harrumph – ‘“I need to look at my lines, how can I possibly…?”’ When he read the scripts, ‘I felt, “they’ve done it, they’ve pulled it off”,’ he says, ‘that balance of satiating people’s desire for things to be complete, but leaving enough questions in the air for people to try to project forward what world will follow, individually for all the characters and universally for the world that Thrones has occupied.’ Sadness at the end of ‘the best ride in the world’, after almost 10 years of the show, was tangible at the read-through of the series with all of the main cast in Belfast 10 days later. ‘There’s a real sense of loss, it’s like a family… there were lots of tears because it was coming to an end, but real excitement and joy that we were going to shoot it.’ As characters died within the story as they read, it felt to Glen and others as if they were really being lost. ‘We’ve all grown very close to each other.’ The filming would prove to be punishing. An enormous battle scene involving many of the key characters, pitched against the Night King’s invading Army of the Dead, was shot at the set of the fictional castle of Winterfell, in County Antrim, Northern Ireland. It took 11 weeks of night shoots in sub-freezing temperatures, enduring rain, mud, high winds and ‘sheep s—’. Glen has described it as ‘a real test, really miserable’. [...] Young actors like Kit Harington (Jon Snow) and Emilia Clarke (Daenerys Targaryen) ‘are made’ by being in the show, Glen says. His storyline has been joined to Clarke’s almost from the start. What was their parting like in real life? ‘We’re friends and we’ll always be friends,’ he says. ‘Emilia went through an extraordinary story arc for herself as a person, and her character. I saw her as a nervous young actress, who had just got this big gig and everyone, [from] directors [down], was saying, “Is this the right actor? Is this how she should look? Does the wig look right?” It’s an incredible amount of pressure and I saw this young girl cope with it incredibly well.’ ‘She did ask for guidance and invariably I was saying, “Just keep doing what you’re doing.” Emilia’s very gifted, she really has no idea how good she is – she remains very vulnerable but it’s not a destructive vulnerability, it keeps her very focused… She’s [also] a very altruistic, warm person, who was the great generator of social life during Thrones. I’ll always keep an eye on what she’s doing and take pride in it.’ In the series, Ser Jorah is in love with Daenerys. Although Clarke’s character was aged up from the books for TV (in George RR Martin’s novels, she is in her early teens) fans have worked out that Daenerys can still only be 16 or 17 at the start of the show (Clarke was 22 at the time of the first season). ‘There was a point when it was definitely unrequited sexual love,’ Glen says, ‘but I think there’s always been a reciprocated love without the physicality.’ Given that Ser Jorah is in his mid-40s in the show and Glen is now 57, is his love for Daenerys age-appropriate? ‘You have to say that there’s a lot in Thrones that’s not “appropriate”,’ he returns, ‘but it feels plausible for a very different period.’ At the end of season one, Daenerys emerged from her husband’s funeral pyre unburnt and naked, with three newly hatched dragons. I wonder how Glen feels about former cast member Ian McShane’s contention that the show is ‘just tits and dragons’? ‘If tits and dragons is a negative, it doesn’t seem to stop it being a massive hit, does it?’ he says. He accepts that ‘there might have been a degree of HBO trying to arrest people’s attention, and you could accuse The Sopranos of doing that as well – there were tits and violence but there was a psychology that was underlying the whole thing.’ He thinks it might have been overstated in the first season of Thrones, in ‘putting everything on the line’ to establish the world, but says he has never felt concern about the many controversial scenes in the show, from sadistic sexual fantasies to rape. ‘At the end of the day, you can choose to watch or not to watch. When I look at history, at things that have taken place in real life that are just awful, I think there is room for dramas that try to depict that, so I’m not into censoring. I never felt things were gratuituous… Violence wise, it’s never bothered me.’ After filming their final scene, each of the main cast members was presented with a drawn storyboard from the making of the show. Glen’s depicted the bloody gladiatorial battle Jorah fought to win back Daenerys’s favour in season five. It was shot in the bullring of Osuna, in Andalusia, southern Spain, and had special memories for him. His family were with him, and the director took his daughter Mary, then seven, into the make-up tent to get blood all over her face ‘so she looked like Daddy’, then had her shout ‘action’ and ‘cut’ for the scene. After the presentation speech by writers David Benioff and DB Weiss, Glen says he was in floods of tears. Glen, who also has a son, Finlay, 22, from his first marriage to actor Susannah Harker, says he adores being a father. ‘I keep producing children… it imbues your life with a great amount of fun and magic and exhaustion. I have to be away working sometimes, and if I could I would have them with me all the time, because being woken up by a child, or having to wake up a child and deal with the minutiae and a lot of the boring crap, just having those eyes looking at you full of discovery... I love it.’ 'I always think it’s a woman’s prerogative,’ he adds, ‘I think my lady is now done on the kids and that’s fine, but I would always have more.’ He breaks off to take a call from her. As a boy himself, growing up in Edinburgh (he has two older brothers, Hamish and Graham) he was equal parts shy and extrovert, he says, and had no sense of danger. He would happily crawl out of a very high window and climb along gutters. His escapades saw him hospitalised a few times. He was adept at pretending to fall over and hurt himself – ‘I could even do it for you now.’ He still has an earring in his left ear, which he pierced himself with a pin, aged 12. ‘Dad refused to take me to the golf club unless I took it out. I thought, “F— it, I’m not going then. No.”’ His investment banker father paid for him to attend the independent Edinburgh Academy, but he had to stay on to try to improve his grades, then got the same ones again. He managed to get into Aberdeen University to study Russian, where he discovered the joy of drama and dropped out to go to Rada. He studied alongside Ralph Fiennes, Jane Horrocks, Imogen Stubbs and Jason Watkins, but still walked away with the top acting prize for his year, the Bancroft Gold Medal, previously won by the likes of Mark Rylance, Fiona Shaw and Kenneth Branagh. Glen built an acclaimed stage career alongside early TV roles, but has always managed to mix blockbuster paydays – for films such as Tomb Raider (2001) and the Resident Evil franchise – with more personal work. As Thrones’ popularity has grown, salaries have risen exponentially, with the top-end cast paid a reported $500,000 per episode (around £380,000). He notes that it’s a flat fee for a season, however many episodes you’re in. Have the rewards felt life-changing? ‘No, not really,’ he says. ‘I’ve always been lucky and busy as an actor.’ Glen experienced the negative side of press attention when his first marriage broke up in the early 2000s. Some of it was ‘intrusive’, he says – questions that related to the fact that he ‘sailed close to another relationship,’ which was [that of] Tom Cruise and Nicole Kidman. ‘I did a two-handed play with Nicole, which was about a sexual relationship.’ The play was David Hare’s adaption of La Ronde, The Blue Room, which famously featured Kidman’s nude bottom and Glen performing naked cartwheels. It led, perhaps inevitably, to tabloid rumours of an affair between Glen and Kidman, whose marriage ended around the same time. Glen has always denied it, but it ensured that his separation from Harker was played out in public. ‘Compared to what some people have to deal with, it was fine,’ he says. ‘But you have a lot of eyes on you and pressure on you, when you just want to deal with your own private life.’ There’s generally no other downside to fame, he notes (‘My wife says it’s like getting your bottom patted every day’), although he will politely refuse to pose for selfies if he is with his family. Game of Thrones’ vast, global appeal means that he was once even surrounded by fans while visiting a township in South Africa. [...]

