#feel free to add/discuss

[webowzr]

the way you people project onto ford is ABSOLUTELY INSANE!! and the way you use that blatant projection to piss on others who do the same is also crazy.

ford wasn't a good person pre-portal. while yes, characters like bill are way worse, ford doesnt get absolved of his failings just because bill tricked him. ford is /incredibly/ self obsessed, and through his journal entries you can see just how self-absorbed he is. he doesn't care about how his actions could benefit others (its why he's so against his journal being published) instead he only cares about the glory HE could derive from his actions. he waxes poetic about "not wanting to be another tesla" and the book explicitly compares ford to icarus. fidd's actually goes out of his way to PLEAD WITH HIM to stop the portal, because fidd's now knows it's dangerous and warns him, but stanford is so blinded by his own self-importance he ignores fiddleford until reality slaps him in the face and shows him how wrong he is.

speaking of manipulation, ford manipulates and lies to fiddleford CONSTANTLY. ford lies about where he got the idea for the project, he lies about who he's working with, ignores fiddleford if fidds doesn't comply with his wants, and is constantly paranoid about fidds 'true intentions' (lol) .

STOP woobifying ford, stop pretending ford is some innocent guy. its quite frankly disconcerning to see how many of you guys claim he's ur fav or whatever but dont like the flaws that make him a compelling narrator. i LIKE ford as a slightly immoral person who grows and changes, whose willing to do ANYTHING for what he wants even if it isn't the best move, a 'smart-guy' who uses questionable tactics because part of him does believe it's the best thing to do.

ALL THIS BEING SAID, characterize ur ford however you want. you want to make him more of a victim? go for it!! you want to project onto him? feel free!! just dont pretend like ur characterization is completely correct without facts to back it up. and dont shit on peoples ships (srsly u guys r getting mega petty nowadays) because fiddauthor or billford or whatever isnt particularly healthy either!!

[austerity-audacity-asceticism]

it's interesting to see how certain 'lifestyle trends' on social media seem to be a half-baked reiteration of Catholic ideologies, orders, and the like.

tradwife that believes in the importance of the mother in the family? mariology and her role as Theotokos. minimalism? the franciscan order. dark academia and its many iterations (chaotic, light, etc.,)? the dominican order. "i wanna leave society and hang out with my friends in a commune/live alone"? the benedictines, the trappists, the carthusians, and more.

i don't know if i'm on to something here, and i'd love to hear someone else's thoughts.

[queenvhagar]

My perhaps controversial take on the HOTD characters, the GOT characters the writers are trying to mold them into, and the GOT characters they actually most resemble in the books (in my opinion - feel free to disagree).

Disclaimer: these are entirely disconnected series with unique characters, so it's impossible to do what the writers of HOTD seemed to be trying to do in season 1 i.e. mold the characters from Fire and Blood to fit the characters of GOT to try to recreate the success of the early seasons. Given this, I tried to choose one single character analogue from GOT that each HOTD/FB character is most like, but oftentimes the reality is that if any single character from Fire and Blood resembles a Game of Thrones character it is likely that they are a combination of more than one. All of this said, here is who I think the writers are trying to fit certain HOTD characters into vs the character they are actually most like (according to Fire and Blood):

Rhaenyra Targaryen: obviously the show wants her to be the new and improved Daenerys, a protagonist everyone can root for who wants to revolutionize the existing order. In reality, Rhaenyra is most like Cersei: a woman who seeks to use her three bastards to usurp thrones and gain even more power than she already has, all while committing incest with a family member and using her power to punish and silence her enemies. She uses the existing system to raise herself up and keep others below her. She does reach her goal of ultimate power but ultimately she is unable to hold it. In pursuit of holding onto power or gaining more of it, she watches as her children die early deaths. The smallfolk despise her for her methods of ruling. Eventually, she will cause her own downfall and die before her time.

Alicent Hightower: the show wants her to be Cersei, a mean-spirited, jealous woman protecting her problematic children and using her status as queen to put others in their place (they even used Cersei scenes as audition material for the role). In reality, I see Alicent as most like Catelyn - a flawed woman, mother to a king, seeking to further the rights of her son in the hopes of protecting her family from those who would harm them, guided by her own sense of justice, honor, and understanding of the laws of the land (and of course, hyper aware of the bastards in the room). All she wants is her and her children's safety, and she is willing to go to war for it. In the end, however, she watches as every last child is taken from her before she herself dies alone.

Viserys I Targaryen: the show wants us to see him as the ultimate father who loves his child unconditionally and always supports her, and that his view of right and wrong should be what guides the world. In reality, he is most like Robert Baratheon: a weak king unsuitable for rule whose mistakes and complacency lead to civil war after his death. His preoccupation with past events and people, and his role in a former love's demise, leads him to neglect his current wife and their children and make decisions that create long-term issues for his family and the realm.

Criston Cole: as soon as Criston turns away from Rhaenyra, the show wants you to view him as a Meryn Trant type of Kingsguard - a man unconcerned with honor and violently anti-women, more than willing to carry out terrible acts commanded of him. In reality, Criston is like more like Jaime: he seeks to make a name for himself as a knight, guided by his own sense of honor and justice, though he is judged by others as lacking such principles. His devotion to his position on the Kingsguard and his love for the royal family motivates him. Occasionally his self-confidence and delight in goading his enemies can make him appear callous and proud. Although he is not officially the royal children's "father," he has guided and protected them and their mother from early on in the absence of their official father.

Daemon Targaryen: the show wants you to both love and hate Daemon. It seems he should fill many roles that Jaime did - a sword fighter whose swagger and danger mix together, whose dishonorable acts follow him through the world. He acts primarily out of love or his pursuit of it, whether for his brother or his lover and her children. The viewer is supposed to see that deep down he is a good guy, no matter how many characters say that he's not. In reality, I see Daemon as a more capable Viserys III: a man adamant in his family's racial superiority, who believes he and his loved ones should have access to unchecked power because they're better than everyone else. A man who enjoys exercising his power over others and demanding obedience out of fear of his wrath. A man who uses his younger family member to further his own interests without much thought to her own wishes or agency and willing to hurt her if she doesn't act the way he wants her to.

Otto Hightower: the show wants you to view Otto as a new Littlefinger, someone sly about his intentions who uses spies, information, and unsavory methods to take advantage of the ruling family and further his own interests and increase his own power. I see him instead as more similar to Tywin: a Hand of the King seeking to put his family close to the throne in pursuit of legacy and advancing his family's station, a man who arranged for his daughter to marry the king so his blood would sit the Iron Throne and bring his family power for generations, a man acutely aware of the political world and how the game is played and willing to get his hands dirty to play it.

