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snkpolls · 4 years ago

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SnK Episode 61 Poll Results (for Manga Readers)

The poll closed with 359 responses. Thank you to everyone who participated!

Please note that these are the results for the Manga Readers’ poll. If you wish to see the results for the Anime Only Watchers’ poll, click here.

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RATE THE EPISODE 347 Responses

While this episode wasn’t as big of a hit as episode 60, overall most viewers still enjoyed the content and are looking forward to more next week!

amazing amazing! I'm so delighted with this season so far!

Im so beyond pumped i love everything

Dissapointing but acceptable.

I’m like angry I loved it so much.

I just wish we didn't have to wait a week

It was amazing. We all gotta apologize to MAPPA for ever doubting them.

It's a huge stepdown from episode 1. At times the animation was straight up painful to watch. My expectations were low and yet I'm still disappointed :/

WHICH OF THE FOLLOWING WAS YOUR FAVORITE SCENE/MOMENT? 349 Responses

Reiner-centric scenes were the highest on people’s radar, with 24.9% of respondents enjoying his reunion with the warrior cadets, and not far behind, 22.9% enjoyed Reiner bringing up the 104th at the dinner table. In third, with only 13.5%, was Pieck and Porco’s formal introduction to the audience.

Hearing Zeke greet his grandparents with such happiness warmed my heart. I do believe that he loves them.

They just had to add one last image of Ymir's broken face before she died, huh? :(

WE FORGOT TO ASK LAST WEEK D: WHICH OF THE FOLLOWING SCENES/MOMENTS FROM EPISODE 60 WAS YOUR FAVORITE? 348 Responses

Last week we forgot to include what your favorite scenes were. The scene from episode 60 that got the most favor was Reiner’s, “I’m sick and tired… of walls” with 33.6% of the vote. 16.7% most enjoyed Zeke’s titan transforming scream. 14.9% were hyped about Reiner and Porco wrecking Fort Slava.

MAPPA WENT ALL OUT WITH THE CINEMATOGRAPHY IN THIS EPISODE. WHAT DID YOU THINK OF THE CINEMATIC PANS AND ROTOSCOPE ANIMATION? 349 Responses

Overall, a total of 74.5% respondents have positive feelings about MAPPA’s use of rotoscope animation and camera panning. Some felt like it was akin to watching a movie, while others are just happy to have the dynamic movement. A smaller amount of respondents didn’t have feelings one way or another, and a minority (about 10.3%) really are not a fan of this type of animation style for the series.

It felt odd sometimes as they used it for long scenes (like Udo talking or Gabi telling the story to her family) but overall it was pretty great and I prefer it to WIT's stale animation during season 3

I liked the more dynamic movement during dialogue, but my roommate found it super awkward and off-model. So a fifty-fifty split in a sample size of two lol

It could have been animated better, but I like the extra dimension it gives to scenes

Enjoyed it a lot! However, there were a few scenes that felt a bit off, like some frames were missing. Specifically, when Udo was doing all those gestures while talking with the rest of the Warrior Candidates.

It felt dynamic to the point of looking unnatural - some gestures and expressions just moved wrong

i'm split, in some scenes it was great (like reiner waking up), but in the dialogue scenes the constant movement seemed kinda unnatural and distracting

It was amazing but at the same time I'd didn't look fluid enough, especially at Udo's mouvements which made the character look kind of...video game-ish in constant moving.

I thought it looked great the rotoscoping,the movements all looked amazing

The animation during Urdu’s scene is so cool! I was caught of guard at first though lol. It’s so realistic!

NOW THAT WE’VE GOTTEN TO HEAR A LITTLE MORE OF THE NEW OST TRACKS, HOW DO YOU FEEL ABOUT THE SOUNDTRACK SO FAR THIS SEASON? 344 Responses

So far, reception to the newer music is overall positive. 31.1% are really enjoying the music and think the songs are being used immaculately, and 40.4% really feel that the song choice compliments the scenes they’ve been used in. 13.1% think the songs are good, but miss having that sole Sawano feel to them. 10.8% just feel the music is “ok” and 2.6% aren’t a fan of the new OST tracks so far.

I mean it sounds good, but we haven't gotten to important moments that require a memorable track, so we'll see!

First episode slapped because it really complemented the scene but it's more... generic. I didn't like how it was used in this episode, there wasn't enough of it and again, generic. I miss Sawano's unreal scores.

the animation absolutely blew me away, and i love the intense music that played during Reiners monologue

The music is fine.

I've heard both new and old songs from the previous seasons. Still too soon to make an opinion as we need to hear more.

I am deaf, I can't hear no damn soundtracks

That music guys when they came back to Liberio and reuniting with they parents, made me tear up but also because the scouts never had the chance to go back home with victory in the arms of their family, I wish I could have seen EMA like this.. It kinda felt unfair X) but I was happy for them nevertheless.

HOW DO YOU FEEL ABOUT THE CLOSEUP OF ZEKE’S MOUTH? 346 Responses

Our first of probably too many crack questions in this poll, 32.7% thought the closeup of Zeke lighting his cigarette was cool looking. 21.4% are concerned about Zeke’s lung health. 19.1% are probably annoyed with us and simply don’t care (lol). 13.3% wouldn’t mind smooching Zeke, and 11% were just plain grossed out.

Does smoke even affect a titan shifter? Surely his lungs just heal themselves

ASMR for the eyes, right there. Aww yiss

It was awesome! Zeke is shown as relaxed person with a big drop of mystery.

Smoking Bad but he is gonna die in a year anyway

Suuuuuuucc

It might've just been an artistic choice to include it in there, but i gotta say I'm oddly fascinated and idk why

I don’t remember it lol

I didn't even notice.

Zeke looks hotter than he has ever looked

WHAT’S YOUR OPINION ABOUT ELDIAN ASSES? 341 Responses

Most of the responses seemed to feel rather positively about Eldian asses, with almost 40% seeking out Zeke’s ass wiping technique. About 17% simply stated their appreciation for them, while almost 13% are just thirsty. In contrast, a little over 17% seemed confused to the question’s inclusion and about 10% were confused outright.

MAPPA WHERE IS PIECK'S ASS

More into Eldian thighs, really

I bet Levi’s is nice

If only Eren had one

zeke has the energy of a straight man who doesn't wash his ass

Only Shadis' ass

GIVE IT TO ME 😏😏

They are like normal, human asses. Do not turn them into some magical, special snowflakes, just because they belong to Eldians.

Seek help

Enough

DO YOU WANT REINER TO GIVE YOU A HEAD PAT? 343 Responses

A definitive majority, almost 59 percent, openly expressed enthusiasm for the prospect of a head pat from Reiner. However, a near 30% fraction of responders didn’t seem too happy about this recent chain of less than serious questions. We’re sorry about that. 😅. The rest either didn’t seem interested in said prospect or noted they wouldn’t care either way.

WHAT DO YOU THINK ABOUT THE DECISION FROM MAPPA TO CONDENSE REINER’S FLASHBACK INTO (PRESUMABLY) A SINGLE EPISODE? 346 Responses

It would appear that the majority of those who took our poll express cautious optimism at the prospect of seeing all (or the vast majority) of Reiner’s backstory being adapted into a single episode, with a near 47% supporting the move, thinking it could make the narrative “more coherent”. Almost 20% argue it would work better pacing wise. On the flipside, just over 17% state that they would rather have a more accurate adaptation to the manga. 11.6% simply say they have no opinion. There were also more than a few write-ins.

I do wish everything could be animated to full detail, but pacing and structure will benefit here

They've done a good job so far, so I'll reserve judgement until I actually watch it.

It will be difficult as they're chapters with loads of dialogue, but they can pull it off if unnecessary stuff gets cut out or changed in some type of way (like watching Marcel's death for the sixth time, them breaking through the wall or even Jean and Eren fighting)

If they get the pacing right, then the rearrangement will be for the better.

Reiner flashbacks + Reiner suicide attempt + Falco meeting "Kruger" (more than 2,5 chapters) in a single episode? HELL NO! WTF MAPPA!

Worried and cautiously optimistic.

At least it looks like they're going to stick to just one episode for the RBA flashback. It was mostly just filler anyway, so there was never any need to stretch it out and waste precious time getting back to the Paradis side of the story

I doubt that that's exactly how it is, but if so, then I don't think that that's a wise idea

It’s gonna be rushed as hell

Reiner flashback is very long and there is tons of dialogue, so I dont know how its going fit in only one episode, but if they can make it work then its fine for me

WHICH CHARACTER DESIGN DID YOU LIKE BEST IN COMPARISON TO THE MANGA? 346 Responses

This question gave us a somewhat evenly split pie chart, but Porco nonetheless managed to gain the bigger piece with just over 55%. Surely due to that bomber jacket and haircut. Nearly 45% picked Pieck (gottem) instead. Must have been the somewhat inconsistent nose.

WHO’S SEIYUU DID YOU LIKE BEST? 335 Responses

On the flip side, 68.4% seemed to prefer Pieck’s soft voice. Porco with his (how the hell does Porco sound like… how can you describe his voice) managed to win the hearts of 31.6% of responses.

Pieck voice wtf? I imagined Pieck with a more Hanji-ish voice, not this sweet and high pitched.

DID MAPPA DO PIECK’S NOSE JUSTICE? 345 Responses

The debacle over Pieck’s POWERFUL nose gave us quite a colorful pie chart. Almost 39% of responses noted that Mappa was on point with Pieck’s nose for most of the episode. Afterwards, 26.7% stated that they thought that Mappa got it right only in some points of the episode. On the flip side, another 26.7% thought that Mappa was generally quite on point throughout the entire episode. A small minority (7.8%) thought that Mappa simply did a poor job.

The animation is good, and while I don't want to complain, I have a small problem with the drawings themselves. I feel like they lack precision (like Pieck's nose, idk if that's clear).

I'm grateful for Pieck's nose. I always respected Isayama for drawing imperfect characters, because this way he has made them to look more realistic. Even though Pieck has so-called imperfect nose, she is still absolutely gorgeous. Her imperfections are part of what makes her beautiful and unique.

PORCO’S HAIR - WERE YOU TEAM RED HAIR OR BLOND HAIR? AND ARE YOU HAPPY WITH HIS ANIME COLOR SCHEME? 345 Responses

A far less controversial debacle concerned Porco’s hair scheme. The folks supporting a Blond color scheme were universally content with his hair color (all 57.4% of team Blond). On the flip side, an almost universal approval was also present from team Redhead (13.6% of those supported his blond hair color). 27.5% of the responses seemed to care not about this issue at all, however.

NOW THAT WE KNOW PORCO BETTER IN THE MANGA, DO YOU THINK HE WOULD HAVE *ACTUALLY* DONE A BETTER JOB THAN REINER IF HE HAD INHERITED THE ARMOR AND WENT TO PARADIS? 348 Responses

Porco inheriting the Armored Titan is a rather interesting what-if scenario. Perhaps of the most interesting as a whole, so it’s no surprise to see a rather divided opinion of those who took our poll. A little over 36% believe that Porco doing a better job than Reiner on Paradis is a definite possibility. Just over 24% believe it’s not likely Porco would have done better than Reiner. On the flip side, 21.6% think that is is likely Porco *would* have a more successful conduct on the island. 9.2% believe that Porco’s success is a given and in opposition to that, 8.9% think that Porco’s success would have been basically impossible.

HOW ABOUT IF PIECK HAD GONE TO PARADIS WITH THE WARRIORS? 346 Responses

Much less division here, however. 70.5% of responders believe that Pieck’s possible trip to Paradis (in the initial attack) would have not have resulted in a given “mission success” for the Warriors, although she would have been a rather useful ally. Nearly a quarter, on the other hand, think that Pieck’s inclusion would have ended the story right then and there. The rather small minority of the other responders think that Pieck would not have been useful had she participated in the mission.

GABI HAS ALWAYS BEEN A CONTROVERSIAL CHARACTER. HAS MAPPA BRINGING HER TO LIFE CHANGED YOUR FEELINGS TOWARD HER? 342 Responses

64.6% of respondents overall have positive feelings toward Gabi as of right now, with 39.5% having already been enjoying her character throughout the manga. 25.1% now view her more positively with her being brought to life. 20.2% don’t really care about Gabi either way, and 11.7% feel very negatively toward Gabi, without the anime swaying their opinions.

Gabi still sucks

Sakura ayane as gabi is probably the best thing to happen to me all year

WITH SUCH A DIALOGUE-HEAVY ARC, CUTS WERE INEVITABLE. WHICH CUTS WERE YOU DISAPPOINTED IN, AND WHICH CUTS CAN YOU LIVE WITH?

Overwhelmingly, the scenes that were most missed by manga readers were “Pieck walking on all fours/scaring Porco”, “Zeke mentioning the Ackerman Clan”, “Reiner’s smirk when his family talks about ‘Island Devils’”, and “The imagery of Eren and Armin wrecking ships”. Smaller character details, such as Reiner mentioning how he acted like Marcel on Paradis, Gabi wishing to understand Reiner’s feelings, Falco pointing out how Reiner almost had the Armor taken from him, were also very missed by manga readers, although just less so.

General Calvi talking about Zeke’s loyalty, Gabi getting praise from her parents when they reunite, and Magath trashing the Marleyan navy, were moments that many respondents didn’t feel strongly about one way or another, or felt that these were details that weren’t really needed anyway.

Cutting the scene where Falcon talks about why Reiner kept the AT was really bad. Also the table scene could have been better. Some imagery when Reiner was describing the 104th and his smirk.

The cuts the anime has done made the spectators less informed about some story background stuff. This is in order to direct attention to the marley's eldians planning how to overcome the world's disparagement towards the power of the titans.

I'm sad they cut the gate guards. They humanize the marleyans a bit. Hope they add their scenes next episode and do them justice.

I hope we will get the Gabi/Reiner talk about understanding each other through PATHS when she eats him next episode

Gimme crawling best giiiirl

MAPPA cut Pieck's ass so this episode wouldn't be so ass centered with Zeke's ass wiping technique. This is my theory lol

Great episode but U was so looking forward to the Reiner scene talking about Paradis “devils”. In the mange it was a powerful scene really adding to the duality of Reiner and the pain he has, and the animation did not do it justice. Plus some parts of his speech were probably hard to understand for a non mange reader without the flashback. (Like which one is referring to Jean for example). I really wish it had been better delivered

IS THERE ANY CHANCE WE’LL SEE SOME OF THESE CUTS ANIMATED IN A LATER EPISODE? 342 Responses

them into different scenes. Overall, the majority answered a big, fat, “maybe.” 15.8% are confident that what’s done has been done, and 12.6% are more optimistic that MAPPA will find a way.

Overall I was a bit disappointed. I feel like the amount of material cut from every conversation included really added up overall and gave it a very rushed feel to me. I really hope they add it all in later.

ON THE FLIP-SIDE, WHICH ADDITIONS/CHANGES DID YOU LIKE/DISLIKE?

The changes and additions that MAPPA made were overall viewed very favorably, with the scene of Porco and Pieck interacting with the warrior cadets being the most liked addition. This is followed closely by the overall character movement during dialogue scenes, the small detail about Pieck’s father being unwell, and Gabi shouting “Watashi!” on the train.

I loved the additional details made it very emotional

IT WAS A GREAT TIME TO BE GALLIPIECK TRASH

Sneakier Eren's a nice addition too

Porco my boiii I'm so happy he's here 💖💖💖💖 if mappa is adding some extra scenes then gimme more of gallirei 👀

WHICH SCENE FROM THE PREVIEW ARE YOU MOST LOOKING FORWARD TO? 338 Responses

Unsurprisingly, 42% of respondents are hyped about Kenny’s brief return and Annie’s unlikely encounter with him in the Underground. 22.2% are eager to get that sweet Reiner angst as he is rejected by his Marleyan father. 17.8% are looking forward to Reiner’s training days.

ADDITIONAL THOUGHTS ON THE EPISODE?

great! it was inevitable they would cut stuff but it hasn't changed any major plot point or thing i would want to see desperately

It was just really great to see the scenes animated, it adds another level of depth and understanding to the story I believe.

Loved anime-onlies missing Eren completely. Some even thought it was him but then noticed the leg and thought against it

I think it was very well done. Just need a little getting used to with MAPPA on the reins now. I think MAPPA added some scenes to show how those Eldians over there are still just human after all and they have their own problems to deal with. 8/10 episode.

I feel like they took a lot of emotion way from reiner. made him seemed stoic and determined to go to the island even though in the make he looked scared about having to return.

I thought the rotoscoping was really well done! I’m happy with the pacing, the fact that the episode felt like it went by fast is good considering it was dialogue based.

Incredible. The direction, the cinematic quality, we are feasting. MAPPA is elevating the story beyond anything I could have imagined! I'm beyond hyped for the rest!! But where is asshole Marley guards/Hobo!Eren's appearance as a favorite moment?!

Incredible, it adapts the source material very well while adding some touches that make it unique in it's own way. As a manga reader, I'm really glad that they're doing this because it feels like a completly different experience from reading it and makes me excited on what changes or directing choices they're going to make during the course of the season, great job so far MAPPA!

Such an amazing episode. Made 20mins feel like 5. MAPPA is doing fantastic. The characters have never felt more alive and the animation style is something I never knew I wanted until now.

I can't believe they didn't cast Mads Mikkelsen to voice Mads Mikkelsen

The episode was good but the dinner scene didn't do justice to the manga. It didn't have the same feeling to it. I saw a lot of anime onlys thinking Reiner was just trying to talk shit about the 104th. I feel like the flashbacks during that part in the manga gave it a nostalgic feeling that helped convey what he truly felt about his time on the island. His facial expressions were not quite there either. Specially sad because it was the moment I was expecting the most this episode and because it's a big part of Reiner's character, maybe next episode can kind of fix this.

I haven't seen the anime only poll results, but given personal conversations with them I imagine quite a few could care less about the Warriors and are looking forward to the 104th showing up to stir shit up. Boy are those folks in for a treat :)

I knew I'd feel more attached to all of them once they got animated. I didn't expect getting real thirsty for Lainah.

I was so happy with how much detail MAPPA put into the background scenery. Also, I think that an underrated moment during this episode was the Marlian douchebag triggering the Eldian soldier’s PTSD. You could really feel their terror, and THEY KEPT THE HOBO EREN PART IM SO HAPPY!

Its consistently very pretty and well animated which is great of course, but I worry the team won’t be able to maintain this quality for some of the meatier scenes in the later episodes. The fast pace of the episode (compared to the manga) as well as the many cuts make it a bit harder for scenes to stick, I wish there was a bit more breathing room at times. This also makes the fancy animation and frequent rotoscoping cuts feel less impactful for me—with every scene being cut down to its core ingredients, and every scene having at least one cut with more motion and energy than we’re used to, I can’t help but feel it all kind of mashes together without sticking out as much, leaving less of an impact. (I feel really really weird actually complaining about good camerawork/animation, what the hell lol) Also hobo <3

Plenty of questions about ass but no questions about the full ED? Or how we thought the episode did at hiding Eren in plain sight?

rip Reiner's chocolate abs :'(

The episode wasn't as interesting as the first one. I was yawning from time to time. Yet, I think that Mappa did a great job, because it's hard to animate full of dialogues chapters. I was disappointed of the fact that flashbacks from Paradis have been cut. I hoped to see Sasha, Connie, Ymir and Marco while Reiner was speaking about them. Without the flashbacks we just got the dry speech and this way hard to say what Reiner is really thinking about people he met on Paradis. We - as manga readers - already are aware of his feelings, but anime onlies may not know and see Reiner as cold hearted person. I'm not complaining over animations or the OST tracks because no studio is perfect and some small mistakes here and there won't destroy my fun. I just sit and enjoy the episode.

Very good, with the exception of the dinner scene, in which the director missed the mark completely with the tone.

WHERE DO YOU PRIMARILY DISCUSS THE SERIES? 328 Responses

Thank you again for participating! We’ll see you again next week!

#snk poll #snk polls #shingeki no kyojin #attack on titan #snk #aot #snk s4 #snk spoilers

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unexpectedreylo · 4 years ago

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Yes, It’s Been Half A Decade Since TFA Was Released

Five years already? Geez!

If you’ve been following my humble Tumblr blog since the beginning, you’ll know I was not truly a Reylo until I saw TLJ. Before then, I was dealing with a movie that left me with a lot of mixed feelings. Why? I missed George Lucas for one thing. He has an indelible style that few can match and few really cared about that universe and its characters as much as he did. I was very unhappy to hear a month before TFA’s release that Disney tossed out his story and came up with something he didn’t really like very much (as later confirmed in Bob Iger’s memoir). As a long-suffering prequels fan I didn’t like either the vaguely anti-prequel tone the pre-release hype took. Whatever you do in life, don’t disrespect the man who created the GFFA.

