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aion-rsa · 3 years ago

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How Dear Evan Hansen Changes the Musical’s Ending

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This article contains Dear Evan Hansen spoilers, both for the movie and the stage show.

No matter how you come to the story of Dear Evan Hansen, and regardless of the medium, things always have to end at the same apple orchard. It’s fitting since Evan’s first major lie about Connor Murphy, the boy who killed himself, was that they spent whole days in the then-abandoned orchard, talking about girls, boats, and whatever other fantasies Evan could concoct. And it’s here that Zoe Murphy, Connor’s younger sister, requests Evan meet her for the story’s final scene.

This is true of the stage show, which took Broadway by storm five years ago—winning six Tonys including for Best Musical and Best Actor for Ben Platt—and it’s the same for the movie, with Platt’s Evan coming to a now renewed orchard and sitting with the cinematic Zoe (Kaitlyn Dever). Among the trees, Evan can see at least one good thing that came out of his lies: The Connor Murphy Project reopened this small slice of paradise.

Yet how Dear Evan Hansen gets to that moment in the movie is drastically different from the stage musical. Then again, so is the world in the five years since the musical’s Broadway debut (and six since it was first performed in Washington D.C.). Hence why director Stephen Chbosky and screenwriter Steven Levenson, who adapted his own book from the stage, have attempted to adjust to our current social climate. The new ending addresses the harshest criticisms about the Evan Hansen character, and the values his tale might promote. This is, after all, a musical about a troubled young man who exploits the suicide of a stranger in his school to increase his popularity and to insinuate himself into the dead boy’s family.

But is the new ending an actual improvement? Well…

How Dear Evan Hansen Ends on Stage

The entire narrative of Dear Evan Hansen pivots on a misunderstanding between Evan and the Murphy family as the latter grieve over the suicide of Connor. When Connor’s parents, Cynthia and Larry, first misconstrue Evan’s letter to himself as their son’s suicide note, Evan attempts to correct them. However, they seem so heartbroken, and Evan is so desperate to please and be accepted—by anyone—he quickly goes along with it and begins spinning tales about his and Connor’s intimate friendship.

The musical is thus a rising crescendo that builds as Evan climbs higher and higher off his mistruths. So the inevitable moment where his house of cards comes crashing down is the narrative’s real climax. And yet, in the original version of Dear Evan Hansen, the story more or less ends right there. After Evan confesses in the song “Words Fail” that he lied about the letter and his entire friendship with Connor, the horrified Murphys walk away from him one by one, with various degrees of disgust. He then comes clean to his mother in the final big song of the show, “So Big / So Small,” where she comforts her son. She’ll never walk away.

The musical then quickly jumps one year into the future, with Evan revealed to be working part-time and attending community college, hoping to save up enough money to someday attend a university. Zoe, who’s now a senior in high school, invites Evan to the orchard where he thanks her family for never revealing his secret to the public—never telling the world he lied about Connor. And, rather incredulously, Zoe absolves Evan and the audience of any guilt. She says, “Everybody needed [the lie] for something.” She even goes so far to say it “saved my parents.” It brought her family closer together.

So while it’s still bittersweet since Evan’s relationship with the Murphys, including Zoe, is forever severed, there are still no real consequences for Evan other than Cynthia and Larry won’t pay for his college education. Even his guilt is assuaged, and he can brag to Zoe that he’s been reading the 10 books Connor said were his favorites in eighth grade. The show more or less ends in a figurative group hug by omitting through a time jump all of the messy fallout from his choices.

How Dear Evan Hansen the Movie Ends

In the film, “Words Fail” is still the climax of the story, with Evan confessing his sins and Zoe walking away. However, in one telling addition, Cynthia (played with delicate fragility by Amy Adams) is barely able to whisper, “I think it’s time for you to leave” while holding back tears. Since she was Evan’s biggest champion, that she is now the one who states explicitly he is disinvited from their home hits hardest.

Then after Evan’s heart-to-heart with his mother (Julianne Moore), we actually see Evan attempt to make amends for his misdeeds. For starters, the whole reason the truth finally came out in both versions of the story is because of the machinations of a schoolmate named Alana (Amandla Stenberg in the film), who accidentally unleashed a whole social media mob on the Murphys, with randos on the internet blaming the parents for Connor’s suicide.

On stage, this plot element is entirely dropped after Evan confesses to the Murphys, who presumably bear the brunt of the social media hate in quiet while protecting Evan’s secret. In the film though, Evan actually attempts to talk to Zoe in school the following week and she asks him to leave her alone. She also reveals the only reason her parents haven’t unmasked what Evan did is because “they’re afraid you’ll do something to yourself.” Like Connor.

Thus Evan gets on Twitter that night and tells the world, “[The Murphys] don’t deserve your hate. I do.” He confesses. Afterward, he again becomes a high school pariah, but we learn in montage he is more content this way as he tries to make further amends to the Murphys by not only reading Connor’s favorite books but tracking down someone’s phone video of Connor during his stint in rehab. Evan even finds footage of Connor playing his guitar, a feat he hid from his parents. The new song “A Little Closer,” which scores the final montage, is revealed to be a melody Connor wrote and sang in rehab, and Evan is able to at least mail that to Connor’s parents. He’s finally given them something true that they didn’t know about their son.

Only then, before the current school year ends, does Zoe invite Evan to an apple orchard and they reminisce about what might’ve been.

Does It Improve Evan Hansen and the Story?

The clear implication for adding these sequences, plus a song that the real Connor Murphy character can sing, is intended to fix the moral and thematic slipperiness at the heart of Dear Evan Hansen. Through a series of hummable ballads by songwriters Benji Pasek and Justin Paul, and some heartbreaking performances, including by Platt in the original cast, the stage production relies on the power of its emotions to overwhelm logic or deeper analysis. Some might even say it manipulates.

Yet over the years, the musical has had its fair share of detractors who pointed out how calculating and toxic the Evan Hansen character can appear. And the fact the musical just ends on the emotional high point without actually bothering to sift through the wreckage of what Evan did has always been a cheat.

