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heniareth · 3 years ago

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I was really curious about what your opinions on the DAO companions are :) I know we have talked about some, but I'd love to hear more and about the others as well :D I hope it's ok to pose this as an ask :)

Sure! That sounds like a ton of fun. This might be a long one tho. Mind you, this is not the finished version of the answer. I'd like to link stuff and add a cut, but rn that's not possible. I'll update it when I can.

Edit: I have updated it ^^

Let's go alphabetically bc why not.

Alistair:

Sweet guy. So sweet. There was a moment when I was hard pressed chosing between him and Zevran (alas, Zevran won). Also, he's weirdly tall according to the wiki? How did I not notice that before?

Let's get a bit more serious now, Alistair is a great guy. The only reason he's not the hero of the story is because he doesn't want to. He has all the qualities of a leader: he's good at dealing with conflict (as evident with the conversation with the mage at the beginning. He gets where he wants to get without antagonizing the mage, but without allowing him to trample all over him). He's a solid tactitian and knows how to make allies (he suggests to use the Grey Warden treaties, after all). I bet if he was in the leadership position, he'd even not bicker with Morrigan. His moral code is pretty tight; some might say too tight, but I think it's less about the moral code and more about learning to judge people by their actions, not by the labels they fit into (Morrigan is a proud apostate and therefore bad. Wynne is a humble circle mage and therefore good). He also has a bit of a black-and-white way of seeing the world. I empathize a lot with Alistair, especially with his experience with the Chantry and his subsequent reluctance to deal with it. I really wish I had gotten to know more about concrete experiences he had during his training as templar, but he seems reluctant to talk about it (gee, I wonder why).

Since I've only played the game once, I haven't really picked up on Arl Eamon's abuse towards him, which apparently exists (Isolde, however... I mean, even if he were Eamon's illegitimate son, he's a kid, ma'am, he didn't exactly get to chose his parents. So that's so not okay). Alistair's way of speaking about them both, however, is either sign that he has not come within a hundred miles of acknowledging how much it hurt him, or that he's already gone through the whole process and has decided to forgive them. The latter shows a very strong character; yes, he relies on the approval and leadership of others, he has his issues, but he's already started working on them.

That being said, irl Alistair would be like a little brother to me. I'd tease him relentlessly (all in good fun and I promise to stop if it makes him uncomfortable, but he's just so teasable). I still wish the videogame gave him the chance to take important decisions for himself. But that, of course, would somewhat defeat the point of the game.

Leliana:

Another sweet, sweet person. Her singing voice is amazing. Her belief in the Maker inspires me (I'm a religious person and seeing religious characters represented in a positive light is Very Cool. It's also sometimes a source of discomfort, because the Church has done a lot of very messed up stuff and positive representation can sometimes veer into apologetics for things that should not be excused, but that's a whole other can of worms. The bottom line is that religious characters sometimes work for me and other times don't and Leliana works for me very much bc she's an outsider inside the Chantry).

Leliana is best friend material, tbh. I'd love to get to know her irl, discuss theology and philosophy and maybe even politics? She makes mistakes and has prejudices, but, tbh, so do I. And I do get the feeling that she tries her best to learn. From the times she intervenes in a conversation between the Warden and an NPC, she shows herself to be compassionate and open to the needs of others. What I get from her character is that she genuinely wants to help, which is something that I adore of her. I suspect that she sometimes has a hard time deciding wether she's a good person or not. She has killed and seduced and worked for a morally dubious person, and she doesn't show the same nonchalance about it as Zevran (though they both do discuss their line of work in very... professional terms). This is, however, more of a headcanon than actual factual canon.

I also very much enjoy her girly side, like her interest in shoes and dresses. She's one badass woman who also looses her cool about the latest fashions in Val Royeaux. I like that. Between her and Alistair, a non human noble Warden has as good a help to navigate the Fereldan court as they're going to get. Leliana is also, I can't forget that, clever and insightful. It'd be easy to write her off as the innocent chantry girl, but she's so much more than that. Her kindness is paired with foresight, I think. She knows that taking on the trouble to help now can go a long way in the future. I just have a lot of respect for her.

Loghain:

This one's gonna be short bc I didn't recruit him. He's an amazing villain and would probably be a great Warden as well. He reminds me of Denerhor from LOTR; once a hero/stewart of his people, ambition and desperation have driven them both down a terrible path. I have also only little idea about his past. People say he lost a lot, and I believe it wholeheartedly; it doesn't excuse the fact that he plunged the country into a civil war in the middle of a Blight. I don't have a lot of sympathy for short-sighted politicians. I wish he hadn't made himself regent. That's what I take away from his character.

Edit: One thing I forgot to mention that really impressed me was his death. I had Alistair duel him (that was a rough duel), and then it kinda just jumped to a cutscene of my Warden nodding and Alistair executing him. That didn't sit well with me. I didn't want to kill Loghain, and less so in front of Anora. But what impressed me was that Loghain just accepted it. That takes a whole lot of guts. Compare that to Howe's death, and how he screams out that he deserved (more, probably, or anything but death) and it's crystal clear who the more noble of the two is. Loghain strikes me as very lawful neutral, and any neutral alignment has the particularity that it can be dragged towards good or bad, sometimes without the characters noticing it (which is interesting from a DnD perspective; neutral is often concieved of as just as stable as good or evil, but that may not be true. But that's a different post). Anyway, Loghain's death was impactful.

Morrigan:

I could kick myself for not maxing out her approval in the first play-through. I got to enjoy a bit of her friendship by the end of it and boy was even that little bit worth it. Friendship with Morrigan is something that is hard-won. It's all the more precious because of that.

Morrigan is full of paradoxes, I think. She's incredibly wise in some ways, yet also very short-sighted (”just kill them, don't solve their problems”. Morrigan, dear, I'm not going to gain a lot of allies if I kill everybody who poses a problem to me). She is so intelligent, but emotionally... not so. She knows so much about some things, and very little about the next. She's incredibly wilful and knows what she wants, but follows Flemeth's orders all the time through. She hungers for power and independence, yet craves closeness, but won't allow herself to have it. She asks you to prove yourself to her and is extremely critical of your actions, I think, because she's afraid. She bites the hand that feeds her because it might hit her next.

Like with Eamon, I haven't managed to catch the undercurrent of abuse that seems to permeate Flemeth's relationship with Morrigan. Except there are signs, because there must be something Morrigan is scared of and who has instilled all that rage in her, and that's Flemeth. Also, she clearly hates/does not care about her and wants her dead (unless killing Flemeth was part of Flemeth's plan as well? Hm.)

Morrigan is that one person who you are nice to, continuously, because nobody else is. And suddenly she becomes less cold. And then friendly. And suddenly you're asking yourself why everybody hates her, because she's a really good friend! I just wish the other companions came to a similar conclusion, especially Alistair and Wynne.

Oghren:

They did this man dirty. He has such great lines and I'm convinced he was a great person before Branka disappeared. He has that dwarven warrior spirit, and while he looks like Gimli, some of his most impactful lines remind me of Dwalin or even Thorin Oakenshield himself. He could be so noble had he gotten some character development, damnit!

Oghren as he is written is somewhat disgusting. I hate the lechering comments and the drunkenness. And still, I don't hate him because of those amazing lines he has when he's actually sober. It's frustrating and I'll give him that character development myself if the game won't. I strongly associate the song Whiskey Lullaby with him, bc that's how he would have ended up if the Warden hadn't taken him along (warning: the song talks about suicide and alcoholism). Like I said, they could have done such cool things with his character. As he is written now... it's just sad. Moments of lucidity drowned in alcohol and creepy jokes. As you can see, I don't blame the character for either. The alcoholism happens all too often irl. The creepy jokes... I put that one on the writers' tab.

I actually think Oghren could have been a great mentor figure (I know, I shock myself as well sometimes). Next to the Grey Wardens, the ones who know most about fighting darkspawn are the dwarves because they have to deal with them constantly. Especially a warrior caste dwarf like Oghren could have brought a lot of that invaluable knowledge to the team, especially since there are no Grey Wardens in Ferelden but two extremely green recruits. Next, you get the chance to give Oghren the command of the teammates you leave behind in the battle of Denerim with the reason that he has lead men into battle before. Where did that suddenly come from? Oghren should have been right up there telling my Warden that they were doing this wrong, that they needed more food (and booze) and a confident leader to keep the armies they've called together going. Oghren should have been able to tell my civilian city elf who got recruited into the Grey Wardens a six months ago how one leads an army. How one presents oneself to inspire confidence, how one doesn't crack under the pressure, how one gets the leaders of said armies (some who hate each others guts i.e. Dalish elves and humans) to work together. And, last but not least, Oghren could have had a great story about grief. This is a man who has lost most of what made him (and what he hasn't lost he's spilling down the drain with every mug of ale). This is a man who, if you take him into the Deep Roads, has to see what his wife did to his family, how his wife got absolutely obsessed, and can be forced to kill said wife or watch her die. All Wardens loose their home and families at the start of the story. It would really have rounded the whole narrative out if the Warden and Oghren could have recognised their grief in each other and hashed it out somehow. Such as it is, Oghren is a depressed drunkard and there is nothing we can do about that. I find that frustrating.

Rascal (a.k.a. Dog):

Best boy. 100/10. I wish we had gotten to see the reaction of the different origins to the mabari (because elves probably have a whole different experience with them from mages or humans. And dwarves just... I think they straight up have none? XD). Other than that, no complaints. The name Rascal was the one I gave my dog because you have to be a right rascal to survive what he did and play the pranks he plays. Smartest breed in the world indeed.

Shale:

Shale is one of those characters that I recruited rather late in the game, so I haven't had the chance to explore their personality and worldview, really. I didn't even get to take them to the Deep Roads (this will be ammended in playthrough nr. 2). As such, I don't have particularly strong opinions on them (or her? The wiki refers to Shale as 'it', but that sounds weird). But, because I know so little about Shale, I have a lot of questions. First, what were they like before they were a golem? Shayle, as she was called then, was the best warrior of her time if I remember correctly. Why did she become a golem? Was it to be able to eternally protect her people? Was the sarcasm the golem Shale exhibits also part of the dwarven warrior Shayle or did that come later (if for thirty years you have nobody to talk to but yourself, you better be entertaining. And I can imagine how it could make somebody terribly jaded as well).

Next, how attached is Shale to their golem form, exactly? According to the banter, they infinitely prefer it to a squishy fleshy form. If that is the case, however, why go to Tevinter to try and become a squishy dwarf again? It's not like that process could be reversed if they wanted to become a golem again; if Shale survives to the end of the game, the Anvil of the Void is destroyed and Caridin is dead. Was the whole spiel about their indestructible form a façade? It might have been, but not because Shale actually disliked their form. I think it would have more to do with the loss of their memories and with the very invasive experiments and alterations of Shale's body made by the mage Wilhelm. The loss of memories means that Shale is unable to remember life as a fleshy creature. They might be deflecting by pretending that they didn't care for that experience anyway because of the superiority of their golem form. The modifications made to their form by Wilhelm would have alienated them from their body. In light of this, it's significant that Shale asks the Warden to decorate their form with crystals.

All of this is, of course, pure speculation. I may have easily missed or forgotten details that would disprove the above thoughts. All in all, I like Shale and I hope we meet them again in DA4 (given that it's mostly set in Tevinter). It's a liking from a respectful distance, because Shale is tall and made out of rock and also way more experienced than I will ever be (they are literally the oldest member of the Warden's little Blight fighting squad).

Sten:

Sten is another person I'd keep a respectful distance from physically. That seems to be the what he would prefer, at least. I've enjoyed his character a lot, especially because he seems pretty clear-cut at first, but slowly lets the nuance of his person show (gruff and stoic, but then he has an eye for art, a sweet tooth and he likes cute animals). It's also very interesting that there's no moment when you learn "the truth" about him the way you do with Zevran or Leliana. There's no big reveal about his life under the Qun before coming to Ferelden. He says he was sent to monitor the Blight, but honestly? If neither Ferelden nor Orlais knew there was a Blight, how could the Qunari know? I think he's lying, and he takes his secrets back with him when he leaves Ferelden. And yet I think I know him enough to say that a Warden who has become friends with him has nothing to fear from Sten.

One thing I find very interesting about Sten is how he thinks. His conversation about how women can't be soldiers has been analysed a lot on this page I think. He seems to be arguing based on a different paradigma than the one the Warden has. He also seems to have a very clear-cut view of the world. What is fascinating to me is that, when arguing with the Warden and learning about their culture, he is not necessarily becoming more lax about his worldview. I think it's more likely that he is expanding his paradigma, the structure of thought through which he understands the world. I don't think that he is now convinced that women can be warriors as well. I think he rather understands that, in Ferelden, the relationship between occupation and gender is different than under the Qun. Which of the two he thinks is more right or more agreeable, I have no idea. I'm also not very interested in that. But I find it fascinating how he always seems to be looking on quietly, gathering data, classifying it and trying to fit it into his understanding of how the world works. I wouldn't be surprised at all if his original party was a scouting party to see how vulnerable Ferelden was at that moment to outside forces. One thing I don't understand with all of this is why he urges the Warden to meet the Blight head on. No smart soldier would suggest that, except if they are foolishly proud (and Sten doesn't seem like that kind of guy tbh). I get that the Warden takes way longer to gather allies than expected because they first have to solve all of their allies' problems. But surely Sten sees the need to have allies? Is he just that impatient? Does he have a death wish (à la, I lost my sword and am without honour, better to die sooner than later and in glorious battle)? Was he his group's previous commander and is he now having trouble following somebody else's orders? Or maybe it's his way to make sure the Warden knows what they are doing? To push them into becoming the self-assured commander their allies will need once they're all gathered? I really don't know. I like the last option best, however.

For me, Sten is my fellow, more experienced soldier. Like Alistair, he can potentially be the Warden's brother in arms, but he's definitely the older brother here. He probably doesn't take kindly to tearful confessions of how hard everything is, but I feel like he's otherwise a solid rock to lean on. I feel like the Warden can trust him to do what is necessary and count on him no matter what, especially after they get his sword back. His devotion from that point on is honestly so powerful.

Wynne:

Wynne was such a support for my Warden (except with the whole conversation about love vs. duty and that she may have to choose between Zevran and ending the Blight and that she should therefore break up with him. Wynne had a point. Astala was so not willing to sacrifice her relationship with Zevran. But the whole conversation came at a point where she was already so disillusioned that she blew up in Wynne's face (”can i please just have one (1) nice thing????”)). But all in all, Wynne is great.

She has a lot of flaws. She was very marked by her life in the Cricle and, for all her age, she has little experience living outside of it. She is also a conformist despite her strong moral core. In a way, her ability to find peace with her lot in life impresses me deeply because it speaks to a lot of strength of character. Sadly, however, strength can be ill applied and used to suppress. I think she has convinced herself that the Chantry is right under (almost) all circumstances to be able to rationalize the life that mages live. She's had her son taken away from her as a baby and an apprentice killed. Her reaction seems to have been to convince herself that this was right, or for the greater good (and now I'm thinking about the Guardian's question at the temple of Andraste's Ashes; are you wise or do you just repeat what others have told you? The answer is not as clear-cut as it might be). This is why she is so irritated by Zevran and Morrigan. By aligning herself with the Chantry, she is, in her eyes, good. Zevran and Morrigan are not; they do not conform to Chantry morality and they defend themselves tooth and nails against somebody who would try and convert them. This is something Wynne never allowed herself to do; she always did the "right" thing and it has cost her so much. I'm not saying she was right (it would probably have done her some good to rebel from time to time, and to trust her own gut instinct more), but in light of this, it hardly surprises me that she's so judgamental. She has to be, or she would be forced to confront all the evil she has not fought against all those years and all the hurt that has been caused to her by the very institution she protects (and thank God she only tries to argue and can appreciate it when people have found a good life outside of her comfort zone. If she tried to convince by force or, for example, drag her former apprentice back to the Circle... boy oh boy that would get ugly). If you think about it, Wynne really is a good example for what happens if you live by a philosophy of always choosing the lesser evil.

Something that I keep forgetting over her grandmotherly and dignified character is how damn powerful she is. She has escaped the carnage at Ostagar; HOW!? She protected those mage apprentices in the Circle tower for God knows how long. In the battle of Denerim, she wades through an army and comes out alive on the other side. The wiki lists her age at 40, I think, but that doesn't make a lick of sense unless 75 years of age are the Fereldan equivalent to 100. This lady, about whom people make grandmother jokes, did all that. It's impressive.

Zevran:

You know, I would really love to know what Wynne thinks about the events at Kirkwall in DA2. It might be a disaster for her, or it might pave the way for one last bit of character development. She certainly didn't want to return to the Circle after fighting the Blight. That may be an indicator of some change in her stance on the Circle of Magi.

Edit: I forgot that she is what the Circle considers a literal abomination! Holy cow, how could I forget that?? Anyway, her conversation about what being an abomination means is so... heartbreaking, actually. It's so tentative. So careful. "Am I an abomination? Am I the same thing that has killed my students? The same thing as Uldred? Am I lost and damned? Did I invite this spirit in? Is this my fault?" Like wow, Wynne is going through something huge right there. I love it. I have to continue playing the game to see what it ends up as, but it's fascinating and such a huge thing that she allows the Warden in on that.

Ah, Zevran, my beloved (he has stolen my heart so much it's not even funny anymore). He's funny, he's charming, he's so so loyal and it breaks my heart. Zevran is the one about whom I've read most meta: these three wonderful posts for instance, as well as this one about his possible lack of scars, and this one about his lack of freedom. All of these have influenced my opinion of him and they are great reads.

I have talked about Zevran with you before, so I'll just skip to the new stuff. I have come to conclusion that Zevran is an artist at heart. This is totally not biased by the fact that I also do art, but hear me out. One of his preferred gifts are bars of silver and gold. While those have the obvious utility of basically functioning as money (they can be sold to any silversmith or goldsmith and their value is pretty stable through time and in different countries), there's also this from his codex: "Zevran shows an affinity for the finer things in life—hardly surprising for an Antivan Crow—but his appreciation can be more poetic than he lets on. A simple bar of refined silver or gold, uncomplicated by a craftsman's hammer, is elegantly valuable." Tell me that is not an artist's eye that sees that gold and sees the beauty in it. Then, there's also the meta about Zevran the Seducer which I linked above and link here again. It talks specifically about how he lets himself enjoy the target and be seen in his enjoyment. Tell me that is not an artist's eye that beholds the beauty of something he is set out to destroy. Even his talk about his assassinations show this. He talks about it as an art, the way somebody would talk about the brutal intervention in stone that produces a sculpture. Yes, it's a rationalization of the act of killing and yes killing is still wrong. But he doesn't go on about it on a moral tangent the way Alistair or Wynne would (”this person was bad, killing them was necessary”) or even through the argument of survival like Morrigan would (”it was either them or me and it sure as Hell wasn't going to be me”). He talks about the pleasure of a job well done, of the satisfaction of striking the precise point and executing a plan to the perfection so as to minimize chances of discovery and to make a clean death possible. And pleasure in seeing and in doing, this I firmly believe, is absolutely fundamental for an artist.

My favourite part about my Warden and Zevran as a pairing is that Zevran precisely brings out that ability to take your pleasures as they come and to really savour them. Fighting the Blight is tough; it's so important to find good things amidst the chaos to stay sane. If Astala saves Zevran from himself by offering him a place to stay and a purpose, Zevran saves Astala from herself by keeping her from running herself into the ground trying to save the world.

There are some things I don't like about Zev. The incessant flirting, for example, sometimes makes me uncomfortable (it becomes enjoyable for me once the Warden and him are in a relationship, but before that? Nah, no thanks). I wish he would also leave the other female characters alone (and there's so many more shameless comments of his aimed at Morrigan, Leliana or Wynne than at Alistair or maybe even Sten).