The Strong boys: the show wants you to root for Rhaenyra's perfect, good natured and pure intentioned sons as if they were the Stark boys (mixed with Jon Snow). Raised in a good family, these boys know right from wrong and love each other. Yet some people unfairly think less of them for their birth. In reality, the Strong boys are closest to Joffrey, Tommen, and Myrcella. Bastards set to inherit positions they have no claim to, they are coddled by their mother and protected from any consequences to their actions. When one attacks another child, their mother demands that the other child's family is punished for their actions (and doesn't even reprimand the child for his role in the conflict). The result is the child has no remorse for the harm done, and the other child's family festers resentment against the child. Some people uncover the truth of their birth and object to their place in the line of succession, and these people are killed for speaking the truth. Eventually, a war is fought to keep them and their mother away from the throne, resulting in all of them being killed.

Aegon II Targaryen: the show wants you to see him as Joffrey 2.0. A man interested in viewing sadistic acts for his own pleasure, who abuses women for his own enjoyment, and who is unfit to rule. In reality I see Aegon as closest to Robb: a first born son reluctant to rule as king once his father dies but who rises to the occasion to try to keep his remaining family safe. A king willing to fight his battles alongside his men, no matter the risk it might pose to him. A king who tries his best to rule but makes mistakes along the way that cost him dearly. In the end, he watches as he loses everything, and he dies young.

[scream-cam]

dan pronouns & identity discussions & other dangender moments x x

gotta give credit to @yonpote and @freckliedan for posting most of the clips and having great tagging systems to easily find everything <3

digifest x || podcast x || wad q&a transcript || vidcon post & video || younow

i was hoping to fit everything in one post but tumblr hates me posting videos so i’ll just keep adding to this

part two

[knightbun]

just some observations I’ve made

[irradiatedpiratebooty]

fallout tv show ghoul discussion

the only thing i dislike about the show is their retcon of ghoul lore- everything else is a banger i had a great time but the lore changing the ghouls baffles me, as it retcons and changes literally every other game in the franchise. its funny, im not mad about it, im ok with the show having different lore than the games. i just hope they make it clear that its an AU kind of thing haha mainly because if someone gets introduced to the series from the show, and they go off to play the games, theyre going to be confused. so, what are the changes? well-

in fo3, theres an entire side mission involving the underworld, where the ghouls there really hammer in that the rumors like; that they regen and so can only be killed by headshots, that they eat people, that they can go feral at any point, and that they're zombies.

all of this is just propaganda spread by the brotherhood and bigots to justify murder and genocide.

none of it is true. they bleed and die like anyone else. but in the show, these things are not rumors, and they are completely true. cooper constantly has to take this drug from a vial that prevents him from going feral. theres no explanation on where this medicine came from, who makes it, whats its made out of, etc.

so, while in the game, turning feral is unknown, seemingly at random (theories range from genetics, lack of socialization, insanity, radiation exposure, and time) and ghouls dont just- randomly turn feral. but in the show its enevitable and therefore the hate towards them is justified. the only things that are special about them is that they; age much, much slower than non-ghouls, that they can heal faster using radiation. (to my knowlege, they still need to be patched up. they do not just regen. they can still get shot to death, or maimed. they just heal a little faster.) and they need more potent drugs, as it doesnt affect them as strongly (mentioned in fo3 by some ghouls in a subway) the changes made in the show heavily changes the stories of a few characters and places in the entire series.

for fo3: changes the entire underworld. these ghouls cannot leave this place. if they do, they're shot and killed immediately by the brotherhood nearby. they discuss how they're discriminated against. in the fo3 dlc, point lookout, the ghoul there presumably hasnt left the manor he lives in for well over 200 years. he wouldnt have access to these vials. tenpenny tower. their ban on ghouls would be justified then. the entire narrative involving the water purifier and putting the serum in that will kill off all mutants. with the changes the show makes, the decision whether or not you do this has no weight and eradicating mutants becomes justified. for fallout new vegas: dean domino. he hasn't left the Sierra Madre in over 200 years. he wouldnt have access to these vials either and would have probably gone feral a long time ago. for fallout 4: diamond city. diamond city's ban on ghouls wouldnt be an issue anymore. since in the show, ghouls cant die aside from headshots, the ghouls being thrown out into the wastes to the elements wouldn't really be as heavy of an issue.

(i cannot comment for fallout 1 and 2, as i am not as knowledgable about the ghouls in those two games. feel free to add on in reblogs if you know more about them than i do)

i love the show, i think its awesome. im basically consuming it now with the idea that its canon -within its own story and lore- and is separate from the game itself. cooper is a badass and the changes work for the show itself, not so much the entire series. which is fine in my eyes.

[ragazza-paradiso]

okay, my personal thoughts on the jury vote/televote drama (as unbiased as possible):

i understand people’s disappointment when their favourite doesn’t win. i also understand how that disappointment can turn into frustration when it turns out that was the most popular entry with the general public, yet it didn’t result in victory.

for me, the presence of juries in the contest is non-negotiable. i think they help to recognise aspects of the songs that very often get overlooked by the viewing public - composition and vocal ability being the two most important. i think of estonia from this year, a song and performance that most definitely deserved the love they got from the juries to push them up the scoreboard. i think of albania 2018, switzerland 2021, portugal 2022 - all entries that deserved to be recognised, and were not given that by the televote.

all of that is not to say the jury is faultless. i agree with most, that the criteria the jury is told to judge upon should be modified/expanded. i think they should drop the focus on commercially successful songs to help level the playing field for songs in languages other than english (or popular languages like italian or spanish). they should also include people from more diverse musical backgrounds to appreciate alternative forms of music like rock, jazz, folk and music with ethnic elements etc. they could also make the juries larger (i think just doubling the size to 10 people would already make such a huge difference).

i think the biggest change the EBU needs to make regarding the juries is to be much more transparent. the general public has no idea why the juries exist, or what they are even judging on. each show the presenters should explain the criteria the juries judge on. because i’ve seen so many comments on social media over the past 12 hours which seem to fundamentally miss the fact that the juries judge based on criteria which is given to them by the EBU. they do not simply sit down and make a ranking of their favourite to least favourite.

the big point for me is that the jury vote is NOT supposed to be representative of the public vote. there would literally be no point to it if it were. therefore the jury having different scores, and ultimately a different winner than the televote, does not in itself mean that there is a problem with the juries. if you ask me, it means that the juries are doing exactly what they are supposed to do. they recognised the song which best fit the criteria they were asked to judge upon… tattoo.

and i would also add that tattoo was immensely popular with the public as well, it came second in the televote. and the juries placed televote winner cha cha cha in fourth position. so the argument that the juries are out of touch with the european public (at least when it comes to the top spots) just doesn’t add up.

since the juries were reintroduced in 2009 we’ve had 4 types of victories

• where the televote and jury vote agree on a winner (2009, 2010, 2012, 2013, 2014, 2017)