Conversely, there are a few fleeting sequences in the stage version where the musical at least briefly seems to consider its darker implications. Evan’s loose group of (bad) friends in Alana and Jared contribute to this element in the song “Good for You,” where they sing in unison, “Well, I guess if I’m not of use, go ahead, you can cut me loose. Go ahead now, I won’t mind.”

The Alana relationship is particularly interesting in the show since it is only after she demands of Evan “how” will he raise $17,000 that he shows her Connor’s “suicide note.” He immediately protests after she decides to post it online, but did he not on some level show it to her in order for her to use it to raise $17,000 and reopen the apple orchard? After this scene, Alana ghosts him, suggesting she was herself only using Evan to brandish her social clout in the school and, eventually, her college applications.

The Dear Evan Hansen movie tries to wipe even this thorniness away. The context of Evan showing the note to Alana is handled slightly differently, but as a consequence there’s no ambiguity on why he showed it to her—he did not intend for her to share it online. She also, like Evan, is softened around the edges when she does answer Evan’s ringing phone on-screen and cries that she tried to take the letter down but it’s still all over social media.

The logic behind the change would seem to make both Evan and Alana more purely sympathetic and blameless for their mistakes. In Alana’s case, she isn’t a master manipulator, and in Evan’s case it is beyond his control when others take things too far. He then puts in the work to help the Murphys, beginning by admitting to the world his dishonesty.

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These were obviously conscious choices made after the five years and full lifetime which passed since 2016—a year where Barack Obama was still president and the #MeToo movement hadn’t yet occurred. Now in an age where social accountability, especially in online life, and alleged authenticity are valued more than ever, having a hero who lies to the world and gets away with it is inherently problematic. So the flaws in Evan’s choices, and even Alana’s, are “fixed” with crocodile tears of regret from Alana, and then Evan making an actual effort to atone for his mistakes.

Yet I would argue it doesn’t actually improve the fundamental issues with the musical. In the case of Alana, having a character show the ugly side of social manipulation, even among ostensibly sympathetic figures, was one of the truer impulses in a story that otherwise glorifies the healing power of finding validation from strangers on the internet. While both the film and show also depict the downside of online life with a discordant singing hydra coming after the Murphys, it’s only because of a couple of misguided mistakes. And in the case of the stage show, the larger message is Evan’s musical platitudes are simply too powerful (or profitable) for the Murphys to shatter.

In 2021, Evan and his creators make the choice that he can admit his mistakes. Yet the story still attempts to justify Evan’s actions, which ironically puts the film at odds with itself. It basks in the splendor of Evan’s self-help ballad, “You Will Be Found,” and then shows him suffering comeuppance for lying—even if Zoe still gives him final absolution.

The one significant change that clicks for me is Evan at least seeking out some hidden truth about Connor, and sharing it with the real people who actually loved him instead of strangers, who in turn would only again offer performative gestures and signaled virtue toward a kid they otherwise ignored. Hearing Colton Ryan’s Connor sing for himself—for the first time in any medium—and not merely be a puppet for Evan’s self-serving fantasies was a significant, moving improvement over how this thread is resolved on the stage.

Still, I think going further in that direction with Evan realizing the crassness of what he created, and the emptiness of his bromides, would’ve made this a more interesting narrative. But what do I know? My instincts wouldn’t have turned this into a Broadway anthem for Generation Z. So how about yourself? Do you like the new ending to Dear Evan Hansen?

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cherryalt · 3 years ago

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Mark Raidpere, Shifting Focus (2005)

A table, a couple of chairs, an old-fashioned clock on the wall. It’s two minutes to eleven. A man fiddles with a video camera, removes the floral tablecloth, switches the camera to night vision and then back to normal. He sits and looks at the camera, resting his head on the table as though he is tired, teasing someone or checking poses as a stand-in for actors soon to join the set for a shoot. Then (cut) he’s on the other side of the table, then (cut) directly in front of the camera, adjusting strands of his hair in the mirroring lens. On the clock behind him we read that 12 minutes have passed, but we’re only 30 seconds into Mark Raidpere’s Shifting Focus (2005) and the tension is mounting.

A woman – the artist’s mother – enters and sits down. The clock on the wall has vanished; only the nail it hung on is left. The man (Raidpere) sits down. He has changed his red pullover for a dress shirt, (cut) then a dark long-sleeve shirt. Suddenly the image is black and white. The display window is shrinking (as though gradually changing from a television format to widescreen cinema), has a black frame around it, before the image rests on a shot of the mother facing her son across an empty table. Gently smiling, she finally says: ‘Well, tell me about it.’

Raidpere sobs, begins to talk and abruptly stops. Sobs again. Hides his face behind his hands. Endless minutes seem to pass. The mother remains almost unbearably calm and patient (why doesn’t she get up and shake him, or give him a hug?). ‘I’m afraid’, he says, ‘I don’t know what to say first, what later.’ The mother replies (they speak Estonian, subtitled in English): ‘Don’t torture yourself like this, just say what you want to say.’ By now it seems obvious that the son is struggling to confess to his mother that he is gay, but we soon discover that’s not the case. About eight minutes into the video (an ashtray has appeared, and Raidpere is smoking), he says: ‘I’m having a hard time right now. This Venice show, it’s more like a nightmare than a delight.’ Finally it’s out. The artist is having panic attacks in the run-up to his solo presentation at the Estonian Pavilion in Venice in 2005 (which is where this piece was shown for the first time). ‘Well, you’ve got time’, the mother says. ‘Loads of time. Months.’

Dramatic tension builds and is suddenly deflated – anxiety is resolved by its articulation (the completion of the piece); but why should we be bothered about the artist’s psychodramas and his family life? Some argue that it is only through an unflinching confrontation with the artist’s ingrained fears and desires, often connected to the circumstances of their upbringing, that great work can be created (hence, especially in film and literature, the ongoing proliferation of family dramas and memoirs). Conversely, others argue that such an approach inevitably produces kitsch, as the artist gets caught up in the age-old cliché of the artistic soul expressing itself, while falling back onto what the mass media – from afternoon chat shows to YouTube – do much better anyway, which is catering to the voyeurism of audiences hungry for confessions. Such an argument is supported by a tradition of critical theory: mid-20th-century New Criticism, which proposed to put the text – as opposed to biography or the author’s intention – centre-stage, and post-1960s’ Post-Structuralism and Deconstruction, which declared the text itself to be a fundamentally indeterminable entity. Simply put, you could say that the text (and analogously, the art work) was emancipated from the person who produced it and then from itself: its meaning was determined by its audience, while the audience in turn was also determined by its perceptions of the text or art work. In other words, authority moved from the author through the text/work to the reader – from where it bounced back into ambiguity.