The post-release hype probably annoyed me even more. Remember the doofuses screeching on t.v. that it was the best SW movie since TESB? LOL. (No, that would be ROTS and the only thing that came close since was TLJ.) I hated that a movie I felt was flawed not only got passes from the media that really trashed Lucas and everybody who worked on the prequels, but also got lavish Best 10 lists and award nominations. I was one bitter chickie for a while and later got a good laugh out of the backlash.

I thought it would be funny to post what I thought at the time, with added commentary:

Oh yes, the movie. My mother called it…it’s good, we all enjoyed it and were entertained, but Lucas’s touch is definitely missing. The romantic epic sweep of Eps I-VI, the goofy and whimsical touches, the feeling of being immersed in another galaxy, and Lucas’s gift for aesthetics aren’t there. The visuals don’t have that beauty and some of it is kinda ugly. The creature designs just aren’t as good. It’s not the kind of movie you watch dozens of times to catch little things. Even John Williams doesn’t have a knockout track like “Duel of the Fates” or “The Imperial March.” But it’s hard to think of how this was ever going to live up to any of it any more than I’d expect Suzanne Collins to write a Narnia book as good as C.S. Lewis. We lost those things when we lost Lucas.

I like the visuals a lot more now but TLJ’s cinematography rules the ST. Still feel the same about creature design; I see better aliens and creatures on The Mandalorian. One weird thing about the ST is how the filmmakers seemed to have avoided putting in anything at all that we’ve seen before. No Jawas, no Togrutas, no Twi’leks, no Zabraks, no Quarren, etc.. Just Chewbacca and Admiral Ackbar.

The music didn't leave much an impression on me at the time but now I love “Rey’s Theme,” “Kylo Ren’s Theme,” and “March of the Resistance.”

As long as we’re on that note, I’ll get to the film’s flaws first. The movie has a lot of snappy, arch, and funny dialogue but you can tell the script was cranked out in a hurry. It lacks the careful structure of its predecessors and cribs a little too much from ANH. Poe disappears and you are led to believe he’s dead then he suddenly shows up healthy and hale with no explanation. Abrams’s first Star Trek film was riddled with unbelievable coincidences and unfortunately this movie has some of those too, such as when Han and Chewie just happen upon the Falcon in space. The film does very little to set up what’s going on and why, such as why the hell is the Republic fighting the same a-holes after all of these years. Abrams prefers instead to keep the action going instead of doing much exposition, which is pretty much what he did with the Trek films. Those little moments in Lucas’s Star Wars films don’t happen much here. Things must always be occurring, which dumps all of the responsibility for character development and world building on Rian Johnson and Colin Trevorrow. I have no idea why they decided to be all teasy-weasy with who Rey’s parents are instead of just telling us. (I suspect Luke is her father.)

LOL! I guess the adoption by proxy thing at the very end of TROS proved me right or...did it? Yes, my first assumption after seeing TFA was that Rey and Kylo Ren were cousins.

As for the rest of it, I still feel the same. Rushed script, borrows too much from ANH, precious few explanations/set-up, not as good structure but still full of humor.

BB-8 is a charmer, Finn and Rey (who are so going to hook up) HA! But remember I thought Rey and Kylo were cousins! have some charm and potential growth as characters, and it was great seeing our old crew again even if not under ideal circumstances. (Personally I would’ve preferred NOT to have broken up Han and Leia.) Hux had some mustache-twirling moments and Abrams was at least smart enough not to kill off him, Ren, or Snoke just yet. Finn and Poe have a good rapport (maybe they’re going to hook up).

Stormpilot definitely pinged the slash-dar. It was completely unsurprising to find fans shipping them.

Abrams seemed to have avoided the mistake James Cameron made in “Avatar” when he killed off his most threatening villain while planning sequels. As you might have guessed, I was really shocked at Snoke’s death in TLJ. I wasn’t expecting that until IX. I was also really shocked at the casual, quick-get-rid-of-him ways both Hux and Ben were killed off in TROS.

The most compelling aspect of TFA for me was the Skywalker family drama, which made me wish it was more up front rather than a subplot. Ben Solo/Kylo Ren is a conflicted guy with a huge chip on his shoulder and it makes you wonder exactly what happened to him because I think he may have mental issues. Leia knows there’s still good in him but can a guy who commits patricide be saved? (RIP Han…I so knew this would happen because I figure it was the only way Ford would’ve done another film). Can his cousin/half-sister or whatever Rey save him? Would she want to? With Luke back in the picture and Artoo activated again, what will happen next? Even though they split up Han and Leia I liked the banter between them; it’s sad because they clearly still loved each other.

This is still true for me. A few days after posting this it struck me just how nihilistic TFA was because I found Han and Leia’s split unnecessary (had Han gone out for Chinese food or on a mission for the Resistance instead of just being a loser smuggler, it wouldn’t have changed anything that happened in the film) and what I thought was Kylo’s certain fate to be a narrative bummer. TLJ made me think they weren’t going on that direction only to be proven right in TROS (sadly).

I’ll dispense with the stupid Snoke is Plageuis theory and my dad wondering if Finn was Mace Windu’s lost son or something, though I’ll give him half a point for Finn turning out to be Force-sensitive after all.

I don’t know why people have said this takes them back to the ’70s because the film really is a 2015 movie made for an audience reared largely on the MCU, YA flicks, and other staples of contemporary geek culture. It is what it is and we aren’t going to get back the films of George Lucas and his influence. TFA might not be an awesome Star Wars movie but it is at least a good sci-fi action flick.

I still stand by most of this. Time and TLJ made TFA a better movie in my eyes.

#tfa #star wars #sequel trilogy #reylo #kylo ren #ben solo #rey #jj abrams

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disneyplusfan · 4 years ago

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Revisiting our first viewing of The Mandalorian S01E01

A look back at our reactions to Season 1 episodes as the new season of The Mandalorian begins.

November 24, 2019

The Mandalorian: Chapter 1 recap by K (includes detailed spoilers)

A Mandalorian bounty hunter tracks a target for a well-paying client.

Directed by Dave Filoni

Written by Jon Favreau

Music by Ludwig Gӧransson

Airdate: Nov 12, 2019

As I write this, I have watched the first three episodes of The Mandalorian three times now. I’m hooked. I did not expect to be. I expected to like it well enough — but not to love it.

I’m a Star Wars fan for *cough* many years, since childhood. Adore the original trilogy, intrigued yet annoyed by the prequels, less than wow’ed by the final trilogy. I like Rogue One. I also liked Solo, although I get that I’m one of maybe three people in that camp. I have not watched Clone Wars. So this is my frame of reference.

Boba Fett is perhaps my favorite character. He is one of the best characters in the franchise, and I will die on that hill. You know next to nothing about him, and that adds to his mystique. I read Tales of the Bounty Hunters and Tales of Jabba’s Palace back in the day, and “Last Man Standing: The Tale of Boba Fett” and his showdown with Han Solo will always be the quintessential Boba Fett/Mandalorian story for me, canon or not. I was enraged when they changed his voice in the original trilogy to Jango’s (like he couldn’t just be disguising his voice??).

For me, Boba Fett is the original Mandalorian against whom all others will be measured. I have spoken.

All this to say, my standards were high. My expectations for The Mandalorian in particular would have been even higher, if I wasn’t somewhat disappointed by the final trilogy of films. And this was the first live action Star Wars television series, so it’s uncharted territory.

I also managed not to be spoiled at all for this show going in, which was how I like it. Everything came to me fresh as I watched.

From the establishing shot, the cinematography is like the original series movies. Check. You feel immediately immersed in the Star Wars universe. Check. It’s a snowy ice world, like Hoth but greyer and flatter in terrain.

The titular Mandalorian, who is all but certainly not Boba Fett, as he looks a bit different in his armor (and the show is set 5 years or so after Return of the Jedi, which you don’t know yet in the show itself but meaning Boba Fett should be dead by now, or at least dying in the Sarlacc’s belly), looks good. Same imposing figure, same mysterious-yet-badass immediate impression in his imposing armor and weaponry. Can he pull it off? I mean that for the actor as much as the character. I know nothing about which actor is playing him (Pedro Pascal, from Game of Thrones, I learn later). I’ve remained completely unspoiled.

He’s holding a tracking device. So, also a bounty hunter. Check.

He’s heading for an establishment, a darkened bar, or saloon, or cantina. Inwardly I eyeroll a little. Another cantina?

From inside the bar we see the round spiral blast door opens from the middle outward and the Mandalorian is darkly silhouetted against the icy white exterior landscape.

Nice, iconic character-establishing shot. I am interested.

Simultaneously, the music starts. A soft, repetitive, lulling theme of eight wind notes vaguely Native American in tone that we will come to know quite well. For now, it adds a touch of mystery and suspense. The lulling, almost hypnotic aspect of the music gives the sense this is all just routine, and the Mandalorian’s short, almost imperceptible shake of the head as an insult is hurled at him seems to add to this effect.

Two patrons of the bar, a couple of aliens, have been roughing up a meek, chubby merman guy, some kind of aquatic creature. He’s a new species so that’s interesting. They are bullies, who threatened to cut off his glands, so the violent type, and it feels like Mos Eisley or worse. Inwardly I eyeroll again because we’ve seen this before in the original Star Wars film, A New Hope. Don’t they have any new ideas?

The Star Wars universe has at least one entire galaxy to play with. Yes, establish place as the Star Wars universe with familiar things. But within that we don’t need to keep seeing so many of the same things we have seen before. Give us some easter eggs because we’re fans, but give us new things to love, too. It’s a balance, and I personally want more new than repeat. One of my main gripes with the final trilogy is that it’s too much of the same, just with new characters who aren’t fleshed out and developed enough for me to care about them. But that’s another review.

So it’s a cantina, and they want Star Wars fans who are perhaps not as well versed as me (like say, my sister) to be oriented. Fine, I’ll be patient. I don’t doubt a bounty hunter will frequently find himself in such places.

All the patrons’ eyes are on the Mandalorian as he enters and stands at the bar counter. If you haven’t started to feel vaguely Western elements yet, they start to come now. He’s got his back to the rest of the bar, waiting. Almost baiting. The bullies immediately shift focus leaving the merman alone to go pick on him instead. It’s a mistake and everyone knows it. But they must test our hero. And I too, as if just another patron at this cantina, want to see them test him. I’m curious.

The loud one calls him “Mando!” and we have something of a name to call him for now. But it might be an insult and I’m not quite sure yet.

They seem interested in his armor — Beskar Steel — and this is something I personally have not heard of before. I’m interested.

A bit of Mandalorian taunting and a quick fight later, one of the bullies who tried to escape the bar is pulled into the blast door entryway as the Mandalorian’s grappling hook yanks him halfway back inside, and closes it, severing him in half. I let out a bitter laugh. It wouldn’t be Star Wars without some bully losing a body part in a bar fight, right? Check. And the Mandalorian proved himself badass, so far.

He goes over to the merman, who first just tries to thank him, then bribe him with credits and a drink. The stoic, imposing Mandalorian simply places a disc on the table in front of him, and immediately a holographic image pops up showing his face and name in Basic.

“Is that a bounty puck?” the merman asks. A device that’s new to me, perhaps not to others. Further interested. The weak man tries bargaining some more.

The Mandalorian brings a hand to his blaster and speaks for the first time.

“I can bring you in hot, or I can bring you in cold.”

Cut to opening title credits.

Perfect first line.

The voice itself doesn’t immediately wow me. It’s not as grizzled as Fett’s, it’s younger and somehow... unseasoned? I’m not sure. But it’s not Jango’s voice, so I’m willing to accept it. And again I think, why couldn’t Boba Fett have kept his original Jeremy Bulloch voice?

Title credits. Nice font. The drum beat theme music that also sounds vaguely Western. I like it.

Then we are back outside on the ice world, walking back up the path where we first saw the Mandalorian. He’s got the merman in handcuffs.

“I need passage, to the yards.”

An Ortollan, a species from the original series, plays a little flute and a land speeder comes up piloted by a droid.

“No droids.”

I find it interesting that our Mandalorian would prefer a living creature to a machine as a programmed droid should be more reliable but perhaps machines can be remote controlled, or else there’s a story there that I really want to hear.

The Ortolan plays his flute again and the next speeder comes up, a red one. It's considerably more broken down than the previous one, driven by an older guy in a hooded coat. “Where to?”

They pull up to a silver-colored ship of some kind, bigger than the Slave IV I think. Kind of clunky, really, more like a C-130 cargo transport than an F-16 fighter jet — not what you’d expect to be necessary for a bounty hunter to make quick getaways. Merman agrees with me.

“You’re kidding me, right? I’ll hire us a Livery Cruiser. I’ll pay for it. Just trying to make it pleasant.”

The speeder pilot meanwhile is scanning the horizon anxiously and demands payment. The Mando pays him. “I’d stay off the ice if I were you.” Something’s gonna attack, and probably from beneath the ice. Can’t wait.

Merman is worried and watches the speeder depart into the distance as the Mando readies the ship.

Something launches up from under the ice and consumes the speeder, and a snakelike body with dragon-like spinal plates disappears beneath it again. Merman freaks out and demands they hurry as the ice cracks in their direction.

The Mando yanks him out of the way just in time for a giant walrus-tusked creature with a long body launches out next to the ship. It catches part of the ship’s landing gear in its mouth as they try to take off and there’s a familiar sound effect like the Falcon losing power.

The Mandalorian grabs his tuning-fork weapon from outside the cabin doors (where it stays when it’s not on his back) and heads out to fight. The creature has one of the landing gear legs in its mouth as the music swells very tribal. One zap from the tuning fork weapon and the creature is electrified, immediately lets go, and they escape.

The ship is more impressive in air than on the ground as two enormous jets fire. It seems heavy though. I don’t see any weapons except two forward cannons of some kind, but of course there is probably ample hidden weaponry. Can’t wait.

Once in space the merman starts bargaining and conversing but the Mandalorian is silent, having none of it.

“I like your ship,” the merman says, now trying to butter him up. “She’s classic. Razor Crest, am I right? Pre-Empire?”

So it’s an older ship. The cockpit, entryway and ramp, halls and hull are quite wide and roomy. It makes sense that a bounty hunter needs room to carry cargo. I suppose some quarry may be quite large depending on species. I’d like to see him have to capture something large. I wonder if he has a larger ship because he’s young, and can’t yet afford something speedier. Or perhaps he loves it, despite being old and possibly rickety, like Han loved the Falcon. It doesn’t look like it’s been through the wars, though, so that’s a mystery. Can’t wait to learn more about the ship.

Merman goes below on the pretense of having to use the evacuation tube. There’s some funny toilet humor here. There’s no restroom, the evac tube is in the middle of the floor against a wall--kind of like a New York City basement apartment I viewed once. To the right of the evac tube is a wall with what looks like a palette inside -- I guess that’s where the Mandalorian sleeps? It’s hard to tell.

Merman keeps exploring as he talks. Finds a cache of weapons but surprisingly just closes it again. And then he finds the other bounties.

This actually pissed me off on first viewing. The Mandalorian has several other quarry below deck--all encased in carbonite. I did a massive eyeroll here. Boba Fett (really, Vader) encased Han in carbonite as a matter of convenience at the location they were at in Cloud City. It was a test to see if he could transport Luke that way to the Emperor--IF he survived. But it’s NOT like it was the preferred mode of choice for bounty hunters to transport their quarry. So why would this Mandalorian just happen to have not just bounties in carbon freeze on his ship but has a carbon freezing /chamber/ on the ship, as he shoves the merman into it.

This really annoyed me until a friend suggested maybe the other hunters heard about Fett and Han at Jabba’s Palace and it became a thing once they knew it wouldn’t kill the bounty. After some thought I have accepted this idea, even though it seems quick if this is only set 5 years after Jedi. Still, the other Mandalorians would have been among the first to know, and it’s a more practical mode of transport allowing low risk of escape and not having to address your quarry’s various biological needs. Also easily stackable while protecting them. So okay, I’ve come to accept it.

Mando arrives at a spaceport in a semi-large desert city, that actually looks a lot like Tatooine--both what we’ve seen from the original trilogy and the prequels. They never actually state where we are at any of these locations, but this is my theory. There’s a droid like Red, there are people walking around dressed like Tatooine inhabitants. More evidence comes later in the series.

He enters another drinking establishment that seems to be the meeting place for his contact. The feel is very much like the bar where Han shot Greedo, and I wouldn’t be surprised if it was even the same one years later. Aliens of all types, again, watching him closely.

He meets his contact and returns the fobs. Payment is arranged. The Mandalorian says the Empire is gone, and he accepts Calamari flan at half than Imperial credits at full payment.

The question of the next job comes up. Guild rates are high. The Mando wants the highest. 5,000 doesn’t cover fuel these days.

The contact says “Well, there is one job.” No puck. Face to face, direct commission. Pays well. “Underworld?” No codes. The Mandalorian accepts the chip.

More of the city. Goes to a back-alley establishment. Arrives at a door with a TT-8L/Y7 gatekeeper droid, like at Jabba’s Palace. Inside is a walking garbage-can droid like in the Jawa’s ship. I take this as more evidence we are on Tatooine, though of course these items could be sold throughout the galaxy.

Inside there are four Stormtroopers. An older man with an Imperial pendant who is clearly the leader and client. “Greef Carga said you were coming.” So that’s the Mando’s contact back at the bar. “He said you were the best in the parsec.” Haha, at least we are using parsec correctly now.

A side door opens, which startles the Mandalorian and he draws his tuning fork weapon (a modified amban phase-pulse blaster rifle). The four Stormtroopers draw also. A younger man with glasses comes in, shielding his face, apologizing profusely. The client introduces him as Doctor Pershing. A scientist. The Mandalorian still has weapons drawn in both hands, facing off with the Stormtroopers. “We have you four to one.” “I like those odds,” he responds. “He also said you were expensive. Very expensive.”

All calms down and the client invites him to sit. He unfolds a block of beskar steel as down payment. He has more upon delivery of the asset -- alive. Proof of termination is also acceptable for a lower fee. The Doctor protests.

No puck. Tracking fob, age, and last known positional data only. The quarry is 50 years old.

“It is good to return the beskar back to the Mandalorians. It is good to restore the natural order of things after so much disarray, don’t you agree?”

The Mandalorian pauses here and almost imperceptibly again cocks his head. He touched a nerve. Amazing how an actor can still convey so much behind a helmet. I still don’t know this actor but he’s pulling it off.

More of the city. Whatever that laughing thing was at Jabba’s feet, two of his species are roasting on a spit. One more is in a cage. (It’s a Kowakian monkey-lizard like Salacious Crumb. I had to look that up.)

The Mandalorian ducks in behind a curtain. Down some steps. Strings here that sound very Star Wars. A long hall with other Mandalorians about. Some have the helmet antenna like Fett. Some are small, running. Children.

At the end of the hall over the archway is a Mandalorian skull emblem. Within is a person working at a forge, hammering metal and heating it over a ring of open gas flames like Bunsen burners. The blacksmith, which IMDB tells me is Armorer, comes forward and sits down with our Mandalorian. There is fur around the collar, the helmet is different, golden with two small horns, and looks more like a gladiator helmet. From the way she moves, and especially once she speaks, this is a woman. I am intrigued, since I have not seen a female Mandalorian before. They nod respectfully to one another. The Mando produces his payment: the Calamari flan--and then, the bar of Beskar steel, marked with an Imperial insignia at one corner. She is visibly surprised and impressed.

“This was gathered in the Great Purge. It is good it is back with the tribe. A pauldron is in order. Has your signet been revealed?”

“Not yet.”

“Soon.”

A pause here to discuss armor. Any show about Mandalorians was going to have certain elements. Ships, weapons, lore, armor.

Mandalorian armor is famous in the Star Wars universe. Beskar steel, the material it is made of, is strong, and can withstand almost anything, yet very light, rather like mithril in the Lord of the Rings universe. It would seem the Great Purge by the Empire included not just Jedi but Mandalorians, and their armor was melted into bars, as currency or for transport. (This is speculation on my part.) And that a goal of the Mandalorians is to reclaim as much beskar as possible, and reforge it back into Mandalorian armor.

The blacksmith does just this and makes him a pauldron, or shoulder cover, from the bar of beskar. She tells him this is extremely generous and the excess will sponsor many foundlings.