• where the televote winner has won overall despite not winning the jury vote (2011, 2018, 2021, 2022)

• where the jury vote winner has won overall despite not winning the televote (2015, 2023)

• where the winning song has won neither the jury vote nor the televote (2016, 2019)

so, in the 14 contests with the 50/50 jury televote system, only twice has the jury overridden the televote to decide the winner. the televote has overridden the jury vote double as much. in fact, the majority of times (8 times, if you include the 4th category since on both those occasions the winner came 2nd with both televote and jury vote) both have agreed on the winner. overall, the televote has gotten their winner to win the overall contest 10 times out of the 14 contests since the reintroduction of the jury.

therefore i find the conclusion that the jury is tainting the results of the contests’ winners not based in reality.

now, all of that is simply the opinion of one girl who likes eurovision. you can take it or leave it. i don’t think this will change anyone’s mind if they are dead set on the juries needing to perish in hell fire to atone for their sins against euro pop music. but more so i wanted to explain my reasoning behind still valuing the juries as an important part of the contest.

and, two last very important notes:

• käärijä not winning the contest doesn’t mean that he’s lost. it doesn’t mean that you can’t go back and watch his performance a thousand times and revel in the joy it gives you. it will always be there. music is subjective, just because a certain song wins a certain contest doesn’t mean it’s necessarily the best. he has thousands more fans now and you can always support his future career.

• being disappointed with the results of the contest however does not give you the right to send abusive messages and hate towards other contestants. käärijä himself said after the final yesterday that he cannot complain about the rules and he was happy for loreen. this is the same guy who was so distraught when he received one hate comment that he deleted all his accounts on social media. he wouldn’t want anyone to be doing the same towards his fellow artists. the contest was about being united through music, and sending hate won’t change the results, and it won’t make you feel better either.

[dezmolad]

Transformers One: Decepticons and Autobots

Yesterday I went to see TFOne and while it was overall a fun experience I think it would be also fun to decompose the way this movie portrays soon-to-be 'cons and 'bots.

Beware of the spoilers!

So the society and worldbuilding of Transformers One is clearly inspired by both Alligned continuity (Transformers Prime and such) and IDW2005 G1 continuity (MTMTE, RiD and such) tales about how the world looked like before the war. Of course it was only a inspiration, the liberties has been taken but some specific changes seem... well, as if they feared their source matherial to me.

Making the society divided to classes, the existence of miners is a clear inspiration from the continuities I mentioned. BUT. Making the miners exclusively (from what i observed and checked on tf wiki), besides D-16, future autobots, when in the inspirations the decepticons basically rised up from the mines is something else.

It might be G1 cartoon inspiration, where we learn in one episode that Quintessons constructed autobots as working class (TFOne: miners) and decepticons as warrior class (TFOne: High Guard). But here, melted with IDW and Alligned inspirations it feels as if the creators wanted to kinda make autobots less morally grey that their inspirations intended. The fact that the only "bully" from higher class than miners we ever see being actually piece of shit with a name is Darkwing, who we know as a decepticon also is pretty telling.

Overall I feel like the creators of this movie really wanted to take inspirations from IDW and Alligned continuity but also felt stangely uncomfortable with the implications of those continuities. Of decepticons having a point, of autobots being morally complicated, to put it lightly. It's understandable as it's a mainstream, singular movie that can't be too complicated, but still it feels kinda disappointing to me.

Giving Orion Pax the role we saw Megatron in in inspirations (a poet and an activist in IDW, a politican and a gladiator in Alligned), in the scene where he gives the speech to the miners really hammers it down. We can literally imagine Megatron doing that in universes that gave inspirations to this movie!

If someone knows more about how the creative process around this part of the movie worked I'd be glad to know!

[justanotherwriter140]

Kung Fu Panda 4 - The Movie

The last really, really long discussion post (for now).

Major spoilers ahead!

This review is full of spoilers, so please refrain from reading through it until you've watched KFP4. I would highly suggest doing so, as I want everyone to form their own opinions without my influence. The movie has its flaws (some of which admittedly being a bit distracting), but it's a fun film that has things to offer.

Kung Fu Panda 4 is a fun movie (take that as you will) that takes its audience on an action-packed, surprisingly funny, yet relatively contained adventure on which Po doesn't really do much. It's an inconsequential, safe sequel that doesn't really hurt the franchise but adds close to nothing.

I had a good time watching the movie. It was obviously produced with its theater experience in mind and the action scenes especially reflected that priority. The humor was actually funny sometimes and I enjoyed Po and Zhen's dynamic. During the film, I was able to put most (most!) of my grievances aside and take the movie for what it is. I've discovered that the best way to watch KFP4 is with low expectations and an open mind.

I have a lot of things to say about KFP4, both complaints and compliments (though the former might be taking the forefront in this review), and I hope this review can help those of you who have seen the movie organize your thoughts. I've been having a lot of trouble with that specific aspect of things myself. Those who get it get it.

With that said, let's get into my full review of KFP4! I've been waiting for nearly 2 years to write this and I'm so excited to share every single thought.

I'm going to follow the format of my first discussion post and curate a bulleted list of my thoughts, followed by an analysis of each of these points. Keep in mind that everything I say is IMO and this is more of a rant post than anything else.

Here are my main points:

The Furious Five's role is comically minuscule in the context of the film. Their actions are inconsequential and add nothing to the plot (a confirmed last-minute add), and they have 30~ seconds of screen time. Shifu is also largely irrelevant.

Mr. Ping and Li's presence has little to no effect on the movie (though I won't complain too much because they were pretty fun to watch and this movie has bigger problems). In almost any scenario, I am adamantly against having characters present that don't add anything to the narrative; however, Mr. Ping is an exception. I love Mr. Ping. James Hong is a gem.

Zhen's screen time is not utilized well and her character is underdeveloped. She definitely wasn't annoying, but I didn't find her either compelling or funny enough to warrant the screen time she was given, especially considering it wasn't used to establish a backstory/strong motives. This makes me feel bad for the character because the movie kind of screwed her out of any substantial development.

The Chameleon, while complimented greatly by Viola Davis, is an underwhelming villain. Viola Davis is amazing in this film and I would suggest watching it for her performance if for nothing else, but the Chameleon is underwhelming considering the super cool concept behind the character.

The film feels very rushed. Apologies to those who disagree, but I think the pacing is atrocious and the final fight is anticlimactic. The movie felt like a word-vomit with no discernible intermissions that stops abruptly when the film ends.

I felt as though Po didn't change/grow as a person and the audience never had a chance to either bond with or relate to his character. His internal struggle is kept to a minimum and we don't spend a moment alone with him as an audience, which is disorienting and distracting. Watching the film felt like running into an old friend at the store who's too in a rush to have a real conversation.

