#first one was them being stupid second one was the worst portrayal of mental health and trans-adjacent stuff i have ever seen

[minothtime]

insane to me how danganronpa has some of the most interesting and uplifting speeches of all time, along with genuinely fun characters, and then it has the most dogshit fucking writing you could ever read for hours on end and characters so badly written that you sigh in relief when they're dead and gone

[cosplayswitzerlandaskblog]

Unlike last time Hetalia got a new season, the response has not been particularly positive, and I’m seeing a lot of twisted feelings towards the show and the fandom to a point where it seems long time content creators are stepping away from it. I know anyone still active who follows me either are or were fans of Hetalia, so it should be relevant for all y’all.

As a fan who never fell out of the show, I find the response sad though healthy, and even if I know I ghosted you all on tumblr (sorry) because of time constraints and mental health, I still make the occasional CMVs. Fact is, I do not let go of special interests very easily. It seems a lot of you all started watching the show at 10-14 years old, where I myself was a bit older – 17 – and had grown a bit more. Long story short, my Naruto phase was your Hetalia phase, and no, it’s not pretty. You’re young and stupid and don’t know much critical thinking and make mistakes, and you have to forgive yourself for those mistakes, especially when the content you consume is associated with the real world in a sensitive subject.

But after seeing all these posts explaining all the bad we see from Hetalia, I wanted to make a post explaining what I learned from it – all the good that can come with a show like this if you stay aware of perspective. I am not excusing all the bad that came with it, for WWII is a serious event in history that should never be forgotten nor made fun of, but here goes:

I went from a ‘war-is-cool’ history buff to one who truly delved in and learned the intricacies of history, being fascinated with the ‘hows’ and the ‘whys’ as well as getting an excuse to look at the histories of nations which I’d never otherwise be interested in, and I know a lot of other people in the fandom did the same. This is how history should be known, as that is how we can truly apply it to the real world.

I learned to separate people from their countries. To give an example that’ll hit close to much of tumblr, when I started Hetalia I hated Americans with a passion because of the road “you” had put the world on, and I considered all y’all dumb and bad as a cause of it. Getting that excuse to take an ACTUAL look at how your nation functioned and what communities truly hid behind the borders, I learned instead that your government is corrupt as shit, your society is rigged against you and you have been forced to stand by and watch as chaos happens. It got applied to the world as a whole, where I considered other nations being as dynamic as my own, with people both good and bad, and the actions of the nation is even less of a reflection of the people in the cases of corrupt democracies or dictatorships.

I separated from Colonial world views. I was never actively racist, brought up in a proper home, and already before Hetalia I fiercely protected the rights of Muslims who are often mistreated in my nation and tried to hear them out when possible. But I was a Westerner, and even if the nation I came from had barely participated in invasions, I had learned to consider my culture ‘correct’ and native and African cultures ‘primitive’. While the journey was long, a step wise process of realizing things like there was nothing inherently ethically wrong eating dogs or partially incubated duck eggs, only in how the animals were acquired, that cultural progress is heavily dependent on perspective and that fucking genocide of native peoples still happen in this damn century, Hetalia was the stepping stone which gave me the interest in other nations to expand my world view. I probably ain’t done here – I have a whole life of outside influences to unlearn – but I’m further than most people I know in my near surroundings, and I’ve even managed to move my parents who originally taught me to respect people of all kinds in the first place.

I learned Nazis were people. This is a conversation which often comes up here on tumblr, and the demonization Nazi Germany and its government directly allows actual Nazis and fascists like Richard Spencer a free pass because they look groomed and proper. Until then, I’d simply assumed no one was ‘stupid enough to be a Nazi’ because of the atrocities of WWII and therefore looked at the world naively. Realizing how little true support Nazis had during WWII and similarly anyone could end down that pungent rabbit hole, I became careful of what I excused on social media and allowed myself to doubt seemingly normal people if their behaviour was alarming – such as the police man who is supposed to be a damn ‘hero’ of society.

I learned how to deal with material sensitive to others. A common problem in the fandom has always been the cosplaying and portrayal of Nazis, especially at cons and the like, and in a similar vein – I did blackface once because of Hetalia. The horrible thing about this is that blackface is immensely common in Europe – at least my own country – and blackface frequently happens at schools during ‘international’ events, where whole classrooms are assigned to portray a designated country. A whole of two times – in 6th grade as well as 2nd grade of high school – I was exposed to blackface as my class was given an African nation to portray – Somalia the first time, Kenya the second. No one, adult, teen or child, are aware of the history of race imitation in my country, but by the second time I was supposed to participate in dressing up as an African tribe, I’d understood the issue – thanks to Hetalia. My friend group of white, privileged, European teens discussed what symbolism was appropriate at cons or in videos – could we wear the Iron Cross? The Nazi flag? What if we burned it during the video? These thoughts are not usually a part of the mind of European youth, and I consider that a grave problem which leads to people making fun of ‘triggers’, downplaying racial issues and the like.