But whether or not the text or art work is in some way unified by the ‘voice’ of its producer, a fundamental (and common) misunderstanding is to take critical theories of how a work can be perceived as normative prescriptions of how it should be produced. Even if you believe that art takes on a life of its own in the realm of its reception, this in no way implies that biography and subjectivity are taboo subjects to explore. Rather, it is often when this happens that the excitement starts: biography and subjectivity collide head-on with the indeterminacies of production, the formal questions of physical, technical and social process – all of which brings us back to Shifting Focus. The piece made me expect a coming-out because it sends out signals that I associate with previous readings of coming-out as a cultural trope. Yet while frustrating this one expectation, it offers relief: the confession that first seemed to block the way of the production of a work – the anxiety about creating work for the exhibition in Venice – turns out to be integral to its creation. In this respect, Shifting Focus recalls Christian Jankowski’s videos Kunstwerk verzweifelt gesucht (Desperately seeking the art work, 1997) and Telemistica (1999). The former involved the artist having therapy in order to overcome a block; he had failed to come up with an idea for a contribution to a group show, which, according to the therapist, was because the curator was too much like his mother (of course, the video turned out to be that contribution). Telemistica was devised for the Venice Biennale in 1999, at which the artist asked five fortune-tellers on Italian television if his idea for an art work was sufficient and original – without letting any of them know that the very idea was to call them up. With Raidpere, however, this idea of the work as self-fulfilling prophecy is given yet another twist, as we can’t be sure that the clever trick of turning failure into achievement isn’t itself just a ‘set-up’, a red herring in order actually to allow another level of meaning to return with a vengeance: what if Raidpere really did want to confess something very intimate or serious and created the art work as an easy way out? We can never know – which is the point; a shifting focus indeed. The artist’s mother functions as a catalyst, as an exemplary ‘reader’ of, and participant in, her son’s performance – performance both in the sense of an emotional scene, a ‘speech act’ being staged in order to generate a communicative effect, and in the sense of art being made.

video: https://digikogu.ekm.ee/eng/virtuaalnaitus?ex_id=6&cat_id=17&item_id=524

text: https://www.frieze.com/article/close-and-personal

#art #expectation

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hellzyeahthewebwieldingavenger · 5 years ago

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Spider-Man: Far From Home Thoughts Part 3 a.k.a. Iron Man Junior: Far From Spider-Man

This will be the final part of this essay series and here I’m going to go through how this film holds up as an adaptation of the source material.

Shockingly the answer will be that it’s fucking awful.

I’ve already made what must be over a dozen posts about how terrible Far From Home is as an adaptation and representation of Spider-Man but screw it let’s go over it more!

Before I start to rant let me qualify something.

When you are adapting a character as famous, iconic and beloved as Spider-Man you don’t have to be a 1:1 translation of the source material. But you 100% do have to respect the spirit of the source material as much as practicality will allow. You have to respect the essential ideas, original intention and core themes and concepts underpinning the character and his world.

That is the root of my objections in this post and so many others.

Homecoming and Far From Home misunderstand Spider-Man on a fundamental level. Or worse they do understand him and actively chose to ignore what he’s about, what he represents.

He’s all about great power and great responsibility within the context of being a relatively relatable Average Joe.

This isn’t making him an everyman the way Bilbo Baggins or Luke Skywalker are. For Spider-Man he has to much more accurately reflect the average person and the world the average person lives in. He has to live in a real city, he has to worry about bills, laundry, studies, getting a job, holding a job, maintaining friendships and romantic relationships. He just has to be Spider-Man ON TOP of that and that must clash with his normal life. Being Spider-Man is one more additional responsibility he must juggle.

Before I rip this film to shreds for so aggressively NOT doing that let me get a few scant positives out of the way.

First of all the action scenes were not just generally improved from Homecoming, but honestly felt more like Spider-Man. I could easily see the way Peter and Mysterio attacked, defended, countered, etc, being something from the comics. Particular praise must go to the Berlin action sequence.

For many years Spider-Man fans have understandably claimed that Mysterio would be the perfect villain for the big screen due to his skill set being about generating great visuals. And we were right because we get not just a classic Mysterio action sequence in Berlin but outright one of the all time best ones from any version of Spider-Man. The film even drops us some appreciated fan service, firstly by putting Peter in his red and blue costume so it feels like the comic come to life and secondly via the giant Mysterio hand ripped straight out of ASM #66-67. The snow globe sequence in particular, if it wasn’t from a comic (and off the top of my head I can’t recall it being so) was simply inspired.

Equally Mysterio’s look was a different yet ultimately brilliant realization of the comic book. To an extent Mysterio is also a spiritually faithful rendition of the comic book character. In the comics he was a special effects master, stuntman and failed actor who craved fame and was frustrated by the lack of recognition he got.

In the movie he created highly realistic holographic technology, was frustrated by it’s small scale use, the lack of recognition he got for it and with a whole crew of helpers fabricated his Mysterio identity in the hopes of becoming the most famous superhero in the world, although he was himself rarely in the costume.

Traditionally Mysterio is a practical effects guy and this makes the most sense given how he physically fights Spider-Man, but the updating of that to holographic technology is fine and dandy because CGI has, for better or worse, supplanted practical effects. Even in the 1994 cartoon when that wasn’t the case the showmakers gave Mysterio holographic tech.

Him not being a stuntman is more of a mixed bag. On the one hand being a stuntman is what enables him to sort of fight Spider-Man himself, but on the other hand outside of his debut Mysterio’s usually been more effective when not physically fighting people but rather tricking them and manipulating them. So if you are focussing more on that aspect of the character dropping the stuntman angle is fine.