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And that's my take on the Origins companions (this was rather long. Whew ^^' I hope it was still readable and that you enjoyed it!!) Thank you so much for the ask!! It's been a joy thinking about this. I was worrying at first that the less prominent companions like Sten or Shale wouldn't get as much content but... well XD

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potteresque-ire · 4 years ago

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Hi :) Are you following the zheng shuang scandal? Would you say that her career is pretty much over now? The rate the news has been unfolding is so crazy to me. It’s only been 3-4 days. Was wondering if the gov would handle her matters personally.

Hello Anon! Yes, I’ve followed the news about the actress, primarily because it offers insight on how the current administration deals with stars exhibiting what it deems as “immoral” behaviour. As of today (2021/01/26), it’s difficult to imagine her career will survive at all. While she isn’t the first to be categorised as a “bad-history entertainer” (劣迹藝人), she’s the first to be explicitly banned by the National Radio and Television Administration (NRTA; 國家廣播電視總局), the department that controls—and censors—content of all radio, television, satellite, and Internet broadcasts in the country. Before, the NRTA didn’t publicise the names of the entertainers the government no longer wishes to see, which allows a possibility for reversal in a few year’s time if the “bad-history” wasn’t too damaging, and production companies are willing to take a risk and produce shows with the entertainers that may be difficult to pass the censorship board. But with such a high profile announcement, the government’s stance is unlikely to turn around in a foreseeable future.

Hmm. Let’s backpedal a little to get everyone on track. Before, I’ve shared some info re: the censoring of books, of audiovisual media. What if the government decides to “cancel” an entertainer instead? How does it do it? What are the standards?

The actress’s downfall is a (sad) example.

I shall skip names, the gossipy elements. Whether she made mistakes or not, no one deserves having their private matters exposed and sensationalised like this; no one should have to undergo such a humiliating, public trial. Essentially, the heart of the story goes as follows: the actress, a romantic-lead type who has been popular for several years, secretly got married. On 2021/01/18, her estranged husband claimed on Weibo that the couple had two children using US-based surrogate mothers, and the actress had abandoned the children in the US under his care. Meanwhile, his friend provided an audio from approximately the 7th month of the surrogate pregnancies, at which time the marriage was already falling apart. In the audio, the actress expressed dismay that abortion was no longer possible; her family talked about abandoning the newborns at the hospital or giving them up for adoption.

The next day (2021/01/19), the actress responded. She didn’t deny the existence of her surrogate children and claimed that she had been extorted. More importantly, she said the following:

“身為藝人我深知我國疫情的防控與重視。** 在中國國土之上我沒有違背國家的指示，在境外我也更是尊重一切的法律法規。”

“Being an artist, I deeply understand the attention my country (China) has placed on controlling the epidemic. On China’s soil, I didn’t do anything that violates the directives by the government. Outside the country, I’ve been even more respectful of all laws and regulations.”

This apparently hit a nerve of the administration. On the same day (2021/01/19), the Communist Party’s Central Political and Legal Affairs Commission (CPLAC; 中央政法委) — one of the most powerful commissions that oversees the entire legal enforcement system of the government — published an opinion piece , in which it said:

但[女星姓名]的回应，却通篇强调自己没有违法，丝毫没有任何悔过、道歉的意思。…

But the response of (name of the actress) insists that she didn’t violate any laws, doesn’t show a hint of remorse, regret…

要知道，在我国代孕行为是被明确禁止的。… 作为中国公民，因为代孕在中国被禁止，就钻法律空子就跑去美国，这绝不是遵纪守法。…

It should be known, that in our country, surrogacy is explicitly prohibited … as a PRC (People’s Republic of China) citizen, to use a legislative loophole and go to the US due to the ban of surrogacy in China is absolutely not obeying the law…

要知道，没有营养的炒作带不来长久流量。公众人物的魅力，来自其高尚的职业操守、良好的社会形象、文质兼美的优秀作品，而不是疯疯癫癫、任性胡闹、缺爱卖惨的“人设”。作为公众人物，几度疯狂游走在法律边缘，把这样错乱的世界观、价值观、人生观，置于众目睽睽之下，贻害世风，这绝不是无辜！

It should be known, that hype devoid of significance will not bring in traffic (click rates). The charisma of public figures comes from their noble professionalism, good social image, high quality works in character and content, and not from “personalities” rooting in craziness, petulance, mischief, the selling of one’s lack-of-love and misfortunes. As a public figure, to wildly roam at the edge of the law, to place such wrong and chaotic world views, values and life perspectives in the public eye, to cause harm to the morals of society — that is definitely not innocence!

Things to note here:

1) The CPLAC reacting within a day of the actress’s statement ~ unlikely enough time for teasing out / verifying the facts or truth of the matter.

2) The implication that Chinese citizens must follow Chinese laws, even when they’re overseas. (What about, for example, same-sex marriages?)

3) These words that, IMO, bordered on insult: “craziness, petulance, mischief, the selling of one’s lack-of-love and misfortunes”.

The actress’s career was hanging by a thread with this opinion piece. State-controlled agencies chimed in, many of which echoing CPLAC’s stance that surrogacy is explicitly prohibited in China. By night time of 2021/01/19, rumours abounded that multiple media companies had already listed the actress as a “bad-history entertainer” and would be shelving all her works and cancelling all her scheduled appearances. Prada terminated her endorsement.

The final drop of the hammer happened a day later, in the evening of 2021/01/20. The NRTA issued a statement that explicitly named the actress and contained the following lines:

代孕不是私事，与法不合，有违社会主义公德。…

Surrogacy isn’t a private matter. It doesn’t agree with the law, violates the civility of socialism…

从事广播电视和网络视听的演艺人员尤其是知名艺人，作为公众人物，有很大的社会影响力和示范作用，应当自觉践行行业自律准则，严格律己修身，严私德，讲大德，守公德。

Artists who work in TV and web audiovisual productions, especially famous entertainers, have significant social influence and demonstrative roles as public figures. They should be conscious about the self-discipline required for their industry, be strict in their behaviour and personal virtues, speak of great kindness and defend civility.

行业主管部门的相关政策要求是明确的，严格的。广大人民群众不愿意、不接受、也不允许��闻劣迹者污染我们的社会公德和公序良俗。

Policies regarding the management of the industry is clear and strict. The public does not want, does not accept, does not allow those with scandals and poor history pollute the civility, the good order and customs of our society.

我们不会为丑闻劣迹者提供发声露脸的机会和平台，一如既往，坚决为广大人民群众提供健康向上荧屏声频。

We will not supply opportunities and platforms for those with scandals and poor history to sound their opinions, to show their faces. Just as before, we are determined to provide audiovisual content that is healthy above all.

And just like this, less than 72 hours after the estranged husband posted on his Weibo, the actress’s career is over. The NRTA, which has The Say on who and what get exposure time on screen, has spoken. The actress had no way of self-defence. Her 11 million followers on Weibo didn’t get to decide whether she’d stay or she’d go.

This is a brutal punishment but for what, exactly? Some netizens have whispered while the others shout their condemnations ~ but I thought…. surrogacy isn’t illegal?

And they’re correct: surrogacy isn’t explicitly outlawed in China, despite what CPLAC and other state agencies has claimed. In 2001, the Ministry of Health banned medical institutions and health care workers from "practicing any form of surrogate technology". However, no laws have ever passed that prohibit individuals from commissioning or providing surrogacy services—especially when the services are overseas.

The actress, therefore, wasn’t lying when she said she didn’t do anything that violates the directives by the government on China’s soil. Her “crime” of using surrogate mothers was, at worst, a legally grey area. For years, China has had a booming, semi-underground surrogacy market, their client base including older parents who wish to have another child after the country relaxed its birth limit (the so-called “one-child policy”) in 2015, infertile couples, and to a lesser extent, the LGBT+ community. Blued, China’s most popular gay social networking/dating app, has offered overseas surrogate services for several years that connect their clients with US-based surrogates. It pulled the services after the actress’s incident.

But all that doesn’t matter. People in China understands this: the law book is there, but those in power at the moment always have the final word ~ and that word doesn’t have to match the legal codes, or the previous final words of their predecessors. As for the moral outcry re: the actress having wished to abort / give up her unborn children, it’s worth mentioning abortion has long been used to to enforce the country’s decades-long birth limit policies, and forced, violent late-term abortions were not unheard of. Many people in China are also aware of that.

But again, it doesn’t matter.

I’ve described the government’s reactions in detail because they put in words the expectations it has of its entertainers. Entertainers in China are expected to not only obey the laws, but also have proper world views, (moral) values and life perspectives (collectively called 三觀, literally, “three views”) as defined by the government. The state has also made clear that such expectations grow with the fame of the entertainers.

Entertainers at the top of the c-ent industry, especially the idol types with many young fans, are therefore expected to get things right. These opinion pieces are reminders that the administration keeps a close eye on them, can “cancel” them with a few words if they fail.

The term for “canceling” an entertainer is 封殺 (literally, “seal and kill”).

The actress isn’t the first to be “cancelled” by the government. The first time the NRTA issued a directive regarding “poor-history entertainers” (劣迹藝人) was in 2014, which essentially called for shutting out any entertainer with a history of bad behaviours. It demanded all production companies, TV stations, online media companies and theatres to stop producing / broadcasting audiovisual content with these people, citing that TV and film media should be used for “spreading the progressive culture of socialism and promoting socialist core values” (”传播社会主义先进文化、弘扬社会主义核心价值观”). As these entertainers will no longer be exposed to an audience, these directives effectively kill the career of most who are affected.

What makes up the “poor-history” of “poor-history entertainers” then?

- The 2014 edition named drug use and prostitution (including hiring a prostitute) specifically.

- The 2018 edition, an announcement made by a top NRTA official, stated that audiovisual programmes should adhere to the “Four Never-Use” guidelines when inviting guests for their shows. Those guidelines were vague but for the last line: “In addition, the NRTA explicitly requests that programmes should not use entertainers with tattoos; (those associated with) hip-hop culture, sub-cultures (non-mainstream cultures), decadent cultures.” (”另外，总局明确要求节目中纹身艺人、嘻哈文化、亚文化（非主流文化）、丧文化（颓废文化）不用。”)

Some may be asking: wait … hip-hop?

Yes.

It was believed that hip-hop artists were targeted due to a scandal at the time, in which (another) well-known actress had an extra-marital affair with a rapper. Analysis of the rapper’s lyrics found sexism and suggestions of drug use (the rapper later apologised and claimed his “core values” had been distorted due to influence from “black music”.)

As this guideline hasn’t been retracted under any formal capacity, it can still be used to axe any show, shut out any entertainer.

If you’re wondering about SDOC, for example, this again illustrates the need for some … mind-reading skills to navigate life in China. A good way to achieve that without superpowers is to have the right connections to higher-ups, who can offer hints on what can get away at the moment and what cannot (this is true not only for c-ent, but for most business practices in the country; building 關係 guanxi— literally, “relationship”— is a must for those who wants a piece of the Chinese market).

- In 2020, NRTA expanded the “no exposure” rule to live-stream shows on the internet as well as on- and offline charity events, where previously “cancelled” artists had started to find jobs in to make a living. While that notice didn’t further elaborate on what makes “bad history”, the accompanying article in People’s Daily (The State-controlled Newspaper) went into more details. In addition to drug use and prostitution specified in 2014, the article named tax evasion; lying about education levels; *suspected* (涉嫌) extramarital affairs, domestic violence and inappropriate speech.

It’s worth emphasising that many of these activities are not illegal. “Suspected” also means these activities do not have to have happened ~ it’s the impression that they’ve happened that counts. Hence, back to the actress who had surrogate children, not only did it not matter whether surrogacy is actually illegal, it didn’t matter whether the leaked audio was real or taken out of context, or that the babies didn’t end up being aborted / adopted. The article once again stresses that private matters are no longer private for entertainers who are in the public eye as social influencers, and these directives on “poor-history entertainers” — colloquially called “封殺令”, with 封殺 meaning the “seal-and-kill” and 令 meaning command (as in Chen Qing Ling 陳情令) — are there to set the standards, the bottom-line for c-ent. It did call for more specifics in future directives: more guidance on what makes “bad history”, the ways these entertainers can redeem themselves. As of today, however, such specifics have not been provided. As a result, to avoid crossing the NRTA, the media has ended up “overachieving” in certain cases, wiping out the screen time of entertainers who only have a remote chance of being viewed as having “bad history” to play it safe. Last October, for example, a young singer was briefly edited out of all his recorded shows because his parents (not him) was revealed to be deadbeats owing millions in debt.

And so, without a known way out yet, “bad-history” entertainers such as the actress will likely remain “sealed and killed” for a long time. Entertainers recently caught with extramarital affairs ~ a relatively minor “offence” ~ have been missing on screen for 2-3 years, and the heavy-handed treatment by the government this time is likely to put a pause on any companies considering using these people again. Even if they’re finally allowed some degree of comeback, their career prime will be over and and their NRTA “sentence” will likely follow them everywhere they go, which makes their getting face time in any high-profile (high-investment) projects unlikely. Those who must work to make their ends meet will probably end up like so many entertainers who never made it big, or are at the very tail end of their career ~ drifting from city to city singing in local clubs, getting paid poorly and harassed by rude customers...

===

** A side note: In case anyone wonders why she brought up COVID, it’s a similar idea as Gg apologising for “佔用了一些社會公共資源” “occupying social resources” in his first team post after 227 (2020/03/01). For an authoritarian regime that has placed the most attention on maintaining social stability (ie. quelling dissent), disrupting the government’s narrative re: current events and potentially reversing the overall tone the administration is trying to reach in public discourse can be a greater offence than any actual “wrongdoing”. 227, as an incident, was guilty of that.

(And I’m bringing this up because I find this relevant to the safety asks I have in my inbox. Arguments among fans do not themselves render Gg and Dd unsafe, but can become a significant issue if they “occupy social resources”, disrupt the government’s narratives and/or its political machinery in some ways. IMO, 227 took a dangerous turn not because the fans were arguing over a piece of fanfic, but because a group of fans took over the reporting machinery intended to rat out dissidents. It was a mistake that I hope no fans ~ regardless of who they support ~ will repeat again.)

#pie metas #pie answers #yizhan #bjyx

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mallowstep · 3 years ago

Note

What are your opinions on forbidden relationships in Warriors? I've seen people label it as a "trope" because of how common this is. Some find the forbidden romance aspect intriguing, though others find it extremely repetitive and old

I'd like to know your thoughts!

hm. well, it is a trope. i mean, there's an average of one major one a series, right? greysilver, leafcrow (and others, but that's the big one), heatherlion (and implied others), tigerdove, idk i don't remember anything from avos but violetshine luv her but there's probably something, bristleroot. dotc doesn't count bc well it's dotc.

anyway.

definitely a trope.

but that's not a bad thing.

what i think people don't give warriors enough credit for is that these are not all the same forbidden romance. most of them are handled in different ways and bring up different conflicts. i understand why people are tired of them, but let's not discredit one of the only good things in warriors romance: that they make forbidden relationships different.

like, with grey and silver, it's about loyalty and responsibility. leafcrow is just bad idea central, both heatherlion and tigerdove are about responsibilities and young cats, and they have two different answers, and bristleroot is challenging the whole idea from the start.

so like. give credit where credit is due: we're not doing the same (forbidden) relationships again and again. i don't see enough people talk about that.

okay so it turns out i have um. a lot of thoughts about this. idk i just kept writing and now it's over 2k words. so you know. under the cut: matthew does half-baked media analysis to talk about why the code and cats' relationships to it are misunderstood. while actually staying on topic.

anyway from here on i'm just going to say relationship/romance, and understand that i'm generally talking about the forbidden kind. also i'm talking exclusively within the realm of warriors romance, which is, on average, bad. so when i say "X is good," i don't mean "X is good in general," i mean "given what we have, X is good." just to be clear.

right! basically, this is a tool. it creates tension and drama, and that's fine. warriors is a soap opera, remember. soap operas use secrets and relationships and all sorts of plot devices over and over again. warriors is not Serious. it can be dark. it has serious moments. but it is not a Serious Book Series for Serious Kids. it is a soap opera for Future Theatre Kids. yeah?

from that perspective, i'm a-ok with forbidden romance. (also, as a mini-aside, it creates some much-needed genetic diversity when kits are involved.) and again: all of the major relationships are different, so i think that's better than a lot of people give it credit for.

yeah, heatherlion and greysilver and tigerdove are all about the same general idea (loyalty and responsibility), but they all have different circumstances and different resolutions.

so like? yeah. sure. why not?

plus, like, who's reading warriors for the romance? i separate the concept of "romance" from a "relationship" here: i like the relationships in warriors (ivy and dove tension my beloved), but i'm not here to read about tigerheart wooing dovewing. (yes, i do love the tigerdove scenes in oots. no, that's not because i think they're very good at being romantic.)

but i digress.

if warriors was a Serious Book Series for Serious Kids, i'd have a different take here. having been in an IRL forbidden relationship, i have the Personal Insight and Experience to say they're this weird mash of "very much how it feels" and "not at all how it feels."

tigerdove is probably my favourite bc it's the closest to my circumstances, and i think dovewing is a good pov. i like how she breaks up with him because it's a bad idea, but that's not the same thing as not feeling for him.

(heh. twelve-year-old me reading oots like "this will never apply to my life" what did you know)

but to the point, if warriors was serious, i'd point out that the consequences always seem to be internal. we haven't seen characters be punished for their actions. and so on.

but warriors is a soap opera.

and here's my actual thesis: we haven't seen characters be punished for their actions, because "forbidden relationships" are a normal and expected part of clan society.

like no, fandom-at-large, you're kind of missing the point. okay, you know how like. people complain about. idk. ivypool and fernsong being distantly related?

(third aside/very long ivyfern rant, i put a nice big "rant over" after it if you want to skip past it: they're third cousins. they share, max, 2.2% of their genetics. they are fine. do you know your third cousins? do you? yeah. and like. they live in a closed society. there is no one new.

i've never seen someone complain about forbidden romance and ivyfern at the same time, and i do generally agree we should have more mystery fathers, altho for a different reason, but like. idk. this bothers me.

their last shared relative was nutmeg. that's so far back. god. i get it, there was a prophecy saying they're related, but if you remember my rant about how dovewing shouldn't be a part of the prophecy because of how distantly related to firestar is, you know how i feel about that already.

complaining they're related and that's a problem is. deep breath here. it requires demonstrating that warriors has kept track of kinship all the way back to firestar's mother. and even if you wave that requirement, you still have to convince me they would care about that. this isn't a "they're cats, harold" situation, this is a "you would not know your third cousin even if you lived in the same town" situation.

i mean maybe you would. some people do. but my hometown has generations of people who married within its borders. you get as far as "cousin," maybe "second cousin" if you're feeling fancy. i'm not trying to make an always true statement, i just. every time i see someone complain about ivyfern being related, it strikes me as not understanding how extended families work?

i know third cousins isn't technically classified as a distant relative, but you have, on average, 190 third cousins. i feel so strongly about this i looked it up.

like i'm not. okay if you say, "I don't ship ivyfern because they are third cousins and that makes me uncomfortable" you are Valid. in general, you are all valid. i do not think you have to, on a personal level, be okay with ivyfern. you are free to do as you wish.

but. if you want to argue "ivyfern is a Bad Ship because they are third cousins" you have a hell of a burden of proof. simply saying "they share a great-great-grandmother" does not meet that, because like. yeah. we're all pretty damn related.)

