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kinetic-elaboration · 3 years ago

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August 21: 3x04 And the Children Shall Lead

Okay, I’m finally going to write up my thoughts on And the Children Shall Lead. I think I’m (mostly) over all of my excessively-strong emotions about this ep lol. Maybe going through my notes will bring them back. Or maybe not. I’ve felt very tired and uninterested in everything today so it’s hard to tell. So far the process is not going well: tumblr ate my first attempt at a post, like literally I wrote a few lines, clicked to a new tab, and when I clicked back the post was empty so thanks for that, and I keep on just generally not being interested in the task. So, we’ll see.

The tl;dr is that I don’t see why this ep is considered one of the worst. I actually really liked it!

Single-color jumpsuits: the fashion of the future.

Another old Kirk friend! (This isn’t even important lol; it never comes up again or matters that Kirk knew this guy, but we must always be reminded that he is the best networker in Starfleet.)

“He’s dead, Captain.” Not “he’s dead, Jim”?? Sounds wrong.

“The enemy within.” I thought that was a S1 ep?

Ah, another bunch of creepy kids. In pajamas this time, apparently.

Kirk is not having fun being the center of their creepy little rhyme.

RIP to McCoy but my diagnosis is “alien shenanigans.”

“I’m sorry, Captain Kirk.” Such a polite little alien.

McCoy corralling the kids

This sounds a lot like Miri, except purposeful—something targeted all the adults but left the kids, just like the virus in Miri affected all the adults, but not the kids.

…A disturbance in the cave!

Lol at Kirk’s anxiety face. I feel you, man.

Spock’s never experienced anxiety? My first thought is ‘sounds fake’ but actually… maybe he really hasn’t.

“There has to be an explanation.” This is the MOST Jim line.

I like these kids. They’re actually pretty cute. Also love Kirk trying to relate to the kids.

Where are they? Is this Sulu’s greenhouse lol? I love it. They should have used this set more.

“That place is for adults.” Gotta say, I wrote this down but now have no recollection what it actually refers to. The bridge? I think it’s the bridge.

Are they performing witchcraft? Intriguing.

“Friendly angel”—nothing creepy about that at all.

Got a little alien cult going on here. Every time I feel anxiety from now on I’m going to assume it’s an alien cultist nearby.

“We’ll pursue this in my quarters.” Wink wink.

Can’t fool Uhura.

Never mind. Yes you can.

For someone who wanted the kids guarded all the time, Kirk sure was ok with them just traipsing around the bridge. I mean the guards are at the door but like…they’re only at the door.

Never really thought about how there’s apparently an…engineering component... to flying the ship? I don’t know, I don’t really get it but it’s cool.

"Evil does seek to maintain power by suppressing the truth." Damn. Great line.

BAND OF MARAUDES. That’s a cool backstory for the dead alien society. Basically, they’re ghosts. Greedy ghosts. Alien ghost pirates.

Great triumvirate scene. McCoy want to protect the kids and Kirk’s like “…but the ship, though?” Which is fair!!

What does the ghost want? Um, a ship to maraud in, were you not listening to Spock’s exposition of the back story?

No don’t beam anyone down!!

Love any time Spock pushes someone else out of the way so he can man the transporter. He’s somehow the second-best expert on it on the entire ship.

Eeek, low-key gruesome death there. Look, I know that this is one of the scenes that haters love to point out as a reason to despise the episode but I personally don’t think deeply enough into the transporter situation to wonder how much information they have or assume before they beam people anywhere. Also…weird alien stuff is happening, guys. Just attribute it to that. Also also, if you’re gonna nitpick like that, be prepared to hate all of TOS.

THE KIDS STOLE THE CAR.

“Sulu, what did you to do my ship?”

Uhura’s watching this little witchcraft scene from the background like ‘aw, so cute.’

“Call upon their beasts.” Metal.

“Go to your stations.” This little kid is a future Captain in the making.

SPACE KNIVES

Kirk's like "Oh no, my crew is deserting me, I'm gonna have to fly the whole ship by myself AGAIN.”

“Captain, why are we bothering Starfleet?” Et tu, Spock?s

How did they get to Spock? He doesn’t seem scared of anything…more like he’s under the influence of a general hallucination, like the others seeing the planet on the screen even after they left orbit.

I remember this part, with Kirk freaking out. Spock doesn’t like it one bit.

He’s just being a littttle Dramatique.

Cannot believe that all Spock has to do is say “Jim” in a quiet, intimate voice and Kirk is immediately okay. Just let it out of his system, grabbed onto his friend, heard his own name, and the beast is defeated.

“My Vulcan friend”? Lol.

Kirk’s face when he realizes they’ve got Scotty too…

“Go away or we’ll kill you.” That was legitimately creepy. Scotty gone rogue.

Aw, Spock was worried about him again.

“Without followers, evil cannot spread.”

“Where did you hear this order, Chekov?” / “The voices in my head.”

It’s interesting that Kirk and Spock can’t be manipulated—perhaps because they have each other?

Enough of this—fight time!

That guard sounded like he really liked that nerve pinch; he was kinda moaning as he went down.

“Spock, corral them to their rooms.”

Outta the chair, brat.

Is Kirk going to defeat the alien evil using logic?

Summoning the “angel” by using the old recording is very clever.

When did they decide to start calling him the Gorgon?

“It lost its power in the light of reality” = “I looked into Spock’s eyes and knew myself again.”

HE IS GENTLE. It’s true and you should say it.

And he doesn’t even dispute it. “AND we are ALSO very strong.”

"You are full of goodness. Such as you cannot be changed."

So the girl is Jankowski.

This is very Candyman. The alien needs their belief to live. When they cease to follow him, he literally disappears.

Honestly, this whole alien scheme starts to look equal parts silly and sad, trying to call the crying children "generals.” They’re babies!

McCoy loves to see children in tears lol.

Kirk just hands them all off to McCoy, like ‘well, my work here is done.’

Okay, now we reverse course to pick up those stranded security guards still on the planet, right? Right? No? Okay, guess not.

Uhura, immediately ready with the paperwork lol. Now IS the time.

The end!

Now to try to interpret all of my other, more general notes.

The way I interpreted Spock being able to defy the mind control was that he was affected by Kirk. Because he clearly was affected, but then when he saw Kirk starting to freak out, he looked concerned, and then got them both off the bridge—he had a breakthrough of clarity long enough to understand he needed to get off the bridge. Then he’d be away from the kids, and they wouldn’t have as much control, and he could snap Jim out of it, too.

Like I’m sure his Vulcan resilience could easily have been part of it, too, but that resilience wasn’t enough to keep him from being affected at all—and of course they could have easily written it that way—and it seems obvious that his moment of clarity was caused specifically by watching Kirk starting to lose it. There are so many shots of him specifically watching Kirk and the guard.

The K/S vibes were so strong. Spock was so protective, then they get in the lift and Kirk basically clings to him. All he has to do is say Kirk’s name and Kirk is fine, which is basically the power of true love. And then even outside of that scene… for the whole rest of the ep, they’re a duo. It’s not just Kirk against the Evil of the Week, it’s Kirk and Spock, working together at every turn. Neither of them could have done it alone.

it's a pretty classic trope, in fact, especially in s1, to have Kirk all alone, abandoned by all...where he's the last man standing, the one who has to run the whole ship and save the whole day. Naked Time, This Side of Paradise, and Trouble with Tribbles (kinda) all come to mind. But this time he has Spock! You see the progression of their relationship in that.

I really enjoyed this episode in general. Lots of classic tropes: creepy children; surprise alien; old alien society not as dead as we thought; Kirk has to run the whole ship by himself (with Spock); heroic!Kirk saving the day… It has it all. It’s clearly revisiting some older themes and ideas, but in a sufficiently unique way that it doesn’t just seem like a rehash of an older plot. In some ways, it felt like a Classic S1 episode to me. It has some Miri elements, some Charlie X elements, some Naked Time elements…

I literally don’t understand why it’s so disliked.