The action scenes were strong with few exceptions. Creative art direction was utilized and I thought the martial arts choreography was entertaining and dynamic. I love the color palette of the film and many scenes were very impressive visually.

With my main points established, I do believe it's ranting time. Strap in, folks.

Let's start strong with the Furious Five: I'm gutted. Chagrined, despondent, crestfallen, etc.

The lack of the Furious Five negatively affects KFP4 so much, because not only does their absence hurt the atmospheric integrity of KFP as a franchise, it also forces KFP4 to bring in a slew of different characters—all while still noncommittally including the FF at the very end because I believe the marketing team required it—that clog up the cast a bit. It all goes to show how important strong, established side characters are.

The Furious Five are side characters, but the role of "side character" does not equate to being irrelevant, expendable, or exchangeable. I recognize that the Furious Five aren't super developed as characters beyond a handful of lines that allude to traits sprinkled sparingly among the members; however, I believe that the tiny bits of development we have been given have proved impactful in the past. Tigress's development in KFP2 is a prime example of how much narratively conscious changes (however small they may be) can positively affect these movies.

Because of limited runtimes, the Furious Five often operate as more of a singular unit than five individuals. Even so, I don't think discarding them is valid. They're so important to the KFP universe (to Po's universe!) and not having them with him feels so wrong. The Furious Five are fully integral to the heart of Kung Fu Panda, which is why I believe a lot of those who have seen the new movie have expressed something feeling "off" or something being missing.

I agree with this sentiment. To me, KFP4 didn't feel like a KFP movie. I don't need a Furious Five spin-off movie and I can be fully content with a KFP5 centered around Po's journey as an individual as was intended from the beginning, but he can't carry an entire movie on his back. As strong as he is in every sense of the word, he is only one character. He's the centerpiece of the franchise, but a centerpiece can only go so far without the rest of the design, so to speak.

For me, the Furious Five's absence is one of this film's biggest faults. It's huge and glaring. I know I'm not the only one who feels this way, either, because the friends with whom I saw the film refused to talk about any other aspect of the movie after seeing it. Seeing them at the end was better than nothing, of course, but it was a disappointing culmination after eight years of waiting.

That all is to say I feel robbed. Despite all of this, though, I understand that there were reasons why the Furious Five weren't included in the movie. I don't believe the production team would exclude the Furious Five unless they weren't given a choice.

Shifu and Po's dynamic continues to be thoroughly delightful but their interactions are short and simplified. I would have loved to see more of them in this film, especially considering the extreme relevance of teacher-student relationships in KFP4. I (somewhat) digress, though, because the idea of Shifu having to live at the Jade Palace with only Po for an extended period of time is hilarious enough on its own. Maybe that's what the short film is about!

The comedy is odd but has some jokes that stand out. Po maintains a healthy relationship with his inner sass, which I think makes him more fun to watch and kind of eradicates the man-child verdict. Some jokes don't land, of course, but I genuinely thought KFP4 had some funny moments. Mr. Ping was consistently awesome and Po had some good lines sprinkled throughout the film.

As for Mr. Ping, he and Li Shan are the subjects of the film's B-plot as they follow Po to Juniper City out of shared concern for their son's safety. In my mind, they don't add anything to the story that couldn't have been brought about by other characters, but they had their moments of being entertaining. I enjoyed their silliness and thought they had a cute dynamic if nothing else.

Speaking of other characters, I want to discuss KFP4's deuteragonist and why I genuinely feel bad about the way her character was treated.

I want to let it be known that I'm still not on board with Po passing the Dragon Warrior torch to another character. While I agree that his arc is now calling for him to have a student, I disagree with the notion of him retiring from his DW role.

As I stated in my first discussion post:

Didn’t the initial significance and nuance of the title come from the fact that there is only one person who can be the Dragon Warrior, because the concept of the “Dragon Warrior” isn’t so much a title as it is Po himself? The universe (Oogway) must choose the Dragon Warrior because they are a singular being of legend. It is one person, and that person is Po. Wasn’t the point of the first film that the title ultimately doesn’t really matter because there is no “secret ingredient,” so to speak? The title doesn’t actually give Po anything. “It’s just you,” Po says, and that was the resolution.

When it comes to Zhen as a character, contrary to what I predicted I would think of her, I thought she was okay. While I was still a bit distracted by how out-of-place her design looks, I wasn't truly annoyed by her at any point and she and Po had some cute moments. Even so, I think their relationship could have been a bit more refined and developed.

While it's evident that Po and Zhen are meant to have a teacher-student/mentor-apprentice dynamic, I think their relationship feels half-baked. There were parallels that contradicted one another and ended up being confusing come the film's conclusion, and the nature of their relationship seems to vacillate depending on the scene. Additionally, the strength of their bond goes from zero to one hundred within thirty-ish minutes and left me with a bit of whiplash.

We're shown that Po and Zhen care about one another, but we're never shown why. They have a brief conversation during which they bond over being orphans, and Zhen says at one point, "You're actually a good guy," but that's it. This obvious lack of development is a bit disorienting because we're later led to believe that Zhen and Po care very deeply for one another when there's almost nothing to back it up.

A scene that sticks out to me when discussing this is when Zhen attack-hugs Po in a way that explicitly mirrors Tigress's hug from KFP2. This happens around the beginning of the third act, and while it had the potential to be an endearing moment, I think it fell flat.

The impact of Tigress's hug was brought on by her character's hardcore nature and reputation of being heartless, further strengthened with the knowledge that she was hugging Po (which was obviously way outside her comfort zone) as a show of companionship and fundamental understanding. Tigress hugged Po because he needed someone to recognize his strive for closure.

Zhen's hug had little to no impact because she had no reason to do it and it didn't indicate growth. She hugs Po because she's sorry for betraying him and doesn't want him to be killed by the Chameleon, but neither of these things are newly-established via this hug; we have already gathered by now that Zhen regrets betraying Po and doesn't want him to get hurt.

The hug is far from the movie's weakest point, but I think it's unnecessary given the context. I'm big on hugs in movies (an underutilized form of platonic affection, in my opinion), but it didn't fit here. I don't hate it, and I see it as an honest effort to bring emotionality to Po and Zhen's relationship, but it seems arbitrary.

Zhen and Po's relationship has a lot of potential and I'd be open to seeing more of them in the future, but I think some more thoughtful development needs to occur before I can humor it further. Even so, I can see myself featuring Zhen in some future post-KFP4 one-shots—sparingly, of course, because we have a lot of Furious Five content to compensate for.

Overall, they had a cute dynamic and some sweet moments but I'm not attached. I'm on board with Po having a student but I think their relationship needs a lot more development, something that this film unfortunately didn't give them time to either accomplish or earn.

Now, onto the Chameleon!