(ivyfern rant over)

IVYFERN RANT OVER

right so. anyway. if you remove forbidden romance? you're forcing a lot more of those situations.

i've been messing around with modelling some small-scale fan clan-adjacent stuff to double-check the ratios for wbcd, and it's. it quickly becomes a necessity, is what i'm saying.

but i got distracted like. researching how related third cousins are. my point is not about that, that's like. a different topic. that i crammed into here because i have no self-control.

no, no, what i was trying to get to is: oakheart straight up tells us that cats have half-clan kits all the time, it's not a problem, no one talks about it. and that? that is exactly what we see modelled by warriors.

the only reason greystripe and silverstream have a problem is that silverstream dies and greystripe claims the kits. i feel very strongly that if she had lived, the kits would have been born and raised riverclan kits, that might, maybe, one day, guess who their father is.

we haven't had any half clan kits in a while, which yes! i think is a problem, but like. the fact that the three are medicine cat kits seems to be a bigger issue. which feels right.

and i'm not trying to argue what i think should be, i legitimately believe the text of warriors defends this, even in newer books which throw out a lot of the older world building in favour of more human-like conflict.

as readers, we are naturally following protagonists. we are following the interesting story. but imagine you're just a background riverclan cat. minnowtail, if you will. do you think, do you honestly think, anyone cares about minnowtail?

not in a bad way, just. if she's meeting up with mousewhisker at night, do you think anyone cares? of course not! no one cares. she's not a Protagonist. her kits aren't going to be prophesized about.

heck, finleap switches clans! and it's barely a big deal. it feels like one, but when's the last time anyone bothered dealing with it? that's what i thought.

(also i forgot like all of avos so that very last point might be a bad one if it is my argument stands i just literally do not remember anything in avos but violetshine. none. zero.)

but it's easy to get caught up with characters like hollyleaf and bristlefrost and forget that like. not everyone cares about the code. most of our protagonists do, because it's become mostly equivalent with being moral. and i have an essay draft titled "the code as religion vs the code as law" where i want to expand on this more, but i think like. that idea, that we as readers should use the code as a way of evaluating cats' behaviour, is flawed.

like, i'm not talking about being inconsistent with how that is applied. if you want to say, "the trial leafpool goes through for having half-clan kits is legitimate because of the code," i still think your approach is flawed.

because the cats themselves don't seem to think that way.

the code doesn't, to me, feel like the ten commandments. it does not feel like "you must do this to be a good cat."

rather, it feels like aesop's parables. "here are mistakes cats made and what we do instead of that."

i don't think the cats know the code the way we do. i do not think they memorize a list of rules as kits. i think they know what is and is not part of it, but i imagine they know the stories far more than the rules.

(i'm working on my lore stories to replace code of the clans.)

and even if that's my thoughts, i do think this is supported by the text. no one ever teaches the warrior code, cats just learn it in pieces. "don't waste food because we don't have enough to spare" is taught, not "there's a rule about food and starclan on the code."

that's why the whole arc of the broken code even works: the reason the imposter is able to manipulate things is because cats don't treat the code as a rigid set of rules and commandments, but guiding principles.

the parts of the code that we tend to focus on the most are relationships, apprentices, and battle. or that's my perception. i didn't do a poll to obtain that. there's also the leader's word, but readers don't usually think of that as a good rule, so i'm not including it.

but the parts the cats focus on most are food, territory, and the leader's word. which makes sense: those are basic needs: food, security, and...i don't want to say authority so much as some kind of social system. explaining it would be a whole thing. just trust with me, if you don't mind.

i don't think we have any real reason to believe cats care about half-clan relationships half as much as we do. yes, apprentices are chastized about it, but that's not really the same thing as being punished.

and it's hard to tell, because apprentices being punished has really fallen off, and that's kind of the problem with any argument i try to make about warriors, but.

wow.

i'm actually still on topic? i'm 2k words in and i'm still on topic? a day i never thought would come.

let's wrap this up. cats seem to care about half clan relationships in that: a) they lead to conflicted loyalties, b) they mess with borders and prey, and c) they are in the code as bad. in that order.

and again, if the code was some high and holy religious doctrine, we couldn't have the broken code as an arc. it does not work if the cats are already following it to a t, and know it word for word, because it's signfiicantly harder to manipulate people if they do.

not to the level the imposter does, at the speed he does.

and yes, you could argue that it's more bad writing, but. i think that discredits warriors. yeah, it sure has its fair share of bad writing, but i don't think that's in the way the imposter works. instead, he seizes on a big important doctrine that's nebulous, and uses that to control people.

and that? that feels much more interesting.

so with that in mind, i don't think the cats would care about your typical, non-protagonist forbidden relationship, and i don't think we should, either.

as far as a plot device, i think we're okay with what we have. don't get me wrong, i understand why people are tired of it, but i think we also should remember that warriors is not repeating itself. having multiple forbidden relationships is not repetitive. now, if medicine cats were having half-clan kits every series, i'd make a different argument.

but all of the major forbidden relationships have different outcomes, lessons, and circumstances, and for me, i think that's signficantly interesting.

i didn't really check sources and quotes for this, so like, if you spotted something wrong, feel free to correct me. my overall point stands, but there's a lot of warriors and i have a bad memory, so i could have missed somthing major.

#ask #anon #essay #mine #discourse #not really but you know

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thecaptainhelm · 4 years ago

Text

Shut Your Mouth Pt.2

hahaha, daminette part two, wasn’t a one shot, gn gn gn.

Marinette sighed as the shower warmed up, rolling her neck and relishing in the light feeling of accomplishment. Ever since Hawkmoth had been defeated, a mere two days ago, things had been tense. Hawkmoth, now known as Gabriel Agreste, was arrested along with his assistant Nathalie Sancoeur who had since retired as Mayura the year before. It was a stroke of luck to discover that the Guardian had the ability to forcibly renounce a broken Miraculous. Something Gabriel hadn’t known, granting them extra time as he futilely tried to ‘fix’ the brooch. While that happened, she managed to finally convince Chat to at least keep him as a suspect if not out of suspicion, then to actually strike him from their list. It didn’t take long rack up evidence against him, especially after learning from the Bats of Gotham.

The battle was quiet, in the early hours of the morning, where the city forcibly cut the power to the Agreste mansion, and it only took one Venom for each while they slept defenselessly. It took only a few minutes to find evidence that he was at least working with Hawkmoth, and when they found the miraculous pin and brooch, it was confirmed that he was, indeed, Hawkmoth with Nathalie working as his henchwoman Mayura.

Soon, with what was probably the fastest trial of the century, Gabriel Agreste and Nathalie Sancoeur were declared guilty and sentenced to serve life in prison and an insane asylum respectively. It had only shocked her for a moment that Mayura pleaded guilty and asked to be sent directly to rehab for mental help, by reason of insanity wrought by grief. What did surprise her was that she was the one to take the miraculous and give them to the Agreste couple as an anniversary gift, ultimately setting off a chain of unforeseen consequences.

That was a whole other cake she didn’t want to bake just yet, so she decided to finally just take a moment to breathe for what felt like the first time in five years.

So it was only normal that her smartwatch chimed on the hook of the shower caddy, a picture of a frowny eagle glaring right at her. She cursed her luck, yeah, no breaks was still her usual routine. It must be real hard for the universe to break out that particular habit.

Then she remembered that she set this particular picture and ringtone for the one person who had never called.

Robin, the vigilante that she might have, kind of, definitely made an enemy of.

Who was also her crush, so that was just. Great.

In her defense, she was a human being, and human beings were capable of amazing feats. It was just that her amazing feats were more amazing bouts of stupidity. Seriously, why did she do it? Just where did her common sense escape to make her think that was even a remotely good idea, because she wanted to go there and never come back.

She had kissed-- no! She made out with Robin, the most notoriously ill-tempered member of Batman’s team. The only reason he didn’t deck her in the face was because, because, well she didn’t know! Was it mercy, a misplaced feeling of pity, perhaps?

No, actually, it was more likely that he was frozen stiff with rage. Marinette couldn’t blame him, heck, she’d be angry too, suddenly getting passionately smooched in the middle of livid rant.

She had planned on giving him her contact information for the longest time, since they'd come to the understanding that they only wanted to do what was best for everyone, the kind of understanding that only leaders could have. And to maybe get closer to him as much as professionalism allowed. So, it stood to reason that she had to go ahead and ruin that, too. She really couldn’t believe herself sometimes, who randomly kisses someone, hands them their number, and then trots off back to work? Marinette Dupain-Cheng apparently.

In fact, it was about time he called. She had pretty much an entire year to prepare herself for what was sure to be a concise and frigid rejection, maybe even a “Stay for away from, lest I stab everyone in this room and then jump out of a window out of utter disgust”? She might as well get it over with and then move on to be alone for the rest of her life.

She wiped the water out of her eyes and squinted at the text message, before jumping out the shower with a loud curse. She hurriedly dried off and put on her clothes, before heading to the Miracle Box, rereading his message.

Emergency evac, one person, requesting Pegasus’ portal twenty kilometers horizontally above sea level precisely fifteen minutes after this message. Coordinates attached.

The message was sent ten minutes ago. How long was she catastrophizing for?!

Max was partying along with the rest of Paris while she took a breather in her art studio. Even with the full fifteen minutes she wouldn’t be able to find him in time. Shit, would she even be able to transform in time?

She grabbed the glasses from the box and Kaalki appeared in a proud flash.

“No time, there’s trouble,” she panted. “Ready?”

“Hmph, of course,” Kaalki tossed her head. “Let’s go, shall we?”

“Kaalki, transform me!” She eyed the time, two minutes left. She memorized the coordinates as she searched for a suitable place for him to land, and realized she was going to have to catch him in her storage closet.

One minute left. She opened the door and cleared space in the center of the room.

Thirty-five seconds. She stood on an old chair that she moved into the center of the room.

Twenty seconds, and she called, “Voyage!” and threw the portal up towards the ceiling.

Zero. She braced for impact and caught a body that plummeted through in a free fall.

“Ow,” she closed the portal with a groan, amidst the shattered pieces of what used to be a pretty sturdy chair.

“Don’t complain, it could have been worse.” A deep voice rasped.

Wow, to think she missed him, that asshole.

“Shut up, Robi-- oh my god your arm! Get up, getupgetupgetup!” She hauled him up as gently as possible, annoyance giving way to concern.

Robin was, putting it lightly, a mess. He had lost his mask, his eye was swollen shut and his face was bruised with cuts all over, and he was sticky with blood practically everywhere she looked. It was his arm that she was most concerned about, however. It was set in a splint, but he must have been in a rush because it was set wrong, his thumb facing perpendicular lyaway from his body.

“I am fine,” he sagged into her, weary. “I just need a place to stay for the night.”

“If you weren’t so grievously injured, I’d throw you out for that,” she remarked. “But guess what? It’s your lucky night monsieur, and I’m a trained field medic.” Robin looked at her, maskless, and she had to dart her eyes away from his maskless face.

“Oh, so Ladybug finally started replacing her subpar lineup? About time, either she benched them or Hawkmoth would kill them at some point. They were woefully incompent.” Yep, this was definitely Robin, no doubt about it with that attitude.

She called off the transformation and was somewhat pleased when he reflexively jerked his head away. She pulled him into a princess carry and made her way back to the bathroom, inwardly delighting at his reaction. She would never let him live this down.

“It’s me, Robin. Ladybug. Pegasus couldn’t make it, so you’ll have to do with me instead of a random stand-in.” She raised her brow, not that he could see it.

“Unless that bothers you, Boy Wonder?”

“...I’m not,” he mumbled.

“Hm?”

“I’m not Robin anymore.”

What. What.

“What?”

“I’ve retired, effective as of nine months ago today, Robin’s cape has been hung up for the next generation.”

Relief didn’t come yet. “Oh, so you’ve taken on a new mantle? Or are you finally the next Batman, though it would take some time to fill those shoulders. Literally, I mean that literally, um.” She observed his downcast expression and once again started walking to the bathroom. When had she stopped?

“I’m not taking over anything,” he said sullenly. “I can’t. Not after what I did.”

“Come on, it couldn’t have been so bad,” she opened the door with her heel as she backed them towards the stool by the sink. She set him down carefully, taking full stock of his injuries.

“It was. Batman’s cowl has always represented a strict moral code, one that I’ve always...struggled to adhere to.”

Marinette bit her lip as she kneeled in front of him. He didn’t say anymore, and she couldn’t think of anything to say. She sighed and brought out her med kit from the towel cabinet. She was always like this with him.

With Robin (now not Robin?) she had always drawn a blank. She could read his emotions somewhat well, had a good grasp on his moods, and could have genuinely insightful conversations with him. It was only at crucial moments like this that she struggled. Even with Adrien she had always known what she wanted to say, but Robin was different. Everything about him screamed “one chance only” and that caused her mind to go blank. It was so unbelievably frustrating that she could scream.

Marinette handed the glasses to Kaalki and nodded towards her purse hanging on the door handle. The kwami zoomed towards it and soon disappeared into it with the miraculous.

“Robin,” she called gently. He didn’t move. “I’ll have to cut your shirt off, okay? I need to see where the blood is coming from.”

“It’s not mine.The blood.” He kept his gaze away as she froze.

“Well, we’ll have to reset that arm,” she tried again. “It’s not...it’s not looking good, to say the least.”

He looked towards his mangled right arm and nodded.

It took some time to undo the splint and she tried not to think about where he had been for him to only have rotted wood and prison rags on hand. She cut his shirt off at the sleeve and down his middle, pulling it off and exposing a painful canvas of mottled bruises, scrapes, and cuts. She handed him her towel and he stuffed it in his mouth without a word. She gently untied the splint.

“Are you ready?” She gazed at him resolutely. He nodded and braced himself as best he could.

“On my count, one, two--” She re-broke his arm a count early on purpose.

“Arrghh! Ffuk!!” He jerked out of her grip.

“Hold still!” He spat out the towel and glared in response.

“Mizq dhiraei allaeaynat 'aw aidbitha!!!” She only understood ‘rip’ and ‘arm’ but she got the gist of his screaming.

“Alright it’s done now, I’m setting it, so stop moving,” She couldn’t help but sigh under his vicious scowl.

“Tsk. Be grateful that I can barely discern your features Ladybug. You’re on my shit list and I don’t feel like kicking your ass today.”

“Wow, thanks for saving me Ladybug, I could have died if it weren’t for you!” Marinette couldn’t help but snark at him.

“...tsk!” Yep, that was as good as she was going to get in his condition.

After years of fighting akuma victims she was able to observe the complex and hidden emotions of her opponents and the civilians that she rescued. And right now, her experience was telling her that Robin had more than his pride ruined. His self-confident, courageous, and taciturn nature seemed to be regressing as he fell back into what was probably a self-defense mechanism. For him to be like this instead of exhausted in his current state told her that he must have been through a lot since she last saw him.

She started to gently clean the blood off and noted the bruises underneath definitely came from an intense melee battle. Most of them were in places that made her cringe just looking at them. At least he doesn’t have any other broken bones, or stab wounds. Lucky him.

Robin put an ice pack to his face in the meanwhile and wouldn’t look in her direction.

It was quiet for a while. “So, what should I call you, then?” And she had to open her big fat mouth, didn’t she? Now it was awkward. It was awkward, and he hated her, and she was never speaking again, ever.

“Damian.” Uh oh.That didn’t sound like a moniker.

“Um, nice code name?” She started disinfecting his cuts and scrapes, trying not to panic.

“I no longer require such aliases.” Ok, process that later, heal Robin now. Process. Later.

“Ro--, Damian, uh, well,” She sighed. “My offer still stands, you know?”

He made a quiet noise.

“Last time I saw you, I mean. I had left in a rush,”-- after kissing you senseless-- “but I’m always here to listen if you want to talk about what happened.”

Robin, or Damian now, she still wasn’t used to that, froze. His brows furrowed and he strangely went red in the face, before sighing, slumping against the sink.

“I...the blood’s not mine. It hasn’t been my for a long time, but it might as well be for how long I’ve carried it. I’m not a good person so much as to blame myself completely, but I do recognize some of the fault as mine. I’d gotten help, and I was making progress, but it wasn’t enough. I started falling back into old habits and I hated it. I tried and I failed, and I kept trying and failing for months and I…” He gained a look of despair, the first real emotion she’s seen on him since he dropped in.

“I couldn’t do it anymore. I just kept disappointing everyone and I hated it so much,” he dug his fingers into his matted hair.

“So, I left. I decided to go on a journey to try and repent, and it was working, at least I thought it did. But, then I had stumbled upon a Shadows base and I…” He peered unseeing at the floor.

“It was like I lost all sense of reason. I lay siege to the entire facility and found my way to the next base. It all turned into an endless cycle, all the way until I reached headquarters and inadvertently met up with high ranking members of the Justice League, teaming up to diminish their power. We were successful, but a candidate for the position of the Demon’s Head activated the self-destruct module. Everyone was scrambling to get out and suddenly my mind felt clearer than it had ever been.” He took a deep breath and Marinette moved closer to offer some comfort. He leaned towards her gratefully.

“The Justice League had already had an escape route, but the Shadows were in disarray for some reason. After I was sure my old comrades were out, I locked all the doors, and dived down to a ceremonial bathing chamber.”

“And that’s where I came in,” she whispered. I think I’m starting to like him more than I should. What is wrong with me?! Who made me this way?! She had some complaints in regards to that.

“You saved my life,” he inclined his head in an informal bow. “Thank you, Ladybug.”

“...Marinette.” She croaked suddenly. She was left reeling from his info dump and her intense, romantic feelings. So, why not go for a confession?

Damian whipped his head up in disbelief.

“My name is Marinette Dupain-Cheng. Enchanté, Damian.” She smiled at his bewildered state, wiping away a bit of blood under his chin. She opened her mouth to say more, but didn’t get the chance.

Damian leapt up, furious. “You fool! I knew you were a space cadet, but I didn’t think your brain drifted beyond the stars! How utterly moronic!”

“Wait, why are you so mad?!” She panicked. She kind of had a spur of the moment idea to kiss him on his split lip, but that was looking less and less likely to happen.

(Damn it.)

“You told me your name!” he shouted.

“Yes, and you told me your’s?” She retorted.

“Have you forgotten Hawkmoth?! Your enemy that can read the minds of the emotionally disturbed should he decide to possess them!” He started to hobble out of the bathroom, still half-treated and mostly in pain.

Oh.

Oh!

“I have to leave, now! If I can stay calm long enough to reach the trains then I’ll be moving too fast for a butterfly to suddenly get me.”

“Uh, Damian?”

“No, it might already be enroute to someone else and might even already be on board,” He winced and stumbled on the tassel rug in the hallway.

“Woah, hang on a second Damian,” she grabbed him before he could fall, but he pulled out of her grip.

“We don’t have time for this, I can guarantee that I would be one of the worst akumas you’ve faced in your hero career, nevermind the insider information I hold within my mind.”

“Yes, but listen to me,” Damian moved towards the small sitting area, not listening to her.

Again.

“This safehouse should be around one hundred kilometers from the city limits, you’re safe for now, but Hawkmoth’s estimated rate of growth was--”

That’s it!

Marinette grabbed his jaw and slammed it closed. She had had enough.

“This isn’t a safehouse, we’re in my art studio,” she snapped. She could see the rage begin to build to new heights in his eye.

“No, shut your mouth, and listen!” A vein in his forehead started to pulse, but he didn't move to speak.

Good.

“Hawkmoth has been defeated as of last week, and the trial was concluded a couple days ago. Going by what you told me, you've been out the loop for almost a year, so you don’t know that my team and I had closed in on Hawkmoth’s trail some time ago and were able to build a solid case that’ll go through in a court of law,” She carefully let him go.

“So, you’re safe, I’m safe, and Paris is safe too.” She’d already started to calm down in the middle of her explanation, and idly noted that she should probably take an anger management class.

And sign up for therapy. Lots of it, preferably.

Damian nodded slowly as he rubbed his jaw and she couldn’t help her wince.

“Sorry, did I handle you too roughly? Come here,” she started to pull him back towards the bathroom. He resisted.

“No, it’s fine, no damage just from that much force,” he tugged his arm away but she quickly moved behind him and began to push him through the bathroom door.

“Well, I’m not done treating you, so get back in there.” He grabbed the door frame and pushed back, and her calm demeanor left as quick as it came. Was it even truly there to begin with?

“I said,” she picked him up and threw him back on the stool where he grasped for stability.

“Come here.” She leaned in close to his bruised face, and wow, the one eye that she could see was so very, very green. “I’m not done with you, yet.”

“...okay,” he whispered. He kept his head down.

It didn’t take long to finish disinfecting the rest of his wounds, and soon she started applying ointment to the worst of his bruises. She had enough, but she was definitely going to be restocking in order to play his nursemaid for the next week or so. She rose to her feet and started packing away her kit.