It offered me a means to make history personal. The biggest struggle for good history teachers and the reason we are often made to read and write letters from the periods we study is to make it seem real and get a emotional connection to these past, lost peoples. Hetalia offered puppets for me to place into historical contexts to make them truly real – the main driver pushing me away from mere fascination of war, since I suddenly felt the horrors of warfare through the characters that I loved. Things like Elizabeth I’s court, the conquests of Rome, the dissolution of the Kalmar Union, the battlefield of Somme, the invasion of America, damn slavery becomes different when something you already know is a part of it and you can see them in there. Hearing of people of the past should in itself be enough, and for the closest parts of history (WWII and afterwards) it always was for me, but we are human. We cannot understand the size of a billion, and we struggle understanding the lives of those living centuries before us, unless we are offered context.

I’m not blind to the issues of the fandom or the show. I was here for ‘the r*pist, the pervert and the p*dophile’, I know of South Korean and Chinese issues with the show, and I heard the gassing joke in the show’s dub and got nauseous from discomfort and anger. I’ve always been in the fringe of the fandom due to my social disabilities, so I don’t know everything that happened, but I’ve seen many racist OCs and disrespecting of historical sites. It’s not pretty, but I will believe these people, who were likely young, likely learned in time. And I may have been able to learn these things by other means, but not in the same way, and not through personal interest and research that’s helped me become sceptical and analysing of the world around me.

At its core, Hetalia is about watching a normal, nerdy guy learn how to draw, using stereotypic country personifications mainly from the perspective of Japan. It’s natural he chooses Japan, since he’s Japanese, and WWII is unfortunately the automatic historical event for most common people to focus on – but Hetalia doesn’t even solely focus on that, but is an amalgamation of vaguely correct historical situations played out by the characters, and often it is with the intent of comedy rather than the grimness often associated with historical settings which allows a wider audience than merely history nerds.

What I want you all to do is learn from your mistakes and forgive your younger selves for not knowing better. Maybe reflect on what you got from the show, rather than what you lost. A new generation of young Hetalians is likely coming with the new season, and us old timers might be able to help them avoid pitfalls if we stay around to teach them. The best of the show is compassion towards the people of the world combined and love of history, as I believe Hima wanted it – the worst is Nazi apologetics and racial stereotyping. We decide in what direction we take it, and what lessons we bring into the future.

TL;DR: As a lot of media intended for older audiences, Hetalia is a show which has to be watched critically, which makes it dangerous for young people to watch unhinged, but it also opens up for interest in the world beyond the borders you live within. We should be aware of the issues and learn from them, but in and of itself the show has a lot of good to offer in learning compassion for other nations and cultural groups.

[iamanartichoke]

Why do you feel that way about fandom? (In regards to your latest reblog)

Ah, I’m not sure if I know how to explain it, but I’ll try. (This got long, so I’m really sorry.)

The thing is, I first got into the Loki fandom early in 2018, so I’m coming up on about two years of being active here. That first year was so fun and exciting; I was elated to be able to discuss my Loki theories and meta with like-minded people, and I was so happy (and surprised!) at the attention my fic was getting.

I was also still at a point where I believed IW was going to blow our minds, so there was that extra kind of thrill of suspense (and a bit of fear but, when you believe in the MCU and haven’t yet lost faith in its writers/directors, the fear is surface-level and adds to the thrill - there’s not really the accompanying dread and despair). 

IW was a crushing blow to that, of course, but even though we were all devastated, we were all devastated as a fandom. We were still in it together; we had one another to vent to and cry with and share fic with. “Loki is alive bc reasons” became kind of an unwritten rule in most post-IW fics; we all agreed that Loki deserved better. 

In 2019, two things happened: one, I was underemployed and dragging my feet on finding better employment due to my mental health, which ruined my life for a little while. I had to move back in with my parents, which (I love them and am grateful they were willing to support me, but) was a toxic environment. I was too depressed to indulge in my escapism the same way (fic and fandom) and my progress on my stories slowed way down. I’ve never quite been able to get back the momentum I had when writing Sanctuary, but that’s another issue. 

The second thing that happened was, obviously, Endgame came out and whatever theories and hopes the fandom was collectively holding onto about Loki were crushed. Not only that, but the portrayal of Thor seemed to amplify the divide in the fandom between the pro/anti Ragnarok argument. 