“That’s good,” he responds. “I was once a foundling.”

“I know.”

A bit more of our hero’s background.

Her forge is a combination of computerized part designs and heavy iron machinery, like a 3-D printer on steroids. And as it bangs out the new pauldron each loud clang of metal on metal shows us a brief flashback of our Mandalorian’s memories. A battle with fire and sparks all around. A woman in dark red robe carrying a boy also in dark red robe. He is terrified. Presumably this is our hero. She is carrying him, he’s maybe 8-10 years old. A man is with her, her husband? People getting shot--massacred--all around them as they run. Explosions. She opens an underground container of some sort, deposits the boy. He has brown hair, brown eyes, and olive skin. He reaches for her as the doors close. And then the pauldron is completed; the flashbacks stop.

Having viewed 3 episodes already, this becomes a pattern and I love this device. You get a little more of his backstory with each piece of armor, with each clang of the forge. It’s perfect. It makes sense that in these moments as he waits in this safe place, he might slip into memories. Or perhaps they come unbidden at this time for some reason. There’s also a nice theme of memories being buried beneath his armor, along with his emotions. And only when there’s a chink in the armor, does it show through.

The pauldron goes on, shiny and new, and for the first time I notice the wipes. A center point wipe expanding outward, with fuzzy borders, and so very Star Wars that it makes you smile.

He heads to another planet that looks from space like Tatooine. If we weren’t on Tatooine before, we might be now. We are at least in the vicinity. It’s a desert planet with jagged sandstone cliffs all around. He lands his shiny ship, and gets out with the fob. He looks through his turning-fork weapon’s scope, and spots two distant creatures I can only describe as land grouper with legs and long tails. Suddenly he is attacked by one, sinking its teeth into his arm before he can get a shot off, and then a second, and though he fights with flamethrower and even fists, it looks like we will lose our hero until someone shoots them with taser darts.

It appears our hero is not wounded, but his arm pieces are damaged.

A small man with a piglike face and a kind, wise voice and goggles on his head. An ugnaught. Remember them from the original trilogy? IMDB tells me his name is Kuill, although this is never actually said in the episode, so I will refer to him as the ugnaught.

I suspect anonymity is a running theme in this show, as part of the Western genre. So far we’ve heard almost no character names (which makes writing reviews a little difficult). I’m wondering if there’s any significance to the ones we do know, vs. the ones we don’t.

“You are a bounty hunter. I will help you. I have spoken.” This last part is his trademark line, as we’ll see. I love it.

We go to what looks like a wind or moisture farm. There is, from what I can see, only one sun.

The ugnaught tells the Mandalorian that others have come looking and died. He will show him the way for half of the blurg they caught. Mando will have to learn how to ride them to pass to the compound.

On the first few attempts the blurg throws him. Apparently it’s a female; the males are all eaten during mating. (Thanks for that tidbit, Kuiil.) He gets thrown again and loses patience, asking for a speeder.

The ugnaught challenges him.

“You are a Mandalorian. Your ancestors rode the great mythosaur. Surely you can ride this young blurg.”

Our hero is challenged; the words touched him. He approaches the blurg like a wild horse that needs breaking in, and the Western theme is back, even in the music. Eventually he succeeds, a triumphant moment that impresses the ugnaught, and they’re off across the landscape full of ravines that only the blurg can jump, apparently. The theme music swells until they arrive at a cliff where they can spy on the encampment. This is where the bounty hunter’s quarry is.

Mando tries to pay him off. Ugnaught reveals his motive: it’s been an endless stream of warriors trying to get this quarry, breaking the peace. He’s read the stories about Mandalorians and believes ours can make quick work of it and bring peace back to his land.

Our boy does some recon with a hand telescope and the place is swarming. Then he spots a bounty droid, and groans. The droid is just walking right in, and demands the asset be produced.

The bounty droid looks like IG-88 from The Empire Strikes Back and again, for a moment, I almost eye rolled because really, can’t we see something new? All bounty droids look the same? But whereas IG-88 just stood there, this one moves, and the way he moves is COOL. Although humanoid in appearance like 3PO (head, two arms, two legs), unlike 3PO he appears to operate around a central pole or spine, allowing his parts to rotate 360 degrees. This includes his head, his eyes, his arms and therefore weapons, and his waist/hips. It gives him an amazing advantage as he can just keep spinning and shooting. The way he steps over a body is awesome. He’s also really skinny and thus hard to hit. Whole new respect for the IG series.

This IG unit is also funny, and his repartee with our Mandalorian is instant comedic chemistry. There’s a fantastic shootout, where they team up, and as they are outnumbered, the bounty droid seeing no way out, keeps trying to self-destruct. “Do not self destruct!” our Mando keeps shouting at him, and after a very badass moment with an [ion machine gun], by the end they win, and everyone in the yard lies dead. Mando helps him up, saying “You’re not so bad for a droid,” and the droid replies likewise. I saw a sidekick in the making. They shoot their way inside, kill a few more people until there’s no one left, and determine the quarry is just before them in the corner.

Except there is no one there, just a white ball looking thing with a net over it that the fobs indicate is the target.

They remove the net, and open the ball, which is really more egg-shaped.

And then it opens, it looks more like a bassinet with a blanket inside.

“Wait--” says Mando. “They said 50 years old.”

“Species age differently,” replies the IG unit. And we get our first glimpse over the top of the blanket as he says “Perhaps it could live many centuries. Sadly, we’ll never know.” And as he’s speaking, a little head peeks over the blanket.

Oh. My. God. And in this one moment, I am glued to this show forever.

It’s a baby Yoda.

Except it isn’t Yoda, because Yoda’s dead. But we don’t know Yoda’s species name, and we don’t know the baby’s given name, so we will call it what the internet has dubbed it in the meantime: Baby Yoda.

And this moment, above all, is the biggest reason I am so glad I wasn’t spoiled.

Baby Yoda is the most adorable, most precious, most endearing thing you have ever seen. And in a franchise that has at times been criticized for its more saccharine “cute” creatures that appeal to young children (Ewoks, anyone?), this is one we can all get behind.

Baby Yoda is CUTE. <3

Baby Yoda is everything.

Remember my aversion to anything we’ve seen already? I NO LONGER CARE. Looking at those huge brown eyes and long floppy ears, this doesn’t even cross my mind.

I would give my life for Baby Yoda. I know this all in one second.

And the IG unit is about to kill it.

Apparently our Mando feels something similar.

“Wait,” he says, and reaching out he lowers the IG unit’s weapon. “We’ll bring it in alive.”

“The commission was quite specific. The asset was to be terminated.” The IG unit raises his blaster again, aimed squarely at the crib.

The camera closes in on the Mandalorian’s helmet, fixed on the bassinet, and there is a red blaster flash from his right, reflected in the helmet. The Mando’s head never moves.

But the IG unit falls to the floor, shot in the head. Sizzling. He’s toast.

Our guy shot him without even looking. He’s fixated on Baby Yoda, as we all are. He puts his own blaster away, and tilts his head.

The camera cuts to a gorgeous profile, backlit from a doorway. The Mandalorian stands before the crib, which is now floating in the air at waist height. He raises a finger towards the crib, as a tiny finger comes up from inside it. They don’t quite meet.

End credits.

End credits for this show are a series of beautiful concept drawings and if you know Star Wars at all, these are some stunning art. The whole theme also plays over the end credits and it is hauntingly beautiful. Ludwig Gӧransson’s score is perfect.

Thoughts.

Themes: Space western. Anonymity. (Even the ship still has no name, just a model.) Foundlings. Characters that seem to have no family, but instead bond in other social ways (covert/religion, bounty hunter guild/profession). Remnants. Loss.

I LOVE the concept art at the end. Fans love this concept art, and I have a couple of books of it myself. Nice way to incorporate it into the series. You can see how the original concept and final product differ (very little, in most cases) and a few intriguing pieces that were either filmed but cut from the final edit or never filmed. I love how they add the 3-D effect to some of the drawings, and I still don’t know how Hollywood achieves that.

Concept art round-up:

Mando and Baby Yoda’s ET moment

Some intriguing glow-dice game between two Mandalorians? I need to know more about this.

Mando firing a blaster

Mando entering a cantina

Mando and Kuiil on Blurrback

Mando and IG-11 taking cover during battle

Mando and Kuiil entering Kuiil’s home

Mando walking on the icescape with his back facing the camera

Mando battling the ice creature while hanging out of the Razor Crest

Mando and IG-11 standing shoulder to shoulder

Mando on Blurrgback

Taika Waititi is amazing as the IG unit bounty droid. Never would have guessed it was him.

Werner Herzog is perfect as The Client, I love his voice, and the article/video about him crying over Baby Yoda.

This show is going to get me writing fanfic again, dammit.

*****

The Mandalorian: Chapter 1 recap by K (includes detailed spoilers)

A Mandalorian bounty hunter tracks a target for a well-paying client.

Directed by Dave Filoni

Written by Jon Favreau

Music by Ludwig Gӧransson Airdate: Nov 12, 2019

Run Time: 40m

Greef Karga (Carl Weathers)

The Client (Werner Herzog)

Dr. Pershing (Omid Abtahi)

Kuiil (Nick Nolte, voice)

IG-11 (Taika Waititi, voice; Rio Hackford, performance artist)

Mythrol (Horatio Sanz)

Alpha Trawler (Tait Fletcher)

Beta Trawler (Ryan Watson)

Quarren Trawler (Dmitrious Bistrevsky)

Armorer (Emily Swallow)

#the mandalorian #the mandalorion season 1 recap #disneyplusfan #tha mandalorion s01e01 #star wars

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ronnytherandom · 4 years ago

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Media n Stuff

2/1/2021: American Psycho

Excellent, truly. Has a lot to say about those on the top of our social hierarchy, the wealthy and influential and how our modern system facilitates them at the expense of everyone else. A very stylish film, well edited and directed. Rests upon a truly magnificent performance in the case of Christian Bale’s Patrick Bateman, who does a fantastic job of playing something pretending to be human. Soundtrack is a bop.

3/1/2021: Se7en

All right, not my kind of thing ultimately. There are some thoughts about legacy and what doing good means here but I feel its slightly obscure and could be more clearly stated; perhaps I wasn’t paying close enough attention. Directing is top notch. The acting also is good but nothing truly incredible. The suspense is very effective but on occasion can be defeated by pacing, excess time creating boredom. Further it was partially predictable, which harmed the effectiveness of the piece. Though the point of the state of the victims is to inspire disgust this especially did not fit the remit of entertainment for me.

4/1/2021: The Martian

Highly Enjoyable. As usual, weaker than the novel but not to a Golden Compass level. Any work that bends heaven and earth to save a single life is good in my books. Retains the wit and the scientific backbone to good effect to offset the bleakness. Likewise, the back-and-forth structure between Mars and other locations helps to make the survival scenario less overbearing. Star-studded cast, and I think rightfully so here as the performances are generally very good. Matt Damon as Mark Watney has many moments of excellence. Mars is beautiful and I’m glad Ridley Scott captured that well, on top of doing a job that lives up to his reputation.

5/1/2021: Dredd

Good. Though I worry about the implications of a “Not All Cops Bad” message, it could be interpreted elsewise and is decidedly sympathetic to civilians which works in its favour. There is the aspect of portraying Police and Criminals as two sides of the same coin, with Dredd and Anderson existing outside of said dichotomy to some degree, but ultimately implying that the existing system just needs the right people in it without severe reform, though again that’s up for debate. Otherwise, good spectacle and very nice presentation; the film can be beautiful at times and when it isn’t it has excellent action. Something I appreciate is a clear view of the action, rather than the choppy action of modern superhero films, and an unflinching approach to the depiction of gore even if I was flinching at times. Though I’m unfamiliar with the original work I find this an interesting dystopia, even if Dredd himself can be a little cliché. Performances haven’t left much of an impression though.

6/1/2021: The Wolf of Wall Street

Meh? It’s well made don’t get me wrong, everything looks and feels high quality. Of course, Scorsese is a good director. Of course, DiCaprio’s acting is fantastic, as is the rest of the acting to be frank, but it just doesn’t come together for me. I don’t feel like there was a compelling reason to sit through that for three whole hours. I can see meaning in the depiction of excess; of Belfort’s alienation, losing everything that should be dear to him; of the animal nature of people who just want to make money. I can appreciate the powerful performances and the craftwork on display. I just didn’t enjoy it.

7/1/2021: Enola Holmes

Enjoyable. Has a more juvenile tone than I like, that’s to be expected from a coming-of-age story, but it certainly does a far better job with the gifted sister idea than the BBC Sherlock series did. At times this film was truly joyous and inspiring and I would attribute that to a cast of endearing characters and a strong thematic core which is carried throughout the story. However, from a more radical perspective I cannot endorse a seeming admonishment of direct action, as much as I appreciate the idea that getting new blood in politics is a progressive step forward. Performances are good, Millie Bobby Brown does well in the lead, though I am not so keen on her 4th wall asides, and I always appreciate the sight of Henry Cavill. Also, proud to see Burn Gorman portray the most accurate Normal Englishman I’ve ever seen. I also wanted to make note of what id consider good editing, felt very snappy and effective.

8/1/2021: Shaun of the Dead

Very good, but maybe doesn’t quite live up to its reputation. Very put off by the use of F and N slurs even if the prior is in context with English slang at the time. Id say this is the lesser of the Cornetto trilogy films but with such competition it’d be hard to come out on top. Quite dry humour, I don’t think all the jokes land, but there are a few true laugh out loud moments. Similarly, it works emotionally only some of the time but at moments, especially in Philips last words, there’s some genuine power. I do feel like the pace lulls slightly too much at moments but is generally very good and saves itself for a fun final sprint. The Zombies themselves are true to Romero’s style of zombie and though the satire is light in comparison to character-zombie parallels it is still effective. Performances are good, and serve well in demonstrating the range of Simon Pegg and Nick Frost in comparison with the later Cornetto films and Bill Nighy is always a treat. I only ever have praise for Edgar Wright as a fan of all his later works, so I’m glad to see even his first feature demonstrates his ability well, stylish young man is our Edgar.

8/1/2021: Avatar: Legend of Korra: Series 1

Not by any stretch a worthy successor but good by its own merit. Has powerful emotional moments and excellent action, I cannot get enough of any kind of bending in this universe. Some characters are likeable; Korra is a good lead, Tenzin is my personal favourite and I want to hug Naga. Bolin, however, can get shafted. his particular brand of comic relief inspires in me an absolute hatred I cannot fully fathom. I have many little gripes though. I find the love “square” (?) plot annoying and do not understand what purpose it serves. Just be honest with each other goddamn! In universe I wonder at the limits of metal bending, but the police are content simply to launch cables with it. Why are the Chi Fighters such an obstacle in the first half and yet become cannon fodder by the end? I also feel like a lot of the “powerful moments” I feel are dependent on nostalgia for The Last Airbender, such as any moment where the original theme is played, or when General Iroh appears etc. This is particularly egregious with the feature of cabbage corp. Really? It is frustrating to me that Korra spends the entire series past the second episode tell-not-showing us she can’t airbend before having it essentially gifted to her, similarly with the avatar state. As much as she does endure hardship, I feel like the series would be improved even slightly if Korra’s bending is taken away completely and she uses the avatar state to rescue Mako from Amon, when she is actually at her definitive low point. I find with most episodes there are moments which I’m absolutely invested in and really enjoying but then a gripe or two will pop up and marginally ruin the experience for me. But again, these are minor and as much as I fuss over these details the ultimate product is enjoyable and watchable. The setting is certainly interesting but (probably by design) New Republic City clashes too harshly with the magic system, and I think it harms the series. The animators and artists however should be lauded, as the spectacle here is magnificent.

9/1/2021: Ex Machina

Magnificent piece of work. This is what I imagine is actual good cinematography, rather than the usual “pretty stills equals good cinematography” take. Every frame a painting indeed, aided in that way by fantastically beautiful set work. Each actor deserves applause but I feel especially Alicia Vikander. As Ava she does brilliant work and at times uses an alien affectation which is an impressive highlight of attention to detail here. The director knows exactly what they’re doing, the whole thing has a kind of spotless professionalism. Special Effects are minimalist but used so very well, especially the work of making Ava and the other AI look so real. I love that this is a film which doesn’t stoop to explaining every little thing and treats the audience as an equal, and how the tension is reflected in all aspects of the piece and builds to such a mighty crescendo, though I was quite put off by the self-harm scene and would rather that were not a thing. Not only all of that but its deeply meaningful with a lot to say about our own minds (I don’t think Nathan passes Turing test) with a decidedly feminist angle too. It really is a treat.

10/1/2021: Sourcery (unfinished)

Even as a fan of early Pratchett, this ain’t it chief. I don’t like it. The jokes don’t land, the only character I like is The Librarian and the whole thing just kind of bores me, so I’ve stopped somewhere just past halfway as I can’t be fussed for the rest. I don’t care about Coin, or the wizards, or Rincewind, even the Luggage has lost that pariah charisma it usually has. Conina feels weird? I feel like there this constant unnecessary sexualisation of her and Rincewind’s affections seem more than mildly inappropriate. I’ve been reading it a week and I’ve barely been able to drag myself to it these past couple of days so I feel its time for something a little fresher.

10/1/2021: The Two Popes

Very good. There is excellence in all aspects of this films craft. Johnathan Pryce gives an endearing performance; Anthony Hopkins is likewise very good as you’d expect. I think this is a film to listen to through a good sound system, the sound work struck me as exceptional in its attention to detail while the soundtrack is good fun. Direction is dynamic and effective most evidently in the camera work which tends to feel Just Right. Dialogue is very well written and feels very organic. I enjoy the themes of change and reconciliation and feel contrasting the character of the two popes expresses this very effectively, however I would much rather see evidence of genuine change that surely must’ve occurred rather than a simple implication of change as we see. There is the argument to be made that fully reconciling the old and the new without altering material reality, beyond giving speeches encouraging others to do so, represents the will to change being co-opted and perverted by the conservative establishment. But its still a nice sentiment and a well made film regardless.

#film #books #series #opinion #american psycho #se7en #the martian #dredd #the wolf of wall street #enola holmes #shaun of the dead #avatar the legend of korra #ex machina #sourcery #the two popes

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olderthannetfic · 5 years ago

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Fuck branding and consistency: For my precious Miami Vice, we’re going full 80s!

Miami Vice is a cop show from the 80s that helped usher in an era of neo noir and radically altered how television is cut and scored. It is both an ensemble crime show and a buddy cop show. The central duo are Sonny Crockett (Don Johnson, center) and Ricardo Tubbs (Philip Michael Thomas, on the left). They start out pointing guns at each other and end up best friends... with a detour through amnesia and attempted murder along the way.

Their boss, Martin Castillo, is played by Edward James Olmos, who has had the exact same death glare for his entire career as you can see above. Rounding out the main ensemble were two comic relief guys, Switek and Zito, and two women, Trudy Joplin and Gina Calabrese.

Yes, they’re super hot, and I ship them too, along with the very obvious Crockett/Tubbs, but that is... not what the fandom shipped. More on that later.

MV had only a medium size fanfic fandom. As a source of annoying middle aged men who own that speedboat and still don’t wear socks, however, it is unparalleled. It was a mega-hit in its day but is largely ignored now.

As far as I can tell, the height of the slash fandom was just after the show ended, around the time Escapade was getting going. It was something that was in the air (hah) at the time but not popular enough to make it onto the program much. There were a scattering of vids and panels in that era, including:

1992 - Miami Vice (cops and music, right, well, maybe there's a little more here...)

Indeed there was, but you won’t find that out from most people! The cultural osmosis version of this show is deeply offensive to me, far worse than “womanizer Kirk” and its ilk.

I. How I got into the fandom

Miami Vice is a brilliant show, so far ahead of its time that it instantly dated itself and has been a subject of constant mockery by people who only know it vaguely from cultural osmosis during the 90s. Its revolutionary editing is what inspired me to go back to film school. Its cinematography is equally iconic. The soundtrack literally changed television forever. And no, children, synthesizer is not automatically a bad or cheesy instrument. Jesus.

I got into MV in 2010. I’d been reading about it in the first Film Noir Reader and had been intrigued by the black and white stills. I looked it up and found that it was a rare DVD release that secured all of the music rights, unlike the butchery of Wiseguy and too many other shows. I bought it on the spot.

It was a religious experience.