“I’ll give you some pain meds for the night, I’ll leave you to take care of the injuries under the rest of your clothes. Come find me in the kitchenette. I’ll make something for us, though it won’t be anything fancy.”

“That is fine.” Marinette frowned at the strange husk in his voice. Did someone try to suffocate him? Why hadn’t she noticed until now?

She kneeled beside him and reached around him for the water bottle she had left in there earlier, but noticed him twitch and start to blush. Did he get a fever too?

She observed his red face and clear, but dilated eyes. Merde, did she embarrass him from earlier? She knew he had a large ego, but it was his own fault for being stubborn.

“Here, get yourself some water from the sink,” she handed the glittery black bottle to him and hurriedly strode out of the bathroom, calling,

“Holler if you need me!”

Completely aware of the flustered state she left Damian in. Though not for the reason she thinks, at least.

#daminette #maribat #part two

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sepublic · 4 years ago

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Sorry about the double ask so here's a fun idea, Emperor Belos wrote The Good Witch Azura books. Like he wrote them in his younger years before becoming a parasitic tyrant. - Pixel Anon

That seems like it’d be the perfect opportunity to segue into a lesson about Death of the Author, which- Given Sense and Insensitivity, and how this show already discusses how fiction affects reality and connects with it… Would be VERY refreshing to see, especially as a moral that I don’t really see other kids’ shows exploring! I do recall OK KO bringing it up with the Hero Cards not representing Kappas, but the more the merrier. It’d also be fitting to discuss Death of the Author, and separating a work from a terrible creator- Given the show’s frequent references to Harry Potter, which has a rather infamous author…

For neurodivergent kids who really get into hyperfixations and fandoms, which Luz and Amity basically are- It’d be fascinating to see them navigate this kind of twisted revelation! And it’d also force them to really re-examine The Good Witch Azura, because sometimes a work can’tbe separated from the harmful ideas of its creator, especially if it was made to transmit them… If Azura ever talks about dealing with ‘savages’, that’d be VERY sus and make matters a lot more complex. But then again, Azura also reconciles with Hecate, so it could be a matter of recognizing a work’s more problematic areas and criticizing them, while still enjoying it.

And, this makes sense, as The Owl House really does convey that experience of engaging with media and fiction, and how it relates to real life… And how media and fiction CAN mean a lot to people, it’s perfectly valid for one’s hyperfixations to mean the world to them! It’s treated as objectively terrible for Luz to throw away her Azura book, and bar a few social misunderstandings, the Azura books have otherwise brought nothing but happiness for her and Amity, and even functioned as something for them to bond over!

It’s perfectly okay for fiction to mean a lot to Luz, and she’s not being childish for wanting to hold on, to keep enjoying it- So it’d be an interesting discussion when Belos’ authorship is thrown into the mix, amidst potential problematic bits here or there. Then again, Luz is an ND-coded kid who continues to find solace in these stories, which would suggest that there isn’t anything there that would bother her- At least, nothing she’d have really noticed until someone pointed it out to her.

Then there’s the appropriateness, of Belos’ own fantasy being what could’ve led to Luz being deluded in her own right, projecting fantasies and dreams onto reality, wanting to be a chosen one… It’d be an extension of the kind of harmful delusions and ideas he puts into others, tying it back all the way of Luz herself, prior to arriving on the Boiling Isles! It’d give us insight to Belos as someone who really gets people to believe in the idea of being special, of being chosen, specifically for the Emperor’s Coven… And how this could relate to HIS character, if he himself is also a victim of these kinds of issues. If Belos is Luz, in that she never learned to differentiate fantasy from reality, and felt entitled towards bringing her stories to life.

Perhaps Belos isn’t REALLY chosen by the Titan, he just likes to think of himself as a Chosen One- Or he was, but others can also quality for this honor, which is something that aggravates Belos because it alludes to him not being more special than others. Because to Belos, it’s not enough to be unique and valid in your own way; You must be actively better than others, and the creation of the Emperor’s Coven above all reflects this. The belief that magic is a privilege, a luxury, something you must actively earn or be more worthy of than others for…

It’s also an interesting contrast, as if Belos has also been influenced by his works, or his works are a reflection of that- Then it’d set him apart from Luz as someone who actively deludes himself. As someone who is voluntarily blind, and willfully ignorant- Just like Lilith, who was inspired by Belos and looked to him as a role model when she was younger. Even before becoming a parasitic tyrant, Belos was a dark reflection of Luz, subjecting others to fantasies and delusions… Maybe not initially maliciously nor willingly, maybe it was just him having fun like any author. But then this innocuous action became very dark in retrospect, as Belos and his ‘hobbies’ worsened and took on a more harmful role for the people of the Boiling Isles.

I suppose it’s worth noting that Belos’ imagery invokes a lot of white, which is also seen with Azura’s predominantly white-and-purple robes… While Belos is white-and-gold. If Belos is a dark deconstruction of Luz’s assumption of a Chosen One narrative and fantasies, then maybe he’s also a deconstruction of Azura herself; And this of course suggests that he actively emulated his own creation. He’s artistic and a writer like Luz is, but it seems Belos got TOO convinced by how good he was, and couldn’t take constructive criticism- Which could be like King as an author in Sense and Insensitivity, up until he realizes that Luz’s input helped make him so great!

Luz and Amity can still engage in fantasy and fiction, the show always lets them find joy in this… It’s just a matter of finding the distinction between the two and recognizing it. Fully indulging into fantasy is what could’ve led Luz to accepting Adegast’s illusions… But entirely rejecting is is the path that is the Reality Camp, which would’ve sucked the fun and joy out of Luz and turned her into a hollow, soulless imitation of herself. It’s okay to find comfort and media and even be inspired by it, to even take lessons from it; And while you should always prioritize listening to real life when it says otherwise, I think it’s worth observing that Luz’s quest to be a good person like Azura… Well, influences her to be kind!

And it’s this desire to emulate Azura that influences Luz to learn magic, which creates yet another hyperfixation that brings the girl joy, and leads to her connecting with Eda and everyone else in the Boiling Isles in the first place by staying there! Perhaps Belos will contrast with Luz in that while he recognized media’s ability to make him feel happier, he ultimately used it as a crutch, a substitute for actual meaningful interaction and connection with other people- Thus creating the monster we see today. There could be the idea of finding role models, people you want to emulate- But also recognizing their flaws, where to criticize them, and not be like them. That could tie into how Eda is a teacher to Luz, but isn’t always right and excels by taking Luz’s feedback into consideration, instead of assuming she always knows better and will never be wrong.

All in all, this is a fascinating idea Pixel Anon! Even if Belos has no literal connection to the Azura books, I am a big fan of the idea of him being a dark reflection to Luz… A Luz as we see her start out in the series, only to be a Luz who never learns the lessons we see her go through. Belos wanted to be a hero, a main character; But he never went through the actual arc and character development of one, and instead ended up as the static villain, the main antagonist who causes problems for actualheroes. If some characters become what they despise most by trying to avoid that, then perhaps Belos is someone who avoids becoming what he wanted to be, in his attempts to be like that.

Whether or not media has played a role in Belos’ life has yet to be seen, but there is the idea of him having lived out a traditional ‘fantasy’ without realizing it as such, because to him this IS his reality- So it’s ironic then that Belos deludes himself while Luz doesn’t. Maybe it’s because of this, because Luz has that self-awareness to consider the divide between her fantasies and what reality actually is; Because she has an actual frame of reference for what fantasy and fiction is. Suddenly I’m reminded of that joke in Lost in Language, when Gary sees “Fiction-Fiction” because the Non part, the reminder of reality, was erased; And he has an existential crisis, wondering if any of his life was real…

Imagine this being foreshadowing to BELOS, of all people, having an epiphany- Realizing that so much of his ‘reality’ was just his own fiction, that he questions what things were real and what things never were. Belos realizing he forgot to consider reality, and now he’s questioning everything he knows, if his arcane knowledge is all for naught if he can’t even distinguish facts from fantasy… etc. What is real and objective- What if all of his ‘Non-Fiction’ was simply just Fiction, and Luz the troublemaker must reveal this to Belos? I’m just imagining Luz very awkwardly cringing and navigating around Belos’ breakdown, but also sort of relating to his dilemma and helping him recover; At least for the sake of everyone else, because a reformed Belos makes life easier than a dead one.

Plus, Luz is very compassionate in that sort of way… And while Belos’ radiance has blinded him for so long; Now, it’s Luz’s less harsh Light, which helps open his eyes and allow Belos to properly see the world around him. Eyes DO seem to be a major motif in the Boiling Isles, and with Belos, whose eyes need to be fixed by some palisman bile… If Belos’ light has blinded all, himself the first victim; Then Luz’s more Night-time, Star-oriented Light can bring a sunset to Belos’ shining era, for now the sun sets on his empire after all these years. And with the lights dimmed, Belos can appreciate the darkness around him as a contrast, and truly recognize things for what they are… And Luz can metaphorically open his eyes and mind.

If Luz illuminates others to the truth of their situation and what they’re doing- Then maybe her final obstacle can be Belos… Alongside her mother Camila, when Luz reunites with her and reveals just how much happier she’s been in the Boiling Isles, instead of the Reality Camp that was actually going to hurt her. THAT would be an unusual parallel, Belos and Camila, as two significant adults in Luz’s life… Potentially ones who taught Luz everything she knew prior to Eda, with Camila providing social interactions to the girl, while Belos provides lessons through his Azura fiction and media. If Azura and Camila were all Luz knew and learned from, it’d be interesting for her to teach THEM something herself- Again, a continuation of that theme of the teacher having a lot to learn from the student, and not being so infallible and all-knowing themselves. Even a teacher like Eda can still enjoy the wide-eyed opportunity and curiosity to learn as a student, once more…

#the owl house #owl house #the owl house belos #emperor belos #the owl house luz #luz noceda #the good witch azura #speculation #ask

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ahouseoflies · 4 years ago

Text

The Best Films of 2020

I can’t tell you anything novel or insightful about this year that has been stolen from our lives. I watched zero of these films in a theater, and I watched most of them half-asleep in moments that I stole from my children. Don’t worry, there are some jokes below.

GARBAGE

93. Capone (Josh Trank)- What is the point of this dinner theater trash? It takes place in the last year of Capone's life, when he was released from prison due to failing health and suffered a stroke in his Florida home. So it covers...none of the things that make Al Capone interesting? It's not historically accurate, which I have no problem with, but if you steer away from accuracy, then do something daring and exciting. Don't give me endless scenes of "Phonse"--as if the movie is running from the very person it's about--drawing bags of money that promise intrigue, then deliver nothing in return.

That being said, best "titular character shits himself" scene since The Judge.

92. Ammonite (Francis Lee)- I would say that this is the Antz to Portrait of a Lady on Fire's A Bug's Life, but it's actually more like the Cars 3 to Portrait of a Lady on Fire's Toy Story 1.

91. Ava (Tate Taylor)- Despite the mystery and inscrutability that usually surround assassins, what if we made a hitman movie but cared a lot about her personal life? Except neither the assassin stuff nor the family stuff is interesting?

90. Wonder Woman 1984 (Patty Jenkins)- What a miscalculation of what audiences loved about the first and wanted from the sequel. WW84 is silly and weightless in all of the ways that the first was elegant and confident. If the return of Pine is just a sort of phantom representation of Diana's desires, then why can he fly a real plane? If he is taking over another man's soul, then, uh, what ends up happening to that guy? For that matter, why is it not 1984 enough for Ronald Reagan to be president, but it is 1984 enough for the president to have so many Ronald Reagan signifiers that it's confusing? Why not just make a decision?

On paper, the me-first values of the '80s lend themselves to the monkey's paw wish logic of this plot. You could actually do something with the Star Wars program or the oil crisis. But not if the setting is played for only laughs and the screenplay explains only what it feels like.

89. Babyteeth (Shannon Murphy)- In this type of movie, there has to be a period of the Ben Mendelsohn character looking around befuddled about the new arrangement and going, "What's this now--he's going to be...living with us? The guy who tried to steal our medication? This is crazy!" But that's usually ten minutes, and in this movie it's an hour. I was so worn out by the end.

88. You Should Have Left (David Koepp)- David Koepp wrote Jurassic Park, so he's never going to hell, but how dare he start caring about his own mystery at the hour mark. There's a forty-five minute version of this movie that could get an extra star from me, and there's a three-hour version of Amanda Seyfried walking around in athleisure that would get four stars from me. What we actually get? No thanks.

87. Black Is King (Beyonce, et al.)- End your association with The Lion King, Bey. It has resulted in zero bops.

ADMIRABLE FAILURES

86. Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) (Cathy Yan)- There's nothing too dysfunctional in the storytelling or performances, but Birds of Prey also doesn't do a single thing well. I would prefer something alive and wild, even if it were flawed, to whatever tame belt-level formula this is.

85. The Turning (Floria Sigismondi)- This update of The Turn of the Screw pumps the age of Miles up to high school, which creates some horny creepiness that I liked. But the age of the character also prevents the ending of the novel from happening in favor of a truly terrible shrug. I began to think that all of the patience that the film showed earlier was just hesitance for its own awful ending.

I watched The Turning as a Mackenzie Davis Movie Star heat check, and while I'm not sure she has the magnetism I was looking for, she does have a great teacher voice, chastening but maternal.

84. Bloodshot (David Wilson)- A whole lot of Vin Diesel saying he's going to get revenge and kill a bunch of dudes; not a whole lot of Vin Diesel actually getting revenge and killing a bunch of dudes.

83. Downhill (Nat Faxon and Jim Rash)- I was an English major in college, which means I ended up locking myself into literary theories that, halfway through the writing of an essay, I realized were flawed. But rather than throw out the work that I had already proposed, I would just keep going and see if I could will the idea to success.

So let's say you have a theory that you can take Force Majeure by Ruben Ostlund, one of the best films of its year, and remake it so that its statement about familial anxiety could apply to Americans of the same age and class too...if it hadn't already. And maybe in the first paragraph you mess up by casting Will Ferrell and Julia Louis-Dreyfus, people we are conditioned to laugh at, when maybe this isn't that kind of comedy at all. Well, don't throw it away. You can quote more--fill up the pages that way--take an exact shot or scene from the original. Does that help? Maybe you can make the writing more vigorous and distinctive by adding a character. Is that going to make this baby stand out? Maybe you could make it more personal by adding a conclusion that is slightly more clever than the rest of the paper?

Or perhaps this is one you're just not going to get an A on.

82. Hillbilly Elegy (Ron Howard)- I watched this melodrama at my mother's encouragement, and, though I have been trying to pin down her taste for decades, I think her idea of a successful film just boils down to "a lot of stuff happens." So in that way, Ron Howard's loss is my gain, I guess.

There is no such thing as a "neutral Terminator."

81. Relic (Natalie Erika James)- The star of the film is Vanessa Cerne's set decoration, but the inert music and slow pace cancel out a house that seems neglected slowly over decades.

80. Buffaloed (Tanya Wexler)- Despite a breathless pace, Buffaloed can't quite congeal. In trying to split the difference between local color hijinks and Moneyballed treatise on debt collection, it doesn't commit enough to either one.

Especially since Zoey Deutch produced this one in addition to starring, I'm getting kind of worried about boo's taste. Lot of Two If by Seas; not enough While You Were Sleepings.

79. Like a Boss (Miguel Arteta)- I chuckled a few times at a game supporting cast that is doing heavy lifting. But Like a Boss is contrived from the premise itself--Yeah, what if people in their thirties fell out of friendship? Do y'all need a creative consultant?--to the escalation of most scenes--Why did they have to hide on the roof? Why do they have to jump into the pool?

The movie is lean, but that brevity hurts just as much as it helps. The screenplay knows which scenes are crucial to the development of the friendship, but all of those feel perfunctory, in a different gear from the setpieces.

To pile on a bit: Studio comedies are so bare bones now that they look like Lifetime movies. Arteta brought Chuck & Buck to Sundance twenty years ago, and, shot on Mini-DV for $250,000, it was seen as a DIY call-to-bootstraps. I guarantee that has more setups and locations and shooting days than this.

78. Eurovision Song Contest: The Story of Fire Saga (David Dobkin)- Add Dan Stevens to the list of supporting players who have bodied Will Ferrell in his own movie--one that he cared enough to write himself.

Like Downhill, Ferrell's other 2020 release, this isn't exactly bad. It's just workmanlike and, aside from the joke about Demi Lovato's "uninformed" ghost, frustratingly conventional.

77. The Traitor (Marco Bellochio)- Played with weary commitment by Pierfrancesco Favino, Tomasso Buscetta is "credited" as the first informant of La Cosa Nostra. And that sounds like an interesting subject for a "based on a true story" crime epic, right? Especially when you find out that Buscetta became a rat out of principle: He believed that the mafia to which he had pledged his life had lost its code to the point that it was a different organization altogether.

At no point does Buscetta waver or even seem to struggle with his decision though, so what we get is less conflicted than that description might suggest. None of these Italian mob movies glorify the lifestyle, so I wasn't expecting that. But if the crime doesn't seem enticing, and snitching on the crime seems like forlorn duty, and everything is pitched with such underhanded matter-of-factness that you can't even be sure when Buscetta has flipped, then what are we left with? It was interesting seeing how Italian courts work, I guess?

76. Kajillionaire (Miranda July)- This is another movie so intent on building atmosphere and lore that it takes too long to declare what it is. When the protagonist hits a breaking point and has to act, she has only a third of a film to grow. So whispery too.

Gina Rodriguez is the one to inject life into it. As soon as her motormouth winds up, the film slips into a different gear. The atmosphere and lore that I mentioned reeks of artifice, but her character is believably specific. Beneath a basic exterior is someone who is authentically caring but still morally compromised, beholden to the world that the other characters are suspicious of.

75. Scoob! (Tony Cervone)- The first half is sometimes clever, but it hammers home the importance of friendship while separating the friends.

The second half has some positive messaging, but your kids' movie might have a problem with scale if it involves Alexander the Great unlocking the gates of the Underworld.

My daughter loved it.

74. The Lovebirds (Michael Showalter)- If I start talking too much about this perfectly fine movie, I end up in that unfair stance of reviewing the movie I wanted, not what is actually there.* As a fan of hang-out comedies, I kind of resent that any comedy being made now has to be rolled into something more "exciting," whether it's a wrongfully accused or mistaken identity thriller or some other genre. Such is the post-Game Night world. There's a purposefully anti-climactic note that I wish The Lovebirds had ended on, but of course we have another stretch of hiding behind boats and shooting guns. Nanjiani and Rae are really charming leads though.

*- As a New Orleanian, I was totally distracted by the fake aspects of the setting too. "Oh, they walked to Jefferson from downtown? Really?" You probably won't be bothered by the locations.

73. Sonic the Hedgehog (Jeff Fowler)- In some ways the storytelling is ambitious. (I'm speaking for only myself, but I'm fine with "He's a hedgehog, and he's really fast" instead of the owl mother, teleportation backstory. Not everything has to be Tolkien.) But that ambition doesn't match the lack of ambition in the comedy, which depends upon really hackneyed setups and structures. Guiding Jim Carrey to full alrighty-then mode was the best choice anyone made.

72. Malcolm & Marie (Sam Levinson)- The stars move through these long scenes with agility and charisma, but the degree of difficulty is just too high for this movie to reach what it's going for.

Levinson is trying to capture an epic fight between a couple, and he can harness the theatrical intensity of such a thing, but he sacrifices almost all of the nuance. In real life, these knock-down-drag-outs can be circular and indirect and sad in a way that this couple's manipulation rarely is. If that emotional truth is all this movie is trying to achieve, I feel okay about being harsh in my judgment of how well it does that.

71. Beanpole (Kantemir Balagov)- Elusive in how it refuses to declare itself, forthright in how punishing it is. The whole thing might be worth it for a late dinner scene, but I'm getting a bit old to put myself through this kind of misery.

70. The Burnt Orange Heresy (Giuseppe Capotondi)- Silly in good ways until it's silly in bad ways. Elizabeth Debicki remains 6'3".