It seems, to me, that what was a series of battles or skirmishes only became an all-out war after Endgame. That’s only my perception, of course, but I do feel that the latter part of 2019 saw the divide grow larger and larger. Everyone had opinions on what the “correct” portrayal of Thor was, and how it related to Loki, and whether fanon Thor and Loki’s relationship was founded in canon or not. Everyone was defensive of their own point of view; bullying and name-calling and anon hate became more widespread. 

Again, this is just my observation. Those who’ve been on the front lines since Ragnarok came out probably have a much different perspective; I’m only talking about what I observed bc it directly impacts how I feel about fandom these days. 

So here we are in 2020; like I said, I’ve been here about two years. I haven’t rewatched any of the Thor movies in ages (although @delyth88 and I are talking about it), because they make me so sad and also so angry. Sad for what we had, angry for what could have been. So much wasted potential. Loki’s horrific end hangs over everything, as does Thor’s radical character change, and I don’t have the same excited outlook about the characters and the meta potential anymore. 

Not having watched the movies in a long time, along with that feeling of “ugh” around them, impacts me creatively bc I’m not actively feeding my writing inspiration. For me, fanfic writing comes from being so full of feels about the source material that I just can’t get enough and I need more. I draw my inspiration from things like watching Loki’s facial expressions, catching subtle moments between Thor and Loki, analyzing the way they speak, thinking about the story choices happening, and so on, and so on. 

My source of inspiration has dried up, in other words, which has made it hard for me to keep a good writing momentum going. I was feeling great when I rewrote Sea, and then my inspiration kind of plummeted again - this time, bc I felt that I did such a good job rewriting and the response was so positive, I didn’t know if I could finish the rest of the story as well. Like I was already setting up the second half to fail, bc it would be much more “rough draft” than the first - revised and polished, yes, but not gone over with a fine-toothed comb the way the first part was. 

The truth is, I carry a lot of stress and anxiety around my writing. I am always incredibly anxious that no one actually likes my fic, that no one is reading my fic, that people think it’s stupid or pointless, that my quirky humorous touches are ooc, that my plotlines are convoluted and boring and my sex scenes awkward and non-existent. 

I’m having trouble with the Valki relationship bc I haven’t watched Ragnarok in so long, I’ve forgotten how much chemistry was between them and how it made me feel. I’ve forgotten why I chose to pair them up in this ‘verse in the first place. And I worry about that, too - that the people who read my stories for the Valki are walking away unsatisfied. 

So that’s where I am with fic writing - slow and steady, still trying to find my footing, still secretly assuming what I write is shit.

This is on top of feeling more and more isolated on tumblr, mostly because of the aforementioned tensions and overall negativity that’s erupted in the fandom. I have been unfollowed and blocked by people who were once mutuals; I have been blocked by people I’ve never spoken to before. 

There’s so much stress surrounding the things I post now - I’m constantly thinking, have I worded this correctly to convey my meaning without shitting on someone else’s opinion? Is this post going to be the one that makes this or that mutual unfollow me? Am I tagging correctly so my pro Ragnarok mutuals don’t see my criticism, and vice versa? Can I still post pictures of Chris Hemsworth, who is possibly the only man in the world I am definitely attracted to, which is a shame bc I agree that he’s kind of a douche now? But he’s so beautiful, but I have to disclaim that it’s just his face I’m attracted to? If I reblog this post about Loki that I think is hilarious, but is also founded on the flat stabby villain characterization, will I alienate my anti friends? Does it imply I don’t understand or appreciate Loki and that, by reblogging the thing, I’m endorsing a shitty characterization? 

And so on. It makes scrolling my dashboard uncomfortable and un-fun, bc I end up saving tons of posts to my drafts without reblogging them, and after awhile I am not enjoying myself, so I stop scrolling. 

But this means I miss tons of mutuals’ posts, and I was trying to check individual blogs for awhile but I kept falling further behind, and there were more and more posts I’d missed, and I’d get overwhelmed and then feel like they probably hated me anyway at this point for being a shit mutual, so I might as well just keep lurking on the dash for ten minutes and call it a day. 

On top of that, I haven’t read fic in awhile bc of this mindset, so I haven’t commented, and then when I don’t get comments it’s like, well, maybe the story’s not shitty but no one’s reading it bc what do I expect when I’m not reading theirs? You’re not special, Charlotte. 

The worst part about all of this is that none of it should diminish (and hasn’t diminished!) my love of Loki as a character. I am excited about the series, but I am also very anxious about it - about the story not being good, yes, but also about the inevitably divide that will further split the fandom. 

No matter how the story goes, someone’s going to be upset. You can’t please everyone, and trying only makes for worse storytelling. So the wank will continue. 