Skimmed the wiki and the only specific criticism in there is that Kirk shows an “unmistakable hostility to the children.” Well first of all, he doesn’t. He might not have the best manner with them, but why should he? He’s certainly not mean or cruel to them. He recognizes they’re a danger to his ship, and to the whole planet of Marcos-12, which by the way is objectively true, but that’s not being hostile. McCoy is the one who represents ‘exclusive care for the children’s welfare’ in this ep, but he CAN do that, because he’s not the Captain. He represents that perspective, he gives his opinion, which is both his job on the ship and his role on the show, and then Kirk takes that into account while doing HIS job, which is running the ship. McCoy would have literally let the kids take over their ship and conquer the galaxy as part of their grieving process lol. Kirk was right and I should say it. (Also btw he understands that killing the kids might be an option—but he obviously doesn’t actually do it.)

I actually think this ep is a great example of the triumvirate functioning--McCoy reminds Kirk that the children are just traumatized children, and Spock reminds him that he's responsible for 400+ people on the ship, and Kirk makes the decisions that vanquish the evil, save the ship, and free the kids.

And look, even if you don’t like this episode, you’d have to argue very hard to convince me it’s the WORST, as in worse than Spock’s Brain, worse than The Alternative Factor, worse than Assignment Earth (not even a real TOS ep!), worse than The Omega Glory.

Some stuff I actively liked: the concept of the alien taking over the children specifically (both creepy and…kinda makes sense? That they’d be vulnerable); the message that the followers of demagogues can be both truly dangerous and objects of sympathy; the backstory of the evil empire of pirate aliens—and how greed doesn’t die; the witchcraft aesthetic, ESPECIALLY when paired with the kid antagonists, since kids are so into that like chanting, incantations, rituals thing; that the ep used every single main character (when was the last time a TOS ep did that?). Also I thought the kid actors did a good job!

The theme about the authoritarian and the cult followers was actually quite resonant, I thought; inevitably made me think of Tr/ump and his Tr/umpies. Just like in this episode, you must have some kind of… if not sympathy, at least willingness to do the hard work of deprograming and then bringing them back to the fold, or else the country is never going to heal and it’s never going to be able to go forward in a positive way. It might not go forward at all! But fuck it’s hard to have that sympathy; they’re so abhorrent. Here, you see the terrible things the kids do, and yet sympathy isn’t so hard, because they’re kids. You see how much they are victims/pawns also. And so in that sense, Kirk’s ability to deprogram them is comfortingly optimistic—a little bittersweet, as TOS often is, because the kids have done horrible things and seen horrible things and now they’ll have to live with it, but comforting nonetheless.

I can’t even think of that many things I didn’t like in the ep. Mostly just nitpicky things. Like, was McCoy a little inconsistent in what he thought should be done with the kids? Yeah, but we get the general idea. Did Kirk drop the ball when he let them hang out on the bridge? Yes, especially as he knew how dangerous they were at that point, but I actually don’t mind it so much because they’re kids—it’s understandable that their true dangerousness didn’t fully compute to him. I don’t see that as a mistake or sloppy writing tbh. And was it an amateur hour mistake to beam two people into space? Yes, but it made up for it in being creepy and upping the stakes of the ep.

I guess I could see how the fist gesture could be seen as a little silly. But the other option, having them speak rhymes each time, would have been distracting—and probably also looked silly! Also, as my mom pointed out, it looks like a kid’s game (sorta like the start of rock paper scissors) so it fits appropriately with the theme.

I really liked how they wove in the aesthetic of kids’ games, kids’ manners of playing, into the narrative. Kids can be really creepy! They like creepy things! So the ring around the rosy rhyme at the beginning—a quite disturbing chant, of course, about the Plague, that is also very commonly sung by actual kids—foreshadows the summoning chant that brings the alien to them. It’s all of a piece. And just like the rhyme is just a rhyme, and they don’t know the real meaning behind it, they probably also don’t fully understand the meaning of the summoning chant or the alien that comes with it. It’s all one big game to them.

It’s interesting that the alien seemed to play off their desire both to punish their parents for working too much ("they like the planet, they're always busy") and to have freedom from parental rules (how they react to any instructions from adults, the alien's promise that the whole universe will be their playground, etc.). He really picks their sore spots as kids specifically and turns them into his “generals” accordingly. Like all kids, they don’t think too much about the larger consequences of their game because in some ways, it really is all just a game to them.

I liked how the episode characterized Kirk’s ability to interact with kids. He’s not bad with them at all, but he’s not like McCoy or Chapel either. He “wants to communicate with the future adult in the kid,” as my mom put it, which is perfect. He doesn’t exactly treat them as mini-adults—he doesn’t say inappropriate things to them, and he does simplify his language and his ideas for them—but he does treat them very seriously. And he’s probably best at one-on-one interactions like with Tommy. I think this makes total sense for his character: he doesn’t have kids (David aside lol), he doesn’t have younger siblings, he doesn’t work in a place where he’d see other people’s kids, he doesn’t get to see his nephew much, etc.

…Okay those were all my notes. I know I had other thoughts that were a little less scattered later, but… I’m tired. And most of it is probably in here in some form or another. I also found a list of, like, actual critiques of the episode, and I was considering going through them and addressing them all, and I might still do that. But I think that’s for another day.

#the year 2021 #2021: star trek #2021: fandom thoughts #star trek tos

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plum-pudding-and-honey · 4 years ago

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MONTHLY RANGE : Eight & Charley

Storm Warning - 3.5/5 : the plot is not the best thing I've ever seen but it's still a good introduction story for Eight on audio and to be fair it just made me want to drop everything and hop after him. I like Charley's background but I really just can't stand her. I don't hate her, she's interesting and I totally understand that people love her but I've never really warmed up to her. I also have a problem with the "classic" format : 4 episodes of 20-30 minutes which, sure, allows the writers to give the story and the characters more development, but which I find particularly long. I just find it very hard to focus for two hours, unless the story is very compelling

Sword of Orion - 3/5 : (god this is loooong) The atmosphere was interesting, so was Deeva (although I thought her being an android was quite obvious but wtv). The other side characters were all quite boring though and I couldn't bring myself to care about them. The android/human war was also an interesting point, it's a shame it didn't get developed more than that

The Stones of Venice - 1.5/5 : Oh my God do I hate this. Two hours which felt more like six hours of whining and complaining and "Estella, my beloved, forgive me here" and in the end, I'm not even sure whether I want to kill the Duke or myself. Just... zero empathy for this guy and Estella. Pietro was a bit more interesting although fish gondoliers who have evolved to survive the sinking of the city? Really? No. (Not just because evolution doesn't happen over a hundred years. Try a million.) Churchwell was equally annoying (I mean, as a librarian, I'm all for art preservation but have some decency here man) and the cult, well I've got no opinion whatsoever on them, that's how useless they are in all of this. The only thing that kinda made this thing worthwhile was this bit of conversation between the Doctor, Charley and that gondolier guy about the Duke waiting a hundred years for Estella and how Charley points out how long it is waiting for someone to return and how Eight DID wait a hundred years before seeing Fitz again and I'm not okay about this (and this was released shortly after Escape Velocity was published so I'm definitely gonna take this as a Fitz reference fight me on this)

Minuet in Hell - 3/5 : The Doctor being imprisoned and amnesiac for 3/4 of the episode was very looong. I liked the interactions with Gideon Crane but since the viewer already knows which one is the real Doctor, I really didn't see the point of making this last for so long. Also it robbed us of more Eight/Brig time and that's a shame. And those American accents are just horrible, I couldn't understand most of what Dale and the Senator were saying. The vilains and the Psi (psy?) machine were kinda interesting (although they also sounded pretty annoying) but in two hours and a half, they really could have been developed a bit more. Same goes for Becky Lee and her supernatural hunter gig that was way underused. The Brigadier is a huge asset, let's be honest. And the EDAs are canon in the BF universe, so that's that. (yes there was a Fitz reference in The Stones of Venice, I will not shut up)

Invaders from Mars - 2/5 : I love the idea behind this episode : the panic caused by Orson Welles' reading of the War of the Worlds, a false invasion in fact hiding a real invasion. It could have been great. But it's not. First, those accents and voices, again NO. For a medium that relies only on sounds, it's really a big issue here (I mean how are you supposed to take the alien invaders seriously with those voices???). Mark Gatiss loves the Ice Warriors and we've seen with the Empress of Mars that he can write decent episodes with them so why didn't he use them here? It could have been so creepy (which, for a Halloween episode, would have been neat). Instead he gives us a cheap version of invaders, a nazi guy, Russians and an atomic bomb, and mobsters. And it's too much, it's too confusing, it's too many characters. It's a mess. The Doctor is adorable playing private detective but then he accidentally reveals his plan to the bad guys (I mean...) and the aliens are killed by the Russian guy everybody thought to be dead and his atomic bomb : no, that's bullshit. Also, bury your gays : totally gratuitous and unnecessary (what was even the point?). Yeah, huge disappointment.