By 2010, even the little Yahoo Groups fandom it had eventually grown was long gone. The zine fandom certainly was. I started buying all of the used zines I could get my hands on. One thing stood out to me over and over: Rico, my favorite character, does have great fic, but it’s all gen and het. The slash zines treated him with absolute contempt. The only fan from the 90s slash fandom who had any clue how to write him was @flamingoslim.

So I did what any fan would do: I got into her current fandom, Starsky & Hutch, and stalked her to her S&H con.

What?

II. Why didn’t fandom love Rico?

So why were the slash zines like that? Yes, okay, the answer is racism.

But the more zines I read and the more oldschool fans I’ve talked to, the more apparent it is that the way it played out is specific and interesting, not some generic “he’s not hot” thing. The big problem was that the slash zines came from a tiny handful of publishers, with the more popular ones coming from a single publisher. Looking at their editorials in the front of volumes, I see cartoons of the two of them dressed as their ship, Crockett/Castillo. I’m getting full on otherkin vibes from how they talk about that ship.

This was very clearly a case of hating the other man who got in the way of the OTP. Even so, the particular way Rico was written in many of the stories in those zines is incredibly racist. Flamingo writes him as a supportive best friend to Crockett. This was... not the norm.

This wouldn’t be such a big problem except that this was not an era when you just go on AO3 or even FFN and post whatever you want. Getting a zine together is hard. It takes money. It means finding a printer that is willing to print gay shit--something that can still be an issue in 2020. It means having a job and a lifestyle where being outed as a publisher of gay shit will not fuck you over. They were the only game in town, and their bad takes ruled the fandom.

Contrast to the gen/het zines: Rico wasn’t specifically more popular than other characters, but he wasn’t in the way of somebody’s OTP, so he shows up pretty often as a major character, written similarly to how he is in canon.

The gen/het zines are also just plain well written, making all of the characters more nuanced and interesting than in a lot of the slash fic. That’s what happens when you’re dealing with tiny fandoms and tiny numbers of writers: one or two great talents shape the whole feeling.

The other answer to why people weren’t super into Rico is simple: Castillo.

MV is a show full of buddy duos. And then there is the boss, a mysterious lone wolf whose identity only goes back a handful of years. He is aggressively moral and incorruptible, yet also executes a counter-revolutionary in cold blood rather than let the CIA take him back to South America to continue his reign of terror.

What, you think Castillo isn’t a murderer?

Hate to break it to you, but not only is he, but Rico is the one who found out and never reported him. It’s one of the most interesting moments between them.

I’m not surprised fandom wanted to ship Castillo with someone. I just wish people hadn’t only ever reached for Crockett/Castillo when Castillo/Tubbs has just as much great material. But if I get started on my ship manifesto for that, we’ll be here all day!

Suffice it to say that MV suffers from what lots of old fandoms do: people only rewatch certain parts, and it’s hard to remember which bits are fanon.

I’ve heard people say that Rico didn’t seem like he really cared about Sonny on the same level that the oldschool slash juggernauts did. I think this is a combo of not rewatching the episodes more heavily focused on him and of fandom liking a particular kind of woobie/enabler ship. Rico usually caved in the end, but he set boundaries in a way some of these ships never did. He was also portrayed with a particular kind of bragging confidence that is way more common in black characters. I think it reads wrong to some people, though in fact, he’s just as much of a ride-or-die bestie as the usual slash duos from back in the day.

The same thing happens with a lot of specific moments fic does heavily reference. Many significant Crockett/Castillo moments involve Crockett being the only one who can get through to Castillo, yet in those actual scenes, it’s Tubbs who does or it’s both Crockett and Tubbs.

Yes, friends who I will be seeing at Escapade, even that scene and also that one. You are just flat out wrong.

III. The Fanworks

First, my eternal rec. It’s het with an OFC. No, no, come back! MV was one of those fandoms where this was sometimes the best fic, and all the more so since the ship is with Castillo, he of the mysterious past and not enough personal connections.

Dark Side of the Moon by @dejlah

I also really love Temper of Revenge by Mary Van Deusen. It’s one of three she did to the same song and it’s about the dark, dark ending for the comedy relief duo. If you’ve heard Francesca Coppa talk about vidding history, you’ll have heard of this vid. (No, we’re still not the same person.)

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I’m also a big fan of MVD’s Crockett/Castillo vid, Ready for the Times. It manages to perfectly capture the dominant fanon take on the ship. I can’t even put into words exactly why, but it brought back all that fic powerfully.

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This fan-made trailer does a good job of showing the kinds of twisty episodes he got:

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My first vid I ever sent to Vividcon was a Gina/Trudy one that gives a good sense of the awesome costumes and also how often they had to go undercover as hookers. (AO3)

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And finally, for those of you who don’t want to watch five whole seasons of 80s TV, I vidded that arc. (AO3)

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Wow, this is only like 15 screens. Practically a haiku when it comes to me talking about Miami Vice!

#escapade 2020 #escapade con #fandom history #fandom meta #miami vice

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impalementation · 5 years ago

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I think your take on Doublemeat Palace is interesting because to me it's emblematic of all the things that make Season 6 (particularly the back half after "Tabula Rasa") not work for me. It's relentlessly grim and unpleasant and I can feel the writers twisting the plot to make sure every character is as miserable as possible. I'm not opposed to seeing protagonists in a low point or even outright failing. Season 3 of Game of Thrones is some of my favorite TV ever. (1/2)

(2/2) But at a certain point the grim and gritty, if it's not well written, and broken up with some moments of lightness (like Buffy was previously known for) the audience gets numb. It also doesn't help that no one has any agency. (Magicrack, the not!wedding, Dawn doing zip) Again, I'm not opposed to dark plotlines. I'm opposed to incompetent writing.I don't think you can call an episode or an arc "objectively" good if it doesn't work for the majority of the audience it's been written for.

you know, i’m going to disagree about the “grim and gritty” thing. doublemeat palace actually stands out to me as being really funny. and for having a lowkey positive ending. true, the episode is about the soul-sucking prospect of having to do the same dreary work every day. it’s about how much it sometimes sucks to work, which is why you have willow dealing with the fact that recovery is a difficult thing that you have to decide to commit to every day, xander and anya facing the fact that marriage is also a lifelong daily commitment, and buffy taking an unpleasant and mechanical job in order to put food on the table (and the episode plays up that the managers have been doing it for five or ten years). but like, names like “manny the manager”? the weirdo robotic people? the exaggerated camera angles? the swirling cow and chicken? buffy’s constant attempts at jokes? “hot delicious human flesh”? a little old lady with penis monster on her head? this stuff is totally absurdist. i think of doublemeat palace as almost the opposite of episodes like once more with feeling and tabula rasa, where things superficially seem fun but are actually quite dark. doublemeat palace seems superficially unpleasant but actually has a wicked sense of humor. and i say that the ending is positive because it involves both willow and buffy committing to doing work. they’re faced with the opportunity to “cheat” at life like the trio, who steal money instead of having jobs, but ultimately decide to do the right thing. willow doesn’t accept amy’s magic and buffy doesn’t blackmail the company.

that goes for a lot of season six, in my opinion. even late season six. people say there was less humor, and i think that’s true to an extent, but honestly i think it’s more that the tone of the humor changed. it got more sardonic and absurd, but was definitely still there. eg people think of seeing red as the episode where the two Very Bad Things happened, but outside of those scenes a lot of the episode is like, fascinatingly (to me) slapstick (the whole jetpack bonanza? “say goodnight bitch” “goodnight, bitch”). and has that really lovely conversation between buffy and xander at the end. in general, i think a lot more season six episodes have positive endings than it gets a reputation for. i already mentioned the ending of doublemeat palace. but the end of gone has buffy saying she doesn’t want to die, the end of older and far away has buffy deciding to stay home with dawn, the end of as you were has buffy deciding to break up with spike, and the end of grave has buffy, willow, and spike all making important changes for the better. as in, season six can be very dark, yes. but i would not call it a hopeless or cynical kind of dark. it’s about the characters clawing their way out of that dark place. not just a statement that “adulthood sucks.” you can argue that the season didn’t pull off its attempts at lightness, but i very much think they’re there.

at any rate, i agree to an extent that if a work of art isn’t working on most people, that’s probably a sign it’s doing something wrong. but i’d offer the counterpoint that you might also say that if a work of art really works on some people, even if not everyone, it’s probably doing something right. as far as the season as a whole goes, i’d actually take issue, on a basic factual level, with the claim that it didn’t work on the majority of people. not to validate IMDB’s ratings for buffy’s episodes, but it does have an n=~2000 sample size and if you average out the ratings by season, season six doesn’t rank starkly lower than any other season. it’s on the less popular side, but it still hovers around an 8.0 average like most of the other seasons. moreover if you go by the big r/buffy polls (n=~120-310), season six ranks in the top three favorite seasons every year they did one (2011: 3 > 6 > 2, 2012: 6 = 3 > 5, 2013: 6 > 3 > 5, 2014: 3 > 6 > 5, 2017: 5 > 3 > 6). you can see the data for yourself if you scroll down to where it says “surveys”. perfectly possible that there’s data that paints a totally different picture. this is just what i had on hand. that ranking also doesn’t mean the majority of people liked the season, but it does act as evidence that there are a lot of people whom it really worked on. basically, i wouldn’t say that season six is disliked so much as it’s divisive. people seem to either love it or hate it. with a smaller percentage that likes it, but for whom it isn’t a favorite. or who appreciate what it was trying to do but don’t think that it succeeded.

as far as doublemeat palace goes i notice a similar phenomenon. people either really hate it or they really relate to it. either they think the style is bizarre and annoying or they think it’s delightfully surreal. so it really seems like it’s up to the individual whether they want to lend more credence to one audience reaction or another in order to assess quality.

which is why i tend to use my own rubric. when i ask myself whether something is good or bad, i pay a lot of attention to (1) is the work trying to do or say something specific? (2) how unusual or challenging or astute is the thing the work is saying? (3) how coherently is it doing that, and on how many different levels? (4) on a formal level—dialogue, cinematography, costuming, acting, pacing—how fluently was it executed, and how well did the formal choices contribute to the ideas in (1)?

for the record, i don’t think that doublemeat palace is the best episode ever. i just think it’s solid, and fits nicely into what i think the season as a whole was doing. but the reason i say that it’s “objectively” solid according to my personal rubric—which granted, you’re more than welcome to not share—is that (1) it has a pretty clear idea that it’s exploring. the drudgery of work stuff that i mentioned in the first paragraph. moreover i think that idea is really relevant to the season-long topic of “what makes it feel like adulthood sucks”. buffy having to take a menial food job fits into the season’s food motif that i talked about once, which in turn fits character-wise with buffy’s ambivalence about being alive. a somewhat grotesque/humiliating job fits with the mood of material existence being unpleasant. (also, xander impulsively chowing down on food speaks to him probably not being ready for commitment) (2) i think this whole subject was just hella daring for the show to do. having been a poor and suicidally depressed 22 year old in a fucked up sexual relationship while working a menial job, season six and episodes like doublemeat palace just ring true to me as something for a show about growing up to depict. sometimes real life really is a grind, and sometimes it really does feel profane, absurd, surreal, etc. (3) i really like the way that buffy, willow, and xander and anya’s stories all fit the theme of episode but in different ways. i wouldn’t say the episode is a super nuanced take on drudgery, but it does have layers thanks to the three different storylines, and it comes off as clearly conscious and oriented around its theme. there are other parallels like amy, spike, and halfrek each being influences, too. (4) there’s some cool formal execution. not all of it. willow’s story, like a lot of her mid-season-six arc, is kind of tediously on-the-nose. but i enjoy pretty much every second of buffy’s part of the episode, because the direction is so in control of it. and i like the absurdist and genre-conscious playfulness. the soylent green riff, etc.

i also disagree on your assessment of agency in the season but this post is long enough as it is. regardless, i certainly don’t begrudge you your opinion. it’s an often clumsy season. it also sounds like we enjoy things in different ways--i genuinely don’t care too much about writers contorting things in the interest of theme. i’m mainly trying to push against the implications (1) that the season was obviously just trying to be dark and grim, and just for it’s own sake or something. instead of for deliberate and interconnected artistic reasons that one could analyze and talk about, and (2) that there is some monolithic opinion on and response to it.

#s6 #sigh i tried to add a tag and the read more got messed up #man tumblr code is fucked #fyi people are welcome to respond to this but i probably don't have more bandwidth to respond back #also if it wasn't clear from like 70% of this blog i adore season six and it means a lot to me #so at a certain point 'why season six is bad' discourse just kind of makes me sad #even if i respect why people think that and agree with various criticisms

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projectjasper · 5 years ago

Text

Theory of Love: Review (& General Info)

Summary: Third is a film major, who’s been in love with his best friend Khai since the very first day of university. The problem is, Khai has a rule - he doesn’t date friends. And to make matters worse, he is a terrible player, who’s dated girls from each faculty. Will Third give up on pursuing Khai? Love him from afar? Or will something entirely unexpected happen? (Trailer)

Couples: Two mlm couples - one main, one background.

Running Time: 12 episodes - around 53 minutes each - 10,5 hours in total

Cast (& their Instagram pages): Gun Atthaphan (Third), Off Jumpol (Khai), White Nawat (Two), Mike Chinnarat (Bone), Earth Pirapat (An), Neen Suwanamas (Lyn), Sara Legge (Paan), Foei Patara (Chen), [more].

Where to watch? YouTube

Related Shows: None

My Review:

Rating: 5.5/10

Short review: Considering how I didn’t connect with some of the actors, most of the characters and pretty much all relationships, as well as with the plot overall, I found this BL kind of boring and even annoying at times. There is enough problematic moments here and there, but I wouldn’t say they’re necessarily critical. This is possibly my most subjective review to date, because most things I don’t like about this show just don’t fit me personally. And since it’s not that bad and I know that a lot of people love it, maybe you will too. So at the end of the day, I don’t recommend it, but I’m not saying you should be necessarily staying away from it either. Though, as usual, it’s obviously your own decision to make.

Extended review (under the cut):

Theory of Love is one of those BLs that everyone seems to love. It’s on everyone’s list of favorite BLs of all time, and every character favorites list features at least one person from TOL. Which is why I feel weird about not liking it.

The thing is though, I don’t hate it. I think it’s kind of alright and at times really annoying and problematic, but that’s about it. Mostly, I just don’t care about it. Like at all. And I’m gonna talk about why.

So, the cast of TOL is stellar, in my personal opinion. At least, at face value it is. There’s extremely popular familiar faces, like Off, Gun, Earth, White and Neen. New faces that truly captivated me right away, like Sara, Foei and especially Mike. And, most of them lived up to my expectations. Off is still good, Earth is still as perfect at subtle acting as he’s always been (which is especially helpful this time around), everyone is just truly great. Well, with one exception. And I should’ve probably mentioned this last, because he is generally accepted as one of the best actors not only in GMM, but in the BL industry in general. But, I did not believe Gun at all. And I want to mention that it’s the first time I don’t believe Gun like this. I don’t know what happened in TOL (besides, I’m sure lots of people will disagree with me), but to my mind he wasn’t real as Third at all. I don’t see him being in love with Khai. He says that he is and everything he does confirms it (like literally everything – cute moments and thoughts and looks, all the puzzle pieces are there), but I just don’t see it. And he never really manages to make me feel anything. He cries and breaks down and has a generally terrible time, and with my head I understand that this is all extremely said, but my heart stays still – I don’t feel a thing. And maybe that’s why I never managed to like TOL that much – because I am completely disconnected with the lead. But it is what it is, you know.

The characters in this show once again make me feel conflicted. Third’s personality is far more sarcastic and blunt than other BL mains’ – and I do like that. Khai, on the other hand, was first unlikable to me and like really annoying, and then after feeling a little bad for him closer to the end, my pity sort of cancelled out my hate and they met in the middle, making me just not care for him at all. They do try to give background characters a little more depth just by having one-two conversations with them alone, but it feels kind of forced – like they knew they needed to make them more real, but they did it so mechanically that they ended up being even more fake. Thus, the most memorable and likable characters to me ended up being the ones we know the least about – An and Chen.

The friendships in this drama are good and bad all at the same time. I don’t think I have to mention that Khai is a terrible friend, but it’s meant to be that way, so that was handled perfectly. I was never really sure why anyone was friends with him in the first place (or at least anyone who isn’t Third, because love is blind), but that happens sometimes – we get stuck with shitty people, so whatever. I can see how that could happen. Otherwise, friendship in TOL is kind of a one-way train. It’s a great modern train with all luxuries, but it only goes one way. What I mean by that is all background characters like Two, Bone, An and Chen are amazing friends to Khai and/or Third. Their relationship is truly detailed, they apologize, help, notice things, talk - just do things friends do. But, Khai and Third don’t return the favor. And I could understand why that happens with someone like Chen or even An – they aren’t really POV characters in any instance in the show. But, Bone and Two have their own real storylines and things happening in their lives, which the viewer follows and is invested in. But Khai and Third don’t know about them, because they just never even ask how their friends are doing. Which sucks.

The romantic relationships in this show are (mostly) a mess. Khai and Third’s “bond” is nowhere near being profound – it’s toxic, damaging and disappointing. At the end they do get together and “Yay!” I guess, but I don’t see them truly resolving their issues (or realistically staying together for long). For example, Third clearly still doesn’t trust Khai and it’s mentioned for the drama, but then it’s never truly resolved. Bone is thrust into this weird thing with his professor – and thank gods he didn’t end up with her, but it was still really unnecessary in my opinion. An and Two are sort of a beam of light in this whole relationship mess. Overall, they have a pretty good storyline – its complicated enough and simple enough in all the right places. There are things that are kind of related to An and Two that kind of make me mad – for example, the way Two tries approaching Lyn. But, mostly it’s good. I especially liked how their connection was subtly established from the very beginning – and looking back at it (or rewatching it), you can see some clear signs.

The overall plot is kind of good. It can be funny and even self-aware at times, though there are a lot of unrealistic, stupid, nonsensical things there as well. The only real specific criticism I have is that background storylines don’t seem to exist outside of background storylines. There is a lot of examples with AnTwo specifically. The KhaiThird and AnTwo plots are sort of intertwined, because An is Third’s friend, as well as Khai’s supposed rival (because everyone thinks An is approaching Third), and obviously Two is Khai and Third’s friend, who is directly involved in their relationship. So, there are moments when – for example – Khai is jealous of Third and An, Two is there (at the time, already realizing he feels something for An, or that he is at least important to him), but he is completely unfazed, as if this doesn’t have anything to do with him at all. Which, even if he was approaching it all “maturely” or trying to hide his real feelings, there would still be some sort of minor reaction. And there’s just none.

The theme of someone confidently believing in something and it not being true is present multiple times in this show. And usually, when a story does that, it’s quite complicated. All the facts are carefully established so that the viewer believes the lie, and then when the truth is revealed, the viewer looks back on the story and sees all the clear clues to the truth that were given, as well as just how and why they’ve misinterpreted every detail that led them to believe the lie. This all is very hard work that requires some smart, careful planning. Which TOL didn’t do. An truly seems to be into Third and there is no other way to interpret some of the things he does with him, and Khai truly does act really flirty with Third in the beginning, which can only be interpreted as him trying to approach Third, which was not true at the time. (Even if he subconsciously liked him, that was legit planned flirting – not subtle things that could reveal his true feelings). It’s clear that this is all done for the drama with all disregard to why this trope is usually used. And there is many moments where something really nonsensical and completely inexplicable happens just to further the drama. TOL is drenched in plotlines like that – and there is nothing I hate more than unnecessary drama.

The movie theme is present throughout the whole show – both directly and indirectly. They do connect everything with movies quite well, and the cinematography choices are more meaningful than they usually are. The way shots are set up, the subtle details that are hidden in camera work and setting specifically – all of it is quite artistic and careful, which makes me think it was done specifically because of the relating themes of movie making in the show itself. The only thing I didn’t really like was how much the things that were happening was compared to “how as if it was all just a movie”. It was ironic the first couple of times, but stupid and repetitive the next hundred.

LGBTQ+ issues aren’t really touched upon in the show. But, when they kind of are – it ain’t it chief. Khai’s friend telling him he couldn’t possibly imagine “a dude like him being into another dude”, Khai feeling uncomfortable with imagining a date with Third similar to the ones he takes his girlfriends to, and the ever present intimacy problem, which mostly belongs to AnTwo here (boyfriends kiss, GMM – they do). Now in certain context or with some explanation, these might’ve been better, but there is no good context or explanation here – it’s just Bad.

