#i think i would thrive as a fight scene choreographer

[legallybrunettedotcom]

ROT AND ASSIMILATE II STAR WARS II YOUTUBE LINK

[zehecatl]

2024 media thread PART SEPTEMBER

13th September: Transformers Earthspark s1

god damn, this really is just an overall banger- both as a Transformers show, and as a show on its own merits. surprisingly well-written, really well animated and choreographed (dude, some of these fight scenes, holy shit), with engaging characters and a really solid plot. like, this is a good show

it's not without any flaws, but out of the 26 episodes, there's only two episodes where i had annoyances- and even then, i wouldn't call a single episode bad. the way they kind of compare Transformers to immigrants is, like. a choice. but it's pretty easy to overlook, especially since it barely shows up, and i don't think the ground idea is inherently bad. also, as a Transformers fan, i would like to see more of the pre-existing 'bots! i do love the Terrans, like genuinely so, but also. my babies. show them to me

i really love the theme of family, and also how the show handles the Cybertronian war, and the after-effects of said war- it pretty much feels like every pre-existing 'bot has trauma, and it doesn't feel accidental. hell, it's even outright addressed at times, and while it's still very much coming from a children's show, it's pretty well-written, and i really hope s2 gets around to touching on it even more

also, also, the way this show handles the Autobot-Decepticon relationship is so interesting, and a lot of fun. there's the obvious case of Megatron himself going 'good', and the fallout he has with numerous of the Decepticons (his divorce energy with Soundwave and Shockwave is off the charts), but there's also smaller moments, like Bumblebee knowing Brawl by name, or even just the few moments where the Decepticons are shown in a kinder light, where we get a little glimpse into why they started their cause... i really want s2 to touch on this one more, since it's probably one of the most interesting things Earthspark is doing

like, overall, i'm just a really big fan of this show? it's genuinely really fucking good, and i'm looking forward to checking s2 out at some point, especially since the fandom seems to be throwing a hissy fit about it

also it made me ship Megatron/Shockwave, and i cannot complain about that. Megatron has two loyal husbands, and he does not deserve them at all 💖

16th September: ZERO (Toume Kei)

being so honest, this is a deeply mid ass manga. like, i wouldn't exactly call it bad, and i think it could make a really fun movie, but. it's not exactly good either, lol

mainly, i read this because the main girl antagonist has such a good design. like, the art is on point for the girls, i really like the slight edge they have to it- but anyway, i really like Mao's character. she has such a seme vibe, and i kind of really fucking love with it. would kidnap her as a character and make her have a messy sapphic relationship with another girl. wish it had been about her. she could have seme'd that twink ass protag so hard, and i would have loved that

16th September: Dark Forest, White Road

the atmosphere of this one is so excellent, actually. it's very melancholic, which really matches with its winter setting, and i think this would really have thrived with a longer run time

there isn't a lot of meat here, really, but it feels like there is. the story is brimming with potential and interesting set ups, from the honestly toxic relationship between the main character and her sister, to the fleeting connection between her and the love interest; also, the way the love interest is written is interesting, because again, it feels like there's so much left unsaid, so much you could explore further

also, the art here is really gorgeous? like, it matches the atmosphere so well, and i just really like how it's drawn.. i would have consumed the shit out of multiples volumes, is all i'm saying

16th September: The Miko's Words and the Witch's Incantations

primarily read this for the art, which is absolutely gorgeous, and really up my alley- though i did end up rather liking the whole thing, even if it was a bit confusing at the start

this one has a really interesting set up, with a witch saving a miko from a shrine she's been trapped in her whole life, and the consequences that causes- i actually think this one would make a really good OVA, and that as a stand-alone volume, it actually works rather well

it's nothing super deep, but it was a pretty cute read, and i think some of the stuff that went down in the climax could make for some really interesting story beats

16th September: Dungeons & Dragons: Honour Among Thieves

i'm not actually a DnD'er, and most of the information i do know about it comes second-hand, so while i did recognize some stuff (the owlbear!! the underdark!!) this really was just a rather fun fantasy movie for me

i do think they put a lot of effort into bringing the setting to life, and it was a really good movie, like i had a great time, but it's definitely more of a popcorn flick than anything else- though i would definitely love a sequel!

i do kind of wish we had gotten some actual bard action... like, i don't know how exactly it's supposed to work in-game, but i feel like the lead was... super useless lol. like, he truly did shit

19th 26th September: Love Bullet v1

since this is only a single volume right now, i don't think there's a lot you can really say about Love Bullet, but- that's not really gonna stop me, lol

it definitely, like absolutely for real, deserves the hype it's getting. like, it's such a solid first volume, and i'm straight up gonna be heartbroken if it gets cancelled, because there is so much potential here

first of, the art is so so gorgeous, and the manga really utilizes the medium, with lots of parallel shots and framing, and just- i'm not an art person, okay, but this is some good fucking shit

secondly, while we obviously haven't known the characters for very long, and we haven't seen much of Ena especially, just from what little we've seen, and the designs themselves, it's obvious these are well thought out, and well-written, characters. like, i'm genuinely so excited to see more of all of them, because they're already so dynamic and fun, and i really like seeing them interact with each other

also, also! there seems to be some really good layers, here. there's mysteries already being sown, not just with the relationship between characters (Kanna and Chiyo? 👀) but also for the actual cupid system in general. like, the whole 'losing' the hiragani and kanji in the names is interesting, and i think there's for sure some stuff going on in the background that we don't know about yet, and it makes me so excited to learn more about this world

also! i just! really like the action!!! it's so well done, and i love how much detail the mangaka has given to everything (they use different martial arts!!!! the guns!!! it's so fun!!) and i'm just- i'm so very charmed by this manga, and i really really really want it to get super huge and big, so we can get an anime and maybe an english release, and just.. this has so much potential

as a yuri, there's not a lot going on so far, but what we have is, so far, really good. i definitely think we're going to get more, and i definitely think said more will be really fucking tasty, because it feels like this mangaka knows what she's doing, and i think she is going to feed us so fucking good

basically, i just. really like Lovet Bullet so far. and i really hope we get more... please... more cute girls

26th September: Reverie in a Deserted Bus

it's a cute little tragedy with some nice art, and a fun set up. i've actually been meaning to read this one for yeaars, all primarily because i really like the set up of an abandoned bus...

26th September: Damdam!!

THE FACT THAT THIS ONE IS ONLY A ONESHOT SADDENS ME SO MUCH, BECAUSE THE POTENTIAL HERE IS UNREAL...

it's basically a dark action yuri, wherein our two protagonists is part of a super special secret force that specializes in killing monsters. also they're both high school children. because of course

i really really love the set up here, like i'm just a huge fan of monster killing and yuri action, and this one nails it so good. the monster design is excellent, and the art really works for the type of story this is, and also the yuri, while not the focus, is so toxic and fucked, i fucking adore it. and while we obviously don't get a lot of the characters, i did really like them... one of them is super rude and brusque, and calls her partner bitch, and the other is just absolutely in love with her, and is delighted by her very presence, and i just. i wanted more. so bad

26th September: Efude to Kuro Kinu

this one has a pretty good build up, and while i don't think the lack of actual yuri is a failure, i did kind of want more actual yuri...

but! the toxicity is pretty tasty, and the art really works for the story, and i actually really liked the ending. also we just love to see older women in yuri <3

29th September: Wavetale

a genuinely really excellent little gem of a game, that's also a throwback to the 3D platformers of the PS2 era. which i am a huge fan of, like really huge, so of course i was going to love this game

which i do! especially because it's greatest strength isn't actually the platforming (which, being honest, isn't super deep or complex) but the story! which is really good!!!

it's a very ghibli-esque story, set in a post-war/post-apocalyptic world, wherein the whole world is more or less covered in water- which the game lets you surf around on, by the way, and it's great fun- and also the dark mysterious ~gloom~ that fucks you up, and all has basically more or less ruined most of the world. like. the protagonist doesn't even know what apples are. it's banging

it's one of those stories about grief and war and a bit o' environmentalism messaging, which, again- very ghibli! and, like ghibli, it keeps a more light tone, even when it properly addressed said themes, which is obviously helped along by the (very nice) more cartoony visuals

like, i could see this as a ghibli movie. i really good

anyway! as a game, it's definitely not super complex or deep- the combat is very easy, the platforming is easy (but nice. i liked doing it :3), there's no real puzzle elements, etc etc. i do think the surfing mechanic is very fun, but, again- not very deep. but! i think that's okay!! sometimes a game is a vehicle to tell a story, and the gameplay is there to help the narrative flow, or even just underline it- as much as i think the combat is a bit superfluous, it helps with the narrative flow, and so i can't really fault its existence

it's a good game. not very long, but i really liked it, and its story, and its characters. it feels like a work of love and passion, and i always love to see that :]

29th September: Transformers One

so every Transformers fans have already say that this movie is really good, so i'm not coming with any new take, here, when i say, oh my god. this movie was really frickin' good

like. it is SO GOOD. and just- seeing Transformers, animated, on the big screen- it feels so huge. monumental. for so long we have eaten the live action scraps, and now it's animated and it's good, and it's about THEM, and we see CYBERTRON, AND JUST. AAAAAAAAAAAA. IT'S SO GOOD. IT'S SO FRICKIN' GOOD I COULD COMBUST ABOUT IT

(also i will now engage in spoiler talk. if you have not seen the movie, go see it. right now. seriously)

putting aside the sheer fucking hype of this movie even existing, i also think it's the perfect 'starting point' for a possible new 'generation' of Transformers. going into the backstory of Optimus and Megatron is not just fun, but also a really good way to set the stage for (possible) future movies. also, man, it's just. it's so good. i loved seeing the divorce happen on-screen, the way they did Megatron's turn to evil was so good, and while it's obviously a bit- not really rushed, but this is a movie, and we got a time constraint here, it just feels good. the scene with him and the High Guard where he nearly kills Starscream, ough, it's so fucking good. Starscream goading him on and then eventually cowering, like yessss, start off your future toxic gayship properly, i love you <3

ALSO SHOCKWAVE. SHOCKWAVE. I LOVE YOU. I ADORE YOU. LITERALLY NEARLY GIGGLED OUT LOUD WHEN HE SHOWED UP, HE'S MY FUNNY LITTLE MAN <3 <3

also, can i just say- i love Elita? i love Elita so much??? she should, by all account, fall into the 'strong female character' archtype, but, at least to me, she doesn't. she has the trappings of it, but she just- she doesn't feel forced, she doesn't feel badly written, she feels as at home as everyone else, and i love her SO much. her relationship with Optimus is really fun, and also i think she should kiss Shockwave (what. who said that)

also i was rather hesitant about Bee at first, because i haaaaate when they flanderize an existing character into the comedy role, but- they make it work. guy who has been alone for literal years and cannot stop talking now due to trauma and FRIENDSHIP EXCITEMENT. he's fun. i forgive him for his crimes <3

i am, being very honest, not much of a fan of MegaOp. both as characters, and as the ship, but man. this movie did them so good. literally the MegaOp divorce movie of all time. i see what y'all are seeing, and i have to stan. friends to enemies go hard every time, and it goes hard here. like, when Megatron lets go? holy fucking shit? that was SO SICK, and just. the whole climax itself. was so frickin' good

also i love how surprisingly brutal this movie is?? and i hope if we get a sequel they turn that shit up, because it was tasty. Megatron tearing Sentinel in two, like yes baby get his ass

ough, i just. i love this movie. i need a million more. i need more focus on the Quintessons (I LOVE HOW THEY DID THEM IN THIS MOVIE. I LOVE HOW THEY'RE NOT THE FOCUS. I LOVE HOW THEY'RE A LITERAL LOOMING THREAT, AND THEY DON'T EVEN SPEAK!!) and i need the Autobot-Decepticon war, and i need to see everyone. all of them. especially more Jazz, i am so charmed by his little cameo role, like that's my baby boy!!! he is so cute!!!

(ALSO AIRACHNID WAS SO COOL??? HELLO??? HER AND SENTINEL WAS TRULY JUST ICONIC AS FUCK)

ANYWAY THE MOVIE WAS SO GOOD. I NEED THE DVD IMMEDIATELY SO I CAN REWATCH IT ON LOOP. A THOUSAND MILLION OUT OF TEN, BEST MOVIE ALL YEAR, GIVE IT ALL THE AWARDS

[ordinaryschmuck]

Quick Thoughts on "Echoes" from Hawkeye

I'm not the only one who thought this episode ended a little too soon, am I? The ending didn't even feel like a conclusion. It just felt like...a sudden stop. This makes me think that Hawkeye might be one of those Disney+ shows that are better to watch all the episodes at once rather than week to week. Because the way this week's episode ended made me feel unsatisfied and anxious to find out what happens next. That might be the point, but it hinders these episodes from standing out on their own and instead make them a part of an extra-long movie. Which, again, could be the point, but Hawkeye's type of thing works best if viewers have all the parts at once. Instead, it gives this feeling of watching a movie, stopping at a random section of it, picking it up again a week later, and repeating the process until the movie is eventually done. And, in fairness, it's an issue that you can argue with all the other Disney+ shows, but for some reason, I feel like it's a lot more noticeable with Hawkeye.