The Chimes of Midnight - 6/5 : cHriStmAs wOuLdN't bE cHriStmAs wiThOuT oNe oF mY pLuM puDdiNgS (tfbgvfgtv) Finally something GOOD. Eight is at his best sassfull self, the different parts are well articulated, it's funny and creepy at the same time and the paradox surrounding Charley is well exploited. Robert Shearman even succeeded in making me care about Charley. Edith is touching, even the other characters are, and that ending is really nicely done and coherent. I also really like how Eight is depicted here, especially in his relationship to Charley (and his companions in general). He really cares about her and yet he doesn't tell her the truth, he's been lying to her ever since Storm Warning because he selfishly hopes that if he doesn't speak about it, it's all gonna go away, just like he will do later with Lucie and her auntie Pat and that's Eight in all his glory : he loves his companions but he's got this kind of superiority complex that makes him think he knows better than them and which makes him treat them like shit more often than not (and ok, Charley gets a lot of crap from him). They are all aware of that, as we are, and yet they still love him and we still love him and I don't even know why.

Seasons of Fear - 3.5/5 : The format was interesting, the change of scenery for each episode really helped to not lose interest in the story. I also liked Grayle, he's an interesting villain but the immortality thing could have been handled a bit better in my opinion, especially the losing your loved ones part. I actually liked Charley there and her varied suggestions to get rid of Grayle. The mystery around her thickens and I did not remember that ending! The Nimons were a bit unexpected but ok I guess. But I found the conclusion very disappointing, too easy.

Embrace the Darkness - 4/5 : I love the atmosphere of this one, especially the beginning : the "something touches you in the dark and you realise it's not your friend" trope is classic but the audio only aspect of the thing gives it something more (especially of you listen to it in the dark). Like the previous one, I liked the pace (it didn't feel like this thing would never end which is something worth mentioning). The fact that there aren't too many characters also helps a lot. And I can't help myself to compare it with Sword of Orion : the settings are similar, it's a huis-clos, and they're both written by Nick Briggs. I find Embrace the Darkness much better, the characters are actually likeable (and they all don't die at the end, quite the opposite) and interesting. The Cimmerians were also nicely done and I really liked how different senses are brought into focus here, how the viewer is brought closer to the characters because they can't see. Hearing becomes central then but taste and touch are also prominent (I especially liked the way the Cimmerians share their history with the Doctor and Charley). The Doctor is well-written (I love his "conversations" with Rosum) and this tendency to self pity himself every time he makes a mistake is very Eight (Orbis).

The Time of the Daleks - 2.5/5 : The first part was good. And then it got so confusing, I actually lost the plot several times because my mind kept drifting away. There are way too many comings and goings through those portals, too many side characters that weren't interesting in the least. Learman's motivations as a villain are ridiculous (she wants to kill Shakespeare to be the only one who remembers him because everyone else is too stupid to understand his works... yeah, right).

Neverland - 4.5/5 : Zagreus sits inside your head, Zagreus lives among the dead, Zagreus sees you in your bed and eats you when you're sleeping (sorry I had to put it). So … yeah, that was breath-taking. That was an amazing conclusion for Charley's arc, the neverpeople are pretty cool and Romana and Rassillon are a nice little treat. The plot is coherent and the two hours and a half passed very quickly which is always worth mentioning. About Eight and Charley, now. As I said, I'm not a fan of Charley : I find her too perfect (and I just can't stand how she speaks, I know it's kinda shallow but when her voice is the only thing you get out of her, that becomes kind of a big deal) and I really don't ship her with Eight (although I recognise that they might be romantically involved, a lot like Ten and Rose, I simply choose to not see it). That being said, I liked how she stood up to the Doctor at the beginning, how she called him out on his bullshit ("Happy Birthday, Charley! Happy Birthday, he says. Only it isn't my birthday. It isn't my birthday because I'm not supposed to have any more birthdays") and used the TARDIS against him. I also liked her comparison with Peter Pan because, yeah, that's the Doctor, she gets it. I understand why she asked him to shoot her at the end but I don't think she was fair asking him to do it because she knows, everybody knows, that he won't do it. He won't do it for someone he despises, so Charley? Nope. And yeah, her dying was the obvious solution, I get that, ��but that's the epitome of everything I don't like about her. Charley Pollard, always making the right decision even if it means sacrificing herself, Charley Pollard always nice and caring and clever and adventurous, and in a way she reminds me of Rose (although Rose was a jerk to Mickey) and I hate Rose. As for the Doctor... Finally he gets the consequences of his actions and yet you can't help but feel sorry for him. Because like Charley said he’s sweet and he truly thinks what he’s doing is good. And that cliff-hanger! I AM BECOME ZAGREUS! YES BABY. In conclusion, it’s a great episode, regardless of my feelings towards Charley

Zagreus - 4/5 : Let's be honest, the first time I listened to it, I hated it with all my guts (and I also fell asleep at some point in the middle), so I wasn't really looking forward to giving it another chance. But I'm glad I did. This time I really took the time to listen to it properly and knowing roughly where this was going, I loved it? I mean ok, this thing is more than three hours (not gonna lie, this was really difficult for me) and it's completely bonkers and WTF but there IS a certain coherence to the thing that I hadn't picked on the first time I listened to it. So, let's start with the obvious : Zagreus/the Doctor/Paul McGann giving us the performance of his life. He's GREAT and if I didn't already love him I would certainly after this. He's creepy and disturbing as Zagreus (he slapped Charley!!) and his voice when he's the Doctor, when he begs Charley to kill him ... yeah, I was dying inside there. By the way, I liked the parallel with Neverland and Charley begging the Doctor to kill her, except that she actually does it. The Brigadier/TARDIS was equally brilliant. I got a lot of the Doctor's Wife vibes here - except that the TARDIS is evil and HATES the companions, and her conversation with the Doctor, her fit of jealousy was brilliantly done. I also loved the bits with Five, Six and Seven (except it's not really them but it actually is) and they were hilarious when they're working together towards the end (Tweedledee, Tweedledum and Tweedle-ego). It was a nice hommage to Alice in Wonderland, coherent until the end (and let's be honest the bit with Schrodinger's cat only it's the Doctor who is in the box? Brilliant. Again.) And as an anniversary episode, it worked for me. I probably didn't get all the references but I picked up a few of them and it was nice to include the BF cast, even if it wasn't in their usual roles.

Overall opinion : This is not as bad as I remembered. I postponed relistening to these for a long time because I remembered it way worse than it actually is (in my defence, I listened to those episode some 8 years ago when my English wasn't so fluent). I still don't like the classic format because most of the episodes feel reaaaaally long and I'm not a fan of Charley. I did like her arc though, it was interesting to explore the fixed in time events and the consequences of the Doctor kicking the laws of time in the nuts, way before Ten. The resolution of this arc was also brilliant in my opinion with the anti-time and the Time Lords/Rassillon mythology. The quality is fluctuant : the Stones of Venice, Invaders from Mars and the Time of the Daleks being the bottom of the barrel while the Chimes of Midnight, Embrace the Darkness and Neverland/Zagreus are amazing. And Eight changes so much through his life : he's so hopeful and sweet and utterly optimistic, a drastic difference from the Time War series (which I just finished before listening to this) where, although his core qualities are still there, deep down, he's lost so much and been through so much crap from everyone. I don't know if any other Doctor went through that much (War Doctor excluded) tbh. His relationship to his companions is also quite unique I think, maybe I'll write something about that one day. Now for the Divergent Universe arc, which I don't remember fondly either. Let's see if I change my mind as well.