In fact one of the two things (and we will talk more about the other later) which does spiritually undermine this version of Mysterio is his lack of explicit connection to Hollywood. However he is still an actor just not a professional actor in the film or TV industry. And a great actor at that as he is so capable of fooling everyone.

We might also argue that having a crew of helpers undermined Mysterio’s independence and intelligence, but I think it works for the movie fro 2 reasons. First of all in a movie for general audiences suspension of disbelief doesn’t stretch as far so savant characters are less acceptable. Mysterio is 100% a savant. He’s a skilled actor, stuntman, manipulator and technician who knows holographic technology, robotics and all manner of things like that. In the movies you could maybe buy someone having a grasp of the purely technical side of things, but even Tony Stark wasn’t an expert on biology or chemistry, maybe he knew enough to get by but remember he needed to read up on stuff in Avengers 2012.

By giving Mysterio a group supporting him it makes it more believable that this villain is capable of all these things. More poignantly, and you can see this especially when they were ‘rehearsing’ for the London attack, it renders Beck something of a director, thus subtextually giving him yet more connection to the world of film. Again it’s just a shame this was not more explicit and instead his abilities and motives stem from...well we will get there.

On a final note Mysterio can in truth be one of the creepier Spider-Man villains and you don’t really get that vibe outside of the Berlin fight scene (and even then only a little bit). I think that’s fine as he was still manipulative which is one of Mysterio’s better skills in the comics.

So there is a lot this version of Mysterio has going for him, he’s faithful in the idea but not in certain details. Unfortunately those details sink this take.

Other positives include the set up of Chameleon as the stoic and silent agent Dmitri within SHIELD. This will not only pay off in MCU Spider-Man 3 but will is also a great example of irony and foreshadowing. Chameleon was introduced as a saboteur and enemy agent so him being a mole within SHIELD lends itself well to his character and the fact that he is an imposter amidst imposters (the Skrulls) is deliciously ironic.

Also this movie gave us the best version of Ned and Betty’s relationship ever because no one died or got cheated on. Finally I liked Aunt May running a homeless shelter. It gives her something to do and is a very fitting role for her.

I want to go back to Mysterio for a moment though as this isn’t really a positive or a negative of his character.

He’s a very tricky character to adapt. In his debut he is pretends to be a powerful new superhero who wants to bring down Spider-Man whom he’s obviously framed.

In a movie I can understand how framing Spider-Man might not sustain a 2+ hour movie.* However the bigger question to ask is whether or not you bother with having Mysterio framed as a hero or not.

In the 90s it was easier as Spider-Man and his mythos wasn’t so prevalent so people simply know a lot of stuff via osmosis, and in the Spectacular Spider-Man cartoon the showmakers simply present him as a criminal off the bat.

If you do go with him pretending to be a hero it’s tricky to pull off without feeling like you are going through the motions.

All of which is me saying the movie is faithful to the comics in presenting Mysterio as initially pretending t be a hero but I don’t know how good of an idea that is. I don’t know anyone who walked into the movie not knowing he was the bad guy.

That’s about it for positives.

So...FUCK THIS MOVIE!

Once again in this Spider-Man movie everything revolves around Iron Man.

I’ve written in posts past how this undermines Spider-Man’s agency simply as a character in a movie but as far as adaptations go this is beyond insulting.

Spider-Man was in part created to be an independent superhero. In part created to literally NOT have the kind of relationship he has with Iron Man in this movie.

I cannot describe how much of a fundamental misunderstanding of Spider-Man’s character it is to have Iron Man be utterly integral to who everything about him.

He’s so goddam integral that Peter’s alleged character arc in this movie is about becoming him (in the most obnoxious of ways too, see Part 2) and he is the wellspring from which 99% of this movie springs from even though he’s fucking dead. I mean my god the plot device everyone is after is Tony Stark’s glasses!

Spider-Man doesn’t get to be his own man even when Iron Man is literally not alive!

Shit even Mysterio is motivated and built to be a dark reflection of Iron Man. And this kills his character not just because it denies him independence because it makes his ambitions entirely too big scale to work as a Spider-Man villain. His motivation is to gain access to Tony’s magic glasses. At least Vulture with a tweak could have worked as a regular Spider-Man villain. He had the working class down to Earth and relatable ambitions and lifestyle down. Mysterio is doing everything to both spite Tony and become him.

Jesus, even Iron Man’s dead weight and most irrelevant supporting character Happy Hogan is not just in this movie but plot relevant...for the second movie in a row! He’s even dating Spider-Man’ aunt. At this point given how she’s never even mentioned him is Uncle Ben even dead in this universe or did he just run off with a somehow even sexier 50 year old?

Oh...and let’s talk about Uncle Ben, whom I was naive enough to think was going to be referenced when that gravestone appeared but noooooope, fucking Iron Man again.

From Endgame onwards disgusting posts and articles were written about how Iron Man’s death now truly makes him MCU’s Uncle Ben. Because you see he was Peter’s father figure and he died...so that’s the same thing. Nevermind that he didn’t die because Peter was inactive and selfish, or the fact that his death didn’t widow his aunt, or anything like that. Shit Peter doesn’t even seem that upset about it beyond 1 or 2 scenes. And yet that’s one or two scenes more than we’ve ever seen Uncle Ben get referenced. Think about that we’ve seen Iron Man mourned more than Uncle Ben in a SPIDER-MAN movie!

We see that more than we see Aunt May even. Aunt May is just there in the MCU movies which is not just a waste of Tomei as a talented actress but it is again insulting as an adaptation. Even in Spider-Man 3 and ASM2 she had more to do and delivered a good scene or two. In these movies she’s eye candy and nothing more. She is more relevant as a punch line about how men are attracted to her than as her own character.

And now that we are on the subject of supporting characters, I talk about this more in other posts, but Michelle is so bad. The romance comes out of nowhere there is no justification given for their respective feelings for one another and to say she’s not Mary Jane would be redundant.