There’s quite a few other problematic moments in this show. A lot of them are connected with Khai and Third. For example, Khai physically pins Third down when he’s trying to talk to him, while Third cries and screams to let him go. After receiving a “no” over and over again, Khai asks Third to be his boyfriend once again – this time in a public place, making a big deal out of it, with everyone chanting “yes”. Khai also admits that he sees all the girls he’s with as an object – which in the context is positioned against Third, who he sees as a person. It’s made to look romantic and special, but it’s just some kind of a new fucked up version of “you’re not like other girls”. Also, and this is slightly less serious but very annoying to me, Bone’s new girlfriend was introduced at the very end of the series. And by introduced, I mean “Here’s a girl, she’s Bone’s girl” – and that’s the entirety of the introduction. It has no value or meaning to the viewer and seems to send a message that Bone’s story could only have a happy ending, if he ended up in a relationship as well, which is obviously a shitty fucking message. I would’ve preferred him staying single.

Finally, talking about some small details that caught my attention. The main quartet is a very stereotypical teen movie gang, but I think that’s intentional and it does fit well. They’re also third and forth years, which is kind of unusual for BLs, so that’s pretty cool. I do love the style – I want all their outfits and hairstyles like right now. The sound choices are not always the best, but the music can be pretty nice. There’s quite a few metaphors here and there – and they’re actually good. But, there’s not nearly enough attention to detail sometimes. The kisses are really good – no doubt about that here. And, surprisingly, they address the fact that kissing someone out of the blue is not ok multiple times, which is really great (and – let’s be fair – pretty unexpected, which makes it even better).

Overall, as I’ve said before, I don’t really hate this show. Despite criticizing it, I mostly just don’t care for it. It isn’t a BL I would recommend to someone, but if I was actually asked, if someone should watch this specific BL – I would say “Sure, why not”. It’s not that bad and I know that a lot of people love it, so maybe you will too. So at the end of the day, I don’t recommend it, but I’m not saying you should be necessarily staying away from it either. Though, as usual, it’s obviously your own decision to make.

#my most controversial opinion is in my dudes kgjskldfjlkdjf #theory of love #archer's bl recs

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lezziemanville · 5 years ago

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Anne with an E - Season 1 Watch Thoughts

(Rife with spoilers)

The cinematography for this show is gorgeous, as is the location itself and the color grading. I mean the browns and the reds are so rich and contrast the white of Green Gables and I’m just constantly in awe. Sometimes I forget to watch the actual show.

Anne, at first was annoying to me. And even though Anne of other series also never stopped talking in that precocious imaginative manner, this one made it somehow more obnoxious. However I stopped caring about that and I think she settled down a bit by the end of the first series. By episode 2 it was endearing again anyways.

Marilla was always a favorite character of mine and I couldn’t imagine her played by anyone else but Colleen Dewhurst but dear god Geraldine James has surpassed her in my mind as perfect for the role. She has this extra layer of vulnerability and I can’t really look away from her when it’s an emotional scene. She nails it really and makes me want to know much more about her backstory.

Matthew. Omg Matthew. First off it took me a few episodes in to realize it was the same actor who played Jasper Dale in Road to Avonlea. What a contrast here! But beyond that, he’s a fine actor and I love the way he plays Matthew. Gone is the stutter that Matthew kind of had, but in its stead is this larger presence that’s felt in Green Gables even when he’s working the fields. Also the romance with the buttons and that gorgeous dressmaker — fuck me I ship it.

Rachel Lynde — okay this actress, give her all of the awards. What a fabulous portrayal of Rachel! Immediately I had my dander up because she doesn’t look anything like Patricia Hamilton who in my mind has always been Rachel (and was in almost every iteration) but Jesus — Corrine Koslo is slaying. I instantly love her. I want more of her. Every time she’s on the screen I’m totally enthralled because something funny, or touching is going to happen.

The kids - I don’t care anything about as per usual. The Josie Pye isn’t as obnoxious as she has been in the past but I’m sure that will change. Gilbert’s a little too nice to Anne straight away, and that feels off to me but whatev. I don’t care about the kids beyond Anne so insert shrug emoji here.

Some of my favorite moments of the season that I can recall right now are:

The Cuthbert Family Bible with Anne rewriting her name and making them have a ceremony and all of that was so touching.

Gay Aunt! I love the addition of Aunt Josephine (I think her name was) and the subtle nod to the maiden aunt situation of gays on by.

Marilla’s backstory and choice to stay and help her family rather than to go off with the man she loved and for that man to have been Gilbert’s dad. Ugh my feels, especially when she was reading the letters. It’s all a testament to how great Geraldine is, IMO.

Matthew and the Dressmaker — wins my favorite moment of the whole season. My wife and I screamed aloud when he sent the button. Also her willingness to help Anne in their time of need. And when she went to Matthew and Omg I need more of this.

Rachel Lynde gossip extraordinare knowing everyone’s shit. Also I thought she was a widow in past versions of this but her little moment with her husband in the kitchen showing they’re still in love was just so fucking great.

The White Way of Delight is extra delightful this go around.

Anne’s trauma. This is so important to showcase and I think the flashbacks help to show why she does what she does. And on that note when Marilla goes to that woman’s house and flays her alive with class and grace for not having compassion for what Anne’s been through. We gave her a literal standing ovation in our house.

Anyways I’m obsessed with this show and I will write more thorough opinions for next season which we just began last night.

#anne with an e #anne shirley #marilla cuthbert #matthew cuthbert #rachel lynde #spoilers

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moonlightmadnessreviews · 5 years ago

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Scary Stories to Tell in the Dark: PG-13 Horror Done Right

This review is meant to scare viewers out of missing the movie discussed therein. At the end of the review, pause and then scream at the top of your lungs to make sure your friends know to go see it! Directed by André Øvredal and produced by Guillermo Del Toro, this summer’s Scary Stories to Tell in the Dark has found more ways than one to make the monsters of our childhood leap off the page. Like many movie-goers my age, I was an avid fan of the Scary Stories series of books, so I was more than a little excited to see how this movie would adapt the creepy tales. The end result is a fun, PG-13 ride that accomplished the same goal as the books, which is to turn young kids into fans of horror and the macabre!

Author Alvin Schwartz first published Scary Stories to Tell in the Dark in 1981. A collection of camp fire ghost tales, folklore and urban legends, Schwartz found a way to make scary stories accessible to a young audience. I can still remember walking up to the books at each year’s book fair, flipping through the pages of the book and putting it back down once I’d sufficiently creeped myself out. I wouldn’t be brave enough to check one of the books out of the library until just before a road trip to Niagara Falls in my early teens. I read the stories the whole way there, transfixed by Stephen Gammell’s illustrations, which have become just as iconic as the stories themselves.

The movie follows teens Stella, Auggie, Chuck and Ramón as they explore the home of local legend Sarah Bellows, accidentally unleashing her vengeful spirit and the book she uses to curse the local town’s folk of Mill Valley. The cast of young actors did an exceptional job through out, getting a few good laughs, great scares and quite a bit of emotion from their performances. Michael Garza stars as Ramón, Gabriel Rush does a great job playing the “everything has a ration explanation” character of Auggie, Natalie Ganzhorn and Austin Zajur play siblings Ruth and Chuck respectively, Austin Abrams plays obnoxious bully Tommy and Zoe Colleti stars as the shy but strong final girl Stella. Along with creating some great scares and good tension, I loved seeing how Dan and Kevin Hageman‘s screenplay dealt with themes of alienation. Ramón faces racism and sideways glances, a member of the Bellows family staff is blamed for teaching Sarah black magic (much like in the Salem Witch Trials) and Stella deals with her mother abandoning her and her father, played by none other than Dean Norris. The only heavy handed performance came from Zajur who serves as the comedic relief, though I feel that may have more to do with the script itself. At time it feels like he was directed to act as dopey as possible to help sell the comedy but as heavy handed as it was, it never felt annoying.

A spooky atmosphere was achieved throughout with the help of music by Marco Beltrami and Anna Drubich. The film captures the same kind of wonder and fear felt in the books through beautiful and haunting cinematography from Roman Osin. Øvredal, who’s previous film The Autopsy of Jane Doe is a must watch, manages to give the film a wonderfully gothic look, especially within the home of Sarah Bellows. The set design reminded me of Guillermo Del Toro’s Crimson Peak, and you could almost smell the pumpkin spice and burning leaves when exploring the town of Mill Valley.

I couldn’t get through this review without mentioning the amazing special effects work. I’m a huge fan of practice effects, as I feel it helps to get a genuine reaction from actors when they have a physical horror to react to and, when done well, the effects look amazing on screen. Veteran special effects artist Norman Cabrera and effects studio Spectral Motion helped to recreate some of the most iconic monsters from the book series with striking accuracy. It also helps that they had the talented, and horrifying, Troy James as The Jangly Man and Javier Botet as a corpse in search of their big toe, each bringing amazing physicality to their respective monsters.

Re-reading the books in preparation for the movie, I was surprised by Schwartz refusal to pull his punches when it came to the scares. Furthermore, though the set up and delivery of the stories were rather simple and to the point, it never felt like Schwartz was talking down to his readers. The series is really rather adult for a being a collection of what were scary stories for children. Though the movie takes a similar approach, there is a fair deal of hand-holding and exposition. You can tell they’re trying to make the film easy for its intended PG-13 audience to follow. I wouldn’t say this aspect of the movie can be overlooked, as it’s fairly blatant in some parts, but its excusable as it doesn’t feel insulting to the audience.

This is certainly balanced out by the fact that the scares really push the boundaries of the film’s PG-13 rating, the “Teenage Scarecrow” scene being a great example. I originally expected the movie to be an anthology akin to movies such as Creepshow or Trick r Treat, but I’m glad they came up with a way of weaving individual Scary Stories into the overarching plot. Del Toro himself said they decided against an anthology because:

“Anthology films are always as bad as the worst story in them — they're never as good as the best story. I remembered in Pan's Labyrinth, I created a book called 'the Book of Crossroads'. I thought it could be great if we had a book that reads you, and it writes what you're most afraid of. Then the theme became stories we tell each other."

While horror movies seem to be more mainstream than ever, more and more cash grab horror movies are being released (see The Curse of La Llorona, The Nun and The Bye Bye Man) in an attempt to capture the PG-13 crowd. These movies are often filled with vacant characters, horrible scripts, and nothing but jump scares that lead to laughter rather than tension. This is exactly where Scary Stories to Tell in the Dark excels! A movie that knows it’s audience, builds tension and uses jump scares as effectively as possible with characters you actually care about, Scary Stories is a refreshing horror movie for young audiences. Øvredal and company have shown that it’s possible to create a “Baby’s First Horror Movie” experience without being mindless and vapid. Like the books the movie is based on, I’m excited to see younger audiences really latch onto this movie and develop a love for horror because of it.

Rating: 4 Full Moons out of 5 🌕🌕🌕🌕

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sprngdayv · 5 years ago

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ao3 fic recs!

basically just a list of all the fics i read sorted by ship c:

jikook

riptide | 62k + mature

Jeon Jungkook is still just a kid when he sets out for Seoul. He knows about the tall buildings, the maze-like roadways, and dorm life he's signed up for. He expects the difficulties of being a trainee, finds it in the holes of his worn out dance shoes and countless sleepless nights. But what he doesn't expect, could never expect, is meeting Park Jimin.

It's then Jungkook realizes that there's more to learn in Seoul than dance choreographies: about growing up, falling in love, and about himself.

---

A three year story [2013-2016] of coming together, breaking apart, and putting each other back together again. Jeon Jungkook learns about change, growing up, and the hardships of falling in love with a friend.

wonder | 7k + teen and up audiences

"You see, one loves the sunset when one is so sad." -- Antoine de Saint-Exupéry, The Little Prince

constraint | 40k + explicit

Jungkook is young and he is more acquainted with confusion and poor-decision-making than he’d like to admit. Despite being only 19 years old, he sometimes argues that he’s been through and seen some shit. He is never sure where he’s going to end up and he’s not entirely sure what kind of future is waiting for him. He is often not sure of a lot but he is certain—absolutely certain—that he’s not gay. Alternatively, a story in which Jungkook meets Park Jimin and doesn't like him whatsoever. There's just something about him... there's just so much about him. Jungkook really can't stand him. In fact, he can't stand him so much he can't quite seem to get him off of his mind.

imperfectly perfect | 205k + mature

Jungkook just moved to Seoul and comes to a new school. He's quite naive and believes that there is good in everyone. He loves photography and always carries his camera with him. He thought his life wasn't going to change much, even though he had moved to Seoul.

However, that changed, when he took a picture of a certain orange-haired boy with the brightest eye-smile he had ever seen.

there for you (love is a road that goes both ways) | 32k + teen and up audiences

Jimin needs a place to stay and Jungkook has a spare room.

picture (not) perfect | 50k + mature

Jungkook's conceptual photography professor gives him a new assignment, and he finds a unique muse. A dancer named Park Jimin, who he can't stand.

you are the ruler of the stars (and my heart) | 18k + teen and up audiences

Jimin reluctantly joins his college's Space and Astronomy club on the basis of Taehyung's persuasion. Surrounded by a group of unnecessarily tall space nerds, he unexpectedly finds himself falling in love with one of them.

red string of fate | 17k + teen and up audiences

There’s a Chinese legend that says two people are connected by a red string around their pinky finger. Said people are meant to be together, no matter what happens in their lives; even if they find themselves going their separate ways at one point, the string never breaks and their paths will always cross again.

The one where Jimin and Jungkook were best friends until a confession turns everything upside down. They meet again two years later but things have changed… Or have they?

“I can’t believe it took Jungkook having his ass handed to him on a golden platter for them to sort this shit out.”

these things take forever (i especially am slow) | 4k + mature

In which Jungkook does his level best to be a functioning person, but then Jimin shows up to school in a fluffy oversized sweater skimming the tops of his gorgeous thighs and clutched around his tiny hands like sweater paws, and everything goes to shit.

in which Jimin overworks himself and Jungkook waits up for him | 1k + general audiences

Jimin drags his feet toward the kitchen where the light over the sink remains on. He’s focused entirely on the fridge and thinking about downing one of his chocolate protein shakes when he spots Jungkook slumped over the kitchen table, his head resting on his arms and a blanket over his shoulders.

(alternatively titled: "what are you doing up?" / "waiting for you.")

baby lotion and marigolds. | 16k + general audiences

Jungkook over the years kept his friend at arms distance, from his first day of Kindergarten to his second year in Junior High, never letting anyone get too close, literally and metaphorically.

But then there was Jimin.

God, Jimin.

A ‘even-the-teachers-think-we’re-dating-AU’

just give me a reason | 7k + teen and up audiences

Jimin shows Jungkook the reasons why he needs a girlfriend, and the one reason that he doesn't.

friendly favours | 76k + teen and up audiences

Jimin and Jungkook have been friends for a while now, and that's all they've ever been. Friends. And friends do favours for each other all the time, right? So whenever Jungkook asks for a favour, Jimin always says yes, even when this one particular favour involves pretending to be Jungkook's boyfriend for the next two months. But hey, that's what friends do...right?

artifice | 51k + mature

Taehyung is oblivious, Jimin concludes. Absolutely dumb. It’s hopeless.

Or in which, Jimin gets some help from Jeongguk in order to impress his crush who clearly could use some glasses because Jimin is as transparent as they get.

you don’t bring me flour | 3k + general audiences

In order to graduate, Park Jimin must convince cute grocery cashier Jeon Jungkook that this sack of flour is his beloved child.

not alone | 30k + mature

Jungkook ends up with a baby somehow and his best friend, Jimin, helps him raise it while they both manage new feelings, along with other challenges.

your body is a place to stay | 8k + teen and up audiences

In which Jungkook juggles a five-year-old daughter, Jimin the pretty bookstore employee, and coworkers who like to tease him too much.

who would have thought i’d get you? | 2k + general audiences

in which jimin comes over for dinner, and jungkook and seoyeon try to impress.

(follow-up to your body is a place to stay)

pause, rewind, play | 3k + general audiences

Jimin doesn’t know why it starts. Maybe it’s the eightieth post he’s seen today about him being rejected by Jungkook. But whatever the reason, Jimin starts to not care anymore.

we’ve got chemistree | 19k + teen and up audiences

“Look, my brother invited me to his jolly-ho party next week and I may or may not have also told him that you’re my boyfriend when you’re not actually my boyfriend and that I’ll bring you, my boyfriend, to the party for him to meet just so that I can shove it in everyone else’s faces and hear the end of his and my entire family and extended family’s ceaseless mentions of my single life because it’s getting extremely annoying.”

There was a slight pause. Jungkook squints at him skeptically, “And you told your brother that I’m your fake boyfriend? Me, of all people?”

your little moon face, shining bright at me | 89k + teen and up audiences

Jimin lives an unassuming life, working at the small and quaint coffeehouse known for its reoccurring open mic nights to showcase indie performers, while he juggles between who he truly wants to be and breaking the conformity his parents try to shape him into. It's dull and grey, full of sleepless nights-- dreamless, even, how he doesn't have much going for himself. His routine is all but a fixed, tedium cycle.

That is, until Jimin meets someone interesting during one of their open mic nights.

falling for you again | 30k + teen and up audiences

Jungkook loses all memory of the last five years of his life. Jimin is scared he will never love him again.

there for you | 33k + teen and up audiences

jeongguk's best friend ditches him an hour before their plane to japan. jimin loses his ticket at the airport and isn't allowed to board his plane to japan. fate or not, jeongguk happens to have a spare ticket and jimin thinks jeongguk is an angel sent to him by god.

or in which cinematography major, jeon jeongguk, and aspiring singer, park jimin, fall in love in the busy streets of tokyo.

yoonmin

maybe i hate you can be our always | 35k + mature

When Yoongi thinks about it, really gives it genuine thought, it's possible that Park Jimin isn't the worst person in the world.

(Or, Yoongi and Jimin get off on the wrong foot.)

cleaning clam shells, raising children and falling in love | 49k + teen and up audiences

After an accident leaves him the sole carer of his four-year-old niece, Park Jimin struggles with grief, kiddy tantrums, parenthood, and trying to find himself—but after finding Yoongi within this mess instead, he realises he might not be as alone as he thinks he is.

not crying on a sunday | 125k + teen and up audiences

Min Yoongi lives in a small town with nothing but his little band of friends and basketball every Thursday until something enters his life in the form of a Park Jimin. Sure he's nothing but a timid little guy at first, but slowly Yoongi learns that the arms wrapped around his waist in every bicycle ride on the way home means more to the both of them.

love is patient, love is kind | 106k + teen and up audiences

For many people, the sky meant freedom, being a small part of the universe, a speck of dust in a long-winding infinity. The sky meant a lot of thing for many people, but for Jimin the sky was a person, a boy who both built and teared his world apart.

Jimin thought that living in a small town was nothing but a punishment that he deserved after being disowned by his parents. That was, until he learned how beautiful yet dangerous a certain scarlet sky could be, he found himself slowly falling in love with it until it became nothing but the only thing that he detests the most in his life.

An accompaniment and sequel to Not Crying On A Sunday.

when you’re in love all the lines get blurred | 36k + teen and up audiences

Jimin isn't sure what possessed him to lie to his mother and tell her that he had a boyfriend, but now that he's opened the position, he has no choice but to fill it. Yoongi is, apparently, his only option.

as you wish | 17k + general audiences

Jimin, a single dad trying to juggle two toddlers and a painful past. Yoongi, a photographer who is lacking inspiration for his next showcase. Jeongguk, a four-year-old who keeps on bringing home stray cats. Namjoon, a six-year-old who just wants to learn how to multiply fractions and read The Princess Bride for the 57th time. Somehow, it becomes a lovestory.

conflicting arrangement | 162k + not rated

"Absolutely not," Yoongi deadpanned. "Namjoon-ah. I value you as a friend, and I think I'd even go as far as to say that you're my best friend, but absolutely fucking not."

"You owe me," Namjoon pleaded. "Come on, Yoongi, it's not a big deal."