The concept of the Chameleon's character is admittedly super interesting. She's the deuteragonist's fastidious mother figure who feels that Zhen owes her a debt and as a result holds her to an impossible standard. That dynamic had the potential to be so interesting but I didn't think it was explored at all. There is no indication of Zhen having any internal conflict about fighting the Chameleon, no emotional complexity between them at all; it's disappointing because I think it would've added a bit of earnestness to the film.

Additionally, the idea of a shape-shifting villain is versatile. A shape-shifting villain gives those telling the story a lot of room to experiment with the protagonist and different ways in which the main character can be challenged and tested. It's yet another good idea utilized poorly. Just one idea: the Chameleon could have disguised herself as one (or several) of Po's family, friends, etc. and brought to fruition a new arc with his character (seeing as he arguably doesn't have one in this film), but she only disguises herself as Zhen very briefly in the movie.

Furthermore, the Chameleon completely relies on the powers of previous villains to pose any sort of threat to the main characters. She summons Po's former nemeses from the Spirit Realm (despite there being little logic in doing so considering Kai's literal evisceration) and takes their kung fu abilities for herself.

An excerpt from my first KFP4 discussion post that I think is relevant to the point I'm trying to make:

I don’t think it would be in the best interest of anyone if the past villains were to come back in any way that’s not a flashback (even then, I’m not sure I’d see the point). In all honesty, I thought that the whole point of the villains was that they died and stayed dead. They were defeated by Po once and for all as a testament to the idea of establishing Po's character growth and journey as a person through the bad things he’s able to overcome. It’d be highly contradictory to the messages of the other films if these villains were to suddenly come back.

While there was an honest effort made to portray the Chameleon as intimidating, I never felt as though any of the characters were endangered by either her or her army of lizard henchman. She's a visually appealing character (aside from her eyes, which I thought more resembled those of a gecko than a chameleon) and I greatly enjoyed Davis's performance, but overall I don't see the Chameleon as a notable villain.

The return of Tai Lung (had he been on his own) had the makings to be an excellent story, especially considering the importance of teacher-student dynamics in KFP4. To see him interacting with Shifu would have been incredible and could have led to further closure on Tai Lung's end (because I think that's kind of what the team was going for anyway), but it didn't happen.

It was nice to see Ian McShane reprise his role, but I wish Tai Lung's characterization had been more reminiscent of the way he was in the first film and more complimentary of his overall character arc. Tai Lung isn't a one-dimensional villain with a singular goal and motivation, and I couldn't help but feel as though the complexity of his character was simplified for the sake of KFP4's narrative.

Tai Lung's presence in KFP4 may be odd, but Shen and Kai's appearances are even more so. Kai, if I remember correctly, was fully obliterated by Po, reduced to literal particles on screen (which is kind of wild now that I think about it). Shen being in the Spirit Realm makes sense all things considered; however, Po and Li had no visible reaction to his presence, which seemed a bit unlikely considering Shen's deeds. This plot hole can likely be attributed to the fact that Shen and Kai's cameos (to my knowledge) were last-minute additions to the movie.

I have to talk about the pacing. I have to. I'm sorry, bear with me.

To me, the film's pacing is erratic and disconcerting. While I can appreciate a quick-moving narrative that doesn't dawdle on storylines that aren't interesting/important, KFP4 kind of flings itself too far in the opposite direction and ends up being frighteningly fast-paced. Once the credits began, I felt like I had been holding my breath for the entire movie.

KFP4 is confusing because while the runtime is standard for a KFP movie, it feels incredibly short. At the same time, the film's story moves at a breakneck speed and leaves little time for heart and development. These things culminate into a barreling boulder of a movie that simply doesn't have time to let its characters, story, or audience take a breath.

A fast pace is not inherently negative, but I don't think it worked in the favor of KFP4. The KFP franchise has always been very emotionally grounded (and just very grounded in general), so to see a film in which emotion/heart takes an aggressive backseat in comparison to action and comedy is jarring. While I think it's unreasonable for fans to expect the same emotional integrity as the original films to be present in the current and upcoming ones, I still think there's room for Po to grow and I felt as though the notion of him developing further was brushed aside in this film.

As for Po's growth, I felt it was nearly nonexistent. The previous trilogy wrapped up his character's journey beautifully and I know that KFP4 was bound to struggle with this particular aspect of making another KFP film; however, just because the strongest pillars of Po's character are established doesn't serve as a valid excuse to reverse his development and repeat what he learned in KFP3.

In KFP3, Po learned firsthand that he is capable of spreading wisdom and teaching kung fu. He also learns that he is constantly growing and that change is inevitable; there is always something more to learn.

"If you only do what you can do, you will never be more than you are now."

"I don't want to be anything more, I like who I am!"

In KFP4, Po pushes against this narrative despite fully accepting it in KFP3, actively reversing crucial parts of his character development achieved in the latter. KFP3 was non-ambiguously about learning to cope with change and responsibility, and I can't help but feel like KFP4 is simply copying this message while not adding anything to it.

Additionally, I felt that KFP4's Po generally felt less personal than he has in the past. In every KFP movie up to the franchise's most recent addition, I felt very connected to Po as an audience member. I felt like I was truly seeing the world of KFP through his eyes. I consider this to be one of the franchise's most impressive feats; it's incredibly difficult to build a universe around a character without making the audience feel limited to one perspective and one part of the world.

With KFP4, I felt both limited and disconnected. The world didn't feel as vast and all-encompassing as it has in the past and Po didn't seem fully like himself. This could be me nitpicking (as I'm prone to do), but I can't recall a single moment in the movie in which Po was alone on screen. Scenes like these are crucial for me because I see them as a meet-cute between the character and the audience, a moment for us to cross the bridge into their world in a way that's silent and intuitive. These little bonding moments are absolutely integral to feeling connected to a character.

Po's dream sequence in the first KFP movie is one of the best examples of this. It presents his aspirations, alludes to his way of life up to the point of the movie, and showcases his personality. During Po's dream sequence, the audience is quite literally inside Po's mind; we're there with him, seeing what he sees, subsequently feeling what he feels. Po is a dreamer at heart and makes the audience feel like dreamers, too.

In KFP4, I felt like I little to no point of reference when it comes to how Po was feeling. I didn't feel immersed in him and his world.

I know I've been very "doom and gloom" throughout this post, which is an exhausting mindset for everyone involved. I want to end my critique with something positive because I think some praise is deserved. Let's just say the movie could have been a lot worse, the details of which I'm sure you're all well aware.

Congratulations, you've reached the end! Thank you so much to all of you who took the time to read this unnecessarily long and detailed review. As long as I help someone translate their conflicted feelings into coherent thoughts, I'll call it a win.

KFP4 has its flaws and there are a lot of aspects that I dislike, but the I greatly admire and respect the hard work put into the film by those of the crew who put their efforts forward and tried their best to make it work. This does not at all excuse my issues with the movie, but it's worth saying.