With that said...this week's episode is still a ton of fun.

Echo's backstory and origin are interesting, and I already want to learn more about this character who thrives despite multiple "disadvantages" that people would look at to doubt her.

The first fight scene is shot and choreographed decently, and the car chase that follows is handled pretty well.

Clint's "talk" with his son is bittersweet, and I loved how Kate tried to help him understand what Danny-boy was saying. It helps their relationship grow as partners, and I hope to see more stuff like that in the future.

And Kate drawing Clint's original comic book costume is pretty cute. Although, Clint going on about how he would never wear something bright and colorful is kind of ruined given how promotional material already reveals that he's going to wear a bright and colorful costume. And it looks pretty stupid to boot, too.

The one thing I'm wary of is these references to the guy on top. Because I can already tell the writers are trying to make us think that it's Kate's stepdad, which feeds into the "evil-step-parent" trope that needs to DIE. But another thing to worry about is fan theories. There are already people who are convinced that they're setting up the Kingpin, already forgetting their lesson about how Mephisto never showed up in WandaVision despite all the "hints." And here's the thing: I would love it if Kingpin made a return. And I would adore it if it was Vincent D'Onofrio who played him (BRING BACK DAREDEVIL, DAMN IT!). But here's the thing: We. Don't. Know. That it is. So when it's revealed that the guy on top isn't Kingpin, don't get mad at Marvel because you looked too much into something that isn't there. You'll only have yourselves to blame in that situation.

So, yeah. Fun episode, but it could have had a more fitting conclusion.

[vancampemily]

Emily VanCamp teases the mystery of Sharon Carter on The Falcon and the Winter Soldier

Warning: Spoilers from The Falcon and the Winter Soldier season 1, episode 3 are discussed in this article.

There's more to Sharon Carter than meets the eye. A lot more.

Emily VanCamp returned to her Captain America movie role in The Falcon and the Winter Soldier's third episode, which revealed the former S.H.I.E.L.D. agent has been living under the radar in Madripoor after she was forced to go on the run from the U.S. government in Civil War for illegally aiding Steve Rogers (Chris Evans), Sam Wilson (Anthony Mackie), and Bucky Barnes (Sebastian Stan).

She's since made a life for herself in this neon-soaked city filled with all manner of criminals, which formed her new outlook. As VanCamp tells EW, she's no longer the "young and idealistic" agent who "committed her whole life to the cause and the government." She now believes "the whole superhero thing is a joke." But that may not be all she believes.

After first saving Sam, Bucky, and Helmut Zemo (Daniel Brühl) from getting their heads blown off and then later assisting in their search for Dr. Nagel, who's been secretly replicating the super-soldier serum, Sharon gets picked up in a car — a fairly nice-looking one at that. She tells her bodyguard, "We've got a big problem," seemingly referring to Zemo shooting and killing Dr. Nagel. Is Sharon secretly working for the elusive Power Broker, the mysterious antagonist fueling the Flag-Smashers' mission? Is she the Power Broker?

"We could interpret that in so many different ways," VanCamp says. "There's still three episodes left so hopefully those questions will be answered. There's still lots of characters to come in and out. The problem could be many things."

VanCamp spoke with EW after the premiere of episode 3 to talk about Sharon's new life in Madripoor, crafting her character's unique combat style with the stunt choreographers, and Brühl's unique dance moves.

ENTERTAINMENT WEEKLY: This feels like a very different version of Sharon Carter. Did this feel like it was a completely different character for you in some ways? EMILY VANCAMP: In some ways, yeah it is, but I think that was necessary. To bring her back as the same person she was in the films wouldn't make any sense. When they told me what they had in mind for Sharon, I was delighted that it was something very different and we were actually going to address where she's been, what she's been up to, how she's been surviving, and just answer some of those questions. We don't answer all of them but some of them, for sure.

Was there anything specific that helped orient you around who Sharon is now? She says it best in episode 3 that the superhero thing is a joke. That would never be something that Sharon would say when she was young and idealistic and this agent [who] committed her whole life to the cause and the government. She's from this bloodline of agents, so for her to say that is very indicative of where she's at mentally. She's still out there kicking butt and doing her thing. It's just her whole perspective and priorities have shifted because they've had to. She's been on the run and trying to survive in this lawless land for this crazy amount of time. It's understandable the resentment, anger, and frustration that she has when you meet up with her in Madripoor.

Did the changes to Sharon's character affect your approach to her? Absolutely. I think it changed everything from the way she walks to the way she fights to the way she communicates. She's all grown up and has a chip on her shoulder. She takes all that quite seriously, everything that happened to her. at this point in time, it's about getting that pardon that she's been wanting this whole time. It was great to talk to [director] Kari [Skogland] a lot of about that and just try to implement that in everything that we did.

It really seems like the government did her dirty. They did her dirty. It's true. I wouldn't have said it, but since you did. Yeah, the government left her behind. She's such a loyal agent. Even though she's thriving in this environment, it's still not where she would want to be, and not how you treat a loyal agent. She's become anti-establishment in that sense and stopped believing in all of the things she put her faith in.

When I think of Sharon Carter, I can't help but think of Peggy and all the morals and ethics she instilled in Sharon. Where Sharon is at this point, has she left a lot of that behind? I think it doesn't just go away, but I think she's cynical and jaded enough that a lot of that has been very repressed within her. I think she's left a lot of that behind. She's probably had to make some very difficult decisions and do some things she didn't want to do. You see her in that ship yard! There's no holding back. Unfortunately, the sad thing in Sharon's story is that idealistic young girl in many ways is gone.

At the end of episode 3, Sharon gets in a car. She's telling her bodyguard, "We've got a bigger problem." What are we to make of this? I don't want to say what, but obviously there are so many things. We could interpret that in so many different ways. There's still three episodes left so hopefully those questions will be answered. There's still lots of characters to come in and out. The problem could be many things.

Here's something you can hopefully talk about: Your big fight sequence. You mentioned earlier that this was your first time getting to develop Sharon's unique combat style with choreographers. Now that we know a lot more about Sharon, are there specific elements from her backstory that was most informative in the way that she fights? It was a very big discussion. What does Sharon's fight style look like in this world of Madripoor? Because we had to be sure to remind everyone that she has this technical background. She was a trained agent. In the comic books, that's her specialty. We struggled a little bit for a while with what weapons she's using. That shipyard scene was very unique. Does she come armed? What is that? We ultimately landed on she's using whatever she can find. That made it a little bit more brutal and gritty and interesting looking. It definitely made for some interesting fight sequences to learn. The training was very rigorous. She doesn't have any superpowers, so it really is down to the choreography. The stunt team is ridiculously amazing and helpful, and they spent all the time in the world with me. Every bit of free time I had I was there with them, and they were so gracious with their time. We just wanted to make it look as real and raw as possible, and the only way to do that was put the time in.

Well, I think you succeeded. Definitely did not come out totally unscathed. So, it was worth it. That makes me happy to hear. There were a lot of cuts and bruises and scrapes, but that's part of the fun.

I just spoke with Daniel earlier and he mentioned there's a longer version out there of him just fist-pumping in the club. What do you remember from that day on set? That day was insane. I think we had, for that whole dance sequence in that club, it was a very, very insanely quick, fast-paced day. But, oddly, they got a lot of great shots from my recollection of the boys dancing individually. Whoever has that footage should hold onto it closely. I remember there was a lot of dancing here. It was so funny and the boys are so hilarious. And Daniel's the best. I just love him.

source

[talesofafangirlwithadvr]

JULY PICKS!

You heard me correctly, I said JULY! Whoosh, this year is going by fast-but not in a good way if you know what I mean. This will be my last monthly wrap up where I am strictly staying home in quarantine as this upcoming week I’m heading back to work in person. Wish me luck!

We had quite the range this month from newly released, reality, musical and then some favorites from last month that I’ve continued watching. Without further ado here we go....

There’s going to be PLENTY of SPOILERS this go round. ESPECIALLY with my first pick of Stargirl. You’ve been warned!!!

DC’S STARGIRL

I need to talk about 1x10 or I’m going to burst!!! As stated above there will be A LOT of SPOILERS IN THIS POST!! So scroll down to the next picture if you don’t want it to be spoiled. 

You’ve been warned...again.

IT CANNOT END LIKE THAT!!! ARE YOU KIDDING ME???? Henry! Wow! 1) Epic fighting 2) The backstory and how he wasn’t going to give up on his dad AND THEN how he wouldn’t give into his dad. 3) HE DIED RATHER THAN JOIN HIS SIDE OR PRETEND (which I honestly felt was going to happen). His character arc and I can’t believe it’s over!!! 4) His speech at the end: *weeping.* I knew Brainwave was going to say he killed his mother. It just felt like the build up. Brainwave Jr. would have been a GREAT ADDITION TO THE JSA! AND OMG THE WAY THE REST OF THEM FOUGHT FOR HIM! I loved how they framed it so you could still see them in the back when Henry spoke to his father. Super heartbreaking. Man, it feels like a lot of people have been killed off this first season (or am I just still thinking about Joey?) 

Side note: Check out the Instagram Live between father and son Brainwave on Stargirl’s CW page. Jake Austin Walker did an AWESOME interview in his take over.

This was one of the strongest episodes overall and definitely one of my favorites so far. I agree with many others that while it is SOO GOOD and I want to rewatch it again, I don’t know if I can emotionally yet. I can’t remember the last time I felt that way about a show. 

Some other thoughts this episode: WAY TO GO BARBARA! Way to record them to translate later (such an awesome app btw, how do I get it?). I’m glad her and Pat came more to an understanding because I love them especially with that glimpse into how they met. Jordan’s parents give me the creeps, like the couple from The Visit vibes. I feel like Mike’s got to find out ASAP, especially because he’s spent time in the garage. Something’s got to show him the truth; because I’m really feeling he figures it out rather than being told. Very curious to see what his reaction will be. SOLOMON GRUNDY. Thank God Beth talked Rick down. She really is like Chuck in being the voice of reason. She did really well in the cafeteria too. While I still don’t believe Starman is Courtney’s dad, how cute was it when she put together her and Henry were cousins? Speaking of Court’s dad, who else didn’t feel like Starman was her dad until they saw that upcoming promo? I don’t know who that impostor is but he is not her dad. Something’s fishy.

Loving this show. So happy it’s renewed for a second season!! 

THE 100

From a show I can’t get enough of to one whose final season is a disappointment. I’m not going to spend too much time talking about The 100 because I feel I’ll just be repeating myself from previous posts. However, I did want to include it because I haven’t spoken much about the previous 2 episodes that I wound up watching back to back and I didn’t overly dislike them. 

As many have complained, when you have a final season you shouldn’t introduce SO MANY new characters and just push aside your originals (or the ones who are left). You also shouldn’t include so many confusing plots that are making it look like were the main points overall (like this many world concept was around since the first grounders) and playing with time in so many episodes is hard to keep up with too. Having so many people separated makes it difficult to remember what just happened to this specific group because I haven’t seen them in forever. ANYWAY, I did promise some positives. I didn’t except to like 7x08 because of it being a flashback episode with brand new people that was just going to feel like a potential spin-off pilot. Well...I actually really enjoyed it and the concept that the bunker was used before One Crew. The characters were easy to like and it was cool seeing Allie again (and this time not as the villain). While it felt forced including the orb (is that what it’s called? If not that’s what I’m calling it), but I liked how all the other pieces fit together (ex: the flame, the grounders’ language). Honestly, I surprise myself to say this, but I’d watch another episode. For 7x09, I liked being on Bardo and watching Octavia, Echo, Diyoza and Hope slowly get “brainwashed” I mean trained. We all knew it wouldn’t work for Hope and if I was them I would rather be on Sky Ring than Bardo (but then I guess I’d go crazy, so...) I enjoy the Octavia and Levitt relationship and would love them to work out, but if this show taught you anything it’s to be skeptical. I also want to shift to the Primes plot, just to showcase John Murphy for a second. THAT MAN! What a character development he’s had on this show. From the first season where I was like come on Murphy to now me awaiting his scenes. From cockroach to someone who won’t view himself as a hero. So good and something that is fantastic about this final season. They might have forgotten about other characters, but they’re doing it right by Murphy. 