"Your boyfriend's best friend's best friend needs a fake boyfriend to come out to his family this Chuseok, all the way in fucking Busan." Yoongi repeated drily without pause, making Namjoon wince. He flipped a page of his textbook, picking up his highlighter. "Not a big deal, Namjoon. Amazing."

math tutor | 11k + teen and up audiences

Min Yoongi is the school's resident Bad Boy™. He's covered in tattoos, is pierced, curses like a sailor, smokes like crazy, doesn't give a shit about anything, possesses a hot temper that has people steering clear of him, and is desperately in love with Park Jimin, the adorable math nerd. When Jimin is tasked with tutoring Yoongi in math, who is in danger of failing the class and being held back a year, both boys are hesitant. Yoongi because he can't think straight around the boy with startling red hair, and Jimin because Yoongi is scary as hell and looks like he can easily kill someone. Gradually, though, the two grow closer, and Jimin finds that Yoongi is nothing like how he'd imagined.

out of my system | 101k + mature

Yoongi likes one night stands and he understands how they work. What he doesn’t understand, however, is how he ended up in bed with a probably-not-legal kid crying in his arms about his broken heart, because he’s pretty sure (and correct him if he’s wrong) that a babysitting job was not what he was looking for when he went to the opening of his friend’s new club.

sweet nothings | 14k + teen and up audiences

Park Jimin really hates Valentine's Day and he really likes Min Yoongi, his co-worker at the bakery and his crush of almost a year and a half. He's shy and awkward and turns into a blushing mess whenever he's around Yoongi, but he wants nothing more than to confess to him and ask him to be his valentine, but Jimin is somewhat of a coward, and he's pretty sure Cupid is out to get him. But little does he know that Yoongi has hidden feelings of his own.

look my way | 5k + general audiences

It all started when Yoongi read his own name and the word 'cute' written in the same sentence on the wall of the boys' bathroom.

But he kind of liked the way his name looked in the stranger's handwriting.

help desk ticket | 64k + mature

That one where Yoongi is the IT guy and Jimin is really, really bad at computers.

sleepovers in my bed | 12k + teen and up audiences

“You should just sleep here, hyung. It’s still raining hard.”

“Should I? My house is literally in front of yours though.”

The fingers in Jimin’s hair continue combing through the locks, soothing and gentle. Yoongi’s ministrations help him dip slowly into sleep. “Just listen to me, hyungie! I’ll make you pancakes in the morning.”

How can Yoongi say no to that?

; or Yoongi and Jimin get to know their selves, each other, and fall in love through a series of sleepovers.

untitled.mp3 | 13k + teen and up audiences

Jimin doesn't expect being suddenly evicted from his apartment right before his senior year of college. He also doesn't expect to move in with his quiet neighbor.

And he's definitely not expecting that neighbor to be his newest music teacher, Professor Min Yoongi.

the 100-day love challenge | 19k + teen and up audiences

For a variety show challenge, Jimin must tell Yoongi every day for 100 days that he loves him.

Let's get this shit started.

sweetening sugar | 63k + explicit

All Min Yoongi wants is to finish college. He wants to get through the remaining five months of his last semester, complete his final project, get his degree and get the hell out of here.

And then Park Jimin happens.

it’s the most wonderful time (of the year) | 55k + teen and up audiences

Park Jimin is only three years old when he meets cooler, older, and smarter Min Yoongi for the first time, and is immediately enamoured.

For the first time in his entire life, Jimin feels an emotion he never thought he would feel: infatuation.

Not that he even understands what that feeling means.

All he knows is that there’s a small, pale boy at the front door of his home, right under the hanging mistletoe, firmly gripping his father’s hand and his mother’s skirt as he stares unabashedly into Jimin’s eyes, rendering him absolutely speechless.

childhood best friends yoonmin growing up together and experiencing the complexities of love & relationships, as well as, the harsh realities of growing older over the years, on Christmas day

because of you | 37k + teen and up audiences

Yoongi is careless over a test and ends up with Jimin tutoring him. Yoongi's sure he's never talked to someone this much in months but he can't say he finds it as annoying or frustrating as he thought he would.

i'll be a gentleman ('cause i'll be your boyfriend) | 21k + mature

Yoongi isn’t an easy man to surprise, but kisses out of the blue and sudden boyfriend proposals can do the job.

yoonkook

my youth is yours | 10k + teen and up audiences

“What did you say your name was?” says Yoongi, after an eternity of awkward silence.

“Jeongguk,” says Jeongguk. “Um. My name is Jeon Jeongguk. I’m a freshman.”

“Oh,” says Yoongi. “Fucking hell.”

(In which Jeon Jeongguk goes to college, makes some friends, and learns he’s got a lot of growing to do.)

shake bend and break | 48k + mature

Min Yoongi takes in a stray cat. Jeon Jeongguk lives next door.

curiosity killed the cat (but satisfaction brought it back) | 11k + not rated

jungoo :3 [11:45AM] YOONGI SENPAI

yoongi [11:45AM] hey siri fastest way to fucking kill myself

(jungkook, a visual arts major, accidentally texts the wrong user and ends up finding yoongi, a music production major who just wants to sleep. they strike a bet. chaos ensues.)

here comes the sun | 57k + teen and up audiences (THIS IS MY FAV FIC OF ALL TIME PLS READ IT)

“hey, hyung,” jungkook says in a tiny voice into his ear, “how are you? it’s been a minute.”

“it has, hasn’t it.” it’s been two years, which is not hard to believe, because holy fuck— “you got, um. tall.”

that’s not really it. jungkook was already taller than yoongi two years ago. and it’s not a drastic change by any means. it’s just that everything about him is… more. yoongi refuses to think of other words for it.

(or: yoongi comes back to summer camp and finds himself in something of a crisis.)

party tattoos | 24k + teen and up audiences

For a fleeting second, Yoongi doesn’t do anything. His features settle into an expression of softened worry, pretty eyes bleeding questions, the smooth line of his jaw cut sharp.

Then, just as if he’d been doing it all along, Yoongi is hugging him.

Alternatively: Yoongi finds Jeongguk having an anxiety attack in the middle of a party, and manages to catch a few feelings along the way.

draw the future you have dreamed of (give it colour) | 13k + teen and up audiences

Jungkook was supposed to be on his way to a lecture that's starting in ten minutes, oh, wait, nine minutes and a half now, yet he found himself in the middle of a huge supermarket, helplessly wondering if they sold there some handbooks titled How to Handle a Lost 5-Year-Old That's Crying Her Eyes out Right onto My Hoodie and Is Not Able to Tell Me Where Her Parents Are 101.

with a bang (stunted plants can bloom) | 24k + mature

namjoon [1:12] so you met jimin and taes roommate last night

yoongi [1:15] …...yeah

namjoon [1:15] met him real good

yoongi [1:16] oh my god

what not to do when you find yourself falling for the guy you almost slept with but then didn’t because he turned out to be your friends’ roommate: a guide by min yoongi

time will be frozen for us | 11k + explicit

The first time it happens is an accident.

Well, more accurately, the first time it happens is because Yoongi is a giant pushover and Jeongguk’s scrunchy nose smile could get him to walk through an ice storm in the dead of winter, even though Yoongi hates being cold more than anything.

Yoongi acknowledges this ‘softness-toward-Jeongguk-truth’, albeit not to Hoseok, Namjoon, and Seokjin who pointed it out—

(“If he said he needed to, like, knife you for a project you would let him.” “I would not.” “You genuinely might.” “You totally would.” “You’re legitimately considering if you would right now.” “Would all of you kindly fuck the fuck off.” “You’re irritated because it’s true, Yoongi-yah.”)

----

(or yoongi and jeongguk fall asleep in some beds together and then there's a lot of metaphors, low key skinny love cliché, somewhere between slow and fast burn, and then kitchen counters and lotsa touching)

twenty-four | 20k + teen and up audiences

“i’m doing a social experiment and writing about it,” taehyung says easily. “i decided to handcuff two people together for twenty-four hours and have them report back to me on the experience. you guys are an ideal pair for this, really, because of your contradictory lifestyles. kookie goes to the gym every day, yoongi hasn’t seen the sun in what, four years -“

“jungkook has a semi-healthy sleep schedule, and yoongi texted me at two a.m. asking if i want to grab dinner,” namjoon supplies.

“i am the pinnacle of health,” yoongi snaps. the handcuffs clink as jungkook lifts their arms.

“so you just. handcuffed us together while we were sleeping?"

slowly drifting to you | 32k + teen and up audiences

A stranger argues with him over cat ratings on his own damn blog, and Yoongi wasn't expecting it to be the start of a friendship, but here they are.

(Or: Namjoon, Hoseok, and Yoongi run a travel blog, Yoongi's been running for three years, and Jungkook is lonely in Seoul.)

home is (this house and the people in it) | 83k + explicit

“okay,” namjoon says slowly, “you can’t just drag strangers home with you because they tell you their name.”

“we didn’t kidnap him. he is here very much of his own volition,” taehyung pipes in. he slaps at jeon jungkook’s shoulder. the boy looks sort of pained, and yoongi can’t blame him. “we met him at a street corner, near jimin’s work. it was raining, and he didn’t have an umbrella, and he was looking kind of lost, so we asked him to come with us.”

“and you just went with them? two strangers? them?” namjoon stresses, and jimin and taehyung look kind of uncertain, like they’re not sure whether they were just insulted.

jungkook merely shrugs.

“you end up doing all kinds of shit,” he says, and yoongi perks up at the sound of his voice, “when you live out of your car.”

or: jungkook stays for a night, and then ends up staying a lot longer.

fool me once | 24k + teen and up audiences

Yoongi is thirty years old and alone. He's got a watered-down version of his dream job (working for a small-town paper writing fluff pieces and ghostwriting the advice column), an older sister who won't stop trying to set him up with every girl she knows, and today is his parents' fortieth anniversary.

Maybe if he was happier he wouldn't have pretended to be someone else's blind date in the middle of the train station.

good love grown | 52k + not rated

“are you haeun’s other dad? kim taehyung’s husband?”

and, you see, jungkook has never really done well in the presence of beautiful men. the man standing before him has nice slacks on, as well as a dress shirt that’s rolled up to his elbows, and he looks devastating. his hair is bleach blond, almost white, and a bit of a contrast to his outfit; something about his entire aura is captivating. jungkook finds himself staring as his brain tries to come up with an appropriate answer.

“uh,” he mumbles, eloquently. “um, yes.”

no, his mind screams at him, almost immediately after the words have left his mouth. no, no, no! he is not kim taehyung’s husband, just the thought of it sends shivers up his spine, but standing in front of this beautiful, ruinous man, he is kim taehyung’s fucking husband.

fuck, he thinks, as the man grins at him. fuck.

// or: jungkook gay panics, and has to pretend to be a dad just because he's powerless against pretty men (yoongi).

love me lights out | 10k + mature

Min Yoongi is the student TA for Digital Mix Techniques 201, aka Jeongguk's eight a.m. this semester, aka his thrice-weekly reminder that he is, in fact, gay.

That's how it starts.

take me out (we’re going down) | 20k + teen and up audiences

There are a lot of things that Jungkook expected from his junior year of college. General stress. Student debt.

He did not expect to be hit by a car.

It’s going well.

who hide from the sun | 24k + explicit

“It’s the oldest story in the world. One day you’re seventeen and planning for someday. And then, quietly, and without you ever really noticing, someday is today. And then someday is yesterday. And this is your life.”

taekook

pillowtalk (i'm sooooorry) | 9k + general audiences

Jungkook knows he made Taehyung angry, so he sneaks into his room to make things up.

[Taekook being cute]

supercut of us | 4k + mature

“I think it was destiny? It wasn’t university housing that brought us together, it was fate. He’s like, my soul-roommate.”

“So your soulmate,” says Seokjin.

“No,” says Jeongguk. “My soul-roommate. I wanna live with him forever. I think he might be the Great Roommate Of My Life.”

Seokjin squints at him.

to always follow the sun | 36k + explicit

In which Jeongguk upgrades from being his boss' frazzled and overworked assistant to prospective future step-parent practically overnight.

we’d be good, we’d be great | 25k + mature

Taehyung and Jeongguk have been best friends for six years.

operation: get taehyung a boyfriend | 14k + teen and up audiences

Jimin and Yoongi are finally dating and everything would be perfect if Taehyung would stop freaking cockblocking them. Every time Jimin and Yoongi seem to have a moment to themselves, an unintentionally oblivious Taehyung somehow ruins the moment. So Jimin devises the perfect plan; to get Taehyung a boyfriend so he'll leave the two of them alone. Enter Jeon Jungkook, a shy boy who has no friends and is Taehyung's secret crush and Jimin's new target.

fall asleep (fall for you) | 150k + mature

“They say when you fall in love you can’t fall asleep, but now that I’ve met you I feel like I finally can.”

A University AU where Jungkook and Taehyung become roommates. But Jungkook has insomnia and can't fall asleep with other people and Taehyung can't fall asleep alone.

brace face | 13k + not rated

Taehyung desperately wants to be popular and Jungkook just wants to see Taehyung smile.

hiraeth | 100k + explicit

Jeongguk has learned the hard way from the tender age of thirteen when his father pushed him down the stairs, that people are a disappointment. They always will be and so he breaks hearts instead.

Hurt people hurt people.

Jeongguk likes hurting girls, but he doesn't like hurting Kim Taehyung.

the happiest place on earth | 15k + explicit

“Oh god, Kook. Don’t tell me you’re going to propose in front of the Cinderella Castle. That’s like, extra cheesy. The most cheese, even for you.”

“No?” Jungkook laughs. Does it sound as nervous to Taehyung as it does to himself? “No, that’s corny. Definitely not.”

the time space continuum (or something) | 9k + teen and up audiences

Jeongguk's kind of sad drunk. A boy out of time. Taehyung is kind of gross. The boy who waits.

come on, lattice bond | 12k + teen and up audiences

“Hello, I’m Kim Taehyung!” he greets. “Biochem senior and your very knowledgeable senpai-slash-mentor.”

“Jeon Jeongguk,” the boy replies. “Bio major.”

Taehyung is on the quest to be Jeongguk's ultimate senpai. Unfortunately, life has other plans. (Lab!AU)

king of the library, knight of his trade | 47k + teen and up audiences

Moral of the story? Don't fuck with Jeon Jungkook or else you'll end up ruining your perfect attendance to chase his coattails.

namjin

a seokjin in shining armor | 3k + teen and up audiences

Still, Seokjin hears it, loud and clear, when someone sitting at the table next to his says, "Come on, Namjoon. We both know you're not really gay."

Seokjin freezes, chopsticks halfway to his mouth. Because what?

(An "I overheard someone making you upset by saying you can't be queer so I decided to pretend to be your significant other" AU.)

a sugar coated pill and a come pick me up | 25k + teen and up audiences

As Namjoon stood slightly removed from the scene, bemusedly watching the six-year-olds swarm around his cooler (which he had borrowed from his mom), he didn’t even notice that someone had sidled up next to him until he heard the tiny, but undoubtedly exasperated, huff.

He followed the sound, turning his head to the right. A guy was standing there, arms crossed, lips pursed. He let out another huff, louder this time, but only slightly.

Namjoon refused to acknowledge him. What the fuck was this guy’s deal? Was he really that bitter that his six-year-old just lost a soccer game for six-year-olds?

One more huff from the guy.

He was beginning to think this guy’s lips were just perpetually pursed and would simply never, ever unpurse themselves, when he, the guy, finally unpursed his lips to speak.

“I just think it’s pretty irresponsible to bring Gatorade to a soccer game for first graders,” he said, huffily, “No offense.”

(or: namjin are soccer dads who fall in luv)

taegi

all these sleepless nights | 62k + explicit

Yoongi is a writer whose life is falling apart around him.

Until one day he sees a stranger reading his book and everything changes.

because fries and mixtapes | 6k + not rated

Yoongi works the graveyard shift at a fast food restaurant while trying to make it big. Taehyung has insomnia.

sope

same damn hunger | 40k + explicit

When it comes to fucking around with his best friend, Yoongi follows two rules:

1. They must be inebriated.

2. They must not kiss.

#bts #ao3 #yoonmin #jikook #bts ao3 #fanfic #yoonkook #ao3 rec

13 notes · View notes

phoenix-downer · 6 years ago

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The Keyblade Graveyard Part 1: Japanese and English Comparison

This is the fifth in a series of translation and analysis posts I’ve done about KH3. I’ll be talking about KH3 in the context of Westerns, briefly touch on a possible connection to jidaigeki, go into detail on camera angles and camera shots, and, of course, discuss translation and the social aspects of language.

I’ve broken up this analysis into multiple parts because it was getting so long. This part will cover Aqua and Ven’s interactions with Terranort, the next will cover when he attacks Lea and Kairi, and so on and so forth up through when the Demon Tide sweeps Sora away.

Here’s a general key for the kind of analysis I like to do:

JP: Official Japanese Dialogue

EN: Official English Dialogue

TR: My Translation (usually more literal and thus more stilted than the official English version. I’m not using natural-sounding English in order to stick as close to the Japanese versions of the lines as possible for the purpose of analysis)

Notes: things I found interesting, grammatical points, extra thoughts, etc.

One last note: media doesn’t exist in a vacuum. Every work of art must be viewed through the cultural lens of the people who made it. Kingdom Hearts, for all its ties to Disney, is still very much a Japanese game, so it should be analyzed in light of that.

With that in mind, let’s continue.

Terra’s introduction is like a cowboy in a Western with the dramatic smoke:

The cinematography of this whole scene strikes me as inspired by Westerns and/or Samurai cinema (chanbara, a subcategory of jidaigeki, or period films). The two genres of film have had a large influence on each other (Akira Kurosawa’s classic Seven Samurai was remade as The Magnificent Seven in the US, for example, and Akira Kurosawa was a fan of the American director John Ford), so this speculation might not be that far off.

This screenshot from the trailer for Seven Samurai, for example, shows a similar “dramatic smoke/dust” moment, which makes me think that this may be a trope in Samurai cinema as well:

The setting of the Keyblade Graveyard itself calls to mind the setting of a lot of Westerns, with its smoke and dust and craggy hills and desert. The conflict even takes place in a graveyard, much like the final standoff in The Good, The Bad, and The Ugly, one of the most famous Westerns of all time (technically a Spaghetti Western, or a Western made in Italy - in this case directed by Italian director Sergio Leone):

Anyway, continuing on. Terra is here, but he’s looking at the ground and not making eye contact with anyone:

Ven is the first to notice him, and he calls his name...

JP テラ！

EN Terra!

TR Terra!

...before taking off after to him, which stresses Aqua out (and rightfully so - can you blame her for being on edge about everyone’s safety here, especially Ven’s?):

JP ヴェン！

EN Ven!

TR Ven!

We get this wide shot of Ven running to Terra while he just sort of stands there:

There are a number of shots like this in the scene that really emphasize the scale of the conflict by showing how small the human players are compared to the setting.

This ties in well to the theme that the characters cannot change their fate - they’re just playthings of it. The Keyblade Graveyard will still be there long after they’re dead, much like how it is still here after all the people who fought in the Keyblade War died. And while Sora does later change fate, he has to face the consequences. Death claims its prize in the end.

Ven latches onto Terra’s wrist, and the camera focuses on their hands:

And then we get this over the shoulder shot that is also at a bit of a high angle to emphasize Ven’s vulnerability:

JP テラやっと会えた！

EN Terra! We found you!

TR Terra! We could meet at last!

Notes: The Japanese phrasing is a little different than the English version, but the same general meaning gets across. Ven is excited to see Terra again. His use of yatto implies it’s been a while, and he uses the potential form for meet, hence why I translated this as “could meet” despite how awkward it sounds in English.

We get this reverse over the shoulder shot from a lower angle to emphasize Terra’s greater size and strength compared to Ven:

Now, Aqua has Seen Things™ in the Realm of Darkness, and she is quick to ask if this is really the Terra they know and love. No doubt she has in mind the time they met in the Realm of Darkness and Xehanort took control of him:

JP テラ　本当にテラなの？

EN Terra, please say you’re in there.

TR Terra, is that really you? (Literally: Is [that] really Terra?)

Notes: Japanese tends to use names more than English does, whereas English favors the use of pronouns, hence why Aqua repeats Terra’s name twice in her question in the Japanese version.

She uses the ~nano construction to check for confirmation - she wants to believe this is Terra, but she has her doubts.

We get this extreme close up shot of Terra’s eyes to emphasize that while yes, they are blue, they seem a little empty and soulless:

Something I noticed about Kingdom Hearts 3 is that there are a lot of extreme close up shots like this, especially of the characters’ eyes.

Well, as I was doing some research for this analysis, it turns out this type of shot is also sometimes called an Italian shot, named for... you guessed it, Sergio Leone, who popularized it in his Spaghetti Western films.

Here’s an example of this type of shot from The Good, The Bad, and The Ugly:

The emphasis of this type of shot is on the character’s emotions, and it serves to heighten the dramatic tension of the scene. Multiple times throughout the Keyblade Graveyard, we’ll get extreme close up shots like this that have just such an effect.