As for the future of the series, I only hope that the next installment is more considerate of the franchise's origins and why Po's story is being told in the first place. I fully believe that another sequel could be good (even great!), but only given a strong, passionate crew with a great understanding of the characters and world (and I wouldn't be averse to some previous directors returning, just to put it out there).

Thanks again to those who took the time to read this crazy excuse for a movie review. Feel free to either disagree with me or add things in the replies/reblogs, I'm always looking for more thoughts to think.

Until next time!

[myfairstarlight]

A bunch of (unorganised) thoughts about an AU where Penelope never became Whistledown (i saw debates on twitter and it got my brain WORKING)

No concept of a diamond? No one is there to provoke and challenge the Queen, and Whistledown was the one to name Daphne the diamond

Daphne being forced to marry Berbrooke — it was the public humiliation that drove him away. If it had remained rumours that no one could really prove, he would have stayed.

Colin marrying Marina. Even if Penelope told him about the pregnancy he might have still married her because #HeroComplex

As a result Penelope would try to find a husband much earlier too. She does not have the Whistledown money to get new dresses behind her mother's back but perhaps Violet agrees to sponsor her since they're now officially family through Marina and Colin's marriage, and Eloise is also now debuting

The Featherington would not be ruined at the end of the first season, if anything they're in a better place with the proper connection to the Bridgertons, but they're still in debts.

No cousin Jack plot cuz one of Marina's children would become the new Lord Featherington after Archibald's death? Which still puts Colin as the de-facto head of the estate in the meantime lol

Which puts him in the perfect place to be tortured when Penelope starts to get suitors. As the new head of the family, he's the one who has to veto any suitor, after all

A less opinionated Eloise? Ultimately, it was Whistledown that reinforced her feminist beliefs upon seeing a successful woman fool the ton. Maybe she'd be more jaded and angry especially seeing her own brother force Daphne into a horrible marriage

She also never ends up meeting Theo. Neither does Penelope anyway.

No Pen and Gen friendship

Anthony marrying Edwina? Whistledown calling him a rake is one of the reasons Kate was so against him. But I think she would have clocked him anyway and would want to protect her sister so I think Kanthony is still endgame in this case. Arguably they'd get together with more ease too since Edwina wouldn't be a diamond, assuming the concept does not exist in this AU.

HOWEVER would she take an issue upon learning Anthony forced his sister to marry Berbrooke? She's very family oriented too, and maybe she'd imagine Edwina in Daphne's position.

Though "forced" is maybe a strong word, since Berbrooke ended up blackmailing the Bridgertons to get what he wants but it never would have happened if Anthony hadn't promised him Daphne's hand without consulting Daphne in the first place, so my point still stands tbh

Assuming from book plot, Benedict and Sophie would not be as lucky as Kate and Anthony without Whistledown though. Joining polin in the trenches

Philip would never know his brother's kids, and would have no reason to start some sort of correspondance with a certain someone since he is content in his recluse life

Francesca's story would be thoroughly unaffected at least

And other stuff I forgot, probably

[chaoticace2005]

I’ve seen a lot of people talking about how the exorcists look like demons, and while I do understand where the complaint is coming from I also wanted to talk about how them looking like that kind of supports the narrative.

I’m going to start this off by staying this is from a perspective looking at the narrative presented to us in the Hellaverse, not any specific religion because 1) I am an atheist who doesn’t have the knowledge or background for making any calls on that and 2) the canon hasn’t confirmed this adheres to a specific belief system. There’s Adam and Eve and Hell and Heaven and yes, but this show arguably works as a parody of all of that.

Now that that’s established, I want to bring up one of the main points in the show: the idea that those in Heaven and Hell aren’t that different. In Helluva we’re shown the experiences of hell-born, and we even see cherubs later on who seem to fulfill the parallel role of them in Heaven (with the IMP vs CHERUB fight.) We also know that Lucifer was an angel in this canon. So some of the characters with the most authority in those domains are from the same stock.

The main difference seems to be punishment. Lucifer was punished for his actions and was given those who were deemed “Sinners.” The Hell born seem to be just natives living there and many seem to be products of their environment. So while Sinners may be “bad” and Winners “good”, all those born in Heaven or Hell have no reason for being there.

Whether exorcists are brought to heaven or made there, there is still that view of superiority. The way Lute talks makes it clear she’d be willing to kill the hellborn if she could, despite them not having done anything to be there like the Sinners. It’s similar to how some people born into high economic status view those born into lower. It’s just luck of the draw but now you have access to different opportunities and that influences the way you view others. Those born in Heaven probably look at those born in Hell and argue that if hellborn aren’t bad, then why does Hell suck? Ignoring the fact that Hell is established for the purpose of containing Sinners, who often end up being more powerful that the majority of hellborn.

Even some of the Sinners likely fall into that issue where people who gave to endure harsher environments may have to resort to more extreme measures to get by, and then punishment for it just causes them to need to do even more because their conditions worsened. As seen with the rate of people who keep returning to prison. With Hell some may have fallen down this path (think of Angel, who was born into a crime family, it’s likely a lot easier to fall into drug addiction then when you have access and more things you’d like to forget, but drug addiction can be a slippery slope and the other stuff he needed to do to survive basically condemned him.) Obviously not all Sinners fall into this category and are just monstrous pieces of shit, but they likely isn’t the case for everyone.

Then, once you get to Hell it’s essentially a larger prison, except you aren’t separated and are given powers, causing some of the more malicious individuals to rise up and acquire power, making it even more of a nightmare for everyone else. This continues that cycle of having to do certain things to survive. Similar to have in jail that fear of getting hurt by some violent people make you align yourself with slightly less violent people. Except now in Hell there’s that added issue: there’s no escape.

(Also, Hell is a prison but you STILL have to pay rent and work to survive, so you really get the added stress of both worlds.)

Anyway, this whole cycle causes a similar effect to the growing class disparity we see in many countries. Those on top (Heaven) continue to have power while those lower have to deal with most of the burden. Reinforcing that belief in exorcists that Heaven is “good” and Hell is “bad” because they are unable to see the full picture. They just see it as “they blew their shot” without thinking of why that may be or considering the people who didn’t even have a choice being there— like how some people blame others in poverty for being that way because “they are lazy.” That’s not even remotely the full picture. But because certain things come easy for you it’s hard to understand why it can’t come easy for others.

Exorcists are then given the excuse and opportunity to kill others, people who they believe are lesser than them. And some take genuine joy out of it, yet they continue to see themselves as the “good guys” because that’s what they are and the others “deserve it.” And this shows how when some people are given the opportunity and reason to be assholes they’ll take it- millionaires don’t HAVE to exploit their employees, but they view it as being to their benefit and helping the bottom line.