#iain glen #iain glen interview #interview #the telegraph #long interview but a great read #some got stuff are #he remains friends with emilia #the storyboard he received was the gladiatorial scene #he was in tears at the presentation speech by david and dan #because he remembers that his family was with him during filming #and that his daughter had cuts from make-up #and she was able to shout Action and Cut for the scene #also this wonderful article could have used a better title lol

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pelikinesis · 5 years ago

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ended up typing a lot about JJBA

finally making my way through JJBA Stardust Crusaders. On the one hand, from what I’ve seen of JJBA in general, a lot of shit happens basically for *THE DRAMA*, but due to artistic choices, clever execution, and committing to its own outlandishness, it really does work on a certain level. and if you’re down to meet it at that level, you’ll have a good time probably.

at least, that was my initial takeaway after having watched the first two seasons. But even though the whole point of JJBA is that each series creates its own paradigm (Phantom Blood is basically Great Expectations meets vampires meets sunlight kung fu, and then Battle Tendency replaces the noble and pure-hearted Jonathan with his conniving shonen Tom Sawyer-esque grandson, Joseph), I feel like Stardust Crusaders is easily the biggest change.

not just because of The Stands, but actually because the main cast broadens to including at least 4 characters early on. It’s really the only way a character as stoic and seemingly-unflappable as Jotaro can really work in a story. There always needs to be another character on-scene and similarly invested in his quest to react to all the shenanigans going on, so he can bide his time just glaring impassively at the obstacles in his way before he gives them the ora ora ora and then yare yare da ze at the right moments.

And while Jotaro is starting to grow on me, i imagine i would have been way more into his character when i was in my teens or early twenties. But these days, I’m much too aware of how the story twists and turns so that Jotaro always looks SO FREAKING COOL. Like, i couldn’t manually activate that particular section of my suspension of disbelief even if i tried. if i could do that, believe me, i would, because i can see the appeal of Jotaro at a distance. And maybe by the time Stardust Crusaders is over, that’ll change things.

but as for right now, I equally like Jonathan and Joseph, though since I relate more to Joseph i’d pick him if i had to have a favorite. Phantom Blood is really short, but since Jonathan is such a simultaneously straightforwards but also immensely likable character, it works.

If anything, it’s the other way around: if Phantom Blood were longer, that might be a problem, because Jonathan barely changes at all as a character (because he’s already a precious cinnamon roll too pure for this world) and essentially just learns Hamon as far as development goes.