On a side note, I never noticed this many extreme close up shots in a Kingdom Hearts game before. I wonder if they hired new cutscene director(s) to work on the game who left their unique mark on it, or if the graphics capabilities of UE4 allowed them to experiment around with the cinematography more than they could in the past.

Continuing on, we see Aqua’s reaction to Terra’s soulless gaze:

She immediately moves to put herself between Ven and Terra, selfless to the end:

Ven sounds downright annoyed in the Japanese version and confused/questioning in the English version, but Aqua doesn’t care, she’s keeping him safe. Note how tense Sora is in the background:

JP 何だよアクア！

EN What gives, Aqua?

TR What(’s going on), Aqua?

Notes: Ven uses the emphatic particle yo in the Japanese version to show his annoyance with Aqua here - they’re finally all together again and yet she’s pushing him away from Terra? What gives?

The camera changes to this wide shot, once again emphasizing the epic scale of this very human conflict:

JP あなたの中にテラはいない

EN I know that you’re not him.

TR Terra isn’t inside of you.

Notes: Aqua knows the problem. Terra, or perhaps more specifically, Terra’s heart, is not inside of the body before them now. Aqua sounds angry and frustrated in her delivery in the Japanese version. She’s sick of this happening, sick of Terra still being lost to them.

Ven gasps in this next shot to indicate his surprise:

And Aqua sounds very angry/upset in the Japanese version as she commands Xehanort to release Terra. The camera angle is low again to show how Terra is towering over them, to hint at the power imbalance that we will soon see play out:

JP テラの体を返しなさい！

EN Now, let our friend go!

TR Return Terra’s body (to him)!

Notes: When Aqua was addressing Terra earlier, she used casual/intimate grammar forms. Japanese has an entire system of conjugation based on social dynamics - there are polite and casual forms of verbs, there are honorifics, humble expressions, rude expressions... all to express the relationship between the speaker and the addressee.

Aqua switches to a more polite form here. This could be because she wants to indicate social distance from Xehanort. It certainly isn’t used to be polite. This isn’t her friend; this is the man who ruined her friends’ lives as well as her own. She commands him to return Terra’s body using the honorific form nasai in a way that sounds like she’s scolding him. It’s possible she also chooses to use this particular command form as a mark of feminine speech, instead of using one of the coarser/more direct command forms at her disposal.

The camera tilts up, still at that low angle to emphasize Terra’s relative size and height advantage, and he (well, more like the heart inside of him) smirks:

We see his hair change color in a close up shot:

And then Ven’s horrified reaction. After all, he never knew what happened to Terra (as far as I can remember). The shot here really emphasizes his emotions by centering him in the frame head-on:

Fate of the Unknown has begun to play, very fitting for this scene, as Terra’s fate smacks Ven in the face (and the audience as well, for that matter). Note how everyone is ready for a fight, even if their Keyblades aren’t out yet. Knees bent, arms outstretched, or, in Goofy’s case, balled into fists:

Then we get this close up shot of Terranort’s face. His hair is fully silver and his eyes are yellow, and Mickey proclaims what has become of Terra:

JP これで１３人目ー

EN He is their thirteenth.

TR Here is (the) thirteenthー

Notes: Basically saying the same thing in both languages, just worded sligthly differently to sound more natural in English.

Dark smoke wafts off of Terranort as he finally speaks, and it’s not with Terra’s voice:

JP おまえたちはここで敗北する

EN Today is the day you all lose.

TR Here you all (will) lose.

Notes: Terranort uses the derogatory second person plural pronoun omaetachi to refer to them here. He also uses a casual form of the verb suru, indicating familiarity or, in this case, contempt. The word for “lose,” haiboku, can also mean “be defeated.”

Aqua sounds downright angry here in the Japanese version as she responds, and Ven just looks sad. The camera angle is a little off-kilter here (note how Aqua and Ven seem the same height even though they are not, and the characters in the background form a diagonal line): to indicate how “off” this whole situation is (I think this would be an example of a Dutch angle, but in case it’s not, I’ll call this kind of angle a tilted angle throughout this analysis):

JP 何を！

EN What?!

TR What!

Notes: I noticed the dialogue uses a lot of exclamation marks throughout this scene, both in the English version and the Japanese version. Emotions are running high, and all those exclamation marks really serve to show that.

Here we get a shot of Ven’s feet and Aqua’s legs...

...which is reminiscent of images and posters of famous show-downs in movies, like this one for the 1952 Western High Noon:

We even see this same sort of shot earlier in this scene, this time with Sora’s legs and Xehanort as the approaching opponent:

Once again, the framing of the shots calls to mind Westerns.

Moving on to the dialogue:

JP １３の闇にたどりつくこともなく　この場で心は肉体を離れ我が身を散らす

EN Before you even face the thirteen, every last one of you will be torn heart from body.

TR Without even reaching the thirteen darknesses, at this place (your) hearts will be separated from (your) bodies (and) I (will) scatter them (literally the bodies).

Notes: Terranort uses a different pronoun than Terra does. He uses ware, which Xehanort sometimes uses (and also sounds kind of old-fashioned), instead of the masculine pronoun ore, which is Terra’s pronoun of choice.

In the Japanese version, two different words are used for “body” here as well, nikutai in the first instance and mi in the second instance, perhaps for poetic effect and/or to avoid redundancy.

Next, he summons his weapon, which is accompanied by more darkness, and delivers this line:

JP だが安心しろ

EN But fear not.

TR But be at peace.

Notes: “Fear not” sounds a little archaic in English, as in modern English we would say “don’t be scared” or “don’t be afraid.” Over time main verbs lost the ability to move in front of negatives in English, and we insert “do” instead, which attaches to “not” to form “don’t,” while leaving the main verb in its spot.

Terranort’s use of an older construction in English like this is very effective at making him sound pompous. In modern English saying “fear not” brings up religious connotations, as a lot of well-known quotes from the Bible are based on older translations (hello, King James version) and thus older forms of the language. Terranort sounds like he’s playing at God, here, in other words. It also makes him sound older, which is fitting for an old man who stole the body of a young one.

In the Japanese version, he uses the command form of the verb suru, shiro, to command them to be at peace. This is a very direct way to command someone to do something, kind of coarse and not at all polite.

The camera cuts to this close up shot of his face:

JP χブレードはここで完成する

EN The χ-blade will still be forged.

TR The χ-blade will be completed here.

Notes: Basically saying the same thing in both languages. I like how the English version went with “forged,” though. Fitting for the whole “creating a weapon” thing.

We see, not Aqua and Ven’s reaction to Terranort’s proclamation, but everyone else’s, Sora’s in particular. He is centered in the frame here:

And then we get a closer shot of him to better showcase his reaction. His voice sounds lower here to indicate his determination:

JP おまえたちに負けることはない

EN We’re not gonna lose to you.

TR We’ll never lose to you.

Notes: Sora uses the derogatory second person plural pronoun here, omaetachi. He’s referring to their enemies as a whole as a whole, not just Terranort. Unfortunately this nuance is somewhat lost in English because we use “you” for both singular and plural second person, though regional varieties have popped up, such as y’all, you lot, you guys, youse guys, yinz, etc. to refer to plural “you.”

(For anyone wondering, yes, English did used to make this distinction in the past, much like many modern European languages still do. It was a sad day the English language lost its second person plural pronoun for various reasons that I won’t get into here, but those regional varieties I mentioned have popped up for a reason - it is really useful to be able to make that distinction between singular and plural!)

Sora uses the ~kotowanai construction here to indicate that they’ll never lose to Xehanort and his cronies. He’s absolutely sure of it. And the English version captures his casual style of speech with “gonna.”

The shot ends with him glaring at Terranort:

And the camera cuts to Terranort, making what I will call “the Xehanort look” from here on out:

We can see the Xehanort look exemplified by Xehanort himself here:

An eyebrow raised, head tilting forward, eyes looking up - a Kubrick stare to indicate he’s a little deranged.

An example of the Kubrick Stare for reference, from the film A Clockwork Orange. The Kubrick Stare was popularized by the director Stanley Kubrick for it showing up in a lot of his films:

That is a dramatic contrast from the types of faces Terra makes:

Using Xehanort’s expressions with Terra’s body makes it very clear Terra is not the one in control here, as to my knowledge Terra never makes the Xehanort look. It’s also very unsettling to see Terra acting like Xehanort. It just feels wrong, and that really comes through in how Terranort moves and reacts.

One moment, he’s there...

...and the next, he’s gone, indicated by a whooshing noise:

He can move lightning-fast, a fact the slow motion here in the next part obscures a little for dramatic effect. This has also lead to the impression that Aqua and Ven just stood there and did nothing. That’s not entirely true. It’s more like they didn’t have time to do much of anything.

Aqua does, in fact, react to his disappearance; you can hear her make a surprised noise here:

And then he suddenly reappears between her and Ven, indicated by another whooshing noise. Note Terranort’s posture, how he is bending his knee to gather as much momentum to hit Ven with as possible. The scene also goes into slow motion for dramatic effect:

And the camera cuts to him swinging his blade and speeds up a little:

Again, Aqua barely has time to register that Terranort has moved because he’s moving so quickly. Ven is in shock because he would never imagine Terra hurting him. They didn’t have much time to launch any sort of a defense, and while I think Aqua expected Terranort to attack her, perhaps, neither she nor Ven expected Terranort to attack Ven.

Because Ven is like their younger brother, or even their son. In the Japanese version of BBS he downright said he was supposed to bring his parents to Disney Town when he gave Terra and Aqua the passes, not just grownups like the English version went with. And while Aqua and Terranort have fought before, Terra has never laid a hand on Ven. Not as Terra, not as Terranort. Ven trusts him to keep him safe, to protect him. So for Terranort to attack him, well...

It’s kind of like watching a father attack his own son as his wife watches on in horror at what’s unfolding.

The scene goes back into slow-mo as Terranort’s Keyblade connects with Ven, and Ven is folded over from the impact, Terranort hit him so hard. He makes a choked sound of pain, too, like he’s had the wind knocked out of him and can hardly breathe. Note how Aqua isn’t looking in their direction yet because she hasn’t had time to look yet:

We cut to a closer shot of Ven that puts the focus on him as he reacts, and you can see the pain written all over his face:

The scene is still in slow motion as he hurtles backwards:

And then the camera cuts to Aqua to show her reaction. She slowly turns her head (still in slow-mo, remember?), and the look of shock and horror on her face is heartbreaking to see:

The camera speeds up to normal speeds as it shows Ven being flung backwards, as if this is from Terranort’s POV:

Note how Ven’s eyes are still open, he still seems to be conscious:

And then the camera cuts to a different perspective behind the characters, as if the camera is on the ground. Note how once again the ground is at an angle instead of forming a straight line in this shot to indicate how wrong this whole situation is. We can also see Ven landing on his back with his legs in the air...

...which provides enough momentum for him to tumble backwards:

His body settles on the ground in a cloud of dust, and he no longer seems to be conscious. Note his limp head:

My guess is that landing on his back like that/hitting his head is what made him lose consciousness, as he was conscious before when he was still in the air. Terranort wasn’t necessarily trying to kill him (though I’d argue hitting your head like that would probably be enough to kill you in real life if not in video games), he was just trying to incapacitate him so it would make it easier to take his heart out of his body later on.

Riku provides credence to this theory later on when he tells Sora that the hearts of their friends are still in their bodies. If Ven had died here, that probably wouldn’t be the case.

The camera cuts to Terranort, and he has a downright smug expression on his face over what he just did. The Xehanort look is back in full force:

And it makes for quite the contrast with Aqua’s look of shock and disbelief as she gasps:

We get a shot from her POV, showing Ven crumpled on the ground:

And then a close up shot of her reaction to what has happened to Ven that showcases her emotions, her feelings. This moment is framed in terms of her pain and loss and shock, showing that we as the audience are supposed to empathize with her:

We get a closer shot of Ven that fills the frame, and Ven isn’t conscious:

And Aqua has processed everything enough to finally be able to speak:

She calls Ven’s name in a downright panicked manner and leans forward as she does:

JP ヴェン！

EN Ven!

TR Ven!

To be continued...

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msawesomegeek · 5 years ago

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Avengers Infinity war/end game review

A/N: So quarantine happened, and I finally got around to watching movies again, now including giving the MCU one last chance. And spoiler alert... It didn’t truly deserve it. Also spoiler alert, and also this is two three hour reviews crammed into one, so it is gonna be a little while.

Also also, while I have seen most of the movies in the marvel cinematic universe, I have not seen Dr. strange, guardians 2, into dark world and Captain marvel.

So let’s start off with Infinity war, it had some genuinely good moments. The only plot and character arc that was outright annoying was Bruce’s. It was good it had real character developments, and a lot of relationships that were great. I thought it was funny to the right extent, and serious when it needed to be. Honestly I could have done without a lot of scenes but I understood the fact that all characters needed some screen time to be fully developed. But like, did we honestly care that much about the romance with Vision and Wanda to need the scene before them being attacked more than just a quick establishment of them kissing? I enjoyed the emotional scene genuinely, the Peter and Gamora scene was heart wrenching, and showed Thanos devotion to his goal. I had a little hard time believing he loved her enough to it being enough of a sacrifice, but it still worked.

The big scale battle was kind of annoying but I will get into that later.

The cinematography was fine, I enjoyed how colourful they allowed space to be, and that the lighting for the most part was not grey and gritty.

There were a lot of plot holes in this movie, like why did Thanos forget all the crazy powers he had in the Gamora Peter scene and not use it in the battle later? The problem with this is also that power differences is so weird, and non consistent. Like in the battle with Thanos, strange, Spidey and Tony, how do any of the three heroes have a chance against someone who can manipulate the rules of reality? Like Strange, maybe, but the two others? Not a chance!

The stones themselves raise a lot of questions. Like if he can control time and space, why not bring Gamora back the second the gets the soul stone? Or go back to a time when the rule that you have to do that does not apply. And in End Game, why not just kill baby Thanos? Why doesn't he go back in time to make sure the avengers do not get in his way in the first place?

The Loke death in the beginning felt so... Pointless? Seriously? Why has Loke been apart of anything in the MCU up until now? His arc has been pointless, and when he dies it is within the first 10 minutes, so it’s like: Oh, Loke is in this. And he is dead again. But because he has been “Dead” before, it does not resonate! And that is a general annoyance I have with these two movies, the stakes are non-existent. We know which characters have movies coming up, so we know who is going to survive in the end and who doesn't. So when they die, it doesn't have any impact!

So the movie is pretty good, it has some real emotional hits and some genuinely funny scenes, but it also leave you confused during some scenes. The thing I enjoyed the most about this movie, is the fact that Thanos won. The fact that the good guys lost, is amazing! Because after seeing them win challenge after challenge over 20 films, it was great to actually see our heroes lose, actually lose.

Onto End Game, to say that this is the worse of the two is correct. The movie for a two parter movie does hold up as movies on their own, which is great considering how all other movies split into two parts are as stand alone movies.

The colour grading in this movie is just weird, and a lot of times, it is weird looking at and clear that it was shot on a green screen, and usually an unnecessary green screen, for my taste. This combined with lack of playing with colour in this movie, everything just visually seemed gray and boring. No shots were interesting, they never played with the pacing of anything, it was all just regular film making, which is okay, but honestly bland. Even the composition of the everyone avengers assemble shot is so messy it does not evoke the amazing comic book front page style it could have been.

End game has a lot of big problems, and I might go into more of a ranting terrortory than actual reviewing, and for that I am sorry. But it has a lot of problems. The character arcs are so rushed and you never get time to absorb anything emotionally or care about anything that is going on, because then we immediately cut to another character, and we have to be completely invested in them. Thanos role in this movie was weird, while the first half of it was earned the rest of his part in the movie seemed forced. But what I think both movies got wrong about Thanos, is that they cut out death. Which is a shame, because a big part of his character and motivation is his love affair with mistress death. Hell they even put it in as an easter egg the first time we ever see Thanos! And his philosophy combined with his love and romance with death, would make sense, but they completely missed that opportunity. Which would also give more impact to him killing people more than just morals, and make him a more dimensional character.

The three biggest problems this movie has is pacing, tone and character arcs. Along the same lines of infinity war, the pacing is a little better in the first movie, but all over the place in End game. And the problem is because the pacing is so quick and everything needs to progress so quickly, everything just seems so rushed, and everything that was supposed to be an obstacle was basically solved in a super easy barely an inconvenience kind of way. The problem with the pacing is also that it rushes the characters. Meaning every time something happens to any character, any tension and character development, hell even emotional impact that could have had is cut short to cut to another characters arc. And even if it is not like that, the harsh editing in the movie ensures that any emotion any scenes hold is immediately undercut by something. Like, wow Hawkeye has lost all sense of morals and Natascha can't talk sense into him, but his surface is beginning to crack, that is interesting, let’s immediately cut from that to Thor opening a beer!

The only things that were actually given any kind of consideration to the pacing in this movie was when Scott came back, and the funeral scene, and maybe the fight scene in the end. Every thing else in this entire movie is so weirdly paced! Like, oh boy the stakes are high, I wonder if we will ever be able to figure out this time travel thing. 5 minutes later, Iron man comes out of a car and deus ex machina’s the entire thing. Like why? This should be a bigger issue? Oh no, we lost the one infinity stone, but we don’t have enough Pim particles to travel back anymore times. Simple just travel back to world war two, steal them as you conveniently get into a heavily guarded area while remembering that the love of your life exists while also without much trouble steals and have a cathartic moment with your father who dont know its you, so you can conveniently get back. That whole sequence is pretty cool, but is undermined so many times by being resolved too quickly, making you wonder what the point of it being a conflict at all was?

Which brings me to its second biggest problem, tone. This movie unlike the first one that balanced things pretty amazingly, cannot decide whether it wants to be dramatic action or a comedy, and it ends up being neither. I cannot stress enough how much I hate the jokes in this movie! The jokes are good, hell they are funny (though the Thor got fat jokes needs to leave and never come back. (although that big Labowski reference can stay, but it is on thin f*cking ice.) The other movies had fun moments, this genuinely felt like I was watching a parody movie half of the time. Yes the jokes are funny, I laughed out loud at the america’s ass jokes, but that joke felt like a meme that was somehow left in the final cut. The problem is, whereas the other movies, usually only used the comedy as a relief in certain scenes, it allowed other scenes to be genuinely emotional. It knew when it was appropriate to joke around. It did actually get it right a few times, the whole “hi peter” introduction between cap marvel and Spidey, was in character and genuinely appropriate to the situation, and funny, that scene worked. Where it did not work, was when Tony got back from space, part of that scene was amazing! It was a broken Tony confronting people he did not agree with about the fact that they lost and that he was traumatised and that he told them something like this could happen but they did not listen to him! And it just cuts in-between him being mad as hell and sad as he should be, to be cracking jokes two seconds later. And I hate that scene! Because it did not understand that it was not the time that it needed to break the tension it could have been an amazing and heartwrenching scene that eventually led to Tony giving up his super hero career and setting Tony and Steve on the path to forgiving each other. But no, it was constantly undercut by comedy. It was like they forgot that scenes were allowed to be emotional and not have any quick wit in it and still be good. The tone was just messy all the way through and seemed like I was watching two movies that had been mashed together into one.

The last problem this movie has is character arcs. Besides the undercutting of the emotions of its character in order to make jokes. This movie also seemed to forget who these characters were. It has a problem that many films like it has had, which is too many characters in one film. Every character is never given proper time, we like them because we know them, but this movie does nothing to further their relationships or own growth. The time jump, screws a lot of things up. Like I did not mind but why give Hulk the power to control Hulk then? (His arc through the entire MCU) and not right as he grabbed the stones, him through them being given the knowledge that Hulk isn’t the disease but the cure. Why not make his arc matter to the plot?! (like it did in the first avengers which was though a pretty deus ex machina, solution still a development that coincided with the plot!) The whole Natascha, Hawkeye fight was good, it meant something and it reminded me of their fight in the first Avengers that showed how good friends they were. But the quick editing ruins Nats death so much. This plays into pacing as well, but we are never given any kind of time to be sad about Nats death. Yes she was a minor character, but she was a character we cared about. If they could only have spent a few more seconds at Hawkeye realising what is happening, and being sad about Nats sacrifice in the soul world, and then picking up the stone and being like, I will finish this for you Natascha. That was all the writers needed to do, it would take two minutes more, but it would have allowed her death to mean something more. Hell Coulsons death was given more screen time in the first avengers than someone we have spent so many movies seeing and caring about!