69. Everybody’s Everything (Sebastian Jones and Ramez Silyan)- As a person who listened to Lil Peep's music, I can confidently say that this documentary is overstating his greatness. His death was a significant loss, as the interview subjects will all acknowledge, but the documentary is more useful as a portrait of a certain unfocused, rapacious segment of a generation that is high and online at all times.

68. The Witches (Robert Zemeckis)- Robert Zemeckis, Kenya Barris, and Guillermo Del Toro are the credited screenwriters, and in a fascinating way, you can see the imprint of each figure on the final product. Adapting a very European story to the old wives' tales of the American South is an interesting choice. Like the Nicolas Roeg try at this material, Zemeckis is not afraid to veer into the terrifying, and Octavia Spencer's pseudo witch doctor character only sells the supernatural. From a storytelling standpoint though, it seems as if the obstacles are overcome too easily, as if there's a whole leg of the film that has been excised. The framing device and the careful myth-making of the flashback make promises that the hotel half of the film, including the abrupt ending, can't live up to.

If nothing else, Anne Hathaway is a real contender for Most On-One Performance of the year.

67. Irresistible (Jon Stewart)- Despite a sort of imaginative ending, Jon Stewart's screenplay feels more like the declarative screenplay that would get you hired for a good movie, not a good screenplay itself. It's provocative enough, but it's clumsy in some basic ways and never evades the easy joke.

For example, the Topher Grace character is introduced as a sort of assistant, then is re-introduced an hour later as a polling expert, then is shown coaching the candidate on presentation a few scenes later. At some point, Stewart combined characters into one role, but nothing got smoothed out.

ENDEARING CURIOSITIES WITH BIG FLAWS

66. Yes, God, Yes (Karen Maine)- Most people who are Catholic, including me, are conflicted about it. Most people who make movies about being Catholic hate it and have an axe to grind. This film is capable of such knowing wit and nuance when it comes to the lived-in details of attending a high school retreat, but it's more concerned with taking aim at hypocrisy in the broad way that we've seen a million times. By the end, the film is surprisingly all-or-nothing when Christian teenagers actually contain multitudes.

Part of the problem is that Karen Maine's screenplay doesn't know how naive to make the Alice character. Sometimes she's reasonably naive for a high school senior in 2001; sometimes she's comically naive so that the plot can work; and sometimes she's stupid, which isn't the same as naive.

65. Bad Boys for Life (Adil El Arbi and Bilall Fallah)- This might be the first buddy cop movie in which the vets make peace with the tech-comm youngs who use new techniques. If that's the only novelty on display here--and it is--then maybe that's enough. I laughed maybe once. Not that the mistaken identity subplot of Bad Boys 1 is genius or anything, but this entry felt like it needed just one more layer to keep it from feeling as basic as it does. Speaking of layers though, it's almost impossible to watch any Will Smith movie now without viewing it through the meta-narrative of "What is Will Smith actually saying about his own status at this point in his career?" He's serving it up to us.

I derived an inordinate amount of pleasure from seeing the old school Simpson/Bruckheimer logo.

64. The Gentlemen (Guy Ritchie)- Look, I'm not going to be too negative on a movie whose crime slang is so byzantine that it has to be explained with subtitles. That's just me. I'm a simple man. But I can tell you that I tuned out pretty hard after seven or eight double-crosses.

The bloom is off the rose a bit for Ritchie, but he can still nail a music cue. I've been waiting for someone to hit "That's Entertainment" the way he does on the end credits.

63. Bad Hair (Justin Simien)- In Bad Hair, an African-American woman is told by her boss at a music video channel in 1989 that straightening her hair is the way to get ahead; however, her weave ends up having a murderous mind of its own. Compared to that charged, witty logline, the execution of the plot itself feels like a laborious, foregone conclusion. I'm glad that Simien, a genuinely talented writer, is making movies again though. Drop the skin-care routine, Van Der Beek!

62. Greyhound (Aaron Schneider)- "If this is the type of role that Tom Hanks writes for himself, then he understands his status as America's dad--'wise as the serpent, harmless as the dove'--even better than I thought." "America's Dad! Aye aye, sir!" "At least half of the dialogue is there for texture and authenticity, not there to be understood by the audience." "Fifty percent, Captain!" "The environment looks as fake as possible, but I eventually came around to the idea that the movie is completely devoid of subtext." "No subtext to be found, sir!"

61. Mank (David Fincher)- About ten years ago, the Creative Screenwriting podcast spent an hour or so with James Vanderbilt, the writer of Zodiac and nothing else that comes close, as he relayed the creative paces that David Fincher pushed him through. Hundreds of drafts and years of collaborative work eventuated in the blueprint for Fincher's most exacting, personal film, which he didn't get a writing credit on only because he didn't seek one.

Something tells me that Fincher didn't ask for rewrites from his dead father. No matter what visuals and performances the director can coax from the script--and, to be clear, these are the worst visuals and performances of his career--they are limited by the muddy lightweight pages. There are plenty of pleasures, like the slippery election night montage or the shakily platonic relationship between Mank and Marion. But Fincher hadn't made a film in six years, and he came back serving someone else's master.

60. Tesla (Michael Almereyda)- "You live inside your head." "Doesn't everybody?"

As usual, Almereyda's deconstructions are invigorating. (No other moment can match the first time Eve Hewson's Anne fact-checks something with her anachronistic laptop.) But they don't add up to anything satisfying because Tesla himself is such an opaque figure. Driven by the whims of his curiosity without a clear finish line, the character gives Hawke something enigmatic to play as he reaches deep into a baritone. But he's too inward to lend himself to drama. Tesla feels of a piece with Almereyda's The Experimenter, and that's the one I would recommend.

59. Vitalina Varela (Pedro Costa)- I can't oversell how delicately beautiful this film is visually. There's a scene in which Vitalina lugs a lantern into a church, but we get several seconds of total darkness before that one light source carves through it and takes over part of the frame. Each composition is as intricate as it is overpowering, achieving a balance between stark and mannered.

That being said, most of the film is people entering or exiting doors. I felt very little of the haunting loss that I think I was supposed to.

58. The Rhythm Section (Reed Morano)- Call it the Timothy Hutton in The General's Daughter Corollary: If a name-actor isn't in the movie much but gets third billing, then, despite whom he sends the protagonist to kill, he is the Actual Bad Guy.

Even if the movie serves up a lot of cliche, the action and sound design are visceral. I would like to see more from Morano.

57. Red, White and Blue (Steve McQueen)- Well-made and heartfelt even if it goes step-for-step where you think it will.

Here's what I want to know though: In the academy training sequence, the police cadets have to subdue a "berserker"; that is, a wildman who swings at their riot gear with a sledgehammer. Then they get him under control, and he shakes their hands, like, "Good angle you took on me there, mate." Who is that guy and where is his movie? Is this full-time work? Is he a police officer or an independent contractor? What would happen if this exercise didn't go exactly as planned?

56. Wolfwalkers (Tomm Moore and Ross Stewart)- The visuals have an unfinished quality that reminded me of The Tale of Princess Kaguya--the center of a flame is undrawn white, and fog is just negative space. There's an underlying symmetry to the film, and its color palette changes with mood.

Narratively, it's pro forma and drawn-out. Was Riley in Inside Out the last animated protagonist to get two parents? My daughter stuck with it, but she needed a lot of context for the religious atmosphere of 17th century Ireland.

55. What She Said: The Art of Pauline Kael (Rob Garver)- The film does little more than one might expect; it's limited in the way that any visual medium is when trying to sum up a woman of letters. But as far as education for Kael's partnership with Warren Beatty or the idea of The New Yorker paying her for only six months out of the year, it was useful for me.

Although Garver isn't afraid to point to the work that made Kael divisive, it would have been nice to have one or two interview subjects who questioned her greatness, rather than the crew of Paulettes who, even when they do say something like, "Sometimes I radically disagreed with her," do it without being able to point to any specifics.

54. Beastie Boys Story (Spike Jonze)- As far as this Spike Jonze completist is concerned, this is more of a Powerpoint presentation than a movie, Beastie Boys Story still warmed my heart, making me want to fire up Paul's Boutique again and take more pictures of my buddies.

53. Tenet (Christopher Nolan)- Cool and cold, tantalizing and frustrating, loud and indistinct, Tenet comes close to Nolan self-parody, right down to the brutalist architecture and multiple characters styled like him. The setpieces grabbed me, I'll admit.

Nolan's previous film, which is maybe his best, was "about" a lot and just happened to play with time; Tenet is only about playing with time.

PRETTY GOOD MOVIES

52. Shithouse (Cooper Raiff)- "Death is ass."

There's such a thing as too naturalistic. If I wanted to hear how college freshmen really talked, I would hang out with college freshmen. But you have to take the good verisimilitude with the bad, and good verisimilitude is the mother's Pod Save America t-shirt.

There are some poignant moments (and a gonzo performance from Logan Miller) in this auspicious debut from Cooper Raiff, the writer/director/editor/star. But the second party sequence kills some of the momentum, and at a crucial point, the characters spell out some motivation that should have stayed implied.

51. Totally Under Control (Alex Gibney, Ophelia Harutyunyan, Suzanne Hillinger)- As dense and informative as any other Gibney documentary with the added flex of making it during the pandemic it is investigating.

But yeah, why am I watching this right now? I don't need more reasons to be angry with Trump, whom this film calmly eviscerates. The directors analyze Trump's narcissism first through his contradictions of medical expertise in order to protect the economy that could win him re-election. Then it takes aim at his hiring based on loyalty instead of experience. But you already knew that, which is the problem with the film, at least for now.

50. Happiest Season (Clea Duvall)- I was in the perfect mood to watch something this frothy and bouncy. Every secondary character receives a moment in the sun, and Daniel Levy gets a speech that kind of saves the film at a tipping point.

I must say though: I wanted to punch Harper in her stupid face. She is a terrible romantic partner, abandoning or betraying Abby throughout the film and dissembling her entire identity to everyone else in a way that seems absurd for a grown woman in 2020. Run away, Kristen. Perhaps with Aubrey Plaza, whom you have more chemistry with. But there I go shipping and aligning myself with characters, which only proves that this is an effective romantic comedy.

49. The Way Back (Gavin O’Connor)- Patient but misshapen, The Way Back does just enough to overcome the cliches that are sort of unavoidable considering the genre. (I can't get enough of the parent character who, for no good reason, doesn't take his son's success seriously. "Scholarship? What he's gotta do is put his nose in them books! That's why I don't go to his games. [continues moving boxes while not looking at the other character] Now if you'll excuse me while I wait four scenes before showing up at a game to prove that I'm proud of him after all...")

What the movie gets really right or really wrong in the details about coaching and addiction is a total crap-shoot. But maybe I've said too much already.

48. The Whistlers (Corneliu Porumboiu)- Porumboiu is a real artist who seems to be interpreting how much surveillance we're willing to acknowledge and accept, but I won't pretend to have understood much of the plot, the chapters or which are told out of order. Sometimes the structure works--the beguiling, contextless "high-class hooker" sequence--but I often wondered if the film was impenetrable in the way that Porumboiu wanted it to be or impenetrable in the way he didn't.

To tell you the truth, the experience kind of depressed me because I know that, in my younger days, this film is the type of thing that I would re-watch, possibly with the chronology righted, knowing that it is worth understanding fully. But I have two small children, and I'm exhausted all the time, and I kind of thought I should get some credit for still trying to catch up with Romanian crime movies in the first place.

47. Borat Subsequent Moviefilm (Jason Woliner)- I laughed too much to get overly critical, but the film is so episodic and contrived that it's kind of exhausting by the end--even though it's achieving most of its goals. Maybe Borat hasn't changed, but the way our citizens own their ugliness has.

46. First Cow (Kelly Reichardt)- Despite how little happens in the first forty minutes, First Cow is a thoughtful capitalism parable. Even though it takes about forty minutes to get going, the friendship between Cookie and King-Lu is natural and incisive. Like Reichardt's other work, the film's modest premise unfolds quite gracefully, except for in the first forty minutes, which are uneventful.

45. Les Miserables (Ladj Ly)- I loved parts of the film--the disorienting, claustrophobic opening or the quick look at the police officers' home lives, for example. But I'm not sure that it does anything very well. The needle the film tries to thread between realism and theater didn't gel for me. The ending, which is ambiguous in all of the wrong ways, chooses the theatrical. (If I'm being honest, my expectations were built up by Les Miserables' Jury Prize at Cannes, and it's a bit superficial to be in that company.)

If nothing else, it's always helpful to see how another country's worst case scenario in law enforcement would look pretty good over here.

44. Bad Education (Cory Finley)- The film feels too locked-down and small at the beginning, so intent on developing the protagonist neutrally that even the audience isn't aware of his secrets. So when he faces consequences for those secrets, there's a disconnect. Part of tragedy is seeing the doom coming, right?

When it opens up, however, it's empathetic and subtle, full of a dry irony that Finley is already specializing in after only one other feature. Geraldine Viswanathan and Allison Janney get across a lot of interiority that is not on the page.

43. The Trip to Greece (Michael Winterbottom)- By the fourth installment, you know whether you're on board with the franchise. If you're asking "Is this all there is?" to Coogan and Brydon's bickering and impressions as they're served exotic food in picturesque settings, then this one won't sway you. If you're asking "Is this all there is?" about life, like they are, then I don't need to convince you.

I will say that The Trip to Spain seemed like an enervated inflection point, at which the squad could have packed it in. The Trip to Greece proves that they probably need to keep doing this until one of them dies, which has been the subtext all along.

42. Feels Good Man (Arthur Jones)- This documentary centers on innocent artist Matt Furie's helplessness as his Pepe the Frog character gets hijacked by the alt-right. It gets the hard things right. It's able to, quite comprehensively, trace a connection from 4Chan's use of Pepe the Frog to Donald Trump's near-assuming of Pepe's ironic deniability. Director Arthur Jones seems to understand the machinations of the alt-right, and he articulates them chillingly.

The easy thing, making us connect to Furie, is less successful. The film spends way too much time setting up his story, and it makes him look naive as it pits him against Alex Jones in the final third. Still, the film is a quick ninety-two minutes, and the highs are pretty high.

41. The Old Guard (Gina Prince-Bythewood)- Some of the world-building and backstory are handled quite elegantly. The relationships actually do feel centuries old through specific details, and the immortal conceit comes together for an innovative final action sequence.

Visually and musically though, the film feels flat in a way that Prince-Bythewood's other films do not. I blame Netflix specs. KiKi Layne, who tanked If Beale Street Could Talk for me, nearly ruins this too with the child-actory way that she stresses one word per line. Especially in relief with one of our more effortless actresses, Layne is distracting.

40. The Trial of the Chicago 7 (Aaron Sorkin)- Whenever Sacha Baron Cohen's Abbie Hoffman opens his mouth, the other defendants brace themselves for his dismissive vulgarity. Even when it's going to hurt him, he can't help but shoot off at the mouth. Of course, he reveals his passionate and intelligent depths as the trial goes on. The character is the one that Sorkin's screenplay seems the most endeared to: In the same way that Hoffman can't help but be Hoffman, Sorkin can't help but be Sorkin. Maybe we don't need a speech there; maybe we don't have to stretch past two hours; maybe a bon mot diffuses the tension. But we know exactly what to expect by now. The film is relevant, astute, witty, benevolent, and, of course, in love with itself. There are a handful of scenes here that are perfect, so I feel bad for qualifying so much.

A smaller point: Daniel Pemberton has done great work in the past (Motherless Brooklyn, King Arthur, The Man from U.N.C.L.E.), but the first sequence is especially marred by his sterile soft-rock approach.

GOOD MOVIES

39. Time (Garrett Bradley)- The key to Time is that it provides very little context. Why the patriarch of this family is serving sixty years in prison is sort of besides the point philosophically. His wife and sons have to move on without him, and the tragedy baked into that fact eclipses any notion of what he "deserved." Feeling the weight of time as we switch back and forth between a kid talking about his first day of kindergarten and that same kid graduating from dentistry school is all the context we need. Time's presentation can be quite sumptuous: The drone shot of Angola makes its buildings look like crosses. Or is it X's?

At the same time, I need some context. When director Garrett Bradley withholds the reason Robert's in prison, and when she really withholds that Fox took a plea and served twelve years, you start to see the strings a bit. You could argue that knowing so little about why, all of a sudden, Robert can be on parole puts you into the same confused shoes as the family, but it feels manipulative to me. The film is preaching to the choir as far as criminal justice goes, which is fine, but I want it to have the confidence to tell its story above board.

38. Bloody Nose, Empty Pockets (Turner Ross and Bill Ross IV)- I have a barfly friend whom I see maybe once a year. When we first set up a time to meet, I kind of dread it and wonder what we'll have to talk about. Once we do get together, we trip on each other's words a bit, fumbling around with the rhythm of conversation that we mastered decades ago. He makes some kind of joke that could have been appropriate then but isn't now.

By the end of the day, hours later, we're hugging and maybe crying as we promise each other that we won't wait as long next time.

That's the exact same journey that I went on with this film.

37. Underwater (William Eubank)- Underwater is a story that you've seen before, but it's told with great confidence and economy. I looked up at twelve minutes and couldn't believe the whole table had been set. Kristen plays Ripley and projects a smart, benevolent poise.

36. The Lodge (Veronika Franz and Severin Fiala)- I prefer the grounded, manicured first half to the more fantastic second half. The craziness of the latter is only possible through the hard work of the former though. As with Fiala and Franz's previous feature, the visual rhymes and motifs get incorporated into the soup so carefully that you don't realize it until they overwhelm you in their bleak glory.

Small note: Alicia Silverstone, the male lead's first wife, and Riley Keough, his new partner, look sort of similar. I always think that's a nice note: "I could see how he would go for her."

35. Miss Americana (Lana Wilson)- I liked it when I saw it as a portrait of a person whose life is largely decided for her but is trying to carve out personal spaces within that hamster wheel. I loved it when I realized that describes most successful people in their twenties.

34. Sound of Metal (Darius Marder)- Riz Ahmed is showing up on all of the best performances of the year lists, but Sound of Metal isn't in anyone's top ten films of the year. That's about right. Ahmed's is a quiet, stubborn performance that I wish was in service of more than the straight line that we've seen before.

In two big scenes, there's this trick that Ahmed does, a piecing together of consequences with his eyes, as if he's moving through a flow chart in real time. In both cases, the character seems locked out and a little slower than he should be, which is, of course, why he's facing the consequences in the first place. To be charitable to a film that was a bit of a grind, it did make me notice a thing a guy did with his eyes.

33. Pieces of a Woman (Kornel Mundruczo)- Usually when I leave acting showcases like this, I imagine the film without the Oscar-baiting speeches, but this is a movie that specializes in speeches. Pieces of a Woman is being judged, deservedly so, by the harrowing twenty-minute take that opens the film, which is as indulgent as it is necessary. But if the unbroken take provides the "what," then the speeches provide the "why."

This is a film about reclaiming one's body when it rebels against you and when other people seek ownership of it. Without the Ellen Burstyn "lift your head" speech or the Vanessa Kirby show-stopper in the courtroom, I'm not sure any of that comes across.

I do think the film lets us off the hook a bit with the LaBoeuf character, in the sense that it gives us reasons to dislike him when it would be more compelling if he had done nothing wrong. Does his half-remembering of the White Stripes count as a speech?

32. Ma Rainey’s Black Bottom (George C. Wolfe)- This is such a play, not only in the locked-down location but also through nearly every storytelling convention: "Where are the two most interesting characters? Oh, running late? They'll enter separately in animated fashion?" But, to use the type of phrase that the characters might, "Don't hate the player; hate the game."

Perhaps the most theatrical note in this treatise on the commodification of expression is the way that, two or three times, the proceedings stop in their tracks for the piece to declare loudly what it's about. In one of those clear-outs, Boseman, who looks distractingly sick, delivers an unforgettable monologue that transports the audience into his character's fragile, haunted mind. He and Viola Davis are so good that the film sort of buckles under their weight, unsure of how to transition out of those spotlight moments and pretend that the story can start back up. Whatever they're doing is more interesting than what's being achieved overall.