So now, both exorcists and those in hell have reason and excuse to be violent, albeit for very different reasons. Yet because of this exorcists are still “good” and those in hell are “bad.” And this is largely because of the lack of consequences for their actions. Heaven reinforces their behavior, before episode 8 there was no push back from Hell, so they could continue to use their reasoning as an excuse to kill others.

They’re blind and don’t see it though. They only see the world from one perspective, which is ironic given the exorcist mask is missing an eye. They can put masks on and hurt others and then take them off without dealing with the consequences. They “go down” to the level of the very people they despise and then write it all off, because they have the comfort of taking their masks off at the end. Of having a choice.

It’s also interesting how their masks don’t resemble sinners but Hellborn. Which almost reminds me of mocking another’s culture while actively hurting them. They may not be able to physically hurt hellborn, but they’re still viewed through the same lens as Sinners. They’re still “bad.” So exorcists can don caricatures of their appearances, go around “pretending” to be them by committing violent acts, and when they’re done they can take it off. As I’m writing this I’m now thinking about how in the past black-face has been used to reinforce racist stereotypes, making racist caricatures.

This also camouflage in a way, maybe they were previously asked to “fit in” before things got all crazy, and when told to look for “demon disguises” they all fall back onto the stereotype and dressed up like that.

The usage of exorcists wearing demon-looking masks could be them both “playing bad” while also clearly showing the fact that at the core people aren’t so different. For as much as they hate those in hell, they’re just as likely to fall into the same traps and patterns as them.

Having written this all now, I wanted to bring up Vaggie. Vaggie who took her exorcist mask off to show sympathy for someone only to be punished and marked with an “X” that mirrors her mask. Vaggie who previously was part of the “elite”, where she could forgo consequences until she couldn’t for not following them and was cast out, being permanently marked. Vaggie, who was previously allowed given the gift to “play bad” due to being in Heaven, but when she was cast out “playing bad” wasn’t an option anymore. Taking off her mask can’t get rid of mistakes anymore, and now she has to display them for the world to see.

I don’t know if the “X” was intentional on her part or irony, but if she did choose it it could also be her recognizing her role in the system. Her realizing she can’t go back and using the “X” to remind her of what she’s done. Because she doesn’t have the luxury of pretending she’s a good person anymore— she doesn’t want to forget.

[crow-posting]

more

Awoken Headcanons

note: this is mostly based on my own audacity rather than actual lore. 🤫

-

Earthborn and Awoken Guardians are like the book versions of LotR elves, while Reefborn are like the movie versions. They're actually similar, but to outsiders, Earthborn are friendly and full of life while Reefborn are aloof and elegant like their queen. This perception, though frustrating to people like Petra, generally works in Mara's favor so she allows it to continue.

Awoken Speech sounds more like creole than a separate language. This is due to the multitude of languages spoken aboard the Yang Liwei, which then carried over into the dialects in the Distributary. Although some argue Speech is a mixed language rather than creole, consensus from both the Gensym Scribes and Last City's Cryptarchy has not yet been reached.

Portmanteau examples:

daatma (ดาว/"dāw" + आत्मा/"ātman"): Awoken [older gen]

tulatma (tulay + आत्मा/"ātman"): Awoken [younger gen]

luxïn (luz + 星/"xīng"): starlight

noyam (noyer + يوم/"yawm"): Darkness

Traditional Awoken names usually sound "soft," with palatalized consonants and several vowels. The most common ending letters are "A" (Mara, Petra, Amrita) and "N" (Uldren, Jolyon, Nasan), while the most uncommon letter is "K" (Tulnik).

Most Reefborn are highly superstitious, due to the environment they grew up in. However they don't consider themselves superstitious, as it is only "practical" to refer to The Dreaming using epithets instead of names, or to look for omens in dreams, or to treat water and reflections as near-sacred, and so on.

Promises and vows / oaths are generally a life-long ordeal for Awoken, especially for Reefborn and especially if they are made to Mara. This is partly influenced by the post-Distributary riots, partly influenced by contracts with Ahamkara, and partly influenced by Mara's own charisma, which has created an almost religious devotion* amongst her followers.

*(Embarrassingly, when Calus sought to imitate this sense of devotion to lure Awoken Guardians to the Menagerie, he was partially successful.)

Balance is an important part of Awoken culture. Past and future and life and death are strongly emphasized by Reefborn, while Earthborn have integrated Old Earth philosophies like yin-yang and wabi-sabi. While Awoken Guardians tend to be less ardent about balance and/or a desire for it, there are noticeably less Awoken within the Praxic Order than in other Vanguard-affiliated organizations.

The Awoken don't believe in a physical afterlife, only the Unreal. This makes the existence of Awoken Guardians egregious to other Awoken, as they do not "return" from death, but rather "take form" of people who no longer exist. Even so, Guardians (or "Noble Dead") are still treated with respect - out of love for the ones they look like, and fear of the entities they are.

(Awoken don't believe in reincarnation either, as The Awakening is considered an "extraordinary" circumstance.)

Contrary to popular belief, male Awoken aren't ostracized in Reefborn society, and they aren't considered second-class citizens either. Even so, due to the 70/30 split [which has persisted since the Distributary], it is rare to see male Reefborn in high-level positions or as Techeuns. The perceived lack of opportunity has led to an increase in Reefborn emigrants in recent years, especially after the Battle of Saturn.

Due to the loss of resources and difficulties of growing food in the Reef, Reefborn dishes are "bland" compared to Earthborn ones. The most common seasonings are salt, cold-hardy herbs like mint, and corasteri (a star-shaped culinary variant of asphodelia). However, Reefborn food is both warming and filling, which is suited to a life in deep space.

The Dreaming City is surprisingly bare in terms of flora and fauna. Aside from pink asphodelia, queensfoil, baryon bough and memorial trees - most of which are cultivated - there are very few plants to be found. Spectral butterflies and non-native jewel bugs can be found in gardens and lost sectors, and starcats have free rein of the buildings, but there is no urban wildlife like in the Last City and Earth's metropolitan ruins. The vibrance is an illusion; it is as empty as the Reef's biodomes.

Earthborn do not live as long as their Reefborn counterparts; higher oxygen levels, increased gravity, and larger amounts of pollution make life more difficult for people adapted to space. Ironically, this is the inverse issue the Awoken faced when leaving the Distributary.

Awoken anatomy is uncanny if you look closely enough. Most traits fall within expectations (eg resistance to radiation, increased reaction time) but adaptations like tapetum lucidum can still startle people who aren't used to seeing them. Experimental traits, which are common in later-generation Reefborn, make some seem entirely inhuman. And the ability to track Guardians by their Light will never not be creepy.

Experimental traits include but aren't limited to: pointed ears; nictitating membranes (i.e. "third eyelids"); and genital slits [for Awoken specifically created for deep space missions].