But I love Loki. I love everything about him. I am interested in writing about him and reading about him and thinking about him. I am invested in him and always will be. It’s just that, right now, I’m kind of falling further and further out of fandom and I find I have less to say. 

And so I either have to wait it out, or work on my own mindset, or keep on keeping on. I just don’t know how long that will take or if I’m even liked enough here to try to bother. 

tl;dr: Fandom has made me cynical and jaded, and it has dampened not my love of Loki, but my love of interacting with the Loki fandom.

(I know you didn’t ask for this hot garbage pile of my feelings, anon, so I’m sorry.) 

[bowlegsandbiceps]

Top 10 Favourite Characters

I was tagged by @not-a-natural-born-idjit and then flailed because they’re one of my absolute fave writers! (Seriously go to AO3 and read everything right now) 

Rules: list your favorite character from 10 different fandoms and tag 10 people

1. Castiel | Supernatural I know I flail a lot about Dean and I love Dean’s face but Castiel is my #1. He’s fierce and brave and impatient and selfless. I don’t know how a being that’s been around for millenia can be innocent but he is. I like how messy he is, and he can be such an effective antagonist without being the big bad. Any friction he has with The Winchesters is from disagreeing on the right course of action and as viewers we can decide who to side with because both are inherently good. It’s their decisions that cause problems and that is a much more compelling narrative than “this thing is just evil.” I ship him with Dean (duh) but also Sam occasionally and I’d honestly love to see some Cas/Rowena action.

2. Hannibal Lecter | NBC Hannibal/Hannibal-verse Long before NBC decided to grace us with the absolute masterpiece that is Hannibal, I have loved this character. I think I was 14 or 15 when I fell down the Thomas Harris rabbit hole and I’ve yet to find a more perfectly crafted psychopath. He’s so refined that you really can believe that no one would suspect him of being the Chesapeake Ripper. His crimes are heinous and many without feeling sensationalized. Harris was originally a crime reporter which I think gave him the ability to ground Hannibal in reality. I really liked how the TV show fleshed out the main points that in the books Clarice Starling and Will Graham continually have to remind people of which is that he does these things to amuse himself. It was really amazing to watch him set up the dominos and then stand back to let everyone else knock them all down. I ship him with Clarice or Alaina mainly but I LOVE me some murder!husbands. It’s the slowest of burns and I will bask in those flames forever.

3. Malcolm Bright | Prodigal Son First of all Tom Payne okay. Second of all, poor, sweet damaged Malcolm. I really like that he has that rich kid air about him but it’s super subtle. He’s obviously very damaged by his father (Martin Whitley is a good example of one of those over the top “legendary” killer characters, though Michael Sheen’s performance REALLY goes a long way to making that believable) and the show doesn’t make his mental illness the forefront of his character. Malcolm works and visits his family and occasionally dates very similarly to any other main character but he’s doing all these things with severe PTSD, anxiety and depression. He’s always portrayed as upbeat and determined to push through any handicaps his mental health issues might cause. There are also times when he can’t and those are shown not by concerned family and friends banding together to throw him in a treatment center but it’s usually him, white-knuckling through it or attempting to work it out on his own which is another extremely realistic portrayal of how people deal with trauma and depression. I ship him with OFC because he and Dani have ZERO chemistry (I’m sorry Brightwell people). I like the IDEA of him and Edrissa but no one is writing it and I can’t even really get MY head around how to write it so I feel this serious urge to PUT HIM WITH SOMEBODY but there’s not been anyone on the show I’ve seen him have real chemistry with yet. 

4. Tyrion Lannister | Game of Thrones I love Tyrion so much. I love him so much I named my cat after him. I loved him so much that I lived in CONSTANT. FEAR. that GRRM was going to kill him off at any moment. I like that despite everyone always thinking the worst of him he still does his best and not even with any intention of proving anyone wrong. He plays into their expectations with the booze and women but deep down he’s got a drive to be fair and especially kind to anyone who’s on the receiving end of pain and humiliation that are undeserved. He’s also fierce and clever enough to deliver crushing judgement and justice when deserved whether its through setting the wheels in motion or wielding the crossbow himself. I ship him with Sansa, shut up I know I just love the idea of them growing to love each other despite the rocky start.

5. Hermione Granger | Harry Potter HP was my first real brush with fandom. Like I’d been a Justin Timberlake fangirl since I was 12 and despite his level of fame the fandom was very small. When I started the series at 17 the breadth of content available was staggering. You could literally find ANY combination of ships you could fathom and it all ran the gamut from fluffy to downright depraved. I also find it interesting that while I like Hermione as a character in the books/movies she is far from my favorite character but she’s literally the only character I stan in the fanfic world of HP. I mainly shipped Hermione with Draco or Snape (forgive me I know it was a simpler time where we ignored everything problematic with certain kinks and narratives) and sometimes Harry. She’s such a strong female character that no matter who you pair her with the dynamic is going to be different and complex. 