Well, that was more than I was expecting. ;)   

THE CIRCLE

It feels like I haven’t watched a lot of reality TV this year, which makes sense because of our quarantine situation (but then again I’m watching World of Dance, but that’s a different because it’s more of a competition/dance show. I’ll stop rambling). The Circle is a reality ‘game’ show that could be easily completed during quarantine and social distancing because the contestants do not see each other in person. They each have an apartment in this complex and only communicate with each other on a social media platform called the Circle. The objective is to become the most popular and an influencer who gets power over who stays and who goes in the competition. There’s some side contests throughout, but most of the show is just people chatting through an insta messenger and trying to learn as much as they can. Alliances are formed and cat fishes try to thrive all for the grand prize of $100,000. (Wow, that’s a lot!) It is SUPER addicting and very funny. Having a voice-over narrator really makes it even funnier because she says what we’re all thinking. Just about every episode a contestant leaves and then is able to meet one other person in their apartment. It’s been cool seeing their reactions as oftentimes it’s someone they did not expect AT ALL. I can’t wait to finish it. If you’re a fan of Big Brother than this is definitely for you. Looks like there will be a second season, which I am excited about.  

THE BABYSITTERS CLUB

Jumping from one Netflix show to another. Released on Netflix on July 3rd, I tried not to binge it all in one day because then it would be over (and we still don’t know if there will be a second season yet). This is definitely my feel good watch for July. If you want something that’s a quick watch and just wholesome and fun to escape our current world than this is for you. I always felt so happy after watching and couldn’t wait to watch another. While I was familiar with the franchise--the 90s movie and of course the books (although I was more of a Babysitter Little Sister fan, so I was very excited to see Karen), you don’t have to have any knowledge of the Babysitters Club to enjoy this show. I was hooked just about right away by this new series shown by me watching the first three episodes back to back. I really like how they set up each episode with one girl as the main focus (just like in the books) where she takes over the voice-over narration. Great representation and made modern to fit in with our current times. The first example that comes to mind is when Mary Ann babysits Bailey who is transgender. I liked how Bailey says those are her old clothes while they’re playing. It’s shown in a way that explains the situation without feeling like a lecture. It fits so naturally into the episode. And then Mary Ann’s speech at the hospital is super powerful for both Bailey and herself. This is just one example of how well represented this show is. Extremely strong cast and actresses who are the proper ages. I also love the adult casting and how they threw in a Clueless reference from Alicia Sliverstone (who plays Kristy’s Mom). As someone who is writing for this age group, I really liked hearing and seeing how authentic this show is. 

FEEL THE BEAT

A Netflix original movie that has been on my list for a while that I just got around to watching. It didn’t come out too long ago. In the film, Sofia Carson’s character is a dancer who is a perfectionist. She gets on the bad side of a big NYC producer when she not only leaves her in the rain as she steals her taxi, but also knocks her, accidentally, off stage and becomes a viral video-this basically blackmails her in Broadway. This all happens within about the first 10 minutes of the film and the majority takes place back in her small home town (very Hallmark-like) in Wisconsin. While there her old dancing teacher wants her to share her Broadway wisdom with her young students. Meanwhile Carson has only been a chorus girl, so she doesn’t really have any. What draws her to helping the young girls is the chance to perform in front of a big choreographer that could get her to be the star she always dreamed of. The catch is that it’s the teacher dance in the childrens dance competition. While this might sound like a movie you’ve watched many times before, it was still worth it and a really fun watch. I think the kids really make the movie. They are adorable, funny and super talented. You feel connected with them really fast and want to see them succeed. I loved Dickie and how he joined the group. I think he was my favorite overall. I loved how inclusive the cast was here too (just like BSC) from a mixed race family, to single parents and even a student who was Deaf. It was great seeing the other actors sign to her. Carson’s character, April, can be annoying at times, but you understand it’s her character and something she needs to overcome. As I said before the plot may seem familiar, but the ending was something I didn’t see coming. Overall, wholesome, feel good and fun for the whole family. You can consider to watch while babysitting. (See what I did there??)  

VIOLETTA SEASON 2

She’s back! I know last month when I included Violetta it was mainly me being excited to see the second season FINALLY streaming on Disney Plus. I had watched a few episodes (remember there’s 80 altogether, so even if I watched 20 that’s still very early on and just a dent in the season) and was still getting used to this season. Well, now I’m happy to report I am in the 40s and more than half way. For a bit I was watching many of these episodes a day, which told me that I was loving it again. Recently, I feel I need a little more of a push to watch, but it’s mainly because of certain story-lines that feel like they’re dragging. (For example: Violetta’s voice. One minute it’s fine and the next she’s like dying). For this section I have two words: LOVE TRIANGLES. And I’m not just talking about Violetta, Diego and Leon. For a bit it felt like each character had their own love triangle, which honestly I was loving. These characters have definitely developed a lot from last season, which allows this to happen. Olga was in a love triangle, which just recently got resolved. I think German is still in one because of his alter ego Jeremias. Jackie was “kind of” in one. For her it was more of a misunderstanding, which is very classic on this show. Lots more secrets have been uncovered in these episodes as well as songs! You know how excited I am for those. Overall, I think I’m still enjoying season 1 songs more (which get referenced enough in this season), but some of the season 2 ones are really growing on me. Specifically Leon’s Entre dos mundos and when he sings with Diego Euphoria in English. Also, Yo Soy Asi has been real catchy. I know Frederico will be coming back soon and I can’t wait to see him again!  

HAMILTON

Like many I watched Hamilton this month-actually on the day it came out. It’s been a musical that I’ve been intrigued by, but never thought I’d get a chance to watch because of how popular and expensive it is to see on Broadway. So, I was very excited to hear I’d get the chance when it was to be released in theaters for a special event. Then because of Corona it was released to Disney Plus, which was EVEN more convenient and exciting. I really enjoyed it and watched it twice within the same week. I immediately downloaded the playlist and started singing it around the house. I do this a lot with many of the plays I see, but depending how good they are is shown by how long I listen to the soundtrack. (Some of my top ones are Bandstand, Once, Newsies and Anastasia.) Because there are so many songs in Hamilton it is taking me a little longer to know all the words, but I feel pretty confident with the first act. It was the perfect timing for this to be released on Disney Plus. Not only because it was July 3rd, but also because of the world we are living in. Lin’s diverse cast brings to life the world of 1776 and the revolutionary war (as well as the time after it), but it’s such a strong commentary on our world today. This is something I am continually noticing with historical dramas/pieces being released within the last 5-10 years. It feels like there’s more we can say in this genre than in a commentary piece. I also like all the analysis videos I’ve seen popping up, which just make it even more powerful. (Like it being Eliza’s story and her putting herself back in the narrative. That the play Hamilton is named for both her and Alexander.) I don’t know if all of what I see were intentional, but  either way well done. I hope it doesn’t leave Disney Plus soon. 

1917

And lastly, 1917. I promised quite the range this month and you can see that’s definitely the case. I always enjoy watching war films and with 1917 there was so much hype (both before it came out and after) that I was interested to give it a watch. Giving the movie to my dad for father’s day felt like the perfect excuse to be able to watch it. Even though our DVD stuck in a few places (still don’t know if it was the player or the DVD itself), the film was very entertaining and I would suggest it to anyone who is a history/film buff. Taking place in WWI, we follow two British soldiers as they attempt to deliver a message about an upcoming ambush that could take countless lives. I feel that I often watch more films revolving around WWII, so it was very interesting to be immersed in the first great war. After watching I am not surprised that the film was up for so many Oscars. While cinematography is the first thing everyone discusses when it comes to this movie (and it should be because the one shot/long shot is sooo impressive and beautiful to watch. It really brings you into the scene and has a way of making you feel like you’re there too. There’s a realness to it that’s raw and new compared to other war films I’ve watched in the past), there’s so much more to this film too. First, I like how it connects back to Sam Mendes’ grandfather, so while it’s not a true story it has real facts in it. I LOVE the score and music to this film. In the scene where George Mackay runs at night through those ruined buildings I could really hear how well the music worked with the action. Because of this I made sure to listen to some of the soundtrack and now I’ve added some of the songs into my writing playlist. I have chills just thinking about it. The other point I want to bring up is the cast! While there are SO MANY big names in this film from Colin Firth to Benedict Cumberbatch, the two main characters are played by George Mackay and Dean Charles Chapman and they are the ones with the most screen time. If their chemistry and acting wasn’t so great then the movie wouldn’t be as successful as it is. Because of this I have been watching non-stop YouTube interviews of the two of them for this film. 

They are so well-spoken, stand-up guys and I can’t get enough of their dialogues with each other and others. (You should watch these interviews too). While familiar with Chapman’s time on Game of Thrones, I haven’t seen him in much else, so I’m excited to see what he’ll have in the future (as well as checking out his IMDB page). For Mckay, I’ve seen him before when I just watched Ophelia earlier this summer so that was my first time watching him act. After that film I was curious what else he was in, but it was only after 1917 that I started doing more research. So far, I’ve only been able to watch the short film he was in called Infinite. While only 17 minutes it was very strong and deep. I highly recommend. As I’ve shared on this page already, in another post, the more I hear him talk the more of a crush I am developing. It’s been a long time since I’ve experienced a celebrity crush this strong so soon. This quarantine has to end so I can make it to England to just casually bump into him like one does. :) 

[murfeelee]

Alright, I’ve been talking about The Witcher TV show for months and months, and now I’ve FINALLY seen it.

I've skimmed through the books here and there, but really I’m a diehard fan of the video games, particularly The Witcher 3 (I’ve played TW1 and TW2 as well). Because of all the hype, attention and love the TW3 got over the years, with even Henry Cavill being a major fan of the video games, Netflix went and made this tv show, with Cavill as Geralt of Rivia, The Witcher.

MY THOUGHTS

It was GOOD! \(^0^)/ I really liked it!

Alright, don’t get excited, I think this show had some serious problems. But we’ll start with the good before getting to the bad and the ugly.

THE GOOD

THE ACTING

Everyone was top notch, and did a fantastic job. I freaking LOVE Grandma Calanthe, omg. I wanted more of her, and Mama Tissaia, and the different sorceresses (when Sodden started I was like hooo boy, I know how this goes; the finale is WORTH the price of admission, folks).

I even liked Eclipse-Princess (her name escapes me, my bad; I was calling her Arya 2.0 in my head). Don’t think I effing missed how they threw in a nod to the Eclipse Princess from Blood & Wine; that was awesome, featuring the Black Sun “curse” again.

I already knew I was gonna HAVE to tune in to see Yennefer’s story, and it was every bit as superb as I suspected it would be. Dare I say it was THE most interesting story arc of the three? Caught me tearing up a few times. I still don’t see book/game/Polish Yennefer with her, but she did a GREAT job, nonetheless--her emotions and delivery and everything was excellent.

She sounds so dang young though, which throws me off with the timeline, cuz when exactly does Yenn’s story take place in all of this? It’s hard to match her with the more...well....matronly/mature persona we’re more familiar with in the games. But I guess she develops that over time, after getting to raise Ciri. Though this does put in better perspective why she was so mean to Ciri at first, calling her ugly and everything. She wanted a child so badly, and Geralt just...gets one by surprise, and she was feeling bitter, I see it now.

THE ACTION

And I gotta give it to Cavill. Boy can MOVE. My favorite moments with Cavill were when he was sword fighting; whoever choreographed all that needs a frikkin award. I imagined the Butcher of Blaviken just tearing up mofos, and that’s exactly what we got. And he was WERKING them pants! XD

Except we never really saw my favorite sign, Igni. Oh well. And I hate that he doesn’t have cat eyes. And the Toxicity ISTG makes him look like a vampire and makes no effing sense, but whatevs.

And sometimes he was sounding WAY too Batman or demonic with this really deep and gravelly voice -- I appreciate that he was trying to give us that gruff and sandpaper dry video game Geralt, but when they’d make him yell or be mad I was like JFC NOT TODAY SATAN. But an attempt was made, and I appreciate it. ^_^ He was fine for the most part. More than fine, even. As I said, the acting & action was great, and they played to Cavill’s strengths.

THE SPECIAL EFFECTS

I also thought the CGI was fine--not the best, no, but I’ve seen way worse in shows with bigger budgets. The dragons...eh.... And that kikimore.... Well, I’m just remembering the Polish tv show, the Hexer--BIG improvement. Trust me. O_O The practical effects were excellent. Even though they messed around A LOT with the Striga plot from TW1, and what it looked like, I did like that they stayed pretty faithful to the fight. 

THE STORIES & CHARACTERS

IMO, the best episode was E04, with Pavetta & Duny. It was just REALLY well done, and the one I was LEAST expecting. My favorite episode was E06, with the dragon, because of course. Reminded me of Hercules the Legendary Journeys, IDKY. The finale was really good, too; I love the sorceresses and all the magic. And E07 when all the plots and flashbacks come together was great.

And now for MY COMPLAINTS

THE BAD

#1) OMG WTF WAS UP WITH THE TIMELINE?