#doctor who #eight #eighth doctor #charley pollard #big finish #storm warning #sword of orion #the stones of venice #minuet in hell #invaders from mars #the chimes of midnight #seasons of fear #embrace the darkness #the time of the daleks #neverland #zagreus

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inrainprose · 5 years ago

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Isn't sad how all those children preferred to live in a dark cave, caged, all being used as test subject for Orochimaru's bizarre experiments, living like animals, than in their natal villages with their "companions"?

F***ING WEBSITE FROM HELL I F***ING DELETED THAT F***ING META BECAUSE I CLICKED BACKSPACE ONE TIME TO MANY F**K THIS okay here we go again because I thought hard about this and I’m not gonna let it go.

SO. I think Orochimaru is a far more interesting character when written as a cult leader for outcasts than with just the children-snatching psychopath view, because we don’t get the impression that he coerces people into following him. There’s no doubt he did some abducting but that’s not the core of his recruitment strategy.

It was a strong theme at the beginning of the story with Zabuza and Haku – how far would you go for the first person to ever show you kindness and give you safety, even if it was for selfish reasons, even if they’re terrible people? I seem to recall Naruto thinking something along the lines of “I was lucky it was Iruka for me, had it been someone else…” and relating to Haku’s loyalty to Zabuza despite knowing he was just a mean to an end. It makes for great AUs too – what if Naruto had latched onto someone less recommendable than nice Iruka? It's too bad that line of thinking was dropped because it also served as a harsh criticism of their world, the fact that it produces so many bitter, abandoned orphans that have no choice but to turn to brutal mercenaries and unhinged scientists. The shinobi world created many of its own enemies, within and outside the villages.

I don’t think the kids ��prefer” to live that way, but they would still be starving in the streets or abused by their village without Orochimaru, so it’s normal to do whatever he wants in return, right? Including kill or fight each other to death or subject themselves to whatever he wants to test on them… Of course it’s textbook recipe for abuse, the “you owe me” card. He takes full advantage of this, that they have nowhere else to go, that they will owe him. He also makes it even harder for them to go back, what with the body modifications and making it to every village’s shit list with the killing and stuff he has them do.

(more under the cut cause that got a bit out of hand)

He basically runs a cult – he’s shown to be charismatic, having a great power of attraction and persuasion, and he doesn’t treat them that badly, I mean in a way we often see bad guys do, being belittling and acing them off for fun just to show he’s eeeeevil. He does give them what they want, safety, shelter, power, companionship, purpose. I can imagine him playing the benevolent card for a while before introducing his newest refugee to the downside of getting under his wing. He preys on the vulnerable and they come willingly.

It’s most likely their only option, including once they’re in and realize they’re really not into this after all. It’s not like any of them was ever offered a way out – what would they do if they left, who would help them? The shinobi world doesn’t seem big on rehabilitation, for all Naruto’s “villain-turning-good” powers. Most of them pay their “redemption” and their return to the light by death anyway. Would be too hard to actually question their morality and choices and see what they would become if they went back to the world…

Ironically enough the only one who sort of gets that is Orochimaru lmao but it doesn’t count because there was no redemption nor questioning of any kind they just decided he got to stay and not be held accountable for any of his actions. And I don’t know why any of us is surprised by this actually or why we expected better we should be used to this by now. Ah. Moving on.

As the kids grow up, they would either develop a stronger sense of morality/self-worth and wouldn’t be able to go along with this shit anymore, no matter how grateful they are to him, or they would stay blindly loyal. Or they would just be dead, dying, or imprisoned and unable to escape heh. I guess some would also take a deeper turn because since this world sucks so much and abandoned them why wouldn’t they wreak havoc in it on his orders? He must play on this too because he IS outside and against the system and it would attract those who seek revenge against it, even if he serves his own interests above the "Strike back at the System" cause. It served him well when he was in Konoha after all and isn’t that his biggest grievance in the end? That he played within its constraint and was still cast out, because he crossed a line he didn’t even know was there? We don’t get a feeling that he’s inherently against the whole child-soldiers/kill for hire/waging pointless wars thing, on the contrary it suits him quite well, but the problem was the hypocrisy, that they condone those things but still try to take the moral high ground.

I’m sorry but I can only imagine Orochimaru being like “assassination ok torture for information ok civilian casualties ok sacrifice anything for the village including your health life and those of your friends ok train to death and do whatever it takes to get stronger ok experiment on people… no?” I’m not trying to justify his actions but just, how is anyone surprised by how some of them turned out? I think we saw people like this among his followers, you know who were trained to kill from a young age, but when they got a taste for it and went outside the mission frame, the villages were like "huh huh no no” and they went ???? excuse me how was I supposed to cope with being made into an assassin as seven apart from convincing myself that this was all fine and fun actually? And of course the classic “I lived in a cage/I was driven from my home at 5/I was enslaved, and this guy comes around and offers a way out was I just supposed to say no?”.

(This apply to Sasuke too by the way, because had this boy been given some freaking support as a child he wouldn’t have made it his lifelong goal to kill his brother while disregarding absolutely everything else in his life and Orochimaru played him like a damn flute and someone should just have… seen this coming. Or just NOT have the entire Uchiha clan pointlessly wiped off but that’s another point entirely)

The lines of who is good and who is bad in Naruto are very foggy. Murder is not a criterion, child abuse either, so what? At some point we have to acknowledge that the characters who are "good" in Naruto are simply the ones we're told are on the good guys' side. I mean it’s a valid morality system – being good means serving your village. Whatever you do to that end is okay. It’s exactly Danzo’s mentality and it's easy to see where it comes from, it is how their world is built. It’s also how they manage to say with a straight face that Itachi was a good guy actually, and you can build a story on that, you can put it into question.

But the story doesn’t commit to this. It still tries to tell us that being mean and killing people is bad, when half of those characters are paid assassins for freak’s sake, when the good guys have an entire clan build on arbitrary slavery, when they massacred one of their own clan. Once again it started right with Zabuza, when they make the characters (and us) realize that the only thing opposing them is that they have different employers. Zabuza isn’t bad because he’s a mean guy who kills people, he’s bad because he gets in the way of their mission. Of course he conveniently works for an asshole while they work for the guy trying to lift his community from its shithole, but that’s not why they help him. They help him because he pays them to so.

Anyway, going back to the topic at hand and concluding this long-ass rant, it’s hard to infer whether Orochimaru sees them solely as pawns and expendables bodies or if he has any form of attachment to them or some to them. I found his writing to be very inconsistent and not compelling at all because it never dwells into these topics, and the narration can’t make up its mind about him. But I don't like to cast him as just a one-dimensional evil psychopath because that's… bad, y’know, and I don’t think the number of people willing to follow him should be dismissed. In many ways Orochimaru and his people him are a direct product of their world

That got out of hand really fast but. Well. You’re right. It’s sad.

#ask #askinrain #naruto #naruto meta #orochimaru #why do i spend so much brain juice on this story #when i know the story didn't #but anway #that's this on that #rambling #will i ever answer that kind of ask with some chill #probably not #tw cult #tw abuse #i guess #it's orochimaru after all #Anonymous

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amphtaminedreams · 5 years ago

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Film Tier Ranking 2019: A Bad Year for Bird Films

Hi to anyone reading,

I’ve finally put it together: my 2019 film tier ranking! I know tier rankings are a bit 6 months ago but seeing British crisps sorted into god, good, mid and shit tier all over Twitter, the format really resonated with me and I was like I MUST USE THIS AT SOME POINT! And I guess since there probably isn’t much of an audience for crisp tier rankings on Tumblr, it makes more sense for me to do it with films instead, especially as doing a 2019 year in film review was something I previously claimed I would do; here’s to 2020 and following through on my proposals.