6. Peeta Mellark | The Hunger Games While I relate to Katniss on a very personal level, the boy with the bread absolutely fuels my little fangirl heart. The pining from a young age. The complete disregard for his own safety or survival in the games. Selfless and just good to the core, his subsequent torture by the Capitol and Katniss’ carelessness with his feelings is like taking blow after blow. And when they strip his loyalty to Katniss and his district away it’s even more tragic because he was just this sweet kid who had a crush. UGH feels. I ship him with Katniss. I just really can’t see him with anyone else.

7. Alexander Hamilton | Hamilton THIS was one where i just identify SO. HARD. with Hamilton. While I definitely didn’t endure a childhood like his, I did end up transitioning from a blue collar upbringing to a white collar career and experience the same chip on my shoulder and drive to prove myself. And I too write like I am running out of time. I ship him with his wife or maybe Angelica a little.

8. Persephone | Greek Mythology Not sure if there’s a “fandom” for this persay but Tumblr went through a phase in the early 10s where there was a ton of meta about Persephone and how her narrative as a damsel stolen by Hades didn’t do her justice. The flipped the script and made her Queen of Hell, powerful enough to sway the God of Death and terrifying enough to keep him in line unlike all the other Gods that were sticking their dick in anyone and anything. It’s such an empowering narrative, a girl taken from everything she’s ever known seizes the opportunity to become a force to be reckoned with. I love it.

9. Gregory House | House M.D. I was going to say Sherlock here but I never really went hard for Sherlock either the movies or the BBC show. I loved the show but really more for the canon and meta which is only half the fandom life. With House, I just love that he is so unapologetically hateful to anyone he deems stupid. But he’s also earnest and good too with a heavy dollop of man pain... you know... my favorite *cough*Dean Winchester*cough* I ship him pretty exclusively with Cameron beacuse I really like the dynamic. Her hero worship/white knight complex his emotional constipation but fondness of her optimism and ideals. Great dynamic.

10. Edward Cullen | Twilight This is my favorite Trash Monkey character in my favorite trash monkey series. The books are horribly written, the movies are better but not by much. But goddammit something about his level of obsessive fuckery speaks to my girl lizard brain and I am just rooting for this sparkly idiot and his clumsy human jar of mayonnaise. I ship him and Bella because apparently the universe didn’t find the fact that he’s my favorite character in this series humiliating enough.

Tagging (please don’t feel obligated to participate if you don’t want to): @navajolovesdestiel @chevrolangels @cas-you-assbutt-dean-needs-you @castielific @rauko-is-a-free-elf @astral-almighty @only4myfandoms @ charlie-bradburi @notfunnydean @blowthatpieceofjunk

[marredbyoverlength]

Year-End Awards 2019

2019 was very good for movies.  Or, rather, November and December of 2019 were very good for movies.  I could speculate about why that is (Awards season? Disney? Moloch?), but I don’t really know.  What I do know is that the Oscars are tomorrow, so I better get this post up today.

Honorable mentions in no particular order.  Strap in, chumps.

Best Lead Performance: Adam Sandler, Uncut Gems

Sometimes it feels like Adam Sandler is cheating, lowering our expectations with awful performances in even-more-awful films so that his dramatic turns look better by comparison.  But whether or not we grade him on a curve, this performance is the best of the year.  

Sandler’s character, Howard Ratner, is ridiculous.  In fact, much of the movie is ridiculous.  But Sandler makes this absurd person human, and in doing so, makes the whole movie work.  He commits hard to the role, and even though every scene is a little more unbelievable than the last, I never for a moment stopped believing in Howard.  Superb work.

Honorable Mentions: Willem Dafoe, The Lighthouse; Saoirse Ronan, Little Women; Scarlett Johansson, Marriage Story; Adam Driver, Marriage Story; Ana de Armas, Knives Out; Kang-ho Song, Parasite; Jonathan Pryce, The Two Popes.

Best Supporting Performance: The rest of the cast of Uncut Gems

The more I think about it, the more I’m convinced that Uncut Gems is a movie that survives entirely on its acting.  The Safdie brothers themselves have said that the movie wouldn’t work without Kevin Garnett nailing the scene where he first holds the black opal.  I’d extend that credit to all the other supporting roles: Idina Menzel as Howard’s wife who no longer even bats an eye at the insanity he brings on himself, Marshall Greenberg (a non-actor) as the fellow jeweler who expresses genuine concern for Howard but still gives him unfavorable terms on a pawn deal, deranged Garment District legend Wayne Diamond as a character just named “High Roller”—every one of these people is essential to the success of the film.  When it comes down to it, Uncut Gems doesn’t make any sense.  It takes a suite of perfect performances to make it feel as real as it does.