I feel BAD for anyone who’s watching this show fresh, who’s never played the games, read the books, seen the Polish Hexer tv show, played Gwent, or anything related to the Witcher world.

I was thrown off several times, as they shot from Ciri running for her life or Geralt fighting a Striga in the present time; to Yennefer learning magic in the past. Geralt & Dandelion go on adventures Shrek & Donkey style--I ASSUMED in the present, with the Sylvan, Djinn & Dragon, until an episode or two later they’re in Cintra together in the PAST, and Ciri’s not even born yet, and we’re seeing a drunk Ermion/Mousesack and young Crach an Craite (I squeed, my dad~!! His accent was on point!), and Ciri’s mom and grandma. (And WOW, the lady they got to play the mom looks just like the actress playing Ciri--are they related?)

And they do this over and over again over the episodes--present day with Ciri, eff knows when with Geralt or Yennefer. Especially since you know from the books/games that they’re both almost 100 years old. Yenn keeps throwing out “it’s been decades“ this and “years” that. But W H E N though!?!

I mean, I could follow along, sure, but they REALLY needed to make it clearer SOONER for people who have NO idea who TF these people or which kingdoms are which, that some things are happening YEARS apart from each other. Pay attention to how many times GoT shoved those maps of Westeros and Essos in our faces. Or how different shows use color filters for flashbacks or something. Properly situate the audience in time AND space--we’re not Cirilla, who can travel willy nilly between both. They bounced back and forward between past and present with the toss of a frikkin coin.

And speaking of coins...

#2) THE MUSIC WAS...Well.

Oh, Dandelion. XD

Anyone who knows me knows I fangirl HARD over the Witcher video game OSTs. And unfortunately, the music on the tv show was just...alright. :\ And for a franchise so closely connected to iconic music like the band Percival, it’s a crime against nature that the tv show never had a single track that made me go YES. Give it up for POLAND. The end credits song is okay, but I only started getting into it at like Episode 6, soooo... :\

And no, I didn’t like Toss A Coin to Your Witcher in this show. It didn’t sound like part of this medievalesque universe AT ALL, but something kinda pop/country, aimed at I don’t even know who. Sure, the dude playing Dandelion can sing. But so can Ed Sheeran, and when GoT got him to sing on the show, he sure AF didn’t bust out with the next Billboard Top 40 on us in the middle of nowhere.

#3) THE CHARACTER BONDING?

The acting was top notch...it was the plot/writing I didn’t like. Or rather, the relationships between the characters. I felt more for Yennefer & Istredd, and Geralt & Roach, and Ciri & the Elf boy (and her grandma), and even Pavetta & effing Duny/Emhyr (that royal piece of sh!te) than I did for any other characters on this whole show. And that’s a bit of a problem.

First off, I HATED how they made it seem that TEENAGED Ciri had no idea who TF Geralt was. TV Ciri’s gotta be what? 15? Geralt said something about it having been 12 years since Pavetta & Duny, but even that’s too old. Book!Ciri met Geralt IN the Brokilon or whatever forest with all the water drinking and the dryad queen and mess.

They were already obsessed with each other before the fall of Cintra even happened! Ciri was like 10 already when Geralt took Ciri to Kaer Morhen to start her Witcher training, but this girl on the show’s way older, and effing clueless. They don’t even meet til the final few SECONDS, wtf!! It’s just Destiny~! Destiny~! Child of Surprise, but we never even have a scene together~! Destiny~!

Speaking of children, we have Yennefer and Geralt, which was better, but again, WOAH with the pacing. I felt effing BAD for Istredd! :( I don’t really GET why Geralt & Yenn fell so hard for each other; I don’t really feel that connection. Geralt had just as much bonding time with that eclipse-princess! They only had the Djinn episode, really, and by the end of the Dragon episode it was already over!

I mean, yeah, in the books/game they have A LOT of ups and downs, but come on; we’ve already wasted so much time on Geralt & Triss (that homewrecking wench, I’m glad her airtime was minimal), and I just want more BAMF battle couple parents Geralt & Yenn raising Ciri already! >_<

Same with Geralt & Dandelion. Geralt’s kinda mean to him, which is fair; Geralt hates everyone. But I don’t feel where they’re friends at all, and they part at the end of the season on NOT great terms. I kinda feel Geralt doesn’t really like Dandelion at all. :( Even with the whole comedic relief Shrek schtick,

THE UGLY

#4) THE LENGTH

I dunno what’s up with all the 8 episode miniseries lately (GoT, Mandalorian, Witcher, etc), but it REALLY isn’t enough to really flesh out a story. Especially not one as convoluted as The Witcher, AKA the GoT of Poland.

Again, I REALLY feel for the casuals watching, who probably don’t know what the Conjunction of Spheres Istredd keeps referring to is, or what exactly a Witcher is, or why Ciri’s so dang special -- was Lara Dorren or the Elder Blood ever even MENTIONED???

We know Yenn’s got elf blood, but it’s waaaay more than that with Ciri -- though I don’t think they mentioned her elf blood, either, just that Calanthe’s grandmother or someone had their Banshee powers before Pavetta & Ciri.

BTW, wtf with Ermion/Mousesack? That’s gotta be a red herring or something. Cuz we know this dude’s old AF and thriving in Skellige, sooo....? TF. Why the Doppler? Why?

TBH this felt like Season 1A, if anything. I don’t feel the plot really progressed much at all, other than us getting Yennefer’s story. Ciri & Geralt finally meet (cliffhanger supreme right there), but jfc this felt like a prequel -- so much of the season was dedicated to backtracking us in a roundabout way up to the fall of Cintra, then skipping ahead to the Battle at Sodden Hill.

And why the heck did they wait so long to get to get to Vigelfortz!? That’s what I was sitting here WAITING for! You mean I gotta wait for Season TWO to see my Hanse in full force!? :( URGH. Reeeeeeeegiiiiiiiis~! :(

Maybe cut out some of the unnecessary nudity every frikkin where and tell the full frikkin story, hmm? (Yenn’s boobs look great, we got it the first 5 times. Meanwhile these cowards won’t even have a dude’s left testicle be shown on screen, but whatever.)

So yeah, those are my 4 biggest complaints.

Well, and that wig’s hard AF hair line, jfc.(I was DYING during the Pavetta & Duny scene, when Cavill was holding on to that wig for dear life. XD XD)

Otherwise, I really liked the show! B+!

[let-me-be-your-home]

Supernatural 14x10 Nihilism Review

Without a doubt Episode 10 has by far the BEST episode of this season. So intense, so thrilling, so well enacted and most importantly so well woven to include both Micheal and Dean’s story, making it possible for both the characters to co exist, leaving no room for complain. 

This is precisely how I personally wanted them to deal with this track from Day 1. But I am glad they ventured into taking such a brave move FINALLY. What with Micheal still being trapped within Dean (which is definitely waiting for a storm to happen, correction: devastation) It makes for such amazing story going forward. IF they handle it well. 

Before I talk about the story telling, I would like to take a minute (which is an understatement) to applaud the perfection with which Jensen Ackles played Micheal this episode. WOW. I am left speechless by this man, who is so talented that it angers me that he will never get an Emmy for his superlative performances on Supernatural.  

Jensen is so instinctual as a performer, how he completely merges with the character he is playing, become that person and making sure to be distinctive in performing that role. So much so that even a cap or picture of him playing any role is sufficient to differentiate if its Dean or Micheal. He played MIcheal as this sassy, scary and chilling character to the T. Literally terrifying the viewers with that delivery. 

What stood out to me was. 

- Dean like Sam said, thrives on trauma and fights it hard...that is how he has survived years of pain. But he is easily distracted by contentment, because he has had such less of it that he is drawn to it and I do not know if I should be proud of him for it or just cry at how sad that fact is. 

- Sam believing in his brothers strength, and also knowing him so well to know which memory he has to go into to snap Dean out of it. I love how the show repeatedly signifies the deep bond these boys have on each other. 

- This show was brave today, in taking us into Deans mind and more specifically taking Sam and Cas there too. To not just show them and us his scars but also give his strength and fight against all of it the respect it deserves. What wonderful story telling...to not just show us so much about Dean that still seems new after 14 years BUT to weave that into forming a powerful arc ahead. 

- MIcheal is an antagonist, so he picked the tip of whatever he saw and exaggerated to distract Sam, Cas and Jack. Dean may not completely think of either of them like that. But it’s not like he NEVER thought those things. He LOVES Jack, but there was a time when Jack definitely was a job for all of them. He isn’t friends with Cas simply because he owes him, but there was a time when he did owe it to him and still stuck by even though Cas made mistake after mistake. And of course it isn’t news that Dean is always afraid to lose Sam. So now that these three have heard these things, I wonder if it will affect them and play into the story ahead.

- Sam and Dean’s cord word “Poughkeepsie” played its magic again, once again showing us how they are the ONLY ones who always bring the other out of the deepest darkest trauma and traps there can be. They are each others anchors :’( and that made me emotional. 

- The scene between Micheal and Cas, the dialogues especially...that took us further into MIcheal’s mind FINALLY clarifying so much about God and the archangels was a highlight. It chilled me to my bones and I am not exaggerating here. 

- Loved how every character was so involved into the story and had a pivotal part to play. 

- Also really enjoyed such well choreographed action sequences, the add so much to the show. 

- The last scene has made it harder to wait for the next few episodes. Added such a unique twist by not only having Micheal trapped within Dean, but with Billie already letting Dean into the culmination of it all. So now Dean knows, I wonder what he will do now and it’s left the story at such a gripping juncture. 

[patrick-yates]

Forefront - The Legend of Korra

Today I shall be revisiting one of my favourite animated shows ever, The Legend of Korra. The show’s inception falls just outside of the 5 year recency bracket, first airing in 2012, but the dramatic 3rd and 4th seasons and season finale debuted in 2014, and I regard it as one of the most well realised and successful Western animated series of recent years.

fig 1. a shot from the show’s opening sequence, featuring Korra herself

This show, alongside its parent series Avatar: The Last Airbender (2005), is one of my greatest animating inspirations, and so I wish to take a look at what makes it special, and try to relate it back to how I wish to incorporate that inspiration into my own work. Many of these points are mostly relevant to the narrative and storytelling side of animated film, but as this is a big part of my practice, my love of the form and my career aspirations, I want to take a look at each of them. There are a great number of reasons why I count this show as one of my favourites, so many that I feel I may have to list them in bullet point form as a primer: 1. The well-written characters, and character-driven narratives. Variety, humanity, humour, flaws, emotion, the works. 2. The worldbuilding and lore. As fantasy series go, this presents an extremely well-rounded synthesis of real world philosophy and culture with fantastical elements, complete with political discourse, personal/emotional problems, and often obscure and interesting presentations of morality. 3. The plot itself. Spanning 4 seasons or ‘books’, each one explores a different philosophical conceit, eg. power, change, balance, often through the decisions and successes or failures of the eponymous lead Korra. In many ways it is a coming-of-age story about her personally learning to deal with responsibility, while developing relationships and self-sufficiency too - and saving the world, of course. It is a deeply relatable story, told through a ridiculous lens. This is one of my favourite narrative modes, and one at which animation excels. 4. The animation. While mostly impressive for the superbly choreographed fight scenes (which always make exciting and inventive use of the rules of the world and the characters’ abilities, drawing on real world inspirations), there is so much to love about the sense of scale and style in this show, especially in the award-winning 2 part miniseries ‘Beginnings’ from Season 2. 5. Representation. This is increasingly a strong feature of modern media, and one I am very excited to see personally, but I remember having such a wonderful experience watching this show and thinking to myself, midway through an episode, how many strong and unique female characters took the lead of much of the story, but how it felt so natural I never even noticed. Not only that, it features many characters of different skin tones, religious denominations and philosophies, and sexualities, none of whom are ever reduced or reducible to those characteristics. It’s a very human and very powerful way of writing characters, and something for which I will always appreciate this show. It would be a dream come true to have the chance to work on a show half this accomplished, as it has meant so much to me personally. But what aspects of my own practice can I relate to it, and what elements of it can I learn from? Let’s go back to these bullet points.

1. CHARACTERS. It has been taken as given, as part of my creative heritage in writing, that characters form the crucial basis of any powerful story. They must be complicated, sympathetic, dynamic entities that can exist outside of the page or screen, whose reactions to situations we as readers could anticipate as if they were our friends or family. I hold these ideas central to any narrative process I undertake, and often keep in mind the strong sense of character shown in shows like Korra. I also make it a priority for the stories I wish to tell to be character-driven - for narrative advances to be made based on how characters react to what they are given. As character often forms the strongest basis for relatable story, so it follows the importance of individual personalities in narrative decision-making is difficult to overstate. The very best stories tie this into a larger schema involving several characters, their relationships, their circumstances, the wider politics of the world and its central themes, while staying true to their respective tone. It’s a difficult thing to do, but if it wasn’t, everyone would be doing it.