She fails to be anything like Mary Jane on any level beyond her nickname. This is not okay for several reasons. Among them is the fact that the Spider-man movies have had a problematic habit of treating the love interests as interchangeable characters as opposed to being their own distinct characters. Worse we’re screwing up Mary Jane not only a second time on film but worse than before. This is the Lois Lane of the Spider-Man mythos, she’s an iconic beloved character integral to the over all story of Spider-Man. And we’re treating her as so insignificant as to able to present an OC with her initials and claim that’s good enough.

As for the other supporting characters they continue to be broken. Like how the fuck did Betty Brant wind up the relatively most faithful character? Ned is just a repurposed Ganke except now they’re writing him as a lame Disney Channel sidekick character so he’s not even got the depth of comic book Ganke and Flash...oh Flash. He’s not just irrelevant to the movie, he’s not even really a bully in this film. He’s just a preppy docuchebag no one takes seriously and in fact gets treated as the butt monkey on more than one occasion. The only redeemable moments for his character were when he sang Spider-Man’s praises and was stoked that Spidey follows his social media channel.

All the characters feel like shallow attempts to make Spider-Man ‘about youth’ which as I’ve said countless times in the past, he provably isn’t about and never was. But this film not only continues to lean on that misinterpretation but lean harder on it. Like the premise of this movie is literally about Spider-Man trying to enjoy his summer vacation and school field trip.

But the film fucks up Spider-Man’s defining values in so many other ways.

Of course there is the blip.

People were so hype for Spider-Man to be in the MCU but hindsight is painful because that fact just hurt Spider-Man movies on a fundamental level.

In Marvel comics, we never know for sure if any of Spider-Man’s friends or family died in the Infinity Gauntlet and no one remembered it happening anyway. It also didn’t happen in a Spider-Man story so it could be safely ignored as is the nature of a shared universe.

But in the movies Far From Home acting as MCU Chapter 23 creates an ongoing problem for these Spider-Man movies. The fact that Spider-Man and everyone he knows died and came back but also there were some people who are five years older than him now creates a fundamental dissonance undermining the more grounded, relatable angle of his character. The only solution of which is to simply wilfully ignore the elephant in the room that represents that dissonance. In short these Spider-Man movies would’ve been better off not being connected to the MCU or at least being on it’s fringes.

This applies to even the post credits scene of the movie as now in our movies that are supposed to be about the grounded and relatable hero we have fucking aliens! And they were there the whole time. The movie even gleefully plants its flag in rejection of the idea of having a more grounded Spider-Man by saying Spider-Man ISN’T a friendly neighbourhood Spider-Man by virtue of having gone to space. I was okay with that in Infinity War as that was not a Spider-Man movie but by actively rejecting that idea in this movie it showcases how the film makers treat Spider-Man as a more generic hero who can be anything and everything...and therefore nothing. There are no definitions to the type of things he will get involved with.

You might counter outside of the opening school scenes and post-credit sequence the alien involvement isn’t that much of a problem because all the interdimensional and alien stuff wasn’t real in the movie.

But that leads us to the next problem. Spider-Man as a globetrotting super spy agent. Again...this is not Spider-Man. Spider-Man is more domestic, more down to Earth and sans space travel there is nothing less grounded and down to Earth that globetrotting and secret agents. There is a reason James Bond is indulgent escapism!

Worse the spy stuff essentially hijacks the movie, it’s not even something that flows out from Peter’s character or world, it comes out of nowhere to appropriate his story.

Speaking of which...SHIELD have to hijack Spider-Man because...Spider-Man doesn’t want to get involved...

...what?...

I will repeat that.

Spider-Man, the character defined by a low level burglar he chose not to stop who then killed his uncle thus teaching him that having super powers gives him a responsibility to use it to help others...chooses to not help out against giant elemental monsters threatening all life on Earth...because he wants to enjoy his vacation...

...words simply cannot do justice to how beyond broken that is as an interpretation of Spider-Man.

This isn’t even a case of he quits because being a hero has taken such a toll on him and he’s had a wobble.

This is him still deciding to be Spider-Man but actively tries to avoid it because he wants to have fun for an extended period of time. MAYBE that’s okay. MAYBE him deciding to not take his suit along on vacation could be justified and in character.

But when presented the means to be Spider-Man and a major crisis that requires his help (it isn’t like there is a small group of equally or more powerful heroes to cover for him) for him to simply reject it, to have to be forced into helping and when he reluctantly does only doing the bare minimum until he realizes people he cares about are in danger...no.

Just no, whoever was responsible for that characterization you should not be allowed to write for Spider-Man.

It’s not even consistent with Homecoming’s already misinterpreted version of Peter Parker. In Homecoming Peter was screwed up because his intervention made everything worse near 100% of the time but even that’s better than presenting Peter as choosing to not intervene at all for purely selfish and unsympathetic reasons. And to rub it in our faces when he does choose to intervene he does it with more high tech Stark crap. No him making the suit himself doesn’t make it okay, Spider-Man shouldn’t be using technology from other people like that nor consistently having access to such high-tech. It goes against the idea of him being independent and of being grounded.

The Stark tech crap is also relevant to what is a major contender for the single worst scene of any Spider-Man film to date. The drone strike on a bus.

In this movie about the superhero who’s supposed to be relatable and like us, Joe Average, we have a scene where he uses a pair of high tech bequeathed to him by his dead superhero father figure accidentally to launch an orbital drone strike on a fellow school student on his bus because he’s about to ruin his chances with hooking up with a girl. Then he has to engage in wacky hijinks to save the kid and everyone else.

Do I need to say more about that scene? To call it jumping a shark would be an insult to other shark jumping moments. It shatters the verisimilitude of the movie maybe even more than the blip.

Let’s switch back to Peter’s personality in this movie. I’ve already talked a lot about it in prior posts but I do have two more things to point out.

The first of these is that we have less quips than in prior Spider-Man movies. And I don’t just mean the most recent ones I mean of any of the movies going back to 2002. And by less I mean 0. Spider-Man NEVER quips or jokes in this movie. Ever. It’s like they’ve grown to understand Spider-Man even less than in the last movie!