Honorable Mentions: Timothée Chalamet, Little Women; Laura Dern, Little Women; Florence Pugh, Little Women; Takayuki Hamatsu, One Cut of the Dead; Daniel Craig, Knives Out; Al Pacino, The Irishman.

The Costner Award for Worst Actor: Rebel Wilson, Cats

When we meet Rebel Wilson (as her fursona “Jennyanydots,” a name I will never utter again), she is showing her butthole to the camera.  The character never gets more likable than that, because they let Rebel Wilson ad-lib numerous “comedic” lines to punch up the script. They’re awful.

Honorable Mention: James Corden, Cats.

 Nicest Surprise: Cold Pursuit

I watch the Liam Neeson stupid action flick with my brother Rob every year. Sometimes we get something legitimately great, like A Walk Among the Tombstones.  Other times we get a movie like The Commuter, which is dumb as rocks.  But this is the first time we got a comedy.  I went in expecting a second-rate Neeson-kills-people thriller, and instead got a solid black comedy.  Apparently it’s nearly a shot-for-shot remake of the Norwegian film In Order of Disappearance, so maybe I should have known better.  But I didn’t, so I was pleasantly surprised.

Hiddenest Gem: One Cut of the Dead

One Cut of the Dead is the best movie of the year that my friends haven’t seen, and it’s a tough movie to talk about because of how fun it is to watch knowing nothing about it.  So I’ll keep it short.  One Cut is a Japanese schlock horror movie with a fun twist that manages to be creepy at first, then funny, then heartwarming.  Two things elevate this above the usual fun-twist movie.  The first is that the surprise unfolds in little pieces over the entire second half of the movie, rather than hitting all at once. The second is that there’s real substance there: under the goofy exterior there’s a charming family story that’s worth coming back for.

 Most Insulting Moment: We Hate Sensory Deprivation, Angel Has Fallen

I haven’t seen the other films in the Blank Has Fallen franchise, nor did I need to do so to understand its third installment.  It’s exactly the kind of institution-worshipping great-men-of-history support-our-troops action bullshit you’d expect.  But after the credits, there’s a totally inexplicable scene where Gerard Butler and his dad Nick Nolte agree to get treatment for their (implied) PTSD.  Instead of leaving it as just a nice moment of healing, it cuts to a comedy scene where they go to a two-person sensory-deprivation tank and float around in the dark complaining about it.  The general gist of the scene is “sensory deprivation is dumb and gay.”  I’m not a sense-dep guy, but it’s used here as a stand-in for all the forms of “modernity” that reactionary filmmakers hate: you know, like mental health treatment, or trying new things, or expressing any sincere vulnerability even for a moment.  Why not just show them affectionately kissing guns and save some production cost?

Honorable Mentions:  The trailer for A Dog’s Way Home; The narration in Ad Astra.

 Winter’s Tale Memorial “What the Hell Am I Watching” Award: Cats

At long last, a film that unites the unholy trinity of ambition, incompetence, and derangement to form a true “What the Hell Am I Watching” award-winner.  The premise of Cats, in short, is that the cats of London meet every year to perform a ritual sacrifice of one of their number, believing that the chosen cat will, after their death, be reincarnated…as another London cat.  And they determine the sacrifice by holding a talent show.  And one of the cats is a warlock.  So we’re off to a good start.

I was fortunate enough to see the original version.  You see, the film is almost entirely CGI, so much so that viewing it feels like living inside a haunted kaleidoscope.  Even the actors, through “digital fur technology,” are turned into cats which are anthropomorphized to greater or lesser degrees. The warlock cat, for example, has cat abs.  But shortly after theatrical release, director Tom Hooper realized that the film contained major visual effects oversights, including failing to CGI several of the actors’ hands, meaning that Judi Dench and Ian McKellen appeared to have human arms on cat bodies.  These are only some of the crimes of the film Cats.  A full reading of the litany would take all day.

Honorable Mentions: A Dog’s Journey; Gemini Man.

Prettiest Movie: 1917

I’d be remiss not to talk about the cinematic achievement of 1917.  The all-in-one-take thing, or the appearance thereof, is kind of a used gimmick at this point.  (Birdman, after all, used it and won Best Picture.)  I went into 1917 expecting a cheap knockoff. Instead I was blown away.  Every detail was perfect, down to the mud stains on the extras’ overcoats, the stacking of sandbags in the real dug-out trenches, the bloating of the bodies clogging the waterways.  One especially memorable scene follows our hero (George MacKay) sprinting through a ruined city by night, intermittently lit by mortar fire, dodging gunfire all the way.  Maybe “pretty” isn’t the right word, but no film this year used the visual medium as well as 1917.