31. Another Round (Thomas Vinterberg)- It's definitely the film that Vinterberg wanted to make, but despite what I think is a quietly shattering performance from Mikkelsen, Another Round moves in a bit too much of a straight line to grab me fully. The joyous final minutes hint at where it could have gone, as do pockets of Vinterberg's filmography, which seems newly tethered to realism in a way that I don't like. The best sequences are the wildest ones, like the uproarious trip to the grocery store for fresh cod, so I don't know why so much of it takes place in tiny hallways at magic hour. I give the inevitable American remake* permission to use these notes.

*- Just spitballing here. Martin: Will Ferrell, Nikolaj (Nick): Ben Stiller, Tommy: Owen Wilson, Peter: Craig Robinson

30. The Invisible Man (Leigh Whannell)- Exactly what I wanted. Exactly what I needed.

I think a less conclusive finale would have been better, but what a model of high-concept escalation. This is the movie people convinced me Whannell's Upgrade was.

29. On the Rocks (Sofia Coppola)- Slight until the Mexican sojourn, which expands the scope and makes the film even more psychosexual than before. At times it feels as if Coppola is actively simplifying, rather than diving into the race and privilege questions that the Murray character all but demands.

As for Murray, is the film 50% worse without him? 70%? I don't know if you can run in supporting categories if you're the whole reason the film exists.

28. Mangrove (Steve McQueen)- The first part of the film seemed repetitive and broad to me. But once it settled in as a courtroom drama, the characterization became more shaded, and the filmmaking itself seemed more fluid. I ended up being quite outraged and inspired.

27. Shirley (Josephine Decker)- Josephine Decker emerges as a real stylist here, changing her foggy, impressionistic approach not one bit with a little more budget. Period piece and established actors be damned--this is still as much of a reeling fever dream as Madeline's Madeline. Both pieces are a bit too repetitive and nasty for my taste, but I respect the technique.

Here's my mandatory "Elisabeth Moss is the best" paragraph. While watching her performance as Shirley Jackson, I thought about her most famous role as Peggy on Mad Men, whose inertia and need to prove herself tied her into confidence knots. Shirley is almost the opposite: paralyzed by her worldview, certain of her talent, rejecting any empathy. If Moss can inhabit both characters so convincingly, she can do anything.

26. An American Pickle (Brandon Trost)- An American Pickle is the rare comedy that could actually use five or ten extra minutes, but it's a surprisingly heartfelt and wholesome stretch for Rogen, who is earnest in the lead roles.

25. The King of Staten Island (Judd Apatow)- At two hours and fifteen minutes, The King of Staten Island is probably the first Judd Apatow film that feels like the exact right length. For example, the baggy date scene between a gracious Bill Burr and a faux-dowdy Marisa Tomei is essential, the sort of widening of perspective that something like Trainwreck was missing.

It's Pete Davidson's movie, however, and though he has never been my cup of tea, I think he's actually quite powerful in his quiet moments. The movie probes some rare territory--a mentally ill man's suspicion that he is unlovable, a family's strategic myth-making out of respect for the dead. And when Davidson shows up at the firehouse an hour and fifteen minutes in, it feels as if we've built to a last resort.

24. Swallow (Carlo Mirabella-Davis)- The tricky part of this film is communicating Hunter's despair, letting her isolation mount, but still keeping her opaque. It takes a lot of visual discipline to do that, and Claudio Mirabella-Davis is up to the task. This ends up being a much more sympathetic, expressive movie than the plot description might suggest.

(In the tie dispute, Hunter and Richie are both wrong. That type of silk--I couldn't tell how pebbled it was, but it's probably a barathea weave-- shouldn't be ironed directly, but it doesn't have to be steamed. On a low setting, you could iron the back of the tie and be fine.)

23. The Vast of Night (Andrew Patterson)- I wanted a bit more "there" there; The film goes exactly where I thought it would, and there isn't enough humor for my taste. (The predictability might be a feature, not a bug, since the film is positioned as an episode of a well-worn Twilight Zone-esque show.)

But from a directorial standpoint, this is quite a promising debut. Patterson knows when to lock down or use silence--he even cuts to black to force us to listen more closely to a monologue. But he also knows when to fill the silence. There's a minute or so when Everett is spooling tape, and he and Fay make small talk about their hopes for the future, developing the characters' personalities in what could have been just mechanics. It's also a refreshingly earnest film. No one is winking at the '50s setting.

I'm tempted to write, "If Andrew Patterson can make this with $1 million, just imagine what he can do with $30 million." But maybe people like Shane Carruth have taught us that Patterson is better off pinching pennies in Texas and following his own muse.

22. Martin Eden (Pietro Marcello)- At first this film, adapted from a picaresque novel by Jack London, seemed as if it was hitting the marks of the genre. "He's going from job to job and meeting dudes who are shaping his worldview now." But the film, shot in lustrous Super 16, won me over as it owned the trappings of this type of story, forming a character who is a product of his environment even as he transcends it. By the end, I really felt the weight of time.

You want to talk about something that works better in novels than films though? When a passionate, independent protagonist insists that a woman is the love of his life, despite the fact that she's whatever Italians call a wet blanket. She's rich, but Martin doesn't care about her money. He hates her family and friends, and she refuses to accept him or his life pursuits. She's pretty but not even as pretty as the waitress they discuss. Tell me what I'm missing here. There's archetype, and there's incoherence.

21. Bacurau (Kleber Mendonca Filho and Juliano Dornelles)- Certain images from this adventurous film will stick with me, but I got worn out after the hard reset halfway through. As entranced as I was by the mystery of the first half, I think this blood-soaked ensemble is better at asking questions than it is at answering them.

20. Let Them All Talk (Steven Soderbergh)- The initial appeal of this movie might be "Look at these wonderful actresses in their seventies getting a movie all to themselves." And the film is an interesting portrait of ladies taking stock of relationships that have spanned decades. But Soderbergh and Eisenberg handle the twentysomething Lucas Hedges character with the same openness and empathy. His early reasoning for going on the trip is that he wants to learn from older women, and Hedges nails the puppy-dog quality of a young man who would believe that. Especially in the scenes of aspirational romance, he's sweet and earnest as he brushes his hair out of his face.

Streep plays Alice Hughes, a serious author of literary fiction, and she crosses paths with Kelvin Kranz, a grinder of airport thrillers. In all of the right ways, Let Them All Talk toes the line between those two stances as an entertaining, jaunty experiment that also shoulders subtextual weight. If nothing else, it's easy to see why a cruise ship's counterfeit opulence, its straight lines at a lean, would be visually engaging to Soderbergh. You can't have a return to form if your form is constantly evolving.

19. Dick Johnson Is Dead (Kirsten Johnson)- Understandably, I don't find the subject as interesting as his own daughter does, and large swaths of this film are unsure of what they're trying to say. But that's sort of the point, and the active wrestling that the film engages in with death ultimately pays off in a transcendent moment. The jaw-dropping ending is something that only non-fiction film can achieve, and Johnson's whole career is about the search for that sort of serendipity.

18. Da 5 Bloods (Spike Lee)- Delroy Lindo is a live-wire, but his character is the only one of the principals who is examined with the psychological depth I was hoping for. The first half, with all of its present-tense flourishes, promises more than the gunfights of the second half can deliver. When the film is cooking though, it's chock full of surprises, provocations, and pride.

17. Never Rarely Sometimes Always (Eliza Hittmann)- Very quickly, Eliza Hittmann has established herself as an astute, empathetic director with an eye for discovering new talent. I hope that she gets to make fifty more movies in which she objectively follows laconic young people. But I wanted to like this one more than I did. The approach is so neutral that it's almost flat to me, lacking the arc and catharsis of her previous film, Beach Rats. I still appreciate her restraint though.

GREAT MOVIES

16. Young Ahmed (Jean-Pierre Dardenne and Luc Dardenne)- I don't think the Dardennes have made a bad movie yet, and I'm glad they turned away from the slight genre dipping of The Unknown Girl, the closest to bad that they got. Young Ahmed is a lean, daring return to form.

Instead of following an average person, as they normally do, the Dardenne Brothers follow an extremist, and the objectivity that usually generates pathos now serves to present ambiguity. Ahmed says that he is changing, that he regrets his actions, but we never know how much of his stance is a put-on. I found myself wanting him to reform, more involved than I usually am in these slices of life. Part of it is that Idir Ben Addi looks like such a normal, young kid, and the Ahmed character has most of the qualities that we say we want in young people: principles, commitment, self-worth, reflection. So it's that much more destructive when those qualities are used against him and against his fellow man.

15. World of Tomorrow Episode Three: The Absent Destinations of David Prime (Don Hertzfeldt)- My dad, a man whom I love but will never understand, has dismissed modern music before by claiming that there are only so many combinations of chords. To him, it's almost impossible to do something new. Of course, this is the type of thing that an uncreative person would say--a person not only incapable of hearing the chords that combine notes but also unwilling to hear the space between the notes. (And obviously, that's the take of a person who doesn't understand that, originality be damned, some people just have to create.)

Anyway, that attitude creeps into my own thinking more than I would like, but then I watch something as wholly original as World of Tomorrow Episode Three. The series has always been a way to pile sci-fi ideas on top of each other to prove the essential truths of being and loving. And this one, even though it achieves less of a sense of yearning than its predecessor, offers even more devices to chew on. Take, for example, the idea that Emily sends her message from the future, so David's primitive technology can barely handle it. In order to move forward with its sophistication, he has to delete any extraneous skills for the sake of computer memory. So out of trust for this person who loves him, he has to weigh whether his own breathing or walking can be uninstalled as a sacrifice for her. I thought that we might have been done describing love, but there it is, a new metaphor. Mixing futurism with stick figures to get at the most pure drive possible gave us something new. It's called art, Dad.

14. On the Record (Kirby Dick and Amy Ziering)- We don't call subjects of documentaries "stars" for obvious reasons, but Drew Dixon kind of is one. Her honesty and wisdom tell a complete story of the #MeToo movement. Kirby Dick and Amy Ziering take their time developing her background at first, not because we need to "gain sympathy" or "establish credibility" for a victim of sexual abuse, but because showing her talent and enthusiasm for hip-hop A&R makes it that much more tragic when her passion is extinguished. Hell, I just like the woman, so spending a half-hour on her rise was pleasurable in and of itself.

This is a gut-wrenching, fearless entry in what is becoming Dick and Ziering's raison d'etre, but its greatest quality is Dixon's composed reflection. She helped to establish a pattern of Russell Simmons's behavior, but she explains what happened to her in ways I had never heard before.

13. David Byrne’s American Utopia (Spike Lee)- I'm often impressed by the achievements that puzzle me: How did they pull that off? But I know exactly how David Byrne pulled off the impish but direct precision of American Utopia: a lot of hard work.

I can't blame Spike Lee for stealing a page from Demme's Stop Making Sense: He denies us a close-up of any audience members until two-thirds of the way through, when we get someone in absolute rapture.

12. One Night in Miami... (Regina King)- We've all cringed when a person of color is put into the position of speaking on behalf of his or her entire race. But the characters in One Night in Miami... live in that condition all the time and are constantly negotiating it. As Black public figures in 1964, they know that the consequences of their actions are different, bigger, than everyone else's. The charged conversations between Malcolm X and Sam Cooke are not about whether they can live normal lives. They're way past that. The stakes are closer to Sam Cooke arguing that his life's purpose aligns with the protection and elevation of African-Americans while Malcolm X argues that those pursuits should be the same thing. Late in the movie, Cassius Clay leaves the other men, a private conversation, to talk to reporters, a public conversation. But the film argues that everything these men do is always already public. They're the most powerful African-Americans in the country, but their lives are not their own. Or not only their own.

It's true that the first act has the clunkiness and artifice of a TV movie, but once the film settles into the motel room location and lets the characters feed off one another, it's gripping. It's kind of unfair for a movie to get this many scenes of Leslie Odom Jr. singing, but I'll take it.

11. Saint Frances (Alex Thompson)- Rilke wrote, "Perhaps everything terrible is in its deepest being something helpless that wants help from us." The characters' behavior in Saint Frances--all of these fully formed characters' behavior--made me think of that quotation. When they lash out at one another, even at their nastiest, the viewer has a window into how they're expressing pain they can't verbalize. The film is uneven in its subtlety, but it's a real showcase for screenwriter and star Kelly O'Sullivan, who is unflinching and dynamic in one of the best performances of the year. Somebody give her some of the attention we gave to Zach Braff for God's sake.

10. Boys State (Jesse Moss and Amanda McBaine)- This documentary is kind of a miracle from a logistical standpoint. From casting interviews beforehand, lots of editing afterwards, or sly note-taking once the conference began, McBaine and Moss happened to select the four principals who mattered the most at the convention, then found them in rooms full of dudes wearing the same tucked-in t-shirt. By the way, all of the action took place over the course of one week, and by definition, the important events are carved in half.

To call Boys State a microcosm of American politics is incorrect. These guys are forming platforms and voting in elections. What they're doing is American politics, so when they make the same compromises and mistakes that active politicians do, it produces dread and disappointment. So many of the boys are mimicking the political theater that they see on TV, and that sweaty sort of performance is going to make a Billy Mitchell out of this kid Ben Feinstein, and we'll be forced to reckon with how much we allow him to evolve as a person. This film is so precise, but what it proves is undeniably messy. Luckily, some of these seventeen-year-olds usher in hope for us all.

If nothing else, the film reveals the level to which we're all speaking in code.

9. The Nest (Sean Durkin)- In the first ten minutes or so of The Nest, the only real happy minutes, father and son are playing soccer in their quaint backyard, and the father cheats to score on a children's net before sliding on the grass to rub in his victory. An hour later, the son kicks the ball around by himself near a regulation goal on the family's massive property. The contrast is stark and obvious, as is the symbolism of the dead horse, but that doesn't mean it's not visually powerful or resonant.

Like Sean Durkin's earlier film, Martha Marcy May Marlene, the whole of The Nest is told with detail of novelistic scope and an elevation of the moment. A snippet of radio that mentions Ronald Reagan sets the time period, rather than a dateline. One kid saying "Thanks, Dad" and another kid saying, "Thanks, Rory" establishes a stepchild more elegantly than any other exposition might.

But this is also a movie that does not hide what it means. Characters usually say exactly what is on their minds, and motivations are always clear. For example, Allison smokes like a chimney, so her daughter's way of acting out is leaving butts on the window sill for her mother to find. (And mother and daughter both definitely "act out" their feelings.) On the other hand, Ben, Rory's biological son, is the character least like him, so these relationships aren't too directly parallel. Regardless, Durkin uses these trajectories to cast a pall of familial doom.

8. Sorry We Missed You (Sean Durkin)- Another precisely calibrated empathy machine from Ken Loach. The overwhelmed matriarch, Abby, is a caretaker, and she has to break up a Saturday dinner to rescue one of her clients, who wet herself because no one came to help her to the bathroom. The lady is embarrassed, and Abby calms her down by saying, "You mean more to me than you know." We know enough about Abby's circumstances to realize that it's sort of a lie, but it's a beautiful lie, told by a person who cares deeply but is not cared for.

Loach's central point is that the health of a family, something we think of as immutable and timeless, is directly dependent upon the modern industry that we use to destroy ourselves. He doesn't have to be "proven" relevant, and he didn't plan for Covid-19 to point to the fragility of the gig economy, but when you're right, you're right.

7. Lovers Rock (Steve McQueen)- swear to you I thought: "This is an impeccable depiction of a great house party. The only thing it's missing is the volatile dude who scares away all the girls." And then the volatile dude who scares away all the girls shows up.

In a year short on magic, there are two or three transcendent moments, but none of them can equal the whole crowd singing along to "Silly Games" way after the song has ended. Nothing else crystallizes the film's note of celebration: of music, of community, of safe spaces, of Black skin. I remember moments like that at house parties, and like all celebrations, they eventually make me sad.

6. Crip Camp: A Disability Revolution (Nicole Newnham and James Lebrecht)- I held off on this movie because I thought that I knew what it was. The setup was what I expected: A summer camp for the disabled in the late '60s takes on the spirit of the time and becomes a haven for people who have not felt agency, self-worth, or community anywhere else. But that's the right-place-right-time start of a story that takes these figures into the '80s as they fight for their rights.

If you're anything like my dumb ass, you know about 504 accommodations from the line on a college syllabus that promises equal treatment. If 2020 has taught us anything though, it's that rights are seized, not given, and this is the inspiring story of people who unified to demand what they deserved. Judy Heumann is a civil rights giant, but I'm ashamed to say I didn't know who she was before this film. If it were just a history lesson that wasn't taught in school, Crip Camp would still be valuable, but it's way more than that.

5. Palm Springs (Max Barbakow)- When explaining what is happening to them, Andy Samberg's Nyles twirls his hand at Cristin Milioti's Sara and says, "It's one of those infinite time-loop scenarios." Yeah, one of those. Armed with only a handful of fictional examples, she and the audience know exactly what he means, and the continually inventive screenplay by Andy Siara doesn't have to do any more explaining. In record time, the film accelerates into its premise, involves her, and sets up the conflict while avoiding the claustrophobia of even Groundhog Day. That economy is the strength that allows it to be as funny as it is. By being thrifty with the setup, the savings can go to, say, the couple crashing a plane into a fiery heap with no consequences.

In some accidental ways, this is, of course, a quarantine romance as well. Nyles and Sara frustratingly navigate the tedious wedding as if they are play-acting--which they sort of are--then they push through that sameness to grow for each other, realizing that dependency is not weakness. The best relationships are doing the same thing right now.

Although pointedly superficial--part of the point of why the couple is such a match--and secular--I think the notion of an afterlife would come up at least once--Palm Springs earns the sincerity that it gets around to. And for a movie ironic enough to have a character beg to be impaled so that he doesn't have to sit in traffic, that's no small feat.

4. The Assistant (Kitty Green)- A wonder of Bressonian objectivity and rich observation, The Assistant is the rare film that deals exclusively with emotional depth while not once explaining any emotions. One at a time, the scrape of the Kleenex box might not be so grating, the long hallway trek to the delivery guy might not be so tiring, but this movie gets at the details of how a job can destroy you in ways that add up until you can't even explain them.

3. Promising Young Woman (Emerald Fennell)- In her most incendiary and modern role, Carey Mulligan plays Cassie, which is short for Cassandra, that figure doomed to tell truths that no one else believes. The web-belted boogeyman who ruined her life is Al, short for Alexander, another Greek who is known for his conquests. The revenge story being told here--funny in its darkest moments, dark in its funniest moments--is tight on its surface levels, but it feels as if it's telling a story more archetypal and expansive than that too.

An exciting feature debut for its writer-director Emerald Fennell, the film goes wherever it dares. Its hero has a clear purpose, and it's not surprising that the script is willing to extinguish her anger halfway through. What is surprising is the way it renews and muddies her purpose as she comes into contact with half-a-dozen brilliant one- or two-scene performances. (Do you think Alfred Molina can pull off a lawyer who hates himself so much that he can't sleep? You would be right.)

Promising Young Woman delivers as an interrogation of double standards and rape culture, but in quiet ways it's also about our outsized trust in professionals and the notion that some trauma cannot be overcome.

INSTANT CLASSICS

2. Soul (Pete Docter)- When Pete Docter's Up came out, it represented a sort of coronation for Pixar: This was the one that adults could like unabashedly. The one with wordless sequences and dead children and Ed Asner in the lead. But watching it again this week with my daughter, I was surprised by how high-concept and cloying it could be. We choose not to remember the middle part with the goofy dog stuff.

Soul is what Up was supposed to be: honest, mature, stirring. And I don't mean to imply that a family film shouldn't make any concessions to children. But Soul, down to the title, never compromises its own ambition. Besides Coco, it's probably the most credible character study that Pixar has ever made, with all of Joe's growth earned the hard way. Besides Inside Out, it's probably the wittiest comedy that Pixar has ever made, bursting with unforced energy.