I think 2019 in general was an okay year for film, with the end of the year definitely outselling the beginning. One thing to bear in mind is that a lot of films that I would’ve been able to see in 2019, I.E Little Women and Parasite, didn’t come out until 2020 in the UK so they won’t make it onto this year’s list. It’s not a snub by any means. I more fall in line with the Elsie Fisher Film Awards school of thought than the Oscars, which have yet again disregarded several incredible performances this year: Florence Pugh in Midsommar, Taron Egerton in Rocketman, Lupita Nyongo in Us, and of course, Greta Gerwig’s direction of Little Women. I’m sure there are many more but those are the first few that come to mind. Oh to be in 2017 when nominations made fractionally more sense.

This list also includes films that weren’t necessarily released this year, but that I just got around to watching; there were a couple of disappointments but also a lot of films I can’t believe it took me this long to finally watch and have definitely made their way into my favourites. My goal for this year is to get through even more of the films on my verrrry long Letterboxd watchlist, and more specifically, watch said films without going on my phone, which is a really bad habit of mine. I find it hard to sit still! Let me live!

I also want to try and put aside my prejudices about visual quality and watch more pre-2000s movies this year; it’s really bad but I never managed to get more than half an hour into Psycho, of all films, solely because I couldn’t deal with the black and white. In 2020, I am going to stop being a whiney Gen Z/cusp millenial-er and give older films the chance they deserve.

So, without further ado, here is my film tier ranking of everything I watched in 2019! If you make it til the end and have any thoughts or disagreements, let me know. I love to hear other’s opinions and get new perspectives on things and am totally open to any criticism. Happy reading:-)

God Tier

Knives Out (Rian Johnson, 2019)

Knives Out. What a film.

I feel like I waited forever to see this at the cinema. They must have started showing trailers for it in, like, August, and I had to wait til mid-November to see it. How are you gonna just dangle a film with Toni Colette and Lakeith Stanfield in my face and then make me wait 3 months? Totally unethical.

But that being said, when it finally came around and I did see it, as much as I love Toni and Lakeith, there was one stand out and it wasn’t either of them: ANA DE ARMAS. I have to admit I’d never heard of her before but she acted the shit out of a role I feel I’d ordinarily find irritating and gimmicky. Daniel Craig, whose character seemed annoying as fuck in the trailer, was actually surprisingly funny.

Stylistically, it was a very cool film and I liked the subtle commentary on class that was running throughout. Also, I thought the ending was very clever. My issue with a lot of whodunnits is that they just pick someone who doesn’t make sense for shock factor *cough, Bobby Beale in Eastenders, cough* but the shocks here were more in the details.

Hustlers (Lorene Scafaria, 2019)

There wasn’t one single moment of Hustlers I didn’t enjoy and it’s quite amazing that there wasn’t one single point in this film about strippers that I felt gratuitously sexualised women. THAT is why you fund female directors. It made the whole thing look like a calculated art form, which I think the unsexy amongst us can all agree that it is. Constance Wu was a fantastic lead, J-Lo was kind of robbed for a supporting actress nom, and Keke Palmer and Lili Reinhart were hilarious too.

Midsommar (Ari Aster, 2019)

Midsommar was such an experience that it took me a good few days afterwards to decide whether I actually liked it. I saw it the day it came out because I loved Hereditary so much and I wasn’t quite sure what to expect. I kind of had an idea of the way it was going to go, we could all kind of guess evil cult was the route that was being taken from the trailer, but I just didn’t realise quite how weird it’d get.

The gore was great, the visuals were stunning and the character arcs were surprising and for that reason, I think this is another game changer for horror from Ari Aster. I didn’t love it like I loved Hereditary but it continues to play on my mind and 7 months later I still can’t resist a good “Things you Missed in Hereditary” or “Hereditary Themes Explained” Youtube video essay. That’s how you know a film fucked with you and that’s the ultimate goal of going into a horror for me. Put that on my headstone after I inevitably get myself into some mortally dangerous conflict because I want to “get fucked with” a little bit.

Booksmart (Olivia Wilde, 2019)

So here’s the thing with Booksmart: I was getting progressively more and more drunk throughout it so I might be a little biased when I say I loved it. That being said, worth revere seems to be a commonly held opinion so I’ll stick to my guns. Plus, movies like this, which just focus on girls living their lives, are few and far between. Why have we had to wait THIS long for the female Superbad?

IDK. But Kaitlyn Dever, Beanie Feldstein and Billie Lourd proved it’s definitely a genre worth investing in so hopefully we see more lighthearted female-led coming of age comedies. One Ladybird per year isn’t enough for me.

The Favourite (Yorgos Lanthimos, 2018)

I included The Favourite in my 50 Films You’ve Got to Watch that I made earlier this year so I don’t have all that much to say about it that I haven’t said already. To summarise, it’s an instant classic: the cinematography, the cast, the lines, it’s all perfection.

Suspiria (Luca Guadagnino, 2018)

I also included Suspiria in my 50 Films You’ve Got to Watch list so sorry if I’m repeating myself, but I adored everything about it. If I had to sum it up in one sentence I’d say divine feminine energy, but inverted. Plus ballet. That dancing scene in the mirrored room will probably never leave my mind (if you’ve watched it, trust me, you’ll know the one I'm talking about), and if there were awards given out for creepy montages in horror, this would win all of them. It still blows my mind that Tilda Swinton played 3 characters in this film; 2 of them are so distinctly different, if anyone put two and two together without prior knowledge of this fact then I’ll blow my own head up too. This is why I got so mad when there was all that discussion around her being the new female Doctor Who and there were people asking who she was. How can you not know who Tilda fucking Swinton is!? She’s a legend!

Sorry, is the wannabe film snob in me showing?

Annihilation (Alex Garland, 2018)

Though I initially watched it because it’s branded as a horror, Annihilation ended up being a surprisingly introspective take on human nature and our self-destructive tendencies. Nothing really went the way I expected it to, even though I was constantly trying to guess that trajectory from beginning to end.

Visually, Annihilation is magnificent. Like, it’s tense, and where exactly the plot is going is shrouded in mystery, but most importantly, it’s super fucking pretty. Sure, the only thing that was mildly horrifying was the *SPOILER* end result of that bear scene but I didn’t mind too much because there was always that edge-of-your-seat possibility something like that would happen again.

Also I realised that Gina Roduriguez is really hot in this! I would just say in general but that video of her saying the n-word kind of took away shot at real world magnetism. WHY SUCH A SHITTY APOLOGY VIDEO!? WHY?!

Assassination Nation (Sam Levinson, 2018)

So I didn’t clock until I was looking up directors that Sam Levinson, Euphoria director, also directed this, and suddenly everything makes sense in the world. They both have that dreamlike, exaggerated feel that perfectly captures the emotional rollercoaster that is being a teenager, only in Assassination Nation obviously the threats are a bit more...tangible. As in its actually other people trying to kill our protagonists this time round, not just angst.

Not gonna lie, it’s not a patch on Euphoria because that show is probably the best thing I watched all year, but I did thoroughly enjoy it, even if I did feel the social commentary, despite how in your face it was, got a bit lost in translation at times. I think it’s the kind of film that, once again, would’ve felt more genuine coming from a female director, however that’s not to take away from how witty, modern, and completely relevant it still is as we move into 2020.

Sorry To Bother You (Boots Riley, 2018)

Right. WHAT THE FUCK!?

Why don’t more people talk about this film? Like it has Tessa Thompson and the world’s best earrings! Lakeith Stanfield getting more than 10 cumulative minutes of screen time! Armie Hammer being that bitch we all knew he was irl (probably)! Scathing critiques of late stage capitalism! It’s insane, in the absolute best way.

SPOILERS AHEAD: I had a mini paragraph written about the last hour of the film and the descent into pure unadulterated chaos, and how it’s like, the internet’s best kept secret, because ordinarily you lot can’t keep your mouths shut about a film or TV’s shows most crucial reveals for more than 5 minutes and THEN...My FBI agent must be feeling real cheeky because THIS tweet pops up on my Twitter timeline.