Honorable Mentions: Parasite, Once Upon A Time…in Hollywood.

Best Picture: Under the Silver Lake

Yes, I know it’s weird to give Best Picture to a movie that didn’t even get an honorable mention anywhere else.  But this is my blog, dammit, I stand by it.  Under the Silver Lake is a movie about capitalist-media-technology-complex-inspired brain poisoning.  It stayed on my mind for weeks after seeing it, and I eventually gave it a second watch. It held up.  

Criticisms of the film abound, like how male-gazey a lot of the portrayals of women are, but I think the parts that some reviewers identify as flaws are intentional and important features of the movie.  We see the film through the eyes of our main character (Andrew Garfield), who is a scumbag, but the film is very clearly not endorsing being a scumbag. It’s about the interplay of personal neuroses and moral failings with the broader perverse clown-reality we all occupy, and the inescapable tinge our perspectives bring to the world we see. The film is, after all, a sort of noir film, and our hero’s attitudes are reflective in some ways of the noir mindset: find the clues, unravel the plot, get the girl.  The incongruity between the stories and attitudes of our past and the demented reality of our future define the film.

I could go on about this for much longer, which is why I’m choosing Silver Lake as the best film of the year.  It’s not notable for its acting or cinematography (though both are solid), but in terms of content, nothing else this year encapsulated my internal and external world quite so well as this.

Honorable mentions: Parasite; 1917; Little Women; The Irishman; One Cut of the Dead; Marriage Story; Uncut Gems.

 That’s it, that’s the post.  I think I’m moving to Letterboxd next year.

[howyoutalktostrangers]

So,

Charlie Demers started off telling jokes. 

The Quebecois stand-up comedian, who is known for his fierce political activism, could easily make his living performing all over North America, appearing on radio broadcasts and providing voices for animated series. But over the course of the last decade he’s also made a name for himself as a writer, producing both creative non-fiction and fiction. His latest offering is something of a departure, as he kicks off a Vancouver-based mystery series.

Literary Goon reached out to Charlie to chat about what it’s like to conjure Vancouver on the page, how his love of The Sopranos informed the work, and the peculiarities of obsessive compulsive disorder (OCD).

LG: Your new book Primary Obsessions centers around issues of mental health, which is something I know you’ve been passionate about over the years. Having suffered through a few mental health crises of my own, I’ve been able to see firsthand some of the ways the system fails to adequately treat people or reach them where they’re at. In the write-up for your book it says you’re a long-term cognitive behavioural therapy patient, so I wonder how your real-life experiences informed the narrative. Is there a political element to your prose? Are you trying to make a point?

CD: Dr. Annick Boudreau, the hero of the new series — I’ve very happy to have signed with Douglas & McIntyre for at least two books starring the character — is a fictionalized version of the cognitive behavioural therapist whom I’ve been seeing for more than fifteen years, sometimes regularly, sometimes for the psychological equivalent of touch-up work. 

I mean, she’s very heavily fictionalized; symbolically I separated them from each other, in my own mind, by giving Annick a crewcut on the very first page, whereas in real life my doctor has never cut her hair. That was my signal to myself that, whatever I borrowed from my doctor for my detective, just like Chesterton used his real priest for Father Brown, Annick was a fictional character for whom I had to be free to imagine into backstories and misadventures and mistakes that my own therapist would never have anything to do with. But it is, to a certain extent, a tribute to her and a thank you — I remember listening to a poet talk once about what a unique relationship a long-term patient-therapist relationship is, and it’s so true; it’s this in some ways tremendously intimate and absolutely trusting relationship with someone you know for years, who you feel like you sort of owe your happiness and maybe even your life to, but you don’t know when their birthday is or their partner’s name or whatever. 

When I first started seeing my doctor, it was as an outgrowth of treatment that began as part of free clinical trials at a university, and that treatment, which saved my life (either kept me from taking it, or made it something other than just sheer torture) was free, and it was at a time when I didn’t have a cent to my name, I mean absolutely nothing, and knowing how many versions of me are out there right now, at this crucial point in their psychological development in their early 20s, and they can’t access the kind of treatment that saved my life, it just murders me. Psychiatry is fine for certain things and for certain people, absolutely — and I have had good experiences, and bad ones, with meds. But for OCD, it’s cognitive-behavioural therapy. I mean, in my experience, for sure. 