2. WORLDBUILDING. This is generally only relevant to fantasy and sci-fi storytelling, but given how many animated films and series focus on these genres, I esteem it a big consideration alongside character in creating an effective undertsanding of animated storytelling. The Reality Effect is something discussed by writer Roland Barthes in his essay of the same name: it deals with the presentation of minutiae in storytelling, often needless or tangential to the plot, in order to achieve a greater sense of realism - the idea that the film world is not only comprised of an interlinked tapestry of character and plot, but of a thriving ecosystem completely independent of the narrative thread. Korra/ATLA establish world on a massive scale, incorporating nations, culture, history, food, wildlife, religious praxis, politics, technology, etc etc. All of this, whether helpful to the plot or not, builds a great impression of what this world would actually be like, and has the effect of increasing the viewer’s overall investment in it. When writing any scenario, I try to include as many tiny hints and illusions to the broader idea of that world. I am reminded of a famous quote from Ernest Hemingway, someone of whose work I am not a massive fan personally, but was undoubtedly a great creative force:

If a writer of prose knows enough of what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. (fig. 2)

3. PLOT. Korra is a wonderful story because, as discussed, it combines many different tenets of great storytelling, but (almost) always manages to tie together its many threads and come to a satisfying conclusion. Above these superficial successes, however, I am a firm believer that the duty of a storyteller should be in telling stories that need to be told, which Korra manages to do all the time. It tells grown-up stories about trust, about change, about growth, depression, pain, belief, abuse, parenting, sexuality, fascism, and it communicates them all to a young audience without ever being consdescending or reductive. This kind of balance is something I hope to achieve in my own stories, but am still getting the hang of. Something I am always considering is, who will receive the messages I am trying to communicate? How ‘difficult’ should I make my narrative, and how do I ensure I strike that balance? What choices will impact the tone of my work, and what aspects of the story should I focus on making the most prominent? It’s a real balancing act, but I am hoping practice will make perfect.

4. ANIMATION. This one is slightly more pertinent to how I am learning at the moment: how can I make characters’ feelings and personalities shine through movement? Korra has a very strong sense of body language, partly because it ties very strong links between spirituality and physicality: the martial arts practised by each character, and the way in which they move their bodies to use them, almost always reflect in some way how that person thinks, an in some sense how they might react to a personal problem rather than a physical one. In some ways I realise this is hyperliteral and relatively specific way of approaching physicality, however I think engaging with the subtlety of body language is one of the great tools both actors and animators have at their disposal in telling a story, and something which can be largely lost in literature. Here are a few examples of how characters in Korra may be understood by their body language:

fig 3. Korra and Opal bond with ‘airbending’. Their smiles, open positions and relaxed lines show us they are content in each other’s company

fig 4. Lin, hardline chief of police, stands cross armed and wary, yet clearly demonstrates emotion in her face and movement. She is personally attached to this interaction

fig 5. Child of the streets and pro-fighter Mako is guarded yet quick and efficient. He has the air of someone deteremined yet cool under pressure

Hopefully these examples demonstrate some of the admirable ways in which character is presented in Korra (as well as the relatively quality and conciseness of movement, which I also love about this show’s style).

5. REPRESENTATION. At this juncture, I have yet to attempt any broad stories, or even any with more than 2 characters. I am also aware of the dilemma of faithfully representing characters of different backgrounds than myself. Yet I believe in a world of colour, variety and synthesis, not renditions of the same experiences over and over, and animation, as a radical form and as my chsoen art, is as good a place to enact those beliefs as any. I take Korra as a prime example for reasons already mentioned, and hope to refer to its wonderful, dynamic world as often as possible in my own work, and keep diversity and representation politics at the front of my practice both on-screen and behind the scenes.

References

1. Korra

2.  Hemingway, Ernest. Death In The Afternoon. New York: Simon and Schuster, 2014. pp. 316

3. http://avatar.wikia.com/wiki/Opal

4, 5. Tumblr

[whateverisbeautiful]

Reveling in Richonne

#46: The Kiss (7x5)

The Kiss of Life!!!! This. kiss. was. every. thing. Before I start, I just need to do my happy dance for the millionth time over this perfection. 🙌🏾

I don't know what's wrong with me but every single time I see this scene, I react like it’s my first time ever seeing this scene and I literally have the reaction of this gif above 😂...Like every single time, without fail, because this moment is everything and then some. Like perfection. Like tens across the board. Like mesmerizing and magical and definitely on my nonexistent “Top Ten Richonne moments” list. It’s like they sprinkled something over this scene that makes it where you have to watch it over and over. You can't not smile and cheer and celebrate every time you see this. (PS: This lengthy post is going to be half analysis, half pure rejoicing lol. I can't help it! 😁) Y'all, this kiss was something special and whoever thought to choreograph it this way should receive a medal. It was this moment. It was this exchange that took my love for Richonne to a whole new level, cuz it was the first time Richonne left me completely and utterly shook. Don’t get me wrong, I adored all their other moments, but this one was entrancing like no other. 

Basically the low five put me on the ship and then this moment put me in the dumpster lol.

Like, seriously, round of applause to everyone involved. The light crew gets a medal. The stylist gets a medal. The composer gets a medal. The director and cinematographer and writers get a medal. And you already know Andy and Danai get all the medals. (But seriously imma need some Emmys or Golden Globe noms headed TWD’s way before the show ends)

This scene was beautiful. I've seen a lot of people excellently dissect this breathtaking moment, and people's thoughts and insight and celebration of this moment is so good and brings me so much joy to read! So a lot of my analysis is really just me preaching to the choir, but you know I have to join in and give my play by play lol. 😋 So, Rick goes in for that little hug and peck on the cheek I mentioned earlier. It's a “casual” husband/wife send off and it's sweet that he just wants some form of physical connection with her before he goes cuz...this is Rick and Michonne! (an epiphany that hits me over and over again cuz it's just so amazing and crazy to me that these people we've been watching for years are now able to express the love they've had inside for so long)  

Like think of how many times, pre-canon, R&M have gone out to do separate things and maybe wanted to give a hug goodbye and now they can. Think about the "I'm still with you" moment that preciously parallels this one!

 You can't help but be happy for them that they now get to do all the things they've been wanting to do.  So, again, if all they had done was hug it would have been super sweet.

But instead, honey, we got blessed and spoiled! Cuz as Rick goes in for the hug, Michonne so gracefully and intimately places her hand on his face.

Just to do something as intimate and personal as touch his face, lets you know that R&M feel very very close and connected to one another. I also notice that Michonne immediately puts her hand on his face the second she realizes Rick is going in for this peck on the cheek thing. By putting her hand on his face so quickly it lets me know that she knew from the second he stepped towards her that she wanted to give him a more proper sendoff than the one he was about to do.

Like this kiss wasn't an after thought or some uncertain thing for her. She doesn’t just let the casual hug happen and then hesitantly think "Oh wait, maybe I should give him his entire life right now" 😂  No, she was confident and knew from the jump that she wanted to do that. Now, when this first happened it could seem to some like she was about to reject the hug. In fact, Rick looks like he's thinking that for a second too. It absolutely pains me when you see the quick look of uncertainty on Rick's face as Michonne redirects him. Like he was already a little hesitant to go in for the peck on the cheek and for a split second it feels like he's thinking "Dang, she doesn't even want me to touch her.".

Rick really thinks he's about to take yet another L and get rejected. But I love that Michonne doesn't give Rick much time to linger on the possible thought of rejection before she's letting him know exactly where they stand and how she feels about him, without even having to say a single word.

Like this kiss was a loud and clear "I love you" from both of them. 😍

I love the way it's choreographed for her to take his face and sort of lead the way here. It conveys oh so much. Like one; this is Michonne saying "Nah, we don't do that platonic peck on the cheek stuff. Our love is too strong for that." 😂 

And two; it's a reminder of how R&M are equals. And three; it’s a reminder that they are so in sync with one another. Like Michonne can see that if they just do a casual sendoff it could cause more disconnect for them so, like the wise strong 👸🏾 she is, she steps in and she closes the distance between them literally and figuratively.

And four; this is Michonne teaching us yet another way to say, “I’m still with you”. Like so far Michonne’s taught us that you can say “I’m still with you” by:

Saying the actual words to him

Being the first one out to aid him in fighting a herd of walkers

Giving a warning pop to a chick that tries him

Pleading his case to a psycho while a gun’s aimed at your head.

Helping him make a bed

And then you can also give him the literal kiss of life. 🙌🏾

I love that now that they’re a couple, Michonne can more intimately let Rick know she’s still with him. And this kiss is so powerful because it feels like a game changer for them. Because it communicated to both of them what they might have not been verbally communicating to each other since Negan’s arrival and that’s that; there is literally no amount of differing opinions, or distance, or tension, or anything at all that’s going to break us up. We’re still with each other and we want to be with each other forever.

I love this moment too cuz, as breathtaking as it was, it felt so authentic and not sappy in the slightest. It just felt like grown healthy love. And yet it was still so magical cuz, y'all, I'm not a sappy person (or so I thought lol) but I could practically hear angels singing when this moment first aired.

Like I promise, when I first saw it, I felt like it was in slow motion or something. 😂 It was that mesmerizing. It just felt like it was straight out of an apocalyptic Disney movie lol. It was True Love's Kiss! 😍 I love that Michonne's leading the way at first on the kiss and then it does not take long for Rick to be right there with her. I love that he, of course, pulls her in closer and they literally get lost in each other, as any concern that they are on the rocks quickly disappears. Like you literally see them both radiate equal amounts of intense love and energy.

They are so engulfed by each other that it's like no one else is there.  And it’s funny cuz I remember thinking about how R&M are doing all this with Carl definitely right there in the next room with the door open lol. But I love that for this one moment it was just them two in this world. 😊  And you can tell they never want this moment to end.

And y'all can I just say one more time...that's Rick and Michonne! That’s “Your face is losing the war” Michonne and “You gonna stay awhile?” Rick. These two have been knowing each other for the longest and now they're doing this.🙌🏾  

I remember even my sister, who’s a more casual viewer, took note of this scene and was like “Well okay then.” 😂  Everyone took note of this moment. 👏🏽

Like if someone watches this scene and still doesn't buy the deep love between Rick and Michonne it might be time for them to consider if they’re a...

Lol. But Haters are just going to stay mad because this couple isn't only going to survive but thrive. 👌🏽😊 Their bond is unbreakable and this kiss made that crystal clear. The passion, chemistry, sincerity, unity, desire, respect, longing, support, and just pure love conveyed in that kiss, from both of them, is A1. 👌🏽

I love that Michonne knew that her man needed to be reminded that he's still the man in this world and so she reminded him of just that. Michonne always be knowing just what to do lol. ���🏽 Like she wanted to remind Rick just who he is in her eyes. He is still the Rick Grimes to Michonne.

R&M are completely on the same page in this moment and it just reminds you that they are truly made for one another. And I adore how much R&M can say without words. Like, apart from “I’m still with you”, that kiss was Michonne telling Rick "I respect you, I believe in you, I support you, I want you, I love you" and Rick seriously needed that.

You can tell that Rick is overcome by this woman and has just gotten even more proof that he was very right in saying “this is different”. It’s 100% clear that Rick got his entire life from that kiss lol. 😊

And I love that it doesn't just end with the kisses! Afterwards, R&M both lean in, so beyond close to each other, and they stay in this moment just a little longer. It really is like they melt into each other. And they just visually look like they fit together like puzzle pieces. I love that as they just stay here for a moment it really feels like they are leaning on their rock and their other half. Like as hesitant as the scene started it ends with such strength and unity and power between them. 😍 

It's so evident that they don't want to pull away from each other as the kiss ends and their foreheads touch. Like they almost seem dizzy from the immense amount of love that has just poured out of them. Their love is so powerful it overwhelms them just as much as us lol.

And then Rick says the only appropriate response...

"Thank you". 😋 I adore this very sweet and very accurate response. Like I know some people say Rick was technically saying thank you in regards to Michonne saying good luck, but let's be real y'all, he was thanking her for the greatest kiss of his life. (Plus, when she said “good luck” he said “yeah” so he technically already responded to that. 😁)

To me, the “thank” you has even deeper meaning. This was Rick saying thank you to Michonne for being his ride or die, for never giving up on him, for being there for him and loving him and choosing him every time, no matter what. He was thanking her for being her. (and, again, for giving him his entire life in one kiss 😋) With this world being more dangerous than ever, it's a big deal to leave home and you really don't know if your goodbye is truly your last goodbye so, as R&M head off separate ways, Michonne wanted to make sure they have a proper and fitting farewell, which of course is an epic one for an epic couple. So, in a way, this kiss was her also saying "Just in case this is the last goodbye you should know exactly how I feel about you". But the kiss was also very strategic, cuz I know Homegirl was trying to give Rick some serious incentive to get back asap. I'm honestly a little surprised Rick didn’t go tell Aaron their trip’s cancelled lol. Cuz after this kiss, Rick really looked like he was thinking, ‘Negan who?” 😂.