Fuck this shit, I’m out. Onto the next film. MI5 stop peeping my drafts.

Eighth Grade (Bo Burnham, 2018)

I don’t want to repeat what I said about Eighth Grade in my 50 Films you Should Watch list but Elsie Fisher’s performance in this is why I wish the Oscars also had some kind of rising star award category à la the BAFTAs. Honestly, every 13/14 year old should watch this; it’s a reminder that although feeling like an outsider is by its nature quite isolating, it’s prolific enough that a 29 year old man, 10 years out of “high school”, gets it.

American Animals (Bart Layton, 2018)

My sister and I absolutely loved this film so you can image our disappointment when we turned round to our parents at the end and our enthusiasm wasn’t matched...as in, I’m pretty sure they were both asleep for a lot of it. WHICH I DON’T GET. Because to me, there wasn’t a dull moment. American Animals is what happens when a group of university age boys with the finesse of the American Vandal Turd Burglar try and apply that to an Evil Genius stye heist, part Netflix, talking head abundant documentary, part live-action film. Splicing a stylistic reenactment with interview footage of the men who really attempted to commit the crime elevated what I probably would have put in the Good Tier™ to the God Tier™; seeing the guy Evan Peters is playing alongside Evan Peters playing him, now only the remnants of the arrogance we see in the reenactment left behind, sharply reminds you of the fall from grace these boys deservedly went through. Plus Barry Keoghan from The Killing of a Sacred Deer is in it, proving that unsettlingly stiff is NOT in fact his natural state.

Gerald’s Game (Mike Flanagan, 2017)

I wish there was a shorthand way to say I wrote about this in my 50 Films You Should Watch list so I’m gonna keep it short but here we are! This was great! If The Haunting of Hill House isn’t proof enough, Gerald’s Game (not to take away any credit from Stephen King) is a reminder that Mike Flanagan is the king of subtle, niggling sensation in your stomach that something is about to go very wrong horror. I hear he and Ari Aster have a timeshare situation going on with the crown.

The Ritual (David Bruckner, 2017)

Okay, so this is the film that made me realise we should all be very scared of forests. Nope, all the documentaries into the Aokigahara Forest weren’t enough, apparently. I subjected myself to this too, as if my unfit, cold-blooded, bug-fearing, scared of the dark ass doesn’t already have enough concerns about my survival odds in the great outdoors.

Really though, setting aside, this film maintains the sense of dread throughout and keeps you guessing what’s going on until the very end. Much like The Descent, the group dynamic and characters are realistic enough that it adds to the believability of a scenario I, in principle, know would never happen to the extent that I might keep away from vast, wooded spaces for a while just in case.

Dumbo (Tim Burton, 2019)

If film Twitter came across this post and saw I’d placed Dumbo in a higher tier than If Beale Street Could Talk I can only imagine the outrage. And sure, the latter is probably a much higher quality film. But sometimes a movie, for reasons you can’t quite put your finger on, gets you right in the sweet spot, and Dumbo did that for me. Maybe it was that the CGI elephant reminded me of my cat (I know, leave me alone), maybe I was emotional that day, I don’t know, all I know is that I cried like 5 times and was smiling for the rest of it-to be fair, the exploitation of animals for our entertainment is something that is still very much going on and that was something that was playing on my mind a lot whilst I was watching it. IRL Dumbos should be free too. Dumbo rights.

The VVitch (Robert Eggers, 2016)

This film taught me that there’s nothing wrong with joining a coven of young witches and getting naked and levitating around a fire. And that’s an important life lesson. Plus it gave us the quote “wouldst thou like to live deliciously?”, which is not only so perfectly creepy and simultaneously empowering that I had to get it tattooed but also, created ASMR. I just made that last bit up obviously but Black Philip getting his own ASMR Youtube channel?

The Descent (Neil Marshall, 2006)

For me, much like The Ritual, The Descent is a perfect horror film: it’s got the ghouls but the situation the characters find themselves in is also terrifying by its own merit. The reason The Descent made it onto my 50 Films list and the Ritual didn’t is because, let’s be honest, it’s 2020 and you can get mobile signal in most places. You could probably at least make a 999 call if you got lost in a forest. If you DID get stuck in an underground cave and it collapsed in on itself, you’d be pretty fucked; the idea of it makes me shudder and I will never set foot in an underground tunnel at any point in my life for any amount of money EVER after seeing this. Also, the women in this are great and the creatures in this are genuinely quite terrifying, especially the first time you see them.

Chicago (Rob Marshall, 2003)

Ah, Chicago, the last film on the God Tier™, proving that this list is in no particular order. Because WHAT A FIM. WHY DON’T PEOPLE TALK ABOUT THIS MORE?! Like don’t get me wrong, I know it deservedly won Best Picture in 2003 but I’m talking about right now! I mean, fucking Titanic is still out here getting referenced left, right and centre and yet Chicago gets paid dust! Can you tell I’m mad and that I think Titanic is hugely overrated?! Is that maybe coming across?!

ALL the songs are bops, Catherine Zeta-Jones is hot (I saw someone on Letterboxd say that Catherine Zeta-Jones in this film was their bisexual awakening and honestly, if I hadn’t already known I was a raging bisexual, same, because I FELT things in that All That Jazz opening) and Cell Block Tango is the revenge fantasy anthem I never knew I needed. Smart, tongue in cheek, beautifully shot and makes men look like little bitches which is probably why my dad hated it but what did I expect.

Good Tier

Zombieland: Double Tap (Ruben Fleischer, 2019)

Onto the first film of the good tier, Zombieland: Double Tap definitely exceeded my expectations. I was super worried about the prospect of a sequel as I love the first one so much and assumed it would be crap. Obviously, it doesn’t match up to the original because the original WAS so original, but it was still a fun, easy, witty ride. And I was SO glad they didn’t *SPOILERS AHEAD* kill off Tallahassee at the end because I really thought that was coming and it seemed so predictable and unnecessary. Highlight was the introduction of the lookalikes at Graceland.

Judy (Rupert Goold, 2019)

So, this is the first of two consecutive rants I’m about to go on about Oscar nominations and people’s reactions online. Prepare yourself.

I’ll start with the underlying message: just because you think something else deserves the praise more, doesn’t mean the film/album/*insert whatever artistic medium you wish here* that IS getting the praise is shit.

Like people are angry that Lupita Nyongo wasn’t nominated for best actress for her performance in Us which is COMPLETELY valid as she carried that film on her back. In the same vein, people are also angry that more women of colour haven’t been nominated for best actress. Also valid; I’ve yet to see The Farewell but I’ve heard great things about Akwafina’s performance and I love her so even though I haven’t seen it, I’m gonna take the general consensus that she should’ve been nominated too. The Oscars definitely has a problem with recognising the work of POC. BUT, because of this, people are angry that Renee Zellweger has been nominated for her performance in Judy, saying that it’s typical “Oscar bait”. I agree, it is typical Oscar bait. However, a lot of the people saying this will in the same breath say (or tweet rather) that they haven’t actually SEEN Judy.

How can you possibly say that Renee Zellweger doesn’t deserve any of the praise she’s getting when you haven’t even seen the film? Don’t get me wrong, the film itself is good but not outstanding (hence its place in this tier), but you can see Renee genuinely put her heart and soul into this film; it was powerful, and it was sympathetic but it was also nuanced and subtle where they could’ve just capitalised on all the sensationalised stories of the actions of a woman clearly deeply suffering in her final years and had it be full of shouting and screaming. The Wizard of Oz has always kind of felt like home to me because of the childhood nostalgia factor and so I’ve always been interested in Judy and I think Renee captured her heart and her spirit in a way she would be deeply honoured by. Maybe the film itself doesn’t deserve the acclaim it’s getting but I think Zellweger definitely deserves the nom and I think most people who’ve actually seen it wouldn’t contest that.