And that should be part of universal health care. I don’t know how saliently that point comes through, though, in the novel, at least this first instalment. If there’s a politics at play here, I think it’s probably less to do with bread and butter stuff like that, and more to do with the flattening effect of the Internet. In this story, Annick Boudreau is drawn into an investigation to save her patient because she knows things that other people don’t know, even though they think they do.

LG: I’ve never met anyone who is as passionate about The Sopranos as you are. I read your moving tribute to James Gandolfini when he died, and couldn’t agree more that David Chase’s depiction of the realities of talk therapy was ground-breaking in a covert way. People thought they were watching a show about gangsters, but they were really watching a show about mental health. With this book steeped in a crime milieu in the same way, would you say that your goals align with his?

CD: If David Chase is Stevie Wonder, I’m a ringtone of dogs barking “Jingle Bells”. Even thinking of comparing my book to The Sopranos feels like comparing Brueghel’s “Landscape With the Fall of Icarus” to a calendar from the mechanic’s because they both hang on walls. I’m perfectly happy to have written what I think is a fun, smart, and from a certain angle even possibly a little enlightening detective story in the fish-out-of-water tradition. There’s a whiff of gangster underworld in this book, and there’ll be a lot more of it in the second one. 

LG: One of your main characters has been diagnosed with Obsessive Compulsive Disorder, which is often mis-portrayed in popular media. (I’m thinking about the Academy Award-winning Jack Nicholson flick As Good As It Gets.) As it happens, your hero Dr. Annick Boudreau sets out to help him but quickly realizes that doctor-patient confidentiality creates a roadblock where she can’t speak to the authorities. Most people think of doctor-patient confidentiality as a positive thing, but it sounds like you’re exploring it’s unexpected down-sides. Did you have an experience that clued you into this conundrum?

CD: There were bits of As Good As It Gets that showed some of the real agony of certain strains of OCD, but it definitely slotted into the broader cultural misunderstanding of OCD as meaning “super finicky” or “very particular.” The initialism itself, OCD, has been almost completely stripped of its descriptive power, since in common speech it’s almost always used to mean someone keeps a clean house or likes things a certain way — though usually if you say ‘obsessive-compulsive disorder,’ people know you mean an actual, clinical diagnosis. 

The patient in the novel has the kind of OCD that I have (though I should say, thanks to the real life “Dr. Boudreau,” have mostly put behind me), which is called primary obsessions OCD, and involves repeated, unwanted, intrusive and disturbing thoughts. Heavy on the ‘O,’ a bit lighter on the ‘C,’ although the thoughts can cause so much emotional pain, anxiety, and even trauma that very complex, time-consuming, and exhausting compulsions and rituals develop to “deal with” or neutralize them. It’s not so much that there’s a down-side to doctor-patient confidentiality, which is a sacred and absolutely essential norm — but there are particular legal strategies to bringing in a defendant’s psychologist, and trying to include their insights. And in this case, Dr. Boudreau’s patient’s shame — which I can say, from experience, is debilitating to the point of paralysis until you’re pretty well into your treatment — becomes an obstacle to his own well-being. 

LG: I grew up just outside of Vancouver, but rarely got the chance to see it portrayed in fiction. Though it’s used by countless film crews, it’s always disguised as some other American metropolis. Recently I read The Plague by Kevin Chong, and I was fascinated to see how his portrayal overlapped with my own experiences, and also how it diverged from them. When you set out to conjure Vancouver on the page, what were your priorities for setting the scene? Which aspects of Vancouver were crucial to capture?

CD: One of the things I love about the detective genre is the way it’s so, so often and unapologetically about the worst and best things about the cities in which the stories are set. I’m a huge fan of the late Andrea Camilleri, and his Detective Montalbano books, and as you read about his “Vigàta,” in Siciliy, you really can’t tell if this place is Heaven or Hell. So I was very unsubtle about splashing as much Vancouver on everything as I could. 

One of the nice things about having a psychologist for a protagonist is that she’s rich, so I could realistically give her access to every part of Vancouver, without any particular anxiety about it. But unlike Dave Wakeland, my pal Sam Wiebe’s private eye, she didn’t grow up here — Annick is an Acadian from Halifax, so Vancouver’s not in her bones like it’s in mine, or Dave’s, or Sam’s. Sam’s incredible books are already doing the work of capturing the city’s loss of soul, and it felt stupid for me to try to ape that, and so I kind of mostly went with a lights-and-make-up Vancouver. Any East Sider will recognize many barely-disguised eateries and for sure there’s some inevitable urban grit, but I also went with the Pan Pacific lounge and Coal Harbour condos because hey, fuck it, it’s fiction. 

The Literary Goon