I know with complete certainty that Rick had this moment with Michonne on replay the whole time he was out with Aaron. As Rick walks away, Michonne watches both sad to see him go and also knowing full well she just put that man in a trance. 😂 She knows what she's done lol. Like Rick's now beyond whipped. Is there a term stronger than whipped? Cuz that's what he is now lol.

To date, this is my favorite kiss between them. Hence why I can gush about it forever. It was just so much more than a kiss. It was everything. It was their unbreakable love fully on display. And they've come so far since season three, and have had many moments in past seasons that could have led to a kiss, so it just feels so rewarding and wonderful that they're finally at this point in the relationship. I can imagine for long-time shippers this moment sent you straight up to heaven lol. 🙌🏾 😋 Literally every time I see a gif of this moment I can't help but get that same overwhelming joy I had the first time watching it. It's just so good and so magical yet so realistic and organic. Richonne is always so well done cuz it's always conveyed like grown, healthy, natural, genuine true love. And this kiss gives you no doubt that R&M’s relationship will not just last, but it will stand the test of time. They are ride or die, they are partners for life, they are one. 

This scene was towards the beginning of 7x5, but low key the rest of the episode was kind of a blur cuz, as far as I'm concerned, this one scene stole the whole show. 😋

So, in short (lol), every time I see this moment I can’t help but say, “I’m...

Cuz this scene was, is, and will always be a masterpiece. 🙌🏾👌🏽👏🏽👏

[pokemon-fighter]

//Anon, let me first say this.  Thank you for keeping this criticism polite as you could possibly make it.  It’s stuff like this I was talking about, and exactly the kind of feedback I thrive on, as you heard me mention.

However, I can’t help but notice that you seem to misunderstand me.

You threw a pretty heavy accusation toward me, as if I make Damien too overpowered and always coming out on top.

Have a seat, anon.  You and I are gonna have a talk.  No, it’s alright.  You’re not in trouble.  We just need to straighten a few things out.

When I first made Damien, I was very well aware that he was going to be too much of a hard ass when it came to fights.  This is precisely the reason I created him in the first place, as that is his driving characteristic.  He was born to fight, living a consistent life of conflict.  Many muses are built for that sort of thing, and that's okay.  To the average onlooker, he can be very intimidating.  You so much as look at him the wrong way, he'll knock you out without a second thought.

But, from your criticism, you seem to think that whoever I thread with, when Damien lands a hit, I'm deciding for them.  I understand the rule of no autohitting, and that when one muse swings to throw a punch, the other person has to decide what to do.  Does their muse take the hit?  Do they dodge?  Do they block the hit?  Or do they take the asshole route and no-sell the punch, standing tall?

Now, if this happened with every fight, it would be a slog of nothing but dodges and blocks because, I can understand, people don't want their muses to get too badly hurt. Damien is very capable of injuring a muse if he's unleashed.  But, if I carried out the method you mentioned, me and my partner would be slogging through action after action.

Rest assured, my friend, that I do, in fact, actively talk to my partners during the scene.  But, when I do so, I leave enough room for a counter.  If you noticed Damien's fights with Red and Guzma, he lands a few successful hits in my reply, but you'll notice that he has his arm cocked back for another hit.  That's my partner's cue to counter the hit and lay onto Damien themselves.

My style of writing fight scenes is punch for punch, kick for kick, and counter for counter.  For every hit I land on the opponent, my partner is free to land one as well.

It's much like a wrestling match.

Two fighters are booked to face each other.  A winner is already booked to win that match.  What matters is telling the story through actions.  When I have Damien hit a character, he's going through what I often call a 'motion'.  He'll land a few hits, and will have a slowed moment for the opponent to dodge or counter.  

That's the 'cue' I mentioned.

From there, the opponent will often hit Damien back, and perform their own motion on him.  They, too, leave their own 'cue' for me to respond to.

Throughout this method, we, the writers, are often going back and forth at what injuries will be sustained, how badly beaten both fighters will be, and ultimately discuss the finisher of the fight.  The moment where the winner delivers the coup-de-grace, dealing that final blow to the opponent.

In this case, Guzma's vicious stomping on Damien, which left him battered and bloodied.  As well as Damien hitting Red repeatedly until he bled, which would lead to the him punting Red's head.

When it comes to fight scenes, I can't wing it and write it using the method you mentioned.  It has to be choreographed.  I have the scene always playing in my head, and I have to often relay those actions to my partners so that we both can craft the scene together.

With all of that said, anon, I would politely ask you to read those threads I just mentioned.  They're tagged under “Damien vs. Guzma”, and “The Legendary Red”.  You'll see the method in working that I've just talked about here.

You said yourself anon, that 'communication is key'.  I couldn't agree more.  That is precisely what I do with my partners when it comes to fights.  But understand I have my own method for these things, and do take into consideration the accusations you fling to others.  I take accusations as godmodding and auto-hitting very seriously, as I've been blamed for those actions in the passed, both unfairly and wrongly blamed.  But know that if I did godmod, my partners would have said something to me by now.

Please ease up on that sort of thing, okay?  That's a hefty thing you threw at me, and made me question my own integrity as a writer.  Try to understand other people's methods of writing, even if it's one you haven't seen before.  Each writer has a gameplan, even if that plan is unfamiliar.

I'm glad we had this talk, anon.  Know that this isn't just towards you. It's for anyone else that may have a similar misunderstanding.  Your old pal Izzy knows what he's doing.  You just keep enjoying my stuff, and I'll handle the rest.

I think that's something we can both agree to do.  :)

[fangirlingabout]

You Have My Attention, Disney

Isn’t it nice to be excited for a reboot? Or, at the very least, cautiously optimistic? 

Granted, I more than understand the hesitation. I don’t think reboots have ever had a great reputation, and they can take away resources from potential, original properties making their debut (especially in today’s sequel-driven, nostalgia-loving, cinematic-universe-mass-producing market). Which is why the phrase “reboot potential” sounds like execu-speak that leaves you feeling ... kind of dirty.

But, if you know me, you know I love another show that was just a reboot made to sell toys because, ultimately, the new team of creatives put in so much thought, love, and creativity into that it became its own thing.

Clearly I’m talking about Voltron: Legendary Defenders.

Oh, alright, and Pony (if you’re ever not sure, just assume I’m talking about Pony again; you’ll be right 90% of the time). And aside from the fans I’m told the franchise had originally, no one was expecting it to be a good show-- that’s a case where the reboot surpassed its predecessors and in a huge way.

And, hell, I wouldn’t be doing my job right if I didn’t reference how well the Star Wars franchise is doing again, even after the infamously abysmal prequels! 

Pretty much the entirety of 80s and 90s culture either has or will get some kind of love. Hey! Arnold’s creator Craig Bartlett is finally getting to make The Jungle Movie, Samurai Jack’s getting a 4th season on Adult Swim, Power Rangers are back on the big screen next year, and just about every other property you can think of has something. And if not, they’re probably just saving them for the NickToons movie (which is also a thing that’s happening).

Meanwhile, Millennials just aren’t nostalgically profitable yet, I guess. Seems like all of our properties either get reboots that aren’t marketed towards us at all:

get continuations that get screwed over by the network

(If you’re wondering, that’s official artwork by co-creator Bryan Konietzko; I just felt the need to use it because wow dat’s gay)

or don’t get reboots period, even when the creators express direct interest in making a return.

Or, you know, made a deal with someone and found a way to never leave to begin with.

*Pokemon’s started in the mid-90s, but if you grew up in 2000s, you’d count it, too, it was huge for us.

My point being that while reboots and revivals have troubling downsides, take it from a Millennial whose starved for them: getting a good reboot can still be a thing to be celebrated.

Especially when you’ve got one that looks this intriguing.

Back to DuckTales

So, the voice cast looks like they’re kicking ass. It’s only one element of a show, of course, but whether or not the star-power wows you, the idea that it just might be in good hands may. 

See, Disney XD is sort of a weird channel. If I’m remembering correctly, it’s not included in some number of cable packages, but Disney Channel (prime) is---meaning, this should be where shows go to die.

It’s also technically Disney’s animation channel. Which says a lot about where Disney is now. (If you want some real insight into Disney’s television history, Saberspark made a video about it---“Why does the one of the greatest animations studios of all time struggle to provide animated content for television? It doesn’t make any sense!”)

You 90s kids will remember the Disney Afternoons on the main channel---the program block DuckTales originally thrived in. A lot’s changed since then (the video goes into how and why), and the Disney channels DuckTales is returning to greatly needs its help.

Wander Over Yonder, for all the love it got, suffered the consequences of airing on an off-shoot of the Disney Channel instead of the real deal. Not every show that ends up there is doomed, but for instance, Gravity Falls made the switch to XD early in its lifespan, and OH MY GOD WAS IT JERKED AROUND IN TERMS OF ITS AIRING SCHEDULE. 

We’ve recently seen worse, and it’s not exactly uncommon, but for a show that became that popular that quickly, it’s shocking to remember just how wonky the airing schedule was.

The remaining survivors on Disney XD are Star v.s. the Forces of Evil, Milo Murphy’s Law, Star Wars Rebels, and Penn-Zero Part Time Hero (... well, okay, and Pickle and Peanut and something called Future Worm). What’s working for them now is a mix between action and comedy---which is what we’ve been lacking in Western cartoons for a while now.

Voltron, which just today released its second season on Netflix, is probably the best example of a classic action cartoon. It’s sort of got an overaching narrative, but each episode focuses the action in an episodic, beat-up-the-baddies and/or solve-this-team-and/or-character-issue vain. 

It’s been traditionally true, on the whole, that Western animation holds its roots in comedy---from Walt Disney himself to Disney XD today. But the rise in action cartoons around the late 70s--late 90s (don’t quote me on that) could sometimes elevate the animation towards more adult themes without it being... well, what we call “adult” animation. 

We know for a fact that any show---whether it’s deceptively cutesy or even downright cheesy---can approach darker and/or mature subject matter nowadays, but that’s partially why the fact that we don’t have a lot of Voltrons (which is super 80s in a loving we-know-where-our-roots-are kind of way) is a little disheartening.

Plus, action cartoons can choreograph cool fight sequences or chase scenes and I like when the cartoon box makes the booms.

DuckTales, for as silly an idea as it sounds like it would be on paper, apparently rocked. I’ve gotta full-disclosure this bad-boy and admit I was too young to catch the original properly, but from what I can tell, there’s a reason for that nostalgia. And what I’m getting at with all this is that DuckTales 2017 joining the ranks of the other action comedies on Disney XD is absolutely a step in the right direction. 

Who knows what kinds of adventures and subjects it will actually cover, but continually proving that action shows are marketable (especially on a channel that’s only in 68.8% of American households with T.V.s v.s. the 82.7% the main channel enjoys), only welcomes more good action shows in the future.

So, yeah, not only does DuckTales itself have potential to be something fun and awesome, but it has the potential to build off the successes of shows like Star v.s. and show executives people will respond to this kinda stuff. When you think about what reboots would do some genuine good to bring back, you might not think DuckTales, but who knows?

Here’s hoping all that potential amounts to something.

[aion-rsa]

Lucifer Season 5 Episode 8 Review: Spoiler Alert

https://ift.tt/2Eh6M2M

This Lucifer review contains spoilers.

Lucifer Season 5 Episode 8

“Just to be clear, this is you breaking up with me, right?”

It only took 75 episodes, but dear old Dad finally makes an Earthly appearance in the Lucifer mid-season finale, and hopefully, He’ll be able to suss out the details of Michael’s dastardly plan to bring down Lucifer. Directed by Kevin Alejandro (Daniel Espinoza) “Spoiler Alert” covers plenty of criminal territory, addresses personal grudges, and explores individual fears, but in the end, sends fans into the off-season feeling really good about what they’ve experienced and excited for what’s to come in the back half of season five. 

Director Alejandro makes the most of his second stint behind the camera (3×26 “Once Upon a Time”) and manages to evoke an authentic sense of despair in the characters across the board. Lucifer’s agitation once he learns of Chloe’s abduction plays beautifully and for a moment, we forget that he’s not human as he struggles through initial feelings of helplessness. Even though Linda puts Charlie’s fever in perspective, Amenadiel becomes unnerved, and whether we’re parents ourselves, we sense the vulnerability any new father feels. Additionally, this feeling of powerlessness plays nicely against Lucifer’s on again, off again physical vulnerability. 