Joker (Todd Philipps, 2019)

Okay so second rant. I’m sorry. I have a lot of feelings. Most of them aimed at the annoying tendency of internet users, Film Twitter™ and Letterboxd users I’m looking at you in particular, to be wildly exaggerative.

There just seems to be no nuance online. It’s not just yeah, I didn’t like the film personally and the message could be perceived in a certain way by certain individuals, it’s I HATE THIS FILM AND IT’S DANGEROUS AND THE DIRECTOR FUCKING SUCKS. I noticed this trend when La La Land came out (which if I had watched last year would certainly be in God tier for me). It’s like, if a film initially receives a lot of praise and buzz, there’s almost this wave of compensatory vehement criticism in response that’s usually disproportionate to how controversial the film actually is. People didn’t like that Joker was popular because they didn’t like Joker so suddenly it’s the worst film ever and the possibility of it getting any critical acclaim is wrong. I even saw people berating Todd Philipps for channelling Martin Scorsese as he’s the only person to ever be influenced and take direction from one of the most dominant figures in film of the 20th and 21st century. I mean, what’s wrong with that?! If it was any other director, it’d be called homage. But because everything has to be seen through this malicious lens, its copying.

I think one of the few very valid criticisms about Joker was that it further perpetuates the idea that psychotic people are dangerous, and I can totally see where they’re coming from. At the same time, we have to accept that whilst the majority of people who are psychotic aren’t a danger to anyone apart from themselves, most “dangerous” people don’t just become dangerous because they thought, fuck it, why not? A lot of people in the prison system ARE suffering with some kind of mental illness. The character’s psychosis doesn’t make him dangerous, it’s his underlying resentment and sense of entitlement that grows throughout the film that makes him dangerous, and I think a lot of people seem to miss this point. They say that the way the film ends implies Philipps is justifying the actions of the films protagonist. However, we KNOW the Joker is an unreliable narrator, he’s one of pop culture’s most infamous villains and that being said, both in film and in the real world, few villains see themselves as the villain. Joker is about why HE thinks he’s justified in doing what he does, not why he IS justified in doing what he does because he’s not, and that’s pretty clear from the moment he shoots someone in the head on live TV. Honestly, I think there’s a bit of wilful misinterpretation going on because people don’t like that film

I liked Joker. It was gritty, it was interesting, and sufficiently dark. I didn’t think it was the best film of the year but I understand why it got the praise it did. Obviously, it’s okay that people disagree and DON’T like it. But can we please get a bit more well-acquainted with the middle ground?

It: Chapter Two (Andres Muschietti, 2019)

Okay, essays over. Back to regular scheduled programming of less impassioned reviews. Though I will say I deserved better than my Letterboxd comment of “so you can just fucking roast Pennwyise to death?” getting absolutely 0 traction. One day my grand total of 5 followers, one of which is my sister, will recognise my brilliance (lol).

It’s hard to say how much I really liked this as I think my perspective of how much I did enjoy it is warped by how much I disliked the first one. Child actors really aren’t my thing and the only cast members I warmed to in the first one were Finn Wolfhard and Jack Dylan Grazer whereas the cast here were a lot more likeable, imo. Bill Hader, Jessica Chastain and James Ransone were all great, with the only let down being James Mcavoy; I love him, don’t get me wrong, but I just think he was really miscast in this role.

Another thing I enjoyed a lot more about this instalment was that due to the more episodic/anthology-like/Creepshow-esque structure with each character conquering different monsters from their past individually, the narrative felt like it had a lot more direction, and it didn’t drag as much despite it having a significantly longer runtime. I haven’t read the Stephen King novels and I don’t know much of the pacing issues are down to them so this is me coming at it from a screenwriting angle but it felt as if the climax of the first film just kept going on and on. Every time I thought it had finished there’d be another confrontation between the kids and Pennywise whereas Chapter 2 seemed to have a more definitive third act and I appreciated that.

Rocketman (Dexter Fletcher, 2019)

So, here’s one where I WILL agree with the general online consensus: if Rami Malek got nominated for playing Freddie Mercury last year and Renee got nominated for playing Judy Garland, why the fuck didn’t Taron Egerton get one for playing Elton John? Why didn’t Rocketman itself get a nomination when Judy did? Though I personally preferred Judy because I’m more interested in her story, technically and narratively Rocketman is the better film in my opinion. This was so cleverly edited and sequenced and told with such a brutal honesty on Elton John’s part (it was co-produced by his husband David Furnish and he was heavily involved in everything from the set to the script), that I can only come to the conclusion that the obligatory biopic nomination only comes when the focus of said biopic is no longer with us as a kind of honorary thing. Whilst something like Bohemian Rhapsody was much more of an easy watch (which just goes to show how glossed over Freddie Mercury’s life was in the film), the way the story was told, by the time we got to I’m Still Standing that happy ending felt so earned.

Aladdin (Guy Ritchie, 2019)

You can hate all you want, Prince Ali and Never Had a Friend Like Me are fucking bops and somehow they were even better in this incarnation of the film. I was initially hesitant about Will Smith being cast but rather than trying to impersonate Robin Williams he went his own route and it really worked. He was the highlight of the film. It was undeniably visually stunning too. Madonna’s ex did good.

Us (Jordan Peele, 2019)

Ah, I feel so conflicted when it comes to Us. Like, there were some really strong points and it’s definitely a good standalone horror movie. It’s just you can’t help but compare it to Get Out, and with that unsatisfactory exposition dump ending, I left feeling so disappointed. It seemed to me that Jordan Peele got in a bit over his head here with trying to tie such a vague social metaphor and the actual in-universe plot together, and so ended up leaving both a bit half-baked. He tried to OutPeele himself and for me, it didn’t work.

The doppelgängers were so scary as this ambiguous, vaguely threatening presence that if you are gonna give us a full blown, sit down explanation of why they exist it needs to be really bloody good. And this explanation didn’t make much sense. For example, *SPOILERS AHEAD* I imagine that the tethered just not being able to walk up the escalator into the “real world” was supposed to be some kind of metaphor for social mobility but it’s not fleshed out enough to work. In our world, there are REASONS why the idea of social mobility is flawed. In the film, it’s just like gee, if they chose to just walk up the escalator and go on this murderous rampage now, why couldn't they have decided to do it years ago back before they all lost their fucking minds? Why were they just copying the originals for all those years? HOW did they know what they were doing? See, the metaphor as I understand it is supposed to be that we depend on the oppression of others like us in order to maintain our social status, but not only is this kind of too general a statement to try and use a feature length film to make, I don’t really understand how this dynamic works within the narrative of the film. Technically, there's nothing to stop the tethered and the originals co-existing apart from the tethered deciding not to walk up the fucking escalator. We’re not talking a bourgeoisie-proletariat relationship here. The explanation of it all just being a “government project gone wrong” was too vague seeing as the plot working seemed prior to this to hinge onto something vaguely supernatural and the eventual plan of the doppelgängers seemingly had no purpose or application to the real world like the climax of Get Out did. It just left me feeling kind of like...why? Why did this all happen? When the ending and the twist was that predictable (the old Pretty Little Liars finale style twin switcheroo was blatantly obvious from the mother’s “it’s like she’s a different person” line near the beginning, let’s be real), I was expecting some final revelation that flipped my expectation on its head or at least felt helped things click into place. Instead, it seemed a bit hamfisted and like I was supposed to feel things were deeper and more significant than they actually were.

All that being said, I appreciate that if anyone other than the writer of Get Out had come out with this movie, I probably wouldn’t have these issues. Us was funny, it was fresh, and the concept of doppelgängers is something I’m so glad to see brought back into our modern pop culture database. The people are right, Lupita was incredible in this and it is a travesty that she didn’t get nominated. My sister, who was so creeped out by her vocal performance that she had her fingers in her ears every time Red spoke, still won’t let me attempt an impression of it. And that Fuck the Police sequence? Iconic.

On the Basis of Sex (Mimi Leder, 2019)

I apologise in advance for the shittiest “review” I’ll ever write, but honestly I can’t remember all too much about this film other than it being good. Ruth Bader Ginsburg, I’m sorry. You’re a cool lady.