There's a twitter fascination going around about Dez, the pigeon-figured barber character whose scene has people gushing, "Crush my windpipe, king" or whatever. Maybe that's what twitter does now, but no one fantasized about any characters in Up. And I count that as progress.

1. I’m Thinking of Ending Things (Charlie Kaufman)- After hearing that our name-shifting protagonist moonlights as an artist, a no-nonsense David Thewlis offers, "I hope you're not an abstract artist." He prefers "paintings that look like photographs" over non-representational mumbo-jumbo. And as Jessie Buckley squirms to try to think of a polite way to talk back, you can tell that Charlie Kaufman has been in the crosshairs of this same conversation. This morose, scary, inscrutable, expressionist rumination is not what the Netflix description says it is at all, and it's going to bother nice people looking for a fun night in. Thank God.

The story goes that Steven Spielberg and George Lucas, when constructing Raiders of the Lost Ark, sought to craft a movie that was "only the good parts" with little of the clunky setup that distracted from action. What we have here is a Charlie Kaufman movie with only the Charlie Kaufman moments, less interested than ever before at holding one's hand. The biting humor is here, sometimes aimed at philistines like the David Thewlis character above, sometimes at the niceties that we insist upon. The lonely horror of everyday life is here, in the form of missed calls from oneself or the interruption of an inner monologue. Of course, communicating the overwhelming crush of time, both unknowable and familiar, is the raison d'etre.

A new pet motif seems to be the way that we don't even own our own knowledge. The Young Woman recites "Bonedog" by Eva H.D., which she claims/thinks she wrote, only to find Jake's book open to that page, next to a Pauline Kael book that contains a Woman Under the Influence review that she seems to have internalized later. When Jake muses about Wordsworth's "Lucy Poems," it starts as a way to pass the time, then it becomes a way to lord his education over her, then it becomes a compliment because the subject resembles her, then it becomes a way to let her know that, in the grand scheme of things, she isn't that special at all. This film jerks the viewer through a similar wintry cycle and leaves him with his own thoughts. It's not a pretty picture, but it doesn't look like anything else.

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thedrown · 4 years ago

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GOTS Lore- The Start

Another lore piece! This one isn’t lore lore more so a rough overview of the first arc of the story since you and I both know I’m not actually going to start the comic anytime soon ehhe... Anywho! I’ll probably do more of these since while not terribly cohesive since GOTS is meant to be more anthology than single throughline, I do have several arcs/story ideas so might as well share em!

The beginning of Ghosts of The Separatists actually takes place from the point of view of Noma as opposed to Sikha and Amato and starts with Noma’s master Sidnis Eltair seeing her off as he departs to fight on Saleucami as the war begins to ramp up. While concerned as this is her first solo command and their separation is not a matter of choice, his clone commander Nix assures master Eltair that the mission will be accomplished without issue and the three of them say their goodbyes as Noma, Nix, and a small contingent of clones depart to Balmorra.

With only an Acclamator and two Arquitens, Noma and Nix are deployed for what should be a small incursion to simply subdue a minor pro-Separatist insurrection on the foundry world of Balmorra and while en route through hyperspace we’d see cutaways of both Noma happily chatting with clones on one end and Sikha suiting up in her Mando armour and CIS uniform adn embrace with Amato with hints of anxiousness as both sides convene. Now inside the CIS fleet we meet Sikha (and Amato in the background) as she instructs her bridge crew to prepare weapons as the Republic ships emerge from hyperspace and talks to herself under her breath whispering movements eyes darting about as if trying to figure out her new, and first, major opponent despite the battle not having begun. From Noma’s perspective they are met with sudden shock as to the CIS presence as they had no indication of the insurrectionists having direct Separatist support yet decide to engage having their comms jammed preventing reporting their finding whilst vying to bypass the CIS fleet and concentrate on taking the planet from insurrectionists hoping to take the capital of Sobrik and use it’s defences against the CIS ships overhead. Overconfident from expecting the small fleet to use the usual overwhelming droid strategy, Noma and Nix send the Arquitens forward with starfighter and bomber complement to rush down Sikha’s small fleet hoping to knock out one of her Munificents to make an opening and free up comms yet they instead face screens of turbolasers upon the light cruisers not from Sikha’s Providence, but from a Munificent frigate taking point itself. The realization the Providence is not the capital ship severely damages one of the Arquitens as they attempted to fall back while Separatist missiles shred Republic bombers and droid Tri fighters prevented the clones from escorting and as deployed Amato cuts straight through their confused and scattered squadrons in his Fang Fighter. Allowing a sigh, Sikha returns to her command chair having gained composure from her trick of using a meager frigate as her flagship over the more common carrier and no longer whispering but clearly speaking, she orders her Providence forward deploying small strike units of Hyena bombers and Vultures with two Tri droids tailing behind. The Tris breaking off and speeding forward to intercept any incoming Republic fighters while the Vultures stay close to defend the bombers from any stragglers or simply to take fire in place of them with the turbolaser support from the CIS ships in the rear overwhelming reinforcing Republic fighters and cutting their retreat short as Hyenas obliterate one of the Arquitens while the other’s engines are disabled and the vessel left to be boarded as Sikha brings up the Munificents intent on eradicating the Acclamator before it can escape.

Onboard said Acclamator, Noma begins to panic as Nix orders immediate landings to the planet's surface as troopers hastily pile into gunships abandoning the cruiser to be torn apart by the bombers while Sikha’s frigates took aim at the transports attempting to escape to the surface. Crashing just outside Sobrik, Noma struggles to come to inside a pit with sporadic glimpses of Nix and other clones under heavy fire with her passing out once more to Nix picking her up and running as mortars erupt across their small trench. We then cut to a hologram of Sikha communicating with the insurrection leader as he reports that his fighters paired with her droid backup decimated the Republic troops who made it to the surface with the few who escaped the shelling fleeing into the city. Affirming importance of finding them, Sikha states her intent to land shortly with heavier droid reinforcements to hunt the Republic survivors as we shift to a title card and similar narrated opening to the 501st Journal albeit from Nix who explains his exhausted survivor force having been staging guerilla strikes against the droids though their numbers have been significantly depleted since they began their stealth war 3 weeks since the catastrophic battle and Noma being largely the sole beacon of morale. Noma having been initially dejected from the lack of any Republic response continued to push forward and lead the charge intent on insuring the survival of the remaining clones as they sabotage a supply depot and have to make a quick escape as droidekas swiftly roll in. Rushing into Sobrik's alleyways leaving detonators to cover their escape from the pursuing droids and insurgents, the small cadre of Republic soldiers find themselves at the city’s outer wall and despite Noma’s efforts to cut down as many pursuers as possible she is ultimately winged in the arm and leg and forced to huddle in with her clones as droidekas rapidly enclose every possible escape route and insurrectionists flood in.

Taken to their HQ and brought before Sikha and Amato (again hanging back leaning upon a wall) Sikha begins to not so much interrogate but rather insult and jab at Noma for being a Jedi and getting a rise out playing up her failure to even begin the assault on Balmorra, Noma in her emotional state and fear can do nothing but look down. Grabbing and squishing her face, Sikha begins to go on a tangent as to the “injustices” that Noma was fighting for and forcing her face to survey the courtyard of insurrectionists, she expands upon the eon long plight of Balmorra being a world of great resources that the Republic military heavily depended on yet were more than content to the leave Balmorra’s people in squalor and portions of it’s surface polluted beyond recovery. The insurgent leader highlights this referencing the Old Republic’s proxy war on their planet where they abandoned them to the Sith Empire during the Cold War as he details how the GAR military refineries poisoned the land of his province killing hundreds and pushing him into organizing his underground movement to undermine the Republic military efforts exploiting the planet at the detriment of the people. Following up with a passing comment on the famine of Kalee, Sikha eagerly elaborates her intention to quickly dispose of her but mid rambling Noma quickly appeals to Sikha’s blatant grudge towards the Jedi by commenting she’s likely never fought one and suggesting an execution by combat to Amato’s noticeable surprise. Initially insulted by the suggestion that a Jedi could possess or understand honour akin to a Kaleesh or Mandalorian she was unable to comment before Noma continues on stating that in exchange for their duel and her life, Sikha would return all the surviving clone troopers to neutral space for Republic pickup. Grabbing her face again Sikha asserts her less than favourable opinion of the Jedi girl but accepts her terms and unbinds and rearms her. The two circle one another exchanging words as a now serious Noma asserts her resolve in the Jedi code as Sikha continues to disparage them for their actions in the past and perceived hypocrisy. However before they can actually engage one another they are interrupted by a transmission from Count Dooku to the insurrection leader as he congratulates their liberation but more to the point, gives Sikha a direct assignment to bring Noma to Serenno and moreover, in one piece.

And that’s the basic idea of the start, the following “episodes” (despite not knowing how to animate I think of everything as an animated series) would be the trip to Serenno where Noma would contemplate Sikha’s words, her current position, and also would meet and talk to more laid back Amato as he gets a proper introduction to the series and we get insight into both his and Noma’s deeper character. Upon reaching Serenno, Amato and Sikha would talk with one another and we’d see more on their relationship and what Sikha is normally like when not possessed by her hatred of the Republic as Noma speaks with Dooku and is slowly convinced more towards the Separatist cause and the Count gives a small test of her abilities before deciding whether or not to bring her into his Acolytes.

#star wars #clone wars #gots #ghosts of the separatists #noma yu #sikha san ourag #sivkhalen #amato sevelis #original story #comic #lore #writing

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recurring-polynya · 4 years ago

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I’m a huge RenRuki fan so I’m stoked to find this page of glorious work and active engagement relating to this topic I could go on about! I was wondering... during their separation, do you think Renji and Rukia slept with/dated other people? One more than the other? Just wanna know your insight since you put so much depth into their relationship. I love it. (I personally like to think that Renji had a bit of a “hoe phase” especially while he was in the 11th)

Tumblr is so great, I can’t believe people actually value my opinion on this stuff (this is absolutely one of my favorite topics). Thank you so much for your kind words, and I am ecstatic for the opportunity to pontificate on this topic.

Just to clarify, if you were asking for my opinion on the source material, and I had to “support my opinion” or “cite references”, my actual interpretation of canon is that no, they were absolutely celibate during this time. Rukia had a cute li’l crush on her vice-captain and Renji probably went on one very heterosexual date with a girl once and felt bad about it for a year.

When I am being generous and world-buildy, I like to consider the fact that shinigami are souls. They do not have bodies or hormones and so I can get behind the idea that bonds of family and friendship are far more important than sex and attraction, because those are fundamentally earthly concerns. In the hands of a thoughtful, talented, preferably ace writer, this could be an incredibly interesting setting but that is, uh, not consistent with any other aspect of Soul Society, including the fact that they sell sexy calendars of the captains, plus Kubo took the time out to canonically remind us that Soul Reapers poop and have babies.

So, instead, here is the horny Polynya headcanon version, which is what you probably wanted anyway. I’m putting it under a cut because it gets a little R-rated, and also it’s hella long, but the short answer is Renji absolutely had a slutty phase.

Some people headcanon that Rukia and Renji were actually in a romantic relationship at the time of her adoption, and if that’s your reading of it, and you want to believe that they waited for each other out of loyalty, I suppose I can get behind that.

I don’t think they were together, though. I waver from time to time about how physical their affection got in Rukongai, but I think they fell in love and never admitted it. When their last friend died, they both became absolutely terrified of losing the other, so they came to the Seireitei in order to get strong and not die. I don’t think Rukia ever wanted to be Soul Reaper, to be honest. Given the strength of her principles and her particular moral code, I do think she is a great one, in the style of “I would never want to be in a club that would have me in it.” Consistent with Oetsu’s trial in the Royal Realm, I think Renji was born (died?) to be a Soul Reaper and Rukia knew this and also that he would never go unless she went with him. She absolutely regarded getting him into Shin’ou as saving his life and getting him where he belonged.

Once they were in school, I think they had to keep their distance socially if they wanted to succeed. The Gotei runs entirely on nepotism, and Rukongai kids who don’t adapt are looking at Squad 11 or 4, best case scenario. Even if they were aware of their feelings for each other, they had to play it cool for now. Renji is a long-term planner, and I think he set his sights on pass tests -> graduate -> get Gotei position -> live happily ever after with Rukia. Rukia is not so good at long term planning, and also not so good at formal education and I think she just got depressed and salty, especially because she was never sure if he actually returned her feelings or not. I absolutely think that when she accepted the adoption, she assumed she was leaving Renji to his live his best life, and at least going somewhere she was wanted.

Even though we, the reader, are presented this story as a tragedy, in many ways, this is exactly what they had hoped for. They lived. That’s it. That’s all they ever wanted. Renji got to have his perfect job and Rukia got to live in indescribable luxury. They are both so, so happy about this and have no idea why their faces are so wet right now.

The last thing either of them wants, to be honest, is the other one pining after them. They have each accepted trudging through their life in misery because they think they have made the other happy. There’s a scene were Byakuya shows up to the Squad 6 holding cells to announce to Rukia that he has no plans to save her, and Renji looks just devastated, not just because Rukia’s gonna die, but because he thought he was sending her to happiness.

Also, on a meta level, I am middle aged, and for me, the romance of only ever being with one person is boring as hell. The idea that they would get together and lose their virginity to each other just makes me indescribably tired. Childhood-friends-to-lovers isn’t actually that interesting to me-- it is the separation itself that makes it spicy-- that they went off and had other life experiences-- and sexual experiences, and came back found that they loved this person even more now.

I headcanon Rukia as very horny and pro-sex in theory, but has is a big problem of opportunity. On one hand, I think she and Byakuya have a firm don’t-ask-don’t-tell policy, where as long as she stays out of the gossip columns, he doesn’t care what she does. On the other hand, though, I feel like secret affairs are kinda hard to manage, especially since she entered the noble network late in life. Anyway, I figure she’s had a number of casual affairs, mostly with other nobles who are invested in not getting caught, and also do not have any interest in any sort of emotional attachment. I think Rukia is absolutely bi, and mostly slept with ladies because they were more likely to be discreet, although there was probably a dude or two in there somewhere. Rukia only has two relatinship modes-- detached and ride-or-die, and she was very careful to keep everything in category 1, because she had no expectation of ever having a functional relationship that would go anywhere; no one she was actually interesting in being with would ever pass Kuchiki muster. I think she tried dating a nice boy from Squad 8 once, and everyone in Squad 13 thought it was the cutest thing they had ever seen. They went on three dates and never kissed and Rukia hated it and never did it again. She let herself have a huge crush on both Kaien and Miyako Shiba, because she was absolutely sure it could never go anywhere, and that definitely played into her devastation at their death. She may have had some Bad Decisions Sex in the wake of that, but I think for the most part, the affairs became more trouble than they were worth, and she’s been on a pretty long dry spell around the time we meet her.

That being said, I think Rukia is a lady who takes care of herself, if you get my drift. I think she has an extensive collection of erotic romance novels, a good imagination, and Kuchiki money worth of self-service sex toys. I think by the time she and Renji actually hook up, she has decades worth of pent up fantasies, and fortunately for her, he is intrigued by her ideas and would like to sign up for her newsletter, please and thank you.

Speaking of Renji, let’s talk about Renji! After Rukia left, I think Renji Made Some Plans and buckled down into a long, hard haul of Making Himself Worthy of Seeing Rukia Again. He made it through school, he went into Squad 5 with Izuru and Momo and... lost 90% of his momentum. This is exactly the scenario of the kid who busts ass through college to follow their dream, and then two years into their dream job, realizes that they are going to be formatting pivot tables in Excel for the next 15 years before they get to do anything remotely interesting. At this point, Renji is young, hot, bisexual, inked, and not very satisfied with his day job, and Thus Began the Ho Period.

Momo and Izuru hate this. They hate it so much. They have both had big crushes on Renji since school and they are right there. It wouldn’t be so bad if he would find a nice sweet partner that they like, but no, he just goes off on weeknights and comes home reeking of alcohol and covered in hickeys and ruining his career even though his job performance is actually fine. The fact is, even though he has always acted like he doesn’t know, of course he knows they like him, he’s not dumb, but Izuru and Momo are the type of people who mate for life, and Renji absolutely knows how badly he would break their hearts. He can’t even talk about it with them, all he can do it pretend like he doesn’t notice and hope they’ll realize what trash he is. He still loves Rukia and will always love Rukia and has made peace with the idea that he will likely never get to be with her-- he’s still working towards it because he must, because it would kill him to give up, but he knows that he’s only good for a fight or a fuck and not much else. Their friendship gets increasingly strained until Momo and Izuru can’t understand anything he does and he can’t stand them caring so damn much.

Anyway, this escalates in deciding to leave Nice, Respectable Squad 5 entirely, and joining the French Foreign Legion Squad 11. Squad 11 respects a man’s right to wallow, and Renji takes a swan dive to rock bottom. His only saving grace is his training with Ikkaku, which he takes absolutely seriously. Yumichika eventually takes interest in Renji, and teaches him how to take care of his hair and have standards. Yumichika and Ikkaku realize that if they can make him Functional, they can get him to do paperwork, so they help him beat the Sixth Seat and let him start hanging out with their friends.

Renji is still sleeping around at this point, but at least he’s sleeping around with a better class of people. I know what you’re thinking. You’re thinking, Polynya, has Matsumoto ever pegged Renji? (You probably weren’t actually thinking that) The answer is yes, Matsumoto has absolutely pegged Renji, and she was utterly delighted to give Rukia tips later on. Rukia does not begrudge Renji his slutty period in the least, because she knows that, given the opportunity, she probably would have been Worse, and also, he’s slept with 3/4 of the Gotei and picked her out of all of them, and also, he’s just incredible at oral.

The slutty phase tapered off when Renji had a bit of an actual relationship with Shuuhei. First of all, they are absolutely each other’s types, physically. Secondly, Shuuhei (whom I headcanon as significantly less pathetic and more bisexual than in canon) would be able to handle being in a relationship that is fun and supportive, even if it’s not destined to last. He is well aware that Renji is devoted to beating Captain Kuchiki and that he’s never going to truly be able to be in love with anyone until he gets some closure with Rukia, but that’s a long way off, and Shuuhei’s got his own baggage, who doesn’t have baggage? So they sleep together and go to the bar together and hold hands sometimes and tool around on the motorbike and wear a lot of leather and Hisagi cooks Renji food and Renji eats it and they’re pretty happy for a few years.

Eventually, around the time he gets serious about trying to make vice-captain, Renji starts to hang out with Izuru and Momo again, who have recently made vice-captain themselves, and are really happy to see that he’s gotten himself back on the wagon. He’s started thinking about Rukia a lot again, and he’s feeling a little bad because he loves Shuuhei, but he’s not in love with Shuuhei, and also, Shuuhei and Izuru have started looking at each other when they go out drinking, so Renji claims he needs to concentrate on the vice-captain’s exam and they have some nice breakup sex and then he sliiiiiides on outta there like a good bro and is very happy for his friends when they start hooking up.

Did that cover it? Boy, I had a lot of thoughts on that, huh? To summarize: They both saw other people. Renji had way more sex, just a tremendous amount of sex, but always carried a torch for Rukia (not really intentionally, I think he would have liked to be able to get over her, he just couldn’t), whereas I think she really did give up on him for a while.

Thank you for coming to my TED talk, please read my fanfiction, where I am constantly hinting at all this stuff, I swear I will eventually finish that Squad 11 story.

#renruki #bleach headcanons #rukia kuchiki #renji abarai #i have at least 3 in-progress fanfics that tackle various aspects of this #maybe i should... finish one?#¯\_(ツ)_/¯

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jadelotusflower · 4 years ago

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November Roundup

Some writing success this month - I finished and posted a new chapter for Against the Dying of the Light, and made progress on The Lady of the Lake and Turn Your Face to the Sun. I didn’t work much on my novel, but I did do some editing on the first third so that’s progress.