Ironically, the demon Mazikeen remains the most susceptible member of the LAPD family and easily falls prey to Michael’s contention that he knows a way to secure her a soul. As endearing a character as she’s become, this seething anger towards Lucifer because he kept the confidence of her mother Lilith seems extremely misplaced and loses its attraction the further on we go. Still, Lesley-Ann Brandt nails the complexities of this terribly conflicted character. The brilliance of Dan’s reaction to Lucifer’s confrontation lies in the fact that it seamlessly blends humor with the natural terror of a man who finds himself face to face with the Devil.

Read more

TV

Lucifer Season 5 Episode 7 Review: Our Mojo

By Dave Vitagliano

TV

Lucifer Season 5 Soundtrack: Complete Details and Playlist

By Dave Vitagliano

While Lucifer traditionally follows the conventional standalone case approach, here, the callback to the Whisper Killer serial murders case coupled with Chloe’s abduction revives a fascinating investigation that forces Lucifer to take on roles the detective would ordinarily fulfill. Before we get to that point, however, Chloe’s forced to work on her own since Lucifer’s consumed with exacting revenge against Dan, and her foray onto the DarkNet to research serial killers signals a willingness to go places in an investigation she may have been reluctant to go previously. Character pairings remain an ideal way to keep investigations fresh, and once Chloe goes missing, Lucifer takes the reluctant Miss Lopez into the field with him, setting up a number of storytelling possibilities. You’d think meeting Scotty Thomas and the Killshare Nerd Squad would send Ella into a nerdgasm, and it does to a point, but when the uber confident forensic scientist admits to feeling out of her depth during the field work, it sets up the first of several reveals.

From the moment Pete the reporter enters Ella’s life, it’s been difficult to avoid questioning his motives since he just seems a bit too eager and definitely too nice. So how is it that she misses Pete’s true Lilyman85 identity? We receive clues. “For once, I know a good thing when I see it,” Ella admits at the crime scene, immediately setting off our spidey sense alarms. Ordinarily, we only see her process evidence, so it’s fascinating to watch her snoop in Pete’s apartment when she goes there to pick up the files he offers. Look, we know as soon as she finds his hidden-behind-the-wall secret lair he’s going to unexpectedly return to confront her about his true identity. But Miss Lopez’s got skills, and the next thing we know, old Pete’s in an interrogation room at the precinct. Brilliant.

Stepping out of their comfort zone as well, the writers remove Ella from the comfortable realm of the scientific world, and she questions Pete to find out where he’s stashed the detective as the still estranged Lucifer and Mazikeen observe from the other side of the glass. One of Ella’s ironies lies in the fact that she’s a people person and a hugger, two qualities that don’t generally align with how we view scientists, but she quickly gets to the core of Pete’s psychopathic behavior and the fact that he didn’t kidnap Chloe sending the team back to square one. However, before the search continues, we are left with a few tidbits. He tells her that “there is a darkness in you,” possibly setting up a later storyline when she finally learns Lucifer’s true identity. And how could she resist the classic “Pete, you’re going to burn in Hell.” Fortunately, she couldn’t.

In retrospect, we should have seen this coming, but it is a testament to the writing that with Amenadiel and Linda thriving as they raise baby Charlie, Lucifer and Chloe finally acknowledging their true feelings, and Dan making strides as he recovers from Charlotte’s sudden death, we naturally root for Ella to find someone with whom she can share her life. Will this relationship setback throw her into a funk, or will she choose to focus on the manner in which she responded to this knowledge and the fact that she caught the killer. I vote for the latter.

When all is said and done, hopefully, Dan will recognize the truth behind Chloe’s words in the opening scene. “He’s not what the world makes him out to be; he’s a good person.” Of course, there’s a lot to unpack here, not the least of which is why Dan’s direct hit onto Lucifer’s chest simply bounces off. What makes this detail so compelling is that we’re initially pleased Lucifer has regained one of his powers, that is until we consider the reason behind his return to invulnerability. Has Lucifer made the unconscious decision to pull away from Chloe thereby playing into the fear mongering Michael?

All of which brings us to the final showdown and yet another highly enjoyable,  tightly choreographed fight sequence as Michael, Lucifer, Amenadiel, and Maze square off in a celestial battle royale. There’s a lot packed into the final minutes, and Amenadiel’s renewed ability to not only slow time, but stop it, is tied directly to his fears about his son’s health. However, we can’t ignore the feeling that Amenadiel is somewhat disappointed to learn his son is merely human, a detail Michael pounces on immediately. Most interesting is watching Maze try to hold her own against the brothers, and the point at which Lucifer finally appears to have had enough and throws her aside like a ragdoll. Is their relationship repairable?

Well, if anyone can repair the fractured celestial family dynamic, it’s dear old Dad. First though, let’s at least give props to the fantastic visual of the brothers unveiling the plumage that typically stays hidden. Michael in black, Amenadiel in gray, and the Devil, oddly enough in the white wings we’ve come to associate with him. It’s the final straw, and the voice of God booms “That’s enough!” To be honest, I never expected God to make an appearance on the Netflix series, but here we are. I’m not sure there’s a perfect actor showrunners Ildy Modrovich and Joe Henderson could have chosen to play God, but it’s impossible to argue with the choice of Dennis Haysbert. Forget the increasingly annoying Allstate commercials, Haysbert possesses the deep booming voice and physical presence to put his bickering kids in their place and restore order on Earth. Plus, we might finally learn His reasoning behind the Lucifer/Chloe connection.

We’ve got a lot to look forward to when Lucifer returns for the season’s final eight episodes, and “Spoiler Alert” sets in motion a wealth of character driven material. Does Lucifer really love Chloe? Can Amenadiel accept the fact that Charlie’s human? Does Maze’s obsession over a soul remind anyone else of the Tin Man? And maybe it’s time for Dad to give Michael a new job down under. Just sayin’. 

The post Lucifer Season 5 Episode 8 Review: Spoiler Alert appeared first on Den of Geek.

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[itsjaybullme]

'Iron Fist' Star Finn Jones Talks About a 'Much Different' Season 2

Courtesy of Netflix

On Friday, September 7, the second season of Netflix’s Iron Fist will premiere to a host of skeptical fans. The good news: it won’t be hard to live up to the not-so-binge-worthy first season. Let’s be real, the inaugural season of Iron Fist was, well, not great. Compared to Daredevil, Luke Cage, and Jessica Jones (which all averaged an 88% on Rotten Tomatoes, with Jessica Jones raking in a Peabody award in 2015), the show proved to be the weakest of the crop, earning a measly RT score of 19% and a bunch of hate from fans. The biggest gripe came at the expense of the lackluster, choppy fight scenes—one of which featured a baffling 56 camera cuts in 35 seconds. For a show with deep roots in the world of kung fu, this was a real Mantis kick to the gonads.

The actual good news: This season seems to boast a bunch of new badass fight scenes. (Check out the video below to see what we mean.) You can thank expert fight choreographer Clayton Barber (Black Panther and Creed), who was brought on to breathe new life into the action sequences. Also, the actors were given more time to prep compared to the 10-15 minutes that they had to learn the scenes beforehand. To learn more, M&F sat down with leading man Finn Jones, aka Danny Rand, aka the Iron Fist, to discuss his prep, the power of meditation, and his newfound love for discipline.

M&F: What was the biggest positive change that you guys made leading into season two of Iron Fist?

FINN JONES: The only difference is that this season I have time. They [Netflix] provided the situations for me to thrive. Last season I didn’t have as much time before we started shooting. But anyways, that’s last season, we don’t want to speak about that because this season is much different.

Different how?

Four to five months ahead of schedule, I started working with various different people. I worked with a personal trainer, training with her three to four times a week. We approached weight training from a gymnastic point of view—what that means is I'm using my own body weight to become strong. What I didn't want to do is put on muscle, because A) that's not the aesthetic of the character and B) that would make you be tight, and to be a martial artist you need to be flexible. So through using gymnastic-style training, I was able to stay lean and add muscle but also be physically flexible.

What about in terms of honing your fight skills?

I worked with a guy, Shi Foo Ming, who runs a dojo down on the lower east side. He's an ex-Shaolin Monk, and I'd work with him multiple times a week on traditional Kung Fu and tai chi and we also mixed in the more metaphysical and spiritual ethics of martial arts, which was really cool. I’d also go to a place for daily meditation.

Meditation?

Yeah, why not? It’s fucking awesome. I went to a place called MNDFL, which they have several in New York City. It's a wonderful, amazing space, and I would go there daily to practice meditation. It allowed me to handle the stresses of a television schedule.

How’d you eat to fuel all of your training?

I cut out all unhealthy foods like sugar, salt, and unhealthy carbohydrates. All I was eating was like warm chicken, sweet potato, broccoli, asparagus, quinoa, and brown rice. That was my diet for 10 months. It was very boring. I also didn't drink for 10 months, which was really interesting and really beneficial—I loved it. I actually can't wait to get back into training so I can stop drinking, not that I have an issue but it's more about being disciplined.

Courtesy of Netflix

Was it more difficult to be social while sticking to such a strict regimen?

It’s really hard—that’s an interesting point you hit on. How do you have a social life and not drink? I love to go out and listen to music and dance. What I’ve learned is that I love to go out now and not allow the alcohol to be the crutch and to rely on being present instead—meditation helped with that.

What’s a piece of training gear you can’t live without?

My Bose SoundSport Free headphones and a tennis ball—it’s great for loosing up your glutes and back.

You played Loras Tyrell in Game of Thrones. Which universe draws a more intense fan base—Marvel or GoT?

I think the comic book fans are definitely more passionate—they pay attention to details for sure. It’s all love, though. I go to a lot of Comic Cons and that’s where the true fans are. Online is it’s just a bunch of ones and zeros. I love going to those things because I get to really meet the people. And I love the fans and having an open dialogue with them.

If you could have a drink with any character from The Defenders, who would it be?

My boy, Luke Cage. I’d like to have a Mezcal with him. I like a good mescal, but I’m going to have to give it up soon. I have like one more month, and then I start training again.

No

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[sashics-blog]

Sources_04

Capturing dance: the art of documentation (An exploration of distilling the body in motion) by Kasey J. Lack (2012), Available at: http://ro.ecu.edu.au/cgi/viewcontent.cgi?article=1076&context=theses_hons (Accessed: 20.12.2017)

- A close examination of the linkage between dance and photography suggests a paradox; for all the dance world’s dependency on photography to represent its accomplishments, photography is inherently the least suited medium to do the dance justice. After all dance is the controlled passage of bodies through time and space. The essence of dance – and our comprehension of it – stems from the seamless interconnectedness of its movements and gestures. But photography fragments time; a single image is a vision of one moment torn from its context. And while photography fragments time, it fractures space. Its absolute universe is the frame, outside which nothing exists. What once happened in the fullness of space is now brutally cordoned off, and what we are allowed to see is imprisoned in two dimensions. (Ewing 1992)

Photography is inherently biased towards certain aspects of dance irrespective of their significance vis-à-vis the whole; a spectacular leap, for example is more photogenic than a more subtle movement which may in fact be more essential choreographically. And because dance is fleeting and photography enduring, imperfect moments which are overlooked or forgiven in the rapid flux of stage performance are felt to be unacceptable in what, is after all, a lasting document. (Ewing 1992)

Film and video appear to be the easiest forms of documenting dance. Due to advances in technology, equipment is easy to access, affordable and of a high quality, granting anyone the ability to be their own videographer, editor and producer. Dance has various relationships in its connection to film, for example recording full length dance works, visual media in live performance, commanding scenes in Hollywood musicals, motion capture, animation and as a choreographic tool in experimental film.

Dance as communication: How humans communicate through dance and perceive dance as communication by Samantha Rounds, Available at: https://scholarsbank.uoregon.edu/xmlui/bitstream/handle/1794/20365/Final%20Thesis-Rounds.pdf?sequence=1 (Accessed: 20.12.2017)

- “Dance is time dedicated to meaningful gesture stemming from the soul’s need to reach out and express itself in an energy force beyond words.”

Dance is much more than one of the celebrated performing arts. It is a significant means of communication—communication in which the soul expresses itself through meaningful gesture—ubiquitous and important.

Dance involves the entire body, and the body can be a powerful agent of communication. Copeland even maintains that dance is “the conversion of bodily energy into something more spiritual, something worthy of the soul”. The soul of the dancer is inevitably tied to the expression communicated through the dancer’s movement.

French painter, Edgar Degas who dedicated much of his career to drawing and painting dancers eloquently observes, “It is the movement of people and things which consoles us. If the leaves on the trees didn’t move, how sad the trees would be—and so should we.”

The soul is a powerful force. The soul sometimes has something really big to say—something that cannot be conveyed through the limitations of mere words alone. That is when dance steps in and allows the soul to speak through the body. Perhaps this is what is meant by the expression “Dance from the Heart.”