Due to a history of bio-engineering, cybernetic augments are seen as unnecessary and rarely utilized outside of eutechs, and later, Techeuns. Fully robotic components, such as exo frames, are practically unheard of and often met with pity or revulsion.

The 891 are forbidden from seeking information about their lives from The Time Before (aka pre-Collapse lives), as it is considered a "distraction" from Mara's plan. Descendant Awoken are also discouraged from pursuing such info unless it is considered pertinent to their mission.

Queenslaw has been partially lifted in the Reef, due to the influx of Guardians after the Battle of Saturn. Many things once considered illegal or taboo are now acceptable, and some things are even encouraged. Unfortunately, not everyone agrees with these "sudden" changes and it has done little to reduce tensions between factions, most notably the Gensym Scribes and the Last City's Cryptarchy.

-

Reefborn sobriquets often refer to relationships (Uldren "Queensbrother," Taranis "Rivensmate," Petra "Covensdaughter"). Earthborn nicknames are often more individualized but still invoke a sense of interconnectedness (eg "Swornsister" Takara, Avraam "Firstborn").

Although the Awoken are known for their music (for ceremonies, parties, mourning, etc.) Earth-derived music seems just as violent to them as the Guardians who enjoy it. Knowing this, RZ-3 intentionally made a playlist to "scare" Petra on missions, and has successfully startled several Corsairs by belting out the lyrics to "Teenagers" while doing patrols.

-

[official grimoire / lore books: The Maraid (D1); Marasenna, The Awoken of the Reef, The Dreaming City (D2, general); The Forsaken Prince, A Tangled Web, Ripples (D2, Uldren/Crow), Ecdysis (D2, the Emissary)]

[specific lore that Tickles My Brain: "Holdfast Bond," "The Supremacy", "Third Gift"; "Crow's Best Night"]

-

[see also: "Things I Think About: Awoken Edition"; "Awoken Phrases & Exclamations"; "Last City Lingo"; timeline in the Distributary; Awoken amethyst]

[re-colligere]

HMM…sadness and anxiety :3c

ohohoooo that's interesting! I do feel like Sadness and Anxiety could be friends in the aftermath of the 2nd movie, despite all the things Anxiety did to Sadness. Sadness is just...the most understanding out of every one of them, in my opinion. Sadness could give Anxie a place to vent, and that could help her process her thoughts better. Anxie probably learns a thing or two from Sadness and her empathy.

I sometimes wonder if Sadness saw a bit of Joy's old self in Anxiety, with how much Anxie tried to seize control for the good of Riley. I also think Anxie would try and make up for Sadness (like she would for the rest of the OG crew). They'd make some good tea together and have a little talk to wind down.

Mixing their emotions could be a little messy, because of Sadness's pessimism and Anxiety's tendency to catastrophize the future. There's a possibility that Riley could freeze up because it might look like she can't do anything and things look bleak...but when Sadness has the tendency to stop and wallow, I think Anxiety still has the motivation to power through and avoid the worst possibilities, maybe even because of how bad things seem to look. Because yeah despite her being an overthinking mess, I think Anxie's quite the determinator who doesn't really give up in her desire to protect Riley (well, for better or for worse,,, as we've seen in the climax of IO2). On the flip side, Sadness could help reel her in if Anxie's pushing Riley too hard, and maybe help her realize that maybe giving up in some situations could actually be the best course of action. It's a good mix of low energy/high energy emotion I think!!

[ladymacbeths]

macbeth related posts/articles/essays masterlist

hi! here's a list of almost every single anaysis Thing I've come across in like two months of being insane about the scottish play. Most are about lady macbeth/the gender theme btw.

‘He has no children’: The centring of grief in The Show Must Go Online’s Macbeth - Gemma Allred: on the misogyny that frequently surrounds conversations around Lady Macbeth

this post by @amillionmillionvoices: Same topic as the previous one, but goes more in depth, explains ladymac’s motivations as mostly coming from love not self-serving ambition.

this post by @dukeofbookingham: also explains the prior point very prettily— that ladymac is (mostly) motivated by love, but also makes the case that many of it is guilt born from not fulfilling societal expectations

On the character of Lady Macbeth - Dr. Emil Pfundheler: paper that explains the same point made in the previous post, using the text to explain. Written in 1873 so explains gender as a dichotomy, but once you take that out, its points are very good.

Characteristics of women: moral, political, and historical - Anna Jameson: aka Why Lady Macbeth is not inherently evil— same topic and the other two, but focuses a bit on the fact that she is A Woman. Not my favorite, but worth reading I suppose. Also includes analyses of many female Shakespeare characters. It does include some very bad history in the beginning— Gruoch did not orchestrate Duncan’s murder. That’s something Hector Boece made up.

Lady Macbeth: “Infirm of purpose” (from The Woman’s Part: Feminist Criticism of Shakespeare) - Joan Larsen Klein: on how she both fits and doesn’t fit the idea of a reinassance wife— doesn’t fit because she isn’t aligned to god (this read more like a Christian analysis than a feminist one if I’m being honest), but fits them because she behaves like one, only subverts them because she’s like, the evil murder girl version of the Wife. The essay right after this one is also very good.

The Hysteria of Lady Macbeth: required reading if you wanna play her Btw not kidding. Analyzes her character thru the lens of freudian psychology. Screws up the text of the play a bit but provides an actual in-depth explanation of how sonnambulism works. Note that "hysteria" is not a current psychological diagnosis, but a symptom of other conditions. Still extremely interesting.

The Macbeths - G. K. Chesterton: analysis of their relationship, makes some interesting point on the differences of the nature of their ambition and desire to kill the king

Shakespeare’s tragic frontier; the world of his final tragedies - Willard Farnham: this one is long but oh boy does it go deep. Talks about the lore of the witches, explains historical context to find out how the real events were so screwed up, makes an interesting point about Macbeth’s conscience against Lady Macbeth’s, and lastly talks about the tragic world of Macbeth compared to other tragedies.

Women’s fantasy of manhood: a Shakespearean theme - D. W. Harding: exactly what it says on the tin, using ladymac and her skewed (and I’d call romanticized) idea of what a man is that she pushes on Macbeth. So yeah, talks about the gender theme. Also talks about Goneril from Lear, Cleopatra, and Volumnia from Coriolanus and how they fit the theme— although ladymac is the only one who goes downhill from it.

Unnatural women in William Shakespeare’s Macbeth - Elizabeth Klett: I’ll be honest I didn’t love this one a lot. Basically talks about how every woman in Macbeth defies gender roles. Doesn’t go too deep however. But the book has a ton of essays analyzing female characters in classic lit.

[winchestersickness]

Season 2 + csa interpretation

2x05 // 2x10 // 2x21