The second and more significant is how stupid Peter is when it comes to his secret identity. In the comics Spider-Man is famously secretive about his identity, to the point where it’s almost paranoid.

Here though he isn’t concerned about SHIELD or random SHEILD agents knowing who he is, or Mysterio, or everyone in a bar or anyone looking at the bridge in London where he unmaskes makes out (awkwardly) with Michelle.

The movie pretends like it cares about this aspect of his character by having Peter point out if he goes out as Spider-Man abroad people will deduce it’s him.

Not only is this an attempt by him to weasel out of hero duties but it’s moot because Betty immediately figures it out (leading to the cringe Night Monkey gag which doesn’t even make sense since monkeys don’t crawl on walls or shoot webs!), Michelle figures it out and Peter was cavalier with his identity before and after that scene.

All culminating in just everyone knowing his identity which like in the comics fundamentally fucks up the idea of him as the everyman even more. Forget space aliens and spy shit now he’s a celebrity. Celebrities are the exact opposite of the everyman, that’s why they’re friggin celebrities!

Big take away from this movie as an adaptation?

It was fucking insulting for it to have been dedicated to Lee and Ditko.

Fuck this movie. Fuck this direction for Spider-Man. Fuck Marvel for ruining Spider-Man again.

*That being said I did once hear a brilliant pitch for Spider-Man 4 wherein Mysterio frames Spider-Man and the police call in aid from Kraven the Hunter to catch him.

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tmntxreader-fics · 6 years ago

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COMMISSION MATCH-UP #1

Our very first Match-Up Commission, (squeeeee), is for my AMAZING friend @morte-witch !

Thank-you so much for your support and I sincerely hope you enjoy reading this as much as I enjoyed writing it :)

ALSO I KNOW FOR A FACT THAT YOU’D LOVE THIS GIF CONSIDERING I ACCIDENTALLY SPOILED EVERYTHING BY SENDING YOU THIS ATROCITY XD

DISCLAIMER: This is a request for my written opinion. I, of course, do not properly know you and cannot be entirely accurate when judging your personality because of this. I have chosen a specific character based entirely off of my evaluation of the information given to me. Each individual’s personal opinions will vary but this is simply a requested fun use of observatory and literature skills combined.

MATCH-UP: LEONARDO

WHY:

You have a base connection with both your emotions, character and the environment that surrounds you, seemingly on a level that many don’t quite understand. The fact that you acknowledge these connections and their ramifications implies self-awareness in which you can directly identify your character, your strengths, and weaknesses that you need to improve on.

Now, who else can we think of that has similar attributes and genuinely appreciates others who can understand and operate on a corresponding wavelength?

Appreciating the simplest things, reveling in the quiet and challenging the storm are kindred tokens of both your own and Leonardo’s personality. Even your aesthetics are similar; water (representation of both his color and his technique), the moon, dark colors and East Asian cultural appreciation.

At your core, you and Leonardo are cognate; sharing the same foundations, values, strengths, and weaknesses. While most would argue opposites attract, in order for a relationship to truly work, the couple’s fundamental beliefs and values need to be at least very similar. Quirks, traits, likes and dislikes are what makes up the personality, sure, but it’s what’s at the very center of the other person’s being that captivates someone.

This is not to say that your differences in certain aspects are non-existent. It would undoubtedly be a difficult relationship at times, being so close in similarities but so far away from each other because of the simplest differences. However, even when considering flaws, the ironic oxymoron, ‘your imperfections are perfect for each other,’ serves incredibly well.

STRENGTHS:

1. Your relationship would have a depth to it that is incredibly rare; with the both of you so aware, discussions of simple things that you’re appreciative of wouldn’t seem strange or pointless. There’s genuinity within your conversations of simple observations and positive affirmations of the world around you and life itself. (These conversations are probably where he’d attempt to convince you to learn to meditate.)

2.a. Both of you help each other grow; contrary to popular belief, Leonardo loves to learn- though definitely not in the way Donatello does. Leo craves wisdom and emotional knowledge, and while he struggles with his own emotions, you are very in tune with your own and he would definitely take the chance to learn from you and grow with you.

2.b. In addition to this, we know that Leonardo is incredibly observant, especially with those that he holds romantic feelings for. You can be sure that any cues that you may give, (intentional or not), will be picked up on; discomfort, anxiety, irritation- Leonardo will see it. He notices your difficulties when it comes to interacting with others, and while he struggles with similar issues, he would ensure that he helps you to this best of his abilities. Whether it’s whisking you away from a situation once he spots a cue or it’s subtle encouragement- he’s got your back.

3. Minimal fighting; while there will often be petty tiffs or the occasional full-blown fight, they will be far and few in between. There are rarely misunderstandings between you both and even when things begin to get heated you are a very patient pair of people and generally, that is what proves to be the saving grace of your relationship over and over.

WEAKNESSES:

Leo’s arrogance, stress, and frustration would become overbearing at times. Considering Leo is the leader both within the team and amongst the family, there’s a hierarchical driven arrogance that comes along with it. There will be times where you will disagree on certain things and he simply tries to take the decision by force; using his role as ‘leader’ as his weapon.

He struggles immensely with his emotions and defers to bottling them in an attempt to pretend they don’t exist, so when he does lose control it’s horrible. Leo has never learned to properly cope with his issues and emotions and it is clearly seen within your relationship. During these moods or moments, he is intolerant, explosive and passive-aggressive. When he does try to communicate how he feels with you it never comes out correctly and you discover that you become irritated by his wording and arguments. It puts significant strain on you both and it worries you a little that whenever his control slips he embodies everything you dislike.

HEADCANONS:

Basically just the initial stages of your friendship and romantic integration. Everyone likes their relationships a certain way so touching down on the beginnings is probably the best way to remain accurate.

- Leo’s never been one to initiate casual conversation with anyone outside of his familial circle. In fact, the more he thinks about it, he realizes that even where April and Casey are concerned, he has little to no interactions with them unless it’s out on the field. He never intended to avoid them, he supposes he just never felt the need to connect with them on that particular level.