Why are humans able to communicate through dance? - Humans have a connection to music and rhythms that allow them to dance. Humans have an innate need to dance as a form of communication. The soul, the driving force behind the need to dance, is quite powerful. Also, there is an innate need in humans to communicate in order to work both independently and collectively. Collaboration allows humans to solve problems, to create, and to bond. Dance can play a role in the collaboration process.

The dancer is able to convey through movement the most intangible emotional experience.

When humans dance together in groups, they inevitably form bonds that foster a spirit of community. Individuals who take part in group dances find that they connect both to themselves as well as to others since the group is a synchronized entity.

Belonging to a group gives one a chance to also demonstrate caring and concern for others in the group. Dance is an outlet for human empathy and understanding, and it is even way to practice patience and trust.

Over the years, filmmakers have captured the notion that dance can be a way of fighting for what one believes is important.

Ahalya Hejmadi, PhD, is a psychology professor at the University of Maryland University College who studies the connection between dance and cognitive improvements. Hejmadi maintains that “a new wave of dance research...is helping scientists understand the way the brain coordinates movement” and this type of “dance research could even lead to new therapies for people with movement disorders” (qtd. in Dingfelder 1). Interestingly, some people who have Parkinson’s disease are actually able to keep time to music.

Dancing is an experience that stimulates many of the senses and satisfies a fundamental human need for emotional expression though rhythm and movement.

Dance can be used to protest social norms and rebel against prejudices. Dance often gives those who dance a conquering spirit and a sense of conquest through confidence, ability, and determination—empowering them to turn fear into victory.

Dance as communication springs from a deep, inner desire to connect with others.

Dancing as an art, we may be sure, cannot die out, but will always be undergoing a rebirth. Not merely as an art, but also as a social custom, it perpetually emerges afresh from the soul of the people.

Dance should not be diminished or ignored. Indeed, dance is a way of communicating needs and desires in order to thrive, in order to unleash the feelings of the heart, and most importantly, in order to truly live.

Zen Camera: Seeing and the Five Visual Elements of Photography - Adapted and excerpted from Zen Camera: Creative Awakening with a Daily Practice in Photography by David Ulrich, Available at: http://theslenderthread.org/zen-camera-seeing-five-visual-elements-photography/ (Accessed: 20.12.2017)

- Observation forms the crux of what is normally known as vision. Sight is the dominant human sense, yet most people take their vision for granted and do not realize its vast potential. Contemporary education does little to teach students how to see. By seeing, I am referring to the human capacity—beyond but including physical sight—to know and interpret the world through direct perception. Most people don’t know the uniqueness of their own vision, much less how to cultivate it. How does one learn to see? In what way is our capacity for keen observation challenged, cultivated, and nourished? A camera can help you regain the wonder of sight.

The camera is an instrument that teaches people how to see without a camera. —Dorothea Lange, photographer

David Ulrich describes how important observing is. How we look but we don’t look at the same time. Many people take sight for granted are are not bothered to look closely to things, to actually observe things, think about the meaning behind what they see, notice the beauty, uniqueness of the particular moment.

--I’m used to observing and watching closely, but when I read articles like this one I realise that people might not be actually used to the same thing. Some people just look at things blankly and see them for what they are, or for what they think they are on the first sight or they don’t even look at all. They’re so absorbed in their own lives that they don’t really care enough to look closely to what’s happening around.--

[2700fstreet]

THEATER / 2017-2018

ON YOUR FEET!

The Emilio & Gloria Estefan Broadway Musical

Featuring music and lyrics by Emilio and Gloria Estefan Directed by Jerry Mitchell Book by Alexander Dinelaris Choreographed by Sergio Trujillo

So, What’s Going On?

The scene: Washington, D.C., 1990

The curtain rises as… Latin pop superstar Gloria Estefan preps for a huge concert while her husband, Emilio, and their son watch from the wings. Emilio tells Gloria her tour bus will have to make an unexpected stop and she’ll have to give up her day off. Annoyed, Gloria heads to the stage to sing one of her hit songs.

Cue flashback.

In 1966, young Gloria María Fajardo lives with her mother (also named Gloria), her grandmother, Consuelo, and her sister, Rebecca, in Miami. Their family has emigrated from Cuba to the U.S. following a violent political revolution. And while little Gloria’s father fights overseas in Vietnam, the women in the family keep things humming at home…literally: little Gloria has a talent for singing and songwriting, and she often performs Cuban songs for her neighbors and friends.

Young Gloria sings and dances while helping her family with the laundry.

As Gloria grows up, word begins to spread about her voice, and, in 1974, a young local musician named Emilio Estefan comes knocking at her door to ask about the songs she’s written. He convinces her to come play a tune for his band, named the Miami Latin Boys, and soon she joins the group as its lead singer.

Time passes and the Miami Latin Boys have transformed into the Miami Sound Machine. The band is booking tons of gigs, which frustrates Gloria’s mother, who feels Gloria should be living a normal life at home and helping her ailing father. Seems like a classic case of “protective mom,” but there’s a bit more to it: Gloria’s mother had her own shot at the spotlight once, but she let her dream go. Consuelo warns Gloria her newfound career may be stirring up old issues.

In a flashback to Havana in the 1950s, we see Gloria’s mother in action on stage.

Take a listen… The real-life Gloria Estefan sings “Mi Tierra” (“My Land”), the song performed by her mother’s character in On Your Feet!.

Despite the tensions at home, Gloria continues to sing with the Miami Sound Machine, and the band starts attracting listeners across the U.S. and South America. In fact, things are going so well that Emilio and Gloria speak to their record producer about “crossing over” into the English-speaking pop world. But the producer hates the idea. He suggests their sound and their Latin names just aren’t “American” enough. Emilio reminds the producer that immigrants count as Americans too, and decides to take matters into his own hands. He and Gloria get creative and market the band’s latest English single, “Dr. Beat,” to clubs and disc jockeys. The song takes off…and a romance between them starts to bloom.

Gloria and Emilio start to fall in love.

With each other for inspiration and support, Gloria and Emilio produce a newer, even bigger English single that captures hearts across the country: “Conga.” Thanks to the song, Emilio is able to get the attention of his studio executive, but the boss doesn’t want to give the band the contract it deserves. A few hits later, however, and Gloria’s talent and popularity can no longer be ignored. Finally, Emilio helps Gloria and the band secure a multi-million-dollar deal.

“Conga” becomes a hit on dance floors across America…and around the world.

Take a listen… Gloria Estefan revisits her hit song “Conga” in a live concert.

But all of this success—and the touring that goes with it—doesn’t make Gloria’s mother very happy. Even worse for Mrs. Fajardo: Gloria wants to take her sister, Rebecca, on the road. Worried her family is falling apart, Gloria’s mother threatens never to speak to Gloria again. And she doesn’t. Not for two years and an entire world tour. Which brings us back to where we started…

Washington, D.C., 1990

Gloria finishes her show and decides to call her mom to try and patch things up. When there’s no answer, she boards her tour bus with Emilio and their son, Nayib.

Then, disaster strikes.

A massive collision destroys the bus, injures Emilio and Nayib, and leaves Gloria in danger of permanent paralysis. Will she be able to walk again? Will she be able to sing again? And, perhaps most importantly, will she be able to repair her relationship with her mother before it’s too late?

Who’s Who

Gloria Estefan (born Gloria María Fajardo), a Cuban-American singer and songwriter Emilio Estefan, a Cuban-American musician and producer, Gloria’s husband Gloria Fajardo, a teacher and former singer, Gloria Estefan’s mother José Fajardo, a policeman and soldier, Gloria Estefan’s father Consuelo, Gloria Estefan’s abuela (grandmother) Rebecca “Becky” Fajardo, Gloria Estefan’s sister Phil, a New York record producer Little Gloria, a young Gloria Estefan Nayib, Emilio and Gloria Estefan’s son

Cuban Water, American Roots

“I came to Miami when I was two years old…my Mom kinda replanted us. But she watered me with Cuban water…everything that [my family] did was to keep alive the culture that they thought that we would go back to.” – Gloria Estefan

On Your Feet! is a tale of two very passionate and talented immigrants who came to the United States during a time of political turmoil in their homeland of Cuba. Starting in 1952, Cuba began its extended period of uncertainty, beginning with a military coup spearheaded by a corrupt and oppressive Fulgencio Batista (whose name you’ll hear mentioned in the show), followed by another coup conducted by the polarizing leader Fidel Castro.

After Castro established a new government in 1959, many Cubans—including the Fajardos and the Estefans—chose or were forced to move to the U.S. But Cuban families were often separated, and many had to leave promising careers behind. Still, the Cuban culture continued to thrive on American shores, particularly through its music. Today, cities across the U.S. are buzzing with the sound of Cuban dance rhythms, and artists like the Miami Sound Machine keep mixing Latino beats with traditional jazz and pop, creating a unique sound that’s both Cuban and American.

For more on the history of Cuba/US relations and info on Cuba’s revolution, go to:

Check This Out…

On Your Feet! features many recognizable songs that have been played on the radio (and at parties, weddings, dance clubs, etc.) for decades. Listen up for these tunes while you watch the show—and don’t be afraid to sing or dance along if the actors encourage you to.

Choreographer Sergio Trujillo wanted the moves in On Your Feet! to feel as authentically Cuban as possible. He even went to Havana to study native Afro- Cuban dances. Keep an eye out for these intricate steps during the show, especially ones that involve two people partnering up and moving together, which is an essential component in Latin dance. Pick up a few steps… Sergio Trujillo talks about his career and his process for getting On Your Feet!... well...on its feet.

This story includes many flashbacks to different time periods and different countries. Watch out for the ways in which the lighting, costumes, and set designs give you clues about where and when the characters are (hint: pay special attention to the different colors used in each scene).

Lots of the music in On Your Feet! will be sung in Spanish. For those audience members who don’t speak the language, pay close attention to the singers’ voices and facial expressions. You’ll most likely pick up the meaning of each song based on the energy and emotion the performers convey.

Think About This…

On Your Feet! is a combination of big, bold musical numbers and smaller, more intimate scenes between two or three people. Which moments do you prefer? Which scenes are more successful at moving the story along? Which are best at making you feel for the characters?

Most stories have an antagonist, but in On Your Feet!, the villain isn’t always easily identified. Who or what do you think operates as the “bad guy” in the show? What forces are most responsible for the troubles the characters endure?

The Estefans and the Fajardos are affected by stereotyping throughout the show. In what ways do you observe the non-Latino characters making incorrect or misinformed assumptions about Latino immigrants?

On Your Feet! is an immigrant story, but it’s also a human story. Can you think of similar tales in film, TV, or theater where the main characters fight for their dreams in the face of adversity? In what ways are these stories similar to the biography of the Estefans?

Go Behind-the-Scenes

To learn more about the making of On Your Feet!, check out this video series:

Episode 1: “Here We Are”

Episode 2: “Writing the Show”

Episode 3: “Casting the Story”

Episode 4: “Directing the Musical”

“Stand Up and Take Some Action”

One of the major themes of On Your Feet!—and the message of its title song—is to challenge yourself to take action in your daily life and claim control of your future. Both Gloria and Emilio come up against impossible odds, but they insist on forging their own personal and professional triumphs through hard work and determination.

Why not use their efforts to motivate yourself to reach for your own life goals? Choose a friend or family member and decide on a cause or achievement you can work toward together (this can be a joint plan or two individual projects; one for each of you). Next, make a pact that you’ll hit a specific milestone on the road to your end goal by a specific date.

For example: Want to apply for a dream summer job? Make a promise to your chosen buddy that you’ll have your forms filled out and ready by next month. Ask them to make a similar promise to you and make sure you both hold each other accountable for having completed your tasks.

Need another example? Say you’re hoping to give back to your community on a regular basis. Consider creating a shelter, soup kitchen, or local government volunteering schedule for you and your friend. Once that’s done, be certain to check in on each other’s progress every week.

If you feel comfortable with social media, keep track of all your accomplishments on Facebook, Instagram, Snapchat, or any platform you prefer and use the hashtag #standupandtakesomeaction. Remember to ask your friend’s permission before posting about them.

Explore More

Go even deeper with the On Your Feet! Extras.

An important final note:

This past December, Gloria Estefan and four other artists received the prestigious 2017 Kennedy Center Honors. When told she was being awarded this honor, Ms. Estefan made the following comment:

“Little did I imagine when my parents brought me as a toddler to the United States from Cuba, in order to be able to raise me in freedom, that I would be receiving one of this nation’s greatest honors. I feel privileged to be included in the galaxy of stars that have received the Kennedy Center Honors and I am grateful to be considered among the many talents in this great country that have been bestowed this exceptional accolade.”

The ceremony was broadcast on December 26, 2017. You can see footage from the annual event at www.kennedy-center.org.

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All photos by Matthew Murphy.

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