I honestly wished that they had followed the comics version more, and in infinity wars, introduced Thanos, then wrapped up all the original avengers character arcs in that film. Let the snap happen and let Thanos also kill the original Avengers. Then let End Game be about the devastating loss, and the second squad (Black Panther, Scarlett, vision, Captain Marvel, Peter, Strange and part of Guardians & Ant-man) Struggle with their personal grief about losing their friends and mentors, finding the courage to band together and fight to go and defeat Thanos. I would have loved that so much more, mostly because it would give them a chance to lose and have these newer avengers actually mourn them all properly, while also being able to properly process it, and then decide to pick up their torch and finish what the original avengers started. But sadly we got this mess.

Also, I really need to rant about one particular thing in both movies, and honestly it has been a long time coming, but if I have to look at one more giant CGI henceman battle, I will walk out of the movie theatre! This is in both infinity war and End game! I do not care! I hate those big CGI lord of the ring type battles. Why? Because, yes it makes it all look grand, but it also make it look pointless. I don’t care about any of the people they are fighting I care about the villains and the heroes, characters I have spent time with. Why does Thanos send, wizard what's his face and other CGI dude in the first place? I do not care about his henchmen! I do not care about their meaningless fights with their meaningless goons. Why not instead of this giant battle in Wakanda and on the planet in End game ending battle, have all of our previously established villains, such as Loke, Hella, Thanos, that dude from guardians, whoever is the villain in captain marvel and doctor strange. Be the people they fight? Why not make it a few villains that we actually care about be the villains they are fighting, and instead of them punching random fools they could actually fight people who pose an actual challenge to them. Giving everything more meaning and not just, look how many CGI extras we can afford. It is not fun anymore! I have had it! Fight fewer but harder bad guys! That way the fight has some actual stakes and meaning!

If you have made it this far, wow, impressive. I also imagine that it is very clear that I thought there was a lot of problems with these two movies. I will not say I hated them. They were not flaming piles of garbage like suicide squad, but they are also not anywhere near as good as the first guardians movie. In the end, they were entertaining. Were they, I am willing to sit through these six hours ever again entertaining? Abso-f*cking-lutely not.

I have before given up on the cinematic univers and come back to it and this was me actually hoping it would be great movies that everyone said they were, so I could get back into Marvel super hero movies, but sadly, they were visually pretty stale, tonally, pacing and characterly a mess, and not the finale to 22 films I had hoped for.

I give infinity war 8/10 stars

And End game 3/10 stars.

Send me a message if you agree, disagree or just wanna talk about movies (or have any recs for what I should see next) Until then

- Geek out.

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nitrateglow · 6 years ago

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(Slightly rambling) Thoughts on Dressed to Kill (1980)

Oh man, this might turn out to be a rant, so be warned. Also, there will be spoilers after the cut, but to be honest, if you’ve seen Psycho, you know what the spoilers are going to be pretty much, so what’s the point?

I remember in Tim Brayton’s review of the reviled Gus Van Sant Psycho remake, he said the one good thing the movie does is remind people why the original movie is such a great film. Dressed to Kill, Brian De Palma’s kind-of homage to Psycho, does much the same thing for me.

Because man, I did not like this. I’m sure some will protest “you just don’t get it, you don’t get the meta qualities about Laura Mulvey and Hitchockian sadism etc.”

No, guys. I get it. In a distanced way, I can even appreciate those ideas. But when these things are grafted to a sloppy and shockingly not-that-visceral thriller story, why should I care unless I’m writing a dissertation?

Just from preliminary reading in college film classes, I expected my worst possible reaction to Dressed to Kill to be meh or mild annoyance. Brian De Palma is known for his “Hitchcock movies,” the only one of which I had seen prior being Obsession, a riff on Vertigo that skates close to plagiarism while still having its own feel and unique twists. Not a perfect movie, but an enjoyable thriller with interesting set-pieces and cinematic storytelling.

DTK has some of this: the museum scene is rightfully celebrated, for one, very much in the spirit of silent film. Angie Dickinson’s neglected housewife is very sympathetic, about the only character the film bothers providing any emotional center or soul. The music is very Bernard Hermann, often providing ironic counterpoint to particular scenes.

Unfortunately, DTK comes off as an experiment in cold mechanics in style and cinematography. As far as that goes, it’s interesting, serving as a kind of meta-commentary on the voyeurism inherent to cinema as an art.

I don’t mind style over substance movies, and the style here is a blend of Hitchcock, Bunuel, and giallo slasher, so I can’t quite place why I am so frustrated by this movie and not at least okay with it. Maybe it’s a feeling that it didn’t have to be so hollow or sloppy. I wasn’t really scared by the horror stuff nor did I often find the tongue-in-cheek stuff that intriguing or funny.

There are some things to like: the dreamlike quality of particular scenes prefigures what Stanley Kubrick would do in his own erotic thriller Eyes Wide Shut. I actually admire the opening scene, an erotic shower scene revealed to be a fantasy the Dickinson character is having in the middle of bad sex with her apathetic husband. Those three minutes alone say a lot about “the gaze” and voyeurism and objectification than most anything else in the movie.

But for every good sequence, there lies a corresponding bad one-- like the shower scene which bookends the movie. Only this time, De Palma is ripping himself off, redoing the final nightmare in Carrie, only here it does not work. In Carrie, the “gotcha!” works because it illustrates that the bullies who so tormented Carrie were still vulnerable kids themselves and they will be traumatized by what happened at the prom.

In DTK? It’s just a gimmicky scare, an attempt to end the film on a bang. But it doesn’t. It’s just an empty bit of nothing, which is a shame, since the dream itself might be the creepiest and most effective suspense piece in the whole film.

Other things I don’t like? There’s Nancy Allen’s chipper call girl, who takes over the way Vera Miles does in Psycho, only while Miles’ worst flaw is that her character is dull, Allen is actively annoying with unconvincing line readings that feel like a kid playing dress-up. Michael Caine is comatose. Keith Gordon is actually good as Dickinson’s teen prodigy son, but he’s underused to a criminal degree.

Oh, and you know that one scene everyone hates in Psycho? The psychiatrist exposition dump at the end? This movie has its own variant on that too. Because... I don’t know.

The film also gets a lot of flak for being sexist since the central murder victim is essentially punished and humiliated for wanting a satisfying sex life, but I’m shocked no one talks about its treatment of its transgender characters or that one rather racist scene on a subway (at first, I thought that whole bit was a hallucination from the Allen character, revealing her paranoia, but no, it’s revealed as actual).

So yeah... I’m just so disappointed. I have similar feelings about Hitchcock’s own attempt at a sleazy shocker, Frenzy. I will admit I like this more than Frenzy, if only because it’s marginally more entertaining to watch, but not by much.

I’ll just close this post with a comment on Tim Brayton’s review of the film. User WBTN sums up the way I feel about this one pretty well:

More than any of De Palma's films, Dressed to Kill frustrates me, even if I've settled towards "I enjoy it a little, maybe even a lot". The sociology is a waste (not just the "trans people are murderous freaks with multiple personalities" angle, but a concentrated dash of "eeh! black people are scary!" in the subway scene), and it's easiest to accept that as the film's ultimate meaning, if you're looking for it. In a more generous mood, I don't think the film has any meaning; it's just bait. Glossy, self-reflexive Bait for everyone on De Palma's wavelength or against it and all in-between (hence the doubling down on everyone's least-favorite part of Psycho; hence the unsatisfying climax; hence the last-shot steal from Carrie, et cetera).

6/10

#thoughts #rant #spoilers #yet another entry on the list of films i really want to like but don't

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moviestorian · 6 years ago

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Les Mis BBC final thoughts

Alright, on monday I finished the 6th and last episode of the most recent, mini-series adaptation of Les Misérables. I was slightly hesitant about posting my thoughts (mostly because of the tag being largely dominated by negativity; any effort to post anything else seemed kind of pointless to me), but I eventually decided to go for it. I still wanted the entire show to sit in for a while (I also want to do a rewatch, because I can't guarantee that my feelings remain the same; I might just as well change my opinions completely). But let's begin!

Tldr; Also, unpopular opinion alert: I actually enjoyed it. A lot. I genuinely liked the miniseries. Yes, there were some choices and things I wasn't exactly fond of, but I have the same thing about literally every single adaptation I have seen so far (mostly thinking of the stage musical and 2012 film). Cause you know, you can like something and still see its flaws, and the other way round - you can dislike it and yet admit it is not inherently bad.

Now, the longer "review" comes in. It's gonna be reaaaally long. Also: spoilers.

The negatives/things I'm indifferent about/what could have been better:

- I'm following the popular trend of disliking that font. I care a lot about cinematography and visual parts of films and shows, so I wasn't satisfied with this particular choice. They could do better, honestly.

- For most of the time, the music was a bit meh. Nothing really striking or to hate, but compared to the War&Peace 2016 soundtrack (which was amazing!), this one was very undermining. There were some individual songs I liked a lot, though.

- The overall cinematography was ok. Again, nothing super special, but there were some pretty nice shots, too. I had some minor objections about cgi in a few scenes, but let's that the 2012 film wasn't exactly flawless in this aspect, too... If not worse.

- Ok, confession time & another unpopular opinion alert: I genuinely think the script is not half as bad as some people on this site try to tell everyone and the majority of their issues is either exaggerated to an enormous extent or comes from a huge prejudice. Or a general but pretty clear misinterpretation of certain scenes. Having said that, I had issues with the script, too. Davies did a waaay better job with his W&P, really. Although I actually like some of his changes or narrative choices, there is one thing I can't exactly ignore: how certain scenes were pure exposition. I think it got better in the later episodes, but I spotted at least two(!) examples just in episode one alone. Davies, being the experienced author as he is, should really know that it's not a good way to write scenes, especially in the first episode (which is supposed to encourage the viewers to keep watching). There's nothing more annoying to me than being treated, as a viewer, as a person who needs a straight-in-your-face explaination of what’s happening on screen.

- Another fairly popular trend: the brothel & the wet dream sequences. Even though I expected both of these to be A LOT worse, given what the fandom was saying (exaggerating again), and I don't think they are "out of character" or unrealistic in terms of the setting, I tried to cut these out from the episode (in my head ofc). And I think we could do without them; the brothel scene could remain in the final cut, but I would make it way shorter.

- What I REALLY disliked: a minor thing, but it bugged me a lot. I mean the main dialogue being in English, and the background dialogue in French. Christ, how I hate when they do such stuff in the movies...(thankfully the main characters didn't try to pull off their fake French accent, that would be even worse) Either you do it in French, or in English. One has to be consistent.

- The pissing scene in ep1 was...weird.

- Valjean being mean to Gavroche.

- The timeline was sometimes a bit odd, if not crazy, but could’ve been way worse (nothing can surpass P0ldark and its weirdly ageing children and even more weirdly, or not at all ageing adults)

- Valjean firing Fantine left me with very mixed feelings. On the one hand, I think it makes sense narratively, in this particular adaptation, it’s also not the first one who makes Valjean responsible for Fantine’s misery (to a smaller or bigger extent). On the other one, it’s not a choice I’m super happy about so...

Now, let's move on to the positives!

- Excellent choice in casting. I think all of the actors did a solid job. Obviously they had some veteran, experienced or acclaimed actors like Bradley, Sumpter, Jacobi, Colman, West... You couldn't expect any less from them. BUT there were also some younger and fresh faces, who's interpretations of their characters I really loved - Lily Collins, Erin Kellyman, Reece Yates, Josh O'Connor. Liked Joseph Quinn and Ellie Bamber a lot, too, especially the former. Obviously, I cannot NOT mention David Oyelowo! He was particularly impressive in the last episode.

- You have no idea how grateful I am for the entire Pontmercy storyline, honestly. I have so many feelings about Georges Pontmercy it's not even funny. Also baby Marius!!! Huge props for the Marius/Guillenormand dynamics.

- Fantine's storyline. I love the focus on her in this adaptation, and instead of merely showing her "downfall", we got to see her entire background story and many faces of her character. From naivety and joyful innocent to her determination to survive, and, finally, her desperate attempts to feed her daughter. I love that we got to see a glimpse of her relationship with Cosette. I love that, heartbreaking as that scene was, we got to see the moment of her leaving her child with the Thénardiers. Loved that she was also outspoken at times. I really felt for her in this series. Naturally, I always do have tons of empathy for Fantine, she's one of my favourite characters in general, but I found Lily Collins' version to be particularly relatable.

- Btw: I disagree that Fantine and Cosette were overly "sexualized" or fetishized. And don't even get me started on the supposed "sexual undertones" between Cosette and Valjean, cause this is utter bullshit.

- I actually liked the relationship between Cosette and her Papa, especially when she was little!

- I loved Gavroche in this adaptation. I'm usually not a huge fan of his, but Reece was so charming and impossible to resist!

- All the side characters (good or bad) we finally got to see at least for a while! I already mentioned the Pontmercies, but I also mean: Petit Gervais, Tholomyès and his gang (+Favourite and Zephine), Azelma, Gavroche's little brothers, Mabeuf, even Victurnien. And Sister Simplice, I love that woman. And Rivette. 😁

- Huge thumbs up for portraying the Thénardiers as the evil/malicious people they were (but not one-dimensional, esp. Madame Th.) instead of as some comic relief only.

- Contrary to the popular opinion, I count Les Amis as the positives. I actually think that narrowing down the number of the students to focus on was a good choice (like, excuse me, but giving a few lines to a character in an ensemble song is not enough to give them personality. Even in the book some hardly had one). And guess what? I legit cared more about this Enjolras or this Courfeyrac than in other adaptations. I liked Quinn's version of Enjolras more than I like Hugo's original character. This is obviously a personal preference, but to me personally Quinn's slightly toned down version, sort of a hybrid of Enjolras and Combeferre was way more appealing (I also think Quinn had more innocence and wide-eyedness in his eyes and face than some most popular actors who have played the role. To me, the accurate hair colour is the least sygnificant thing, honestly. Especially that some of the fans' favourites hardly fit the book description in that aspect).

- The Enjolras/Grantaire execution scene.

- Small interactions between Enjolras and Courfeyrac. Especially the ones in the final moments of the resistance. Oh my...

- Overall, the barricade scenes were very good.

- I liked Marius a lot, which is quite a thing! I loved that we got the awkward, but still adorable side of his. I had seen Josh in The Riot Club and I remember him being good but not memorable; I was impressed with his performance in Les Mis, he was so different!

- Erin's Éponine broke my heart. Especially in episode 5, she was fantastic. So many expressions in her eyes; I loved her fidgety hand moves, too!

- I appreciate that they started the show with something other than the galleys/bishop Myriel. That was a nice and quite refreshing take.

What else do I like about this adaptation? That it revived my passion for Les Mis; that it made me want to reread the book (or certain chapters at least), rewatch the 2012 film, listen to songs from the musical, check out other adaptations. That it’s gonna bring new people to the fandom. And, whether you like it or not, it DOES offer new interpretations of the characters and actually does give a fresh take. Every adaptations gives us something new to discuss, this one included. I also don’t believe it’s the worst thing that ever happened to Les Mis or whatever; I happen to think it actually is a good adaptation overall. Is it flawless or 100% accurate in everything? No, because it’s impossible to turn such a huge and detailed book into a 100% faithful adaptation; also it’s really not what the adaptations are for. I too would have added/cut out some stuff from various versions of Les Mis, but this is because it’s my interpretation; the fact that we imagine some things differently does not mean that other people’s interpretations are bad.

Since films and tv shows belong to the visual media, I think that Les Mis BBC could have done better in that aspect - I wasn’t exactly satisfied with it, as I wasn’t exactly over the moon about some choices in the script. It’s not a masterpiece, but I never expected it to be one; neither it is a “piece of shit”. Despite its flaws, I still found the miniseries to be very enjoyable and I will gladly rewatch it in the near future. I feel that it might even become one of my favourite adaptations(I will decide once I’ve seen them all, or most of them!), save for the interpretation of JVJ, which could’ve been better tbh. For me, it’s a nice 7,5/10

#les miserables 2018 #long post #wera speaks #gotta prepare for the unfollows #les mis bbc

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delusion-of-negation · 6 years ago

Note

On another note Lucifer is actually pretty enjoyable in a campy way as long as you don’t think too hard about it being related to sandman

I haven't watched that yet, so I'll check it out! On the subject of supernatural shows, I'd recommend Diablero on Netflix - it's really good, probably the best of that kind of show out at the moment (better than the more recent Supernatural series), and it reminds me a lot of the Constantine movie that had Keanu Reeves in it (which I really like). Also, Love Death and Robots is really good, and I especially liked Sonnie's Edge - that episode was dark and really well crafted; the sound, the imagery (idk if metaphor is the right word, but y'all know what I mean), the twists, the writing, it was really well put together.

On a massive tangent (but since we're talking about watching things on Netflix), I'm still looking for a good horror movie that either isn't pretentious or is good enough to carry its pretentiousness. This new wave of pretentious horror films (alongside boring cookie cutter ones and so many sequels and remakes and spin-offs) is getting really tiresome, because they seem to think that if you just say it's a horror film and kill a few people in the few brief breaks we get from having depression or philosophy forced down our throats, then that makes it a horror film... it's like no dude, you've got to make it scary. I clearly don't mind having metaphors, deeper messages, etc (again, Sonnie's Edge, and Love Death and Robots as a whole, uses that stuff well, and I like other stuff that does too, like Annihilation and The Night Eats The World), but I just don't want that stuff to come at the cost of what makes a film good.

Like, Annihilation was good because it actually managed to be creepy and unnerving (honestly, that film genuinely triggered some really specific OCD shit I have, and that was great, haven't been genuinely scared by a horror film in years... like, sometimes I just wanna feel like clawing my skin off after watching a horror film, is that too much to ask), and the characters were good, and when the weird fight happened towards the end it was a little anticlimactic, but it was still alright because you had actually invested time in her character growth and it was interesting to watch her figure out what was happening and come up with a solution; also it didn't spell shit out for you, like it had enough faith in the audience to expect them to notice tiny details on their own. The Night Eats The World was pretty good too because even though it was slow and quiet, you could feel the build up, you cared about the character, etc.

But then you had Bird Box that had such a good premise but then let you down at every hurdle - the character growth was completely missing, the jumping between times just caused spoilers, the creatures were inconsistent and absolutely shit (like you can have an unexplained monster but you need to do it right, inconsistency ruins immersion, these monsters just did whatever was convenient for the plot, for example, you can't look at them through a video but the news footage at the beginning didn't kill anyone and you could still see shapes and colours through the blindfold, and one person was willing to immediately crash a car to kill themself and someone they've loved for their whole life but another dude could resist it for long enough to protect some people he's known just a few years, it didn't make sense), the ableism was annoying (legit a friend said to me "The mentally ill can't go crazy because they're already crazy." and it's like dude the creatures made people suicidal by showing them something that would push them to suicide, mental illness doesn't render you incapable of being pushed to suicide, and they literally did "go crazy" if they were already "crazy", mentally ill people became dangerous and sporadically deranged, while mentally sound people killed themselves), and the worst thing was the sound design (look, if you have a movie where you can't see and you're being guided by sound, fucking get the sound right, make it get louder and quieter based on closeness, use the speakers to give it some direction, but instead some fucking wind-chimes were just as loud across a river and down the path as they were right next to them, and the birds were just as loud all the way through the forest except quiet when the creatures started talking... which makes no sense because the movie was literally named based on the fact that the birds made noise when the creatures were about). Also Ravenous/Les Affamés was SO BAD - if I wanted to watch people sit solemnly in silence for hours, only broken by the occasional bad joke, I'd go work in an office, and there was absolutely no substantial plot or tension, it just dragged on and on while you sat there wishing the zombies would just come in and eat these shitty characters.

I'm starved man, I need good horror, but Hollywood and Netflix are just churning out either cookie cutter plots, endless sequels, or pretentious shit that lacks any of the things that make a horror movie good. And don't even get me started on found footage films, I am so tired of people sacrificing a lot of quality when it comes to character building and cinematography and basically every aspect of the movie, just to have it be found footage style - like, that style can work, but not if you are fucking up everything else about the movie and not even using that style right. Cloverfield did it right. Apollo 18 did it so badly, and had such a shit plot, that I feel like it should be a criminal offense to call that atrocity a film.

EDIT: I forgot to add that The Purge series is good, it takes the slasher formula and does something new with it, and it manages to get political points across without preaching to you or being full of itself. And despite having messages and stuff, it still manages to be a good horror film - they don't detract from the film, and they didn't sacrifice the quality or horror for the sake of having a message.

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