-Even with this new revelation, he feels fairly comfortable with his introversion. So long as he remains polite, he is generally satisfied with everyone’s lives remaining their own.

Until you.

- Suddenly, he wants to talk; he wants to hear you talk for hours about everything and anything you could possibly conjure. And you do, you talk, just not to him. Never to him. His brothers are more available for conversation, generally the ones to initiate it and make you feel comfortable in their presence. Especially Mikey, the youngest brother basically initiated friendship without your acknowledgment.

- You’ve always wondered about Leonardo, you’ve simply begun to view him as the mysterious leader who wanders the halls; walking with purpose but no particular direction. If you were anyone else you would have already initiated conversations with him, tried to get to know him. Unfortunately, you simply can’t bring yourself to take that risk beyond the polite greetings, his demeanor both drawing you in and warding you off simultaneously.

- Leo has made it his mission to try to talk to you more. He doesn’t exactly know why but you’ve become an itch that he desperately needs to scratch before it drives him to lose focus of his tasks. On the other hand, maybe he does know the reason. Denying his problems or anything that could cause future complications has been his specialty; he wouldn’t surprised if he later discovers he’s been in denial the entire time.

- You’d be lying to yourself if you didn’t say that, as of late, he’s started to freak you out. The turtle would make an appearance out of nowhere, generally at times where his brothers were not in the vicinity, and talk to you. But, that’s not what’s made you apprehensive; it’s the way he’s tried to interact with you.

- Leo would start off with his generic greetings, polite as always, then drag the conversation to something equally as vague. It has always seemed as if he’s frustrated with himself and the energy puts you off a little, making things incredibly awkward. Well, more so.

- The reality is that he knows he’s not making any headway, he doesn’t know how to integrate into having a real conversation with you and the last thing he wants to do is ask you about the weather for the sixth time this week. Finally, you throw him a bone when he asks about the weather (seventh time), and instead of replying with a polite ‘good’, you smile and comment “it’s cleared up enough to see the stars out. The constellations are amazing when you really take the time to look at them.”

- Your first conversation takes off. You find yourselves moving to settle in the dojo, distantly thanking whoever was listening that training was finished for the day. Without the interruptions from his brothers or the ill-timed intervention by Splinter, you both manage to engage in conversations ranging from the sky, to culture to things that you just found interesting.

- You can’t say that the conversation was easy, initially. You discover Leo to be an incredibly intense person and you find yourself questioning every single one of your responses- especially when he pauses to watch you for a brief moment after you finish your sentences. You hate second guessing yourself constantly, it puts you on edge and you find yourself rigid in your seat.

- Luckily, Leo is able to pick up on these cues and scrambles for ways to relax you without outright leaving the room. If he leaves, he knows that it will take him weeks to work up the courage to try this again. He can’t help the heaviness of his presence, when he’s nervous he either rambles like an idiot or shuts down and interrogates instead of conversating.

- Eventually, you catch on to the way he consciously tries to appear less intimidating. The way he leans back onto the counter instead of standing upright, hands on either side of him holding the edge of the bench to support himself. A very casual position that implies an openness. His voice lowers to a softer tone that, to your complete and utter surprise, does something a little funny to your stomach.

- The more he relaxes the more you relax and within ten minutes you both find yourselves laughing along to the conversation. It’s then you discover your similarities in interests.

- After the conversation comes to a close, thanks to Mikey entering the room like a fucking tornado, he nods at you with a small smile and exits quietly. A small tug in your chest makes you raise an eyebrow. Of course, only you would manage to get mildly attached to someone after a single conversation.

- Despite your inner scoldings, you find yourself trying to work up the courage to talk to him in the hallways.

(You never do, you just give him an awkward nod and scuttle past before he has the chance to get a word in).

-The funny part is that, on the other side, Leo has been doing literally everything within his power to have another conversation with you. Everything. Well, everything other than instigating it, of course. He’ll sit down near you, approximately three feet away to avoid discomfort, and wait for you to initiate the conversation. He’ll go to the kitchen exactly 3 minutes after you’ve walked in to try and catch you alone- a plan that always fails because the kitchen is generally hosting at least two people at a time.

- The day of success is the day neither of you suspects. You’ve settled in on the roof of your apartment building, attempting to clear your head by embracing the cool night’s air. After an hour or so of drawing vague figures in the sketchbook you had brought up with you, you simply lie on your back with a huff; analyzing the stars in a hope to disperse the heaviness in your chest.

- That’s where Leo finds you. It wasn’t on purpose, of course. He was on patrol and assigned himself to this particular section of the city. It was a quiet night so far, and whether he’d admit it or not, he was absolutely bored. So when he drops in on a roof with a random lying down on their back he’s not sure whether to immediately turn back or check if they’re dead. Instead, he settles for having a silent heart attack while he stares at the figure on the floor praying somebody would simply airdrop him the answer.

- However, the longer he stares at them the more familiar they seem. Taking a few tentative steps forward, careful to remain in the dark, he realizes it’s you.

- Cue another heart attack.

- Moving into the light, he opens his mouth to say something, praying to whoever is listening that he doesn’t scare the absolute fuck out of you and make this awkward. Instead, the only noise that comes out of his mouth is a wheeze that vaguely sounds similar to your name.

- Instantly, you bolt up into a sitting position, gaze snapping to where he stands frozen. Before a scream rips from your lips you recognize the Leader’s face, despite the ‘deer-in-the-headlights’ expression etched onto it.

- You swear loudly, raising your hand to your chest and flopping back to the ground with wide eyes distantly staring into the night sky.

- Immediately he’s sidled up next to you, apologizing profusely for his rude appearance. Frustrated, you motion for him to sit down beside you and be quiet, in which he grimaces but obeys. He tentatively lays onto his back, completely unsure of whether it’s appropriate or not but the adrenaline in his system tells him it’s worth the risk.

- Both of you are quiet, your hearts settling back from their racing pace to a steady rhythm. When you do decide to talk, you turn your head to the side, observing his profile. Instead of asking why he’s out here, you instead choose to ask him about his views. Does he ever sit down sometimes and just take in the stars above him? Does he ever wonder about all the unexplored possibilities of life?