If it had gone even a few more episodes, Jonathan might have started to get stale. But since he’s taken from Erina and Speedwagon and the rest of the cast (and US) far too soon, his passing is tragic, and all the more fondly remembered for it. That’d be kind of a shitty thing to say about an actual person I think, but since this is fiction I guess that’s alright to say.

and Joseph is just...incredibly entertaining. nonstop. He reaches near Deadpool-levels of zaniness, but since he’s picking up where the almost impossibly noble and heroic Jonathan left off, it feels fresh to begin with, and then Joseph continues to grow and change throughout Battle Tendency.

At first he seems to inherit little of Jonathan’s character, due to his cocky demeanor, but those sparks of brilliance back in Phantom Blood that added a garnish of depth to Jonathan go supernova in Joseph and never look back, because he’s all about outwitting his opponents. So as compelling as the fights get in Phantom Blood, they become absolutely fascinating in Battle Tendency as Joseph pulls gambit after gambit out of his ass while having to fight the Pillar Men who are way above his weight class.

In Stardust Crusaders, they “preserve” Jotaro’s image usually by having Polnareff or Old Joseph fall into the situations that do a number on their bodies, minds, and dignity. I’m not saying Jotaro never struggles or gets worried, it’s just that he shows it a lot less than everyone else, and since (thus far) he always comes out on top a lot quicker or at least more abruptly than the rest of the cast, I find myself being a lot less concerned about his well-being and the possibility of his victory when he’s in danger.

And for what it’s worth, that’s completely telegraphed and likely deliberate. It’s my understanding that he’s the one that faces DIO in the end, so i would imagine there’s a payoff for him being handled relatively ‘safely’ in comparison to the rest of the main cast. I say it’s telegraphed because in the very first episode, characters comment about how powerful his Stand, Star Platinum is, and of course those attributes seem to transfer over, or at least get conflated with its user as well.

This wasn’t originally what i wanted to talk about though, precisely because i’m not yet done with the series. I actually wanted to write a bit about Hol Horse, because he’s just such a great antivillain, but I realized that what really makes JJBA so compelling, aside from its fascinating artistic direction and the fact that it’s very good at doing the main things it wants to do, is that the writers understand drama--and I said it was conspicuously, even overly-dramatic earlier, but right now I’m focusing on each episode’s ability to build and release tension.

No matter how wacky the show gets, it’s unfailingly adept at ramping up the tension. Even when I’m presented with a character so grotesquely, cartoonishly evil and unpleasant that it begs the question of how such a person could exist in the world as is. Even though I know the writers are unsubtly trying to play me so i rejoice when the bad guy gets ORAORAORA’d into the stratosphere. Even though everything at the forefront of the plot often ORAORAORAs whatever verisimilitude the setting has. I still cheer when the bad guys get obliterated. I still worry when the good guys are on the ropes.

And so I have a hard time critiquing the writing of JJBA. Maybe I’m just not qualified to form an opinion more refined than, “I enjoy it and it’s special, but not for everyone.” I guess what I would say, is that the story is extremely compelling to me as I’m watching it. But when I stop to think about it with some distance, the impact of the story beats and the characters’ fates become greatly diminished, and when it comes to other stories the opposite is true.

Because when I think about His Dark Materials, or Final Fantasy 6, or my other all time favorite stories, I feel a lot more strongly about them even if I haven’t read, watched, or played them in years. But on the other hand, maybe nostalgia has a lot to do with it. That’s probably a topic better suited for a back-and-forth discussion than as a stream-of-consciousness post though.

I wanted to return to the topic of Hol Horse for a second though, because by the third time he shows up in the story, he’s the POV character of the episode, and the main cast are positioned within the narrative of the episode as the antagonists. And it’s the weirdest thing, because I don’t know how many stories have managed to pull this off, or even try to do it.

But it works, because Hol Horse has already been established as being an ineffectual villain, but we don’t hate him because it turns out he failed to kill Avdol, and he hasn’t done anything absolutely reprehensible. He’s a bit of an everyman who is way in over his head and doesn’t want to die, and he even kinda sorta helped out the heroes once.

All that makes him sympathetic to a certain extent. And over the course of his episode, the tension comes from the question of will he or won’t he put his trust and faith in Oingo’s prophecies. It actually reminded me of the Biblical stories of Abraham and Isaac, or Job. Any time the character has their faith tested. Hol Horse gets that exact arc, and we see him struggle on whether to trust his own instincts and judgment, or entrust his life to the will of a higher power (I guess. It’s a Stand, so...).

It’s because Stardust Crusaders does stuff like this that it gets away with being structurally formulaic. It’s really just a sequence of them running into enemy Stand users, struggling to survive, figuring out how the Stand works, then coming up with a way to use their own Stands and/or the environment to overcome them.

Except when there are other resolutions, including but not limited to using the enemy Stand’s power against their users, using their enemies’ fear of Dio against them, and Jotaro overcoming the setback of being de-aged back to 7 years old through the strategy of Jotaro being able to kick a grown man’s ass at 7 years old.

In every way, JJBA is just an explosive riot of unfettered creativity, with enough strong consistent elements to give it a unique flavor, and if nothing else, i feel like i should be taking pointers from how it creates dramatic tension.

#jojo's bizarre adventure #jjba

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