Words written this month: 6647

Total this year: 67,514

November books

Girl, Woman, Other by Bernadine Evaristo - joint winner of the 2019 Booker Prize (with The Testaments by Margaret Atwood) this was an engrossing and interesting read. Stylistically unusual formatting and scant use of punctuation that is a bit jarring at first, but you quickly adapt as you read. There’s no plot as such - instead the story is formed by vignettes of twelve black women and their disparate yet interconnected lives. We have mothers and daughters, close friends, teachers and students, although the connections aren’t always obvious at first - we can be exposed to a character briefly in the story of another with no idea that she will be a focus later on. It’s very skillfully done, to the point whereupon finishing I wanted immediately to re-read (but alas, it was already overdue back to the library). There is so much ground covered that we are really only given a glimpse into the characters lives, but there is a diversity of intergenerational perspectives of the African diaspora in the UK, and I highly recommend.

The Evening and the Morning by Ken Follett - after finishing The Pillars of the Earth I had intended to read the sequel, but this was available on the library shelf and I had to place a hold on World Without End, so the prequel came first. Set sixty years before the Conquest (150 before Pillars) it primarily addresses the growth of the hamlet of Dreng’s Ferry into the town of Kingsbridge, through the lives of a monk with a strong moral code, a clever and beautiful noblewoman, and a skilled builder, working against the machinations of an evil bishop. Sound familiar? This is Follet’s most recent work, and I do wonder if he’s running out of ideas as this covers very similar thematic ground.

Ragna is a compelling female character, but once again the romance-that-cannot-be with Edgar is tepid, Aldred is a very watered down version of Prior Philip, and there’s no grand framing device such as building the cathedral to really tie to all together (although things do Get Built, and it’s interesting but not on the level of Pillars). This is the tail end of the Dark Ages and it shows - Viking raids, slavery, infanticide - and while it seems Follett’s style is to put his characters through much tragedy and tribulation before their happy ending, I wish writers would stop going to the rape well so readily. But at least the sexual violence isn’t as...lasciviously written as in Pillars? Scant praise, I know. But Follett’s strength in drawing the reader into the world and time period is on display, made even more interesting in this era about which we know very little.

Women and Leadership by Julia Gillard and Ngozi Okonjo-Iweala - I have a great deal of respect for Julia Gillard, Australia’s first female Prime Minister who was treated utterly shamefully during her tenure and never got the credit she deserved, perhaps excepting the reaction to her iconic “misogny speech” whichyou can enjoy in full here:

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Ngozi Okonjo-Iweala was the first woman to be Minister of Finance and Foreign Affairs in Nigeria, was also the former Managing Director of the World Bank, and currently a candidate for Director-General of the WTO.

This is an interesting examination of women in leadership roles, comparing and contrasting the lives and experiences of a select few including (those I found the most interesting) Ellen Sirleaf, the first female President of Liberia, Joyce Banda, the first female President of Malawi, New Zealand’s current Prime Minister Jacinda Ardern, and of course, Gillard and Okonjo-Iweala themselves.

November shows/movies

The Vow and Seduced: Inside the NXIVM Cult - I’ve been following the NXIVM case for a while now, when the news broke in 2017 I was surprised and intrigued that it involved actresses from some of my fandom interests - Alison Mack (Smallville), Grace Park and Nikki Clyne (Battlestar Galactica), and Bonnie Piasse (Star Wars). Uncovered: Escaping NXIVM is an excellent podcast from that point in time that’s well worth a listen. There’s been a lot of discussion comparing these two documentaries and which one is better, but I feel they’re both worthwhile.

The Vow gives a primer of NXIVM as a predatory “self improvement” pyramid scheme/cult run by human garbage Keith Reniere, from the perspective of former members turned whistleblowers Bonnie Piasse, who first suspected things were wrong, her husband Mark Vicente who was high up in the organisation, and Sarah Edmondson who was a member of DOS, the secret group within NXIVM that involved branding and sex trafficking. Seduced gives more insight into the depravity and criminality of DOS from the pov of India Oxenburg, just 19 when she joined the group and who became Alison Mack’s “slave” in DOS - she was required to give monthly “collateral” in the form of explicit photographs or incriminating information about herself or her family, had to ask Mack’s permission before eating anything (only 500 calories allowed per day), was ordered to have sex with Reniere, and other horrific treatment - Mack herself was slave to Reniere (as was Nikki Clyne) and there were even more horrific crimes including rape and imprisonments of underage girls.

Of course each show has an interest in portraying its subjects as less culpable than perhaps they were (there were people above and below them all in the pyramid after all) - Vicente and Edmondson in The Vow and Oxenburg in Seduced, but what I did appreciate about Seduced was the multiple experts to explain how and why people were indoctrinated into this cult, and why it was so difficult to break free from it. This is a story of victims who were also victimisers and all the complications that come along with that, although I’m not sure any of these people are in the place yet to really reckon with what happened and all need a lot of therapy.

Focusing on individual journeys also narrows the scope - there are other NXIVM members interviewed I would have liked to have heard a lot more from. There is also a lot of jumping back and forth in time in both docos so the timeline is never quite clear unless you do further research. I would actually like to see another documentary one day a bit further removed from events dealing with the whole thing from start to finish from a neutral perspective. The good news is that Reniere was recently sentenced to 120 years in prison so he can rot.

I saw value in both, but you’re only going to watch one of these, I would say go for Seduced - if you’re interested in as much information as possible, watch The Vow first to get a primer on all the main players and then Seduced for the full(er) story.

The Crown (season 4) - While I love absolutely everything Olivia Coleman does, I thought it took a while for her to settle in as the Queen last season and it’s almost sad that she really nailed it this season, just in time for the next cast changeover (but I also love everything Imelda Staunton does so...) This may be an unpopular opinion, but I wasn’t completely sold on Gillian Anderson as Thatcher - yes I know she sounded somewhat Like That, but for me the performance was a little too...affected? (and someone get her a cough drop, please!)

It is also an almost sympathetic portrayal of Thatcher - even though it does demonstrate her classism and internalised misogyny, it doesn’t really explore the full impact of Thatcherism, why she was such a polarising figure to the extent that some would react like this to her death:

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But I suppose it’s called The Crown, not The PM.

Emma Corrin is wonderful as Diana, and boy do they take no prisoners with Charles (or the other male spawn). I was actually surprised at how terrible they made Charles seem rather than both sidesing it as I had expected (but perhaps that’s being saved for season 5). It does hammer home just how young Diana was when they were married (19 to Charles’ 32), how incompatible they were and the toxicity of their marriage (standard disclaimer yes it’s all fictionalised blah blah). The performances are exceptional across the board - Tobias Menzies and Josh O’Conner were also standouts and it’s a shame to see them go.

I was however disappointed to see that the episode covering Charles and Di’s tour of Australia was not only called “Terra Nullius” but the term was used as a very tone deaf metephor that modern Australia was no longer “nobody’s land/country”. For those who aren’t aware, terra nullius was the disgraceful legal justification for British invasion/colonisation of Australia despite the fact that the Indigenous people had inhabited the continent for 50,000 years or more. While the tour was pre-Mabo (the decision that overturned the doctrine of terra nullius and acknowledged native title), there was no need to use this to make the point, especially when there was no mention at all of the true meaning/implication of the term.

The Spanish Princess (season 2, episodes 4-8)- Sigh. I guess I’m more annoyed at the squandered potential of this show, since the purpose ostensibly was to focus on the time before The Great Matter and give Katherine “her due” - and instead they went and made her the most unsympathetic, unlikeable character in the whole damn show. (Spoilers) She literally rips Bessie Blount’s baby from her body and, heedless to a mother’s pleas to hold her child, runs off to Henry so she can present him with “a son”. I mean, what the actual fuck?

I’m not a stickler for historical accuracy so long as it’s accurate to the spirit of history (The Tudors had its flaws, but it threaded this needle most of the time), but this Katherine isn’t even a shadow of her historical figure - she’s not a troubled heroine, she’s cruel and vindictive, Margaret Pole is a sanctimonious prig, and Margaret Tudor does little but sneer and shout - the only one who comes out unscathed is Mary Tudor (the elder), and it’s only because she’s barely in it at all. It’s a shame because I like all of these actresses (especially Georgie Henley and Laura Carmichael) but they are just given dreck to work with.

This is not an issue with flawed characters, it’s the bizarre presentation of these characters that seems to want to be girl power rah rah, and yet at the same time feels utterly misogynistic by pitting the women against each other or making them spiteful, stupid, or crazy for The Drama. I realise this is based on Gregory so par for the course, but it feels particularly egregious here. (Spoilers) At one point Margaret Pole is banished from court by Henry, and because Katherine won’t help her (because she cant!) she decides to spill the beans about Katherine’s non-virginity. Yes, her revenge against the hated Tudors is...to give Henry exactly what he wants? Even though it will result in young Mary, who she loves and cares for, being disinherited? Girlboss!

This season also missed the opportunity to build on its predecessors The White Queen/Princess and show why it was so important to Henry to have a male heir - the Tudor reign wasn’t built on the firmest foundations and so needed uncontested transfer of power, at the time there was historic precedent that passing the throne to a daughter led to Anarchy, and wars of succession were very recent in everyone’s memory. At least no one was bleating about The Curse this time, which is actually kind of surprising, because the point of the stupid curse is the Tudor dynasty drama.

But it’s not all terrible. Lina and Oviedo are the best part of the show, and (spoilers) thankfully make it out alive. Both are a delight to watch and I wish the show had been just about them.

Oh well. One day maybe we’ll get the Katherine of Aragon show we deserve - at least I can say that the costumes were pretty, small consolation though it is.

#november roundup #long post

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nettworkk · 3 years ago

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Showcase Your True Potential: How skill sharing can shape thousands of lives

Joe Yakeen Vinitha | Mentor & Business Coach

The first time I heard the word ‘trading-positions’ was during one of my mastermind sessions with enthusiastic entrepreneurs. One of the participants gave an example which used this word and I was like what… But I did not forget to learn that from her and now I do trading!

While doing all the research, tips & trick of trading, I realized I was becoming a part of a much larger, much more humane community of sharing skills with anybody who wanted to learn just in an attempt to make their lives better. In a way to connect people through their interests on a similar ground, the difference being one person is already adept at the particular field and the others just interested to learn.

To be honest, the concept of sharing skills is not something alien. We have all grown up with it. Take every mother who has taught her child to cook or every father who helped his kid with their homework. Thanks to the internet, skill sharing has become even more popular, allowing people to connect online and benefit from a person and their skillset even though they are physically miles apart.

As Moses de Maimon, a Jewish philosopher, better known as Maimonides, says: “Give a man a fish, you feed him for a day. Teach him how to fish, you feed him for a lifetime.”

Here's some more information on how skill sharing works, and most importantly, how it can benefit you, your career, and most importantly, the not so privileged.

WHAT IS SKILL SHARING?

Skill sharing to put it in absolute layman terms is when people share their skills with others. While it can happen in a formal setting – like a classroom – it can also occur casually at meetups, community centres, and even in people's homes.

For example, if you may be a freelance graphic designer who wants to learn social media marketing, you can agree to exchange design lessons for a tutorial in an online marketing strategy. Or, if you are a project manager looking to increase your web knowledge, you might take an online or in-person coding course.

WHY YOU NEED SKILL SHARING IN THE FIRST PLACE?

Every person possesses a separate skill set which makes him unique. But the power of it is not keeping it confined, it's in sharing it. Call that friend who is weak in your favourite subject and help him out. Skill sharing is how we grow stronger as a team.

It is said the strength of your team is the strength of its weakest person. So why not help them grow? There is only so much we can grow as individuals. Every sector in our lives we need a team to grow. Starting from our family, our primary and secondary education to our peer group and work life. Whether formal or informal, any successful project, be it big or small, has one thing at its core: effective collaboration, and you cannot achieve that without knowledge sharing.

“In our research on knowledge transfer, we have seen companies greatly disadvantaged, if not crippled, by knowledge loss. Certainly, some expert knowledge may be outdated or irrelevant by the time its possessors are eligible for retirement, but not the skills, know-how, and capabilities that underlie critical operations — both routine and innovative. Organizations cannot afford to lose these deep smarts” says Dorothy Leonard, the William J. Abernathy Professor of Business Administration Emerita at Harvard Business School.

Here are 10 BENEFITS that you can get from sharing your knowledge:

1. It helps you grow

As Claudio Fernández-Aráoz put it, “The question is not whether your company’s employees and leaders have the right skills; it’s whether they have the potential to learn new ones”. We can only accomplish a certain number of goals with a limited skill set. But once we start learning new skills the opportunities for us are endless. They say you could learn something from everybody in your life. Let us make sure we actually do!

2. It helps you stay motivated

Even among peers, skill sharing can play an important role to motivate you to get better at your skills and try to acquire new ones. Seeing your peers showcase their skills pushes you forward in healthy competition as well as a team effort for all of you to develop on your skills. We are all achievers on the inside. Sharing knowledge practices pushes you to become better at what you do while driving you at the same time to contribute with your own insights.

3.Getting top talent access

“If you’re the smartest person in the room, then you’re in the wrong room” the saying goes. Knowledge sharing helps you get feedback and help with your projects from those more skilled or with a different set of competences. You can always reach out to your peers – you’ll be amazed at what they can teach you in no time. Not to mention the access to upper management expertise!

4.Recognition

So many recent studies underline the importance of recognition at work – it is one of the most powerful motivators and will highly contribute to both employee retention and engagement. Sharing your knowledge with others will give your talents more exposure, thus giving the people you interact with the opportunity to identify you as a valuable expert. Helping others can help you build your reputation. And that is a valuable asset!

5.Generating new ideas

They say two heads think better than one. When different skills and experiences collide, eye- opening ideas and solutions emerge. The creative energy of brainstorming can generate faster and more relevant solutions to your current assignments, supporting you in successfully achieving your tasks. Tribal knowledge FTW!

6.Future leaders’ discovery

Sharing knowledge can be a great tool for everyone to PR themselves. All you need to do is to be permanently connected to the hot business topics and offer your expertise every time you can. When people are open to prove their value through their competence, it’s easier to notice the ones likely to organize people and to take initiative. The leaders of tomorrow are among those.

7.Limiting the skill gap

Your team is as strong as its weakest member. By sharing knowledge and talking about certain decisions and procedures, the new guys or juniors could easily acquire new sets of skills. Create an environment where everybody is encouraged to ask questions and help professionals in all your locations and job positions stay updated with the latest information in their field.

8.Team cementing and silo breaking

Working as a team gives employees a sense of belonging. When employees, teams, and leaders share ideas and resources with each other, the feeling that they pursue a common goal becomes authentic. The feeling of being part of a functional and collaborative team boosts enthusiasm and empowers everyone to exchange knowledge, breaking down the silo mentality. This boosts employee morale and increases their work efficiency.

9.Sense of purpose

There is a thin line between employees “sort of doing stuff” and those that have a sense of purpose. By creating an environment where people feel like their knowledge makes a difference, they will clearly see how their work fits in the bigger mission of the organization. Work without purpose is no work at all.

10.Operational efficiency

That is perhaps the most important thing. Sharing knowledge increases the productivity of your team. You can work faster and smarter, as you get easier access to the internal resources and expertise within your organization. Projects don’t get delayed; people swimmingly get the information they need in order to do their jobs and your business fills the bill.

The “Knowledge is Power” adage is long dead as the new reality of the workforce has taught us that sharing knowledge is beneficial to everybody.

Moving one step ahead, I wonder how exciting it would be if we could also earn from our multiple skills!

HOW TO DO THIS AS AN INDIVIDUAL?

Helping others should be a natural extension of every capable individual’s responsibilities. Unfortunately, it does not come as easy as you would think. As privileged and able people, we often get too caught up in operations or our own problems to give people the help they need. However, in the last year, I’ve realized that most of my best clients, partners, and relationships have come from me helping someone for free and for a cost when required.

So how does someone share their multiple skills to the world? We’re all busy with our day-to- day lives, earning a living and eking an existence on Planet Earth.

But if you are willing, there is always some way. Helping others by sharing my multiple skills is something that brings me immense joy; hence I have shared 7 broad services which you can share with the world for free and for a cost:

1.Professional services (Consultants, Engineers, Marketers, Chefs etc.,)

There are professional service providers as a company, but we are focusing of individuals who have these skills to offer these services. May be, you are in job offering these services, still you would want the world to know your skills for others to connect with you to receive those services form you.

This is where a mobile app like nettworkk would help!.

2.Home repair (carpenters, Roofers, Electricians, etc.,)

In this ‘aggregators’ age, we have aggregators most services including food, taxi, products(amazon.com) and home repair services. Though these app provide customers with more options to choose from, the huge commission these aggregators take from the service providers really hits big on them.

An app like nettworkk connects customers directly to you instead of them coming through aggregators.

3.Software Services (Product managers, Solution architects, Developers. Testers etc.,)

Most of the college student eye a software job during college. Hope you agree. If you are trained in the latest software and aptitude skills, there are more chances of you getting through the campus interviews. So, there is always a huge availability of software professionals, testers and currently product managers. Interestingly, there are professionals with multiple skills, say., they are proficient in Java platform, cloud architecture as well as in big data. But they can’t be handling projects in all of them. They could only go by what their company project demands.

It would be great if they could have a platform like nettworkk which could help them connect with people who are looking for people with these skills to offer projects.

4.Creative services (Writers, Graphic Designers, etc.,)

It takes real skills and talent to master creative skills. Most people get into these services with seer love and passion for arts. They love colours, literature, imagination, and a sense of WOW in their work.

The speciality of creativity is that it is the basis of all innovation. Creative services need not be limited to arts but could be applied to almost any work including Engineering, Carpentry, Education... you name it!

5. Personal care (hair stylists, massage therapists, etc.,)

Personal care services have always been close to individuals as we visit at least one personal care service in a month. Especially, working men and women. These services are always in demand and people who provide these services do it with love and care.

As they work physically close to the clients, they develop a sense of connect and client look to a particular service person if they get used to their service.

6.Health care (Doctors, Physio therapists, Nurses etc.,)

If these is a service which requires more inter connectivity with the community is Health care. As there are multiple disciplines in health care including various speciality Doctors, Physio therapists, Nurses, and various lab technicians, they all must be connected to refer the patients to the right specialists.

7.Coaching Services (Online coaching, Private tuition, Sports & Games etc.,)

The most steadily growing industry is the online coaching industry. Due to layoffs and insecure job environment, most of the professionals turn to online coaching to get themselves updated with the latest technologies, strategies, and other required skills.

Here I remember these famous words by American evangelist, Billy Graham who says: “We’re not cisterns made for hoarding. We’re channels made for sharing.” Obviously, what good is any skill if someone decides on hoarding it? The skill would die along with the person that hoards it and is not able to be passed on generation to generation.

Coaching service including sports & games have always been sort after wherever one needed expert guidance. Someone whom to they can go-to for re-evaluating themselves and fine tune their existing skills or learn new skills.

WHERE DOES NETTWORKK COME IN ALL THIS?

NETTWORKK provides you with a platform to share, showcase, and adapt skills with as ease as our day to day social media affairs. The steps for this are easy, create a profile, mention all the skills you can offer for free and for a cost and wanted services for free and for a cost.

NETTWORKK provides an easy connecting ground for people of all strata and ages to bond with each other based on their skills offered and wanted. And you get matched right on your mobile. No more advertisements in classifieds and social media ads!

Say., if you are software developer working in a software company, you are mostly like to introduce yourself as a software professional. What if you have multiple skills which you could offer for a cost. Say., you are also a competent chess player and you are willing to provide online chess training to people who are interested. You might not have thought about providing this service unless someone pokes you related to chess.

That is where a platform like nettworkk becomes essential. You can also offer free services, say., you are passionate about playing a music instrument, but not keen earning from it. You might keep you instrument playing passion live by teaching people for free or playing for free. Just to keep that passion… LIVE!

The most exciting feature of this nettworkk is that you can add as many as 10 skills which you can offer for a cost and 10 different skills which you can offer for free! Sounds exciting?

Start communicating and showcasing what you are good at, share it with the world and make a difference while you earn extra income!

#business #business networking #networking #connectingpeople

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