- He tells you that he does, that on nights where his responsibilities get too heavy he lies on his shell and stares at the stars; almost hoping he’d get an answer from them. Then he turns to face you, heart beating beneath his shell.

“I do wonder about the unexplored possibilities, but, lately I’ve been trying to explore them.”

You turn to look at him, heart leaping into your throat when you catch his gaze. “What do you mean?”

He clenches his jaw, wondering whether he should get it wired shut and communicate purely by sign language for the rest of his life. At least, then, his mouth wouldn’t talk before his brain could tell him to shut up.

“As in, I’m exploring one right now,” he breathes, eyebrows furrowing slightly as he takes in your features.

“Do you make it practice to scare the shit out of all of your unexplored possibilities?” You joke, unsure of how to appropriately respond to what’s beginning to sound like a confession of interest. “Because while it works for this possibility, I’m not sure about the others.” Your heart is literally trying to claw it’s way out of your chest at your lame attempt to flirt, but the way his lips quirk at your comment eases the nervousness.

“No,” he smiles, “I generally reserve that for the ones that could actually lead somewhere.”

“You think this possibility could lead somewhere, then?” You question softly, eyes moving to take in the stars above you once more.

“If you’d be interested in exploring it with me, then I’m certain it could,” he replies. You can feel his gaze on the side of your face and you pluck up the courage to turn back and face him. Instead of the intensity, you were expecting, his expression is gentle. There’s no pressure on you to answer the way he hopes you do, it’s an olive branch.

With that realization, you smile. “Then by all means, let’s see where it could lead.”

#tmnt #tmnt leonardo #tmnt leo x reader #tmnt leo #tmnt leonardo x reader #tmnt x reader #tmnt match up #tmnt commission #commissions

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bradshawsophia · 4 years ago

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Save Marriage Journey Portentous Unique Ideas

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click2watch · 6 years ago

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Bitcoin Fees Jump to Nearly 1-Year Highs – But Why?

The average fees required to send a bitcoin transaction are up again.

After hovering steadily around the $0.50 mark over the last six months, data shows average fees hit their highest level in nearly a year in early April, according to data from Bitinfocharts. Since then, averages fees have swelled to around $1 to $2, a move that coincided with bitcoin’s price “break out” earlier this month.

Graph via Bitinfocharts.com

Bitcoin fees are required because there’s limited room in every block added to the bitcoin blockchain – a feature most blockchains face in order to fulfill its goal of giving users control over their money.

When the blockchain gets more popular, a user needs to compete with all the other people trying to get their transaction through. As such, a user needs to spend a bit more money on the fee to incentivize the miners securing the network to push through a transaction faster by prioritizing theirs over others.

What might be contributing this time around? As bitcoin blocks fill up with transactions, fees increase. And indeed, the number of transactions waiting in the mempool saw a sharp spike earlier this month.

As such, sources painted rising fees an inevitability, especially if interest in bitcoin continues to increase.

Seoul bitcoin meetup founder Ruben Somsen, who’s been outspoken about fees, told CoinDesk:

“As long as more people become interested in bitcoin, fees will inevitably rise.”

Inevitable fees

To an extent, this is simply how bitcoin works.

There’s limited space for transactions in the bitcoin blockchain. This is necessary to keep the bitcoin blockchain small enough so that as many people as possible can download all this data to run what’s known as a “full node,” the most secure way of using bitcoin as it gives users the ability to verify each and every transaction.

Even with a limited block size, it takes roughly 200 GB to store the full bitcoin blockchain, the size of a small laptop.

“Just like bitcoin is limited to 21 million, block space is limited to roughly 15 transactions per second (4MB block weight per 10 minutes),” Somsen said.

He added that this limit explains why fees can seemingly jump overnight.

“Users should be aware fees can rise abruptly, particularly because the difference between full and non-full blocks is like night and day. When blocks aren’t full, space is practically given away for free. Once they get full, users will have to outbid each other for it,” he said.

And while the recent spike in fees is notable, it’s important to note that average fees today are much (much) less than a couple of years ago, showing how high fees can go when hype drives new people to start using bitcoin.

Graph via Bitcoinfees.info

Some cryptocurrencies, such as bitcoin cash, have tried to get around this hurdle by increasing the block size. And indeed, transaction fees are much lower for those using the blockchain.

But bitcoin developers argue this approach makes it more difficult to run full nodes, threatening the security of the network and the ability of individuals to truly provide checks and balances on the network.

Meanwhile, since the blockchain is smaller and has less computing power behind it, it’s less secure, as it’s less costly for someone to double-spend a transaction, thus corrupting the blockchain’s integrity.

“The concern I hear the most is ‘How can we get the world to use bitcoin without cheap fees?’ This question reveals a misunderstanding between the fundamental limitations of the system and the desired outcome. As much as we’d all like infinitely scaled blockchains with cheap fees, today this is unfortunately not possible,” Somsen argued.

When lightning strikes

Advocates are hopeful that in the long run, though, fees will be reduced by a new technology that’s in the works: the lightning network.

Today, the technology is still in beta (though that’s not stopping thousands of enthusiastic bitcoiners from using it anyway). As the technology advances, advocates hope that it will become the main way of making payments on the network (or at least small payments).

Lightning still has fees, but right now they’re very low. To get a transaction sent across the network, lightning fees are a fraction of what bitcoin fees are.

“Theoretically as it becomes more pricey to get a transaction included in the blockchain, user behavior will adopt to either make their transaction use more efficient or switch to other off-chain methods of transacting such as using lightning or something else,” Chaincode co-founder Alex Morcos told CoinDesk.

And other upcoming technologies could help, too. Segregated witness (SegWit), enacted in 2017, has helped to a degree by carving out more space in the blockchain, and pushing down fees a bit. Other technologies, such as Schnorr, could help as well.

But some experts guess that even lightning fees will eventually increase as well. Like that growing on-chain transactions will push up lightning fees as well. Obviously, only time will tell.

Bitcoin coins image via Shutterstock

This news post is collected from CoinDesk