If Beale Street Could Talk (Barry Jenkins, 2019)

EURGH, THIS WAS SUCH A BEAUTIFUL FIM. The score, the shots, the rawness. I imagine it’s devastatingly real. Like, *SPOILERS AHEAD* you think there’s going to be a happy ending but there’s not. It should be disappointing but it’s an honest choice. And side note: fuck those annoying middle aged white ladies in the seats behind me and my friend who lost their shit and started giggling every time the N-word was used, JFC. I hate living in a Tory stronghold.

Cam (Daniel Goldhaber, 2018)

So, as I said, I’m a fan of the whole doppelgänger thing. It freaks me out. The point in this film where the protagonist is approaching her bedroom door whilst she watches HERSELF livestreaming from inside that same bedroom had my heart in my mouth wondering what she was going to encounter on the other side. And you see, the ending of this was a lot more ambiguous than the ending of Us, so I should’ve had less questions. Whilst I’ve seen other people saying it WAS unsatisfactory and that they felt like we were owed more of an explanation, I liked the simplicity of the answer we got and the wiggle room it leaves for our own interpretation. The way I see it, given that we were told by the fan the protagonist meets with in the motel room that *SPOILERS AHEAD* it was a case of some kind of software copying these women’s likenesses to steal their viewers and thus their profits, is that Cam is a kind of a commentary on the capitalist exploitation of women’s bodies and the demand for (and desensitisation towards) sexually violent content; we don't necessarily need to know who is behind the virtual cloning, which is terrifyingly believable given how realistic some of the deepfakes I’ve seen are, because it doesn’t matter. We're basically told money is the motive and we know the kind of lengths some people will go, and someone DID go to in Cam, to in order to make a shitload of money and that’s as true in real life as it is scary. On the other hand, if you want to believe there’s a more supernatural presence behind the events of the film, there’s enough left to the imagination that you can go down that route too. Some films are better left un-exposition dumped and this is the proof. My one criticism, is that, like many films, it would be even better if directed by a woman; I’ve seen people say that its portrayal of online sex work isn’t entirely accurate and though I can’t say with certainty that women working in this industry weren’t consulted in the first place, I imagine a female director would not only be more likely to listen to their concerns but could translate the confusion and fear that comes with being expected to makes oneself sexually desirable to get ahead in the world but then shamed and used for doing so even more viscerally. A few tweaks and it’d be God Tier.

Colette (Wash Westmoreland, 2019)

The costumes, sets, and Keira were so, so stunning. Also it was just an inspiring, beautiful story. The navigation of womanhood, so called “deviant” sexuality and self-expression against the backdrop of early 20th century Paris with a load of Edwardian era tailoring thrown in, it’s everything I could possibly want and more; 10/10 moodboard content.

The Boy (William Brent Bell, 2016)

I can’t believe this film was made in 2016, and it almost makes me move it down to mid tier based on the fact that a lot of the allowances I made for cheese factor I made on the assumption it came out earlier in the decade. BUT, that being said, I was creeped out for a good portion of this film. Most horrors I watch and I’m probably a bit too chilled (a head comes off or some witchy ass ghost screams into the camera and my only thought is some kind of judgement of the SFX), and yet I felt like watching this behind my hands. I don’t know what it is about dolls and puppets, Chucky was my childhood fear even though I never actually watched the film, but something about the uncanny valley of it all makes me just spend the whole time they’re on screen silently praying they don’t start moving or talking. So in a way, given the resolution of the film *SPOILERS AHEAD*, the premise of The Boy was actually a lot scarier to me than the reveal of what was really going on. Someone hiding in my walls? NBD. That demons are real and that they live inside creepy old dolls? Terrifying. Why does everybody I debate this with disagree!? You can't call the police on a demon! At least with a human being you can stick them with the pointy ending of something! Regardless, I enjoyed the journey and trying to work out how things would end and if there IS anybody secretly living inside my house right now, even if you are a supposedly dead murderous family member (last time I checked I didn’t have any of those so I should be all good), kindly vacate. Thanks.

Oprhan (Jaume Collet-Serra, 2009)

So the fact that this film is based on a real life case makes this all the more terrifying. It was a bit campy and tacky at times but the shot of *SPOILERS AHEAD* Esther taking off her makeup in the mirror and revealing her true age will always be iconic. Plus I love Vera Farmiga, even though I did struggle to see her as anyone other than Norma Bates.

First Reformed (Paul Schrader, 2018)

A hauntingly beautiful film with a lot of room for interpretation. There were so many gorgeous shots and so much subtext, this is proper 10/10 media studies essay material.

The Invitation (Karyn Kusama, 2015)

I would say the concept and implications of this film, which don’t fully hit you til the final shots, are a lot better than the film itself. It feels very realistic though and is definitely tense.

As Above, So Below (John Erick Dowdle, 2014)

I was so stoned when I watched this that a lot of the allegory and Dante’s inferno references went straight over my head, and it just seemed absolutely balls to the wall wild. I couldn’t buy that the characters would just KEEP GOING either when things began to get terrifying, like people in horror films really out here making the most nonsensical decisions and it drives me mad. But anyway, it was definitely entertaining and there’s a lot more to it in terms of plot and mythology than most similar quality horrors and I appreciate that

Climax (Gaspar Noe, 2018)

Climax is an interesting one that I think I’ll have to watch again to judge how much I truly like it. As with Us, I know it’s a good film, but I think my expectations of what it was going to be left me slightly disappointed. See, when I read about the premise I assumed that the horror was going to come from seeing the perspective of the characters on said acid trip and that leaves so much room for any kind of terrifying visuals you want whether that be something based in realism or fucked up creatures of the imagination. Buuuuut, it wasn’t that at all; at no point does Climax take place from the first person perspective of any of the characters. Similar to Darren Aronofsky’s Mother, the horror comes from not being able to do anything but watch as everyone starts losing their minds and the situation gets increasingly more dire. It’s pure stress; the acting is so unnervingly good that you really do feel like you’re watching some unintentionally horrific incident take place. That’s not a bad thing-I like it when films make me feel something intense, whether that emotion be positive or negative. It was just a different viewing experience to the one I had precipitated.

Mid Tier

Nativity (Debbie Isitt, 2009)

I find Mr.Poppy hilarious. Does that make me a child? Probably. I’m not really one for Christmas movies but this one’s alright.

Scary Stories to Tell in the Dark (André Øvredal, 2019)

I get that it’s based off a book so it’s not exactly like the “monsters” were a secret in the first place, but for those of us who didn’t read the Scary Stories to Tell in the Dark books as a kid, my main beef with this film was that they basically revealed all of said monsters in the trailer. Like how It: Chapter 2 spoiled the scene with Beverly in the old lady’s apartment but with EVERY. SINGLE. CREATURE. The only one that wasn’t was the “jangly man” and the only takeaway I have from him is the “jangly in the streets, but is he jangly in the sheets?” Letterboxd comment I read afterwards. Like the creature designs are the selling point of this film and by showing us them all before we’ve even seen it, any anticipation that would’ve built up from their reveal was kind of gone. Plus, it definitely felt like the writers were trying to ride on the hype train of “It” when they wrote this-only they made it even more childish. I mean, I know it was classed as PG-13 in the US which is maybe part of the reason it was so tame but the Woman in Black was a 12 when it was released here and it could be the bias of my 13 year old brain but I remember that being terrifying to watch in the cinema.

Also, I found it weird how *SPOILERS AHEAD* a couple of the main characters died and there didn’t really seem to be any consequences? Idk, maybe that’s because I found them all a bit one dimensional but I’ve seen others make the same criticism so I don’t think so.

Don’t get me wrong, this wasn’t a BAD film. It just wasn’t super good.

Charlie’s Angels (Elizabeth Banks, 2019)

I’ve never seen the 2000s Charlie’s Angels so I really don’t have anything to compare to, but I don’t think this was THAT bad. I was fairly entertained throughout and I enjoyed Naomi Scott and Kristen Stewart’s characters. My main issue was the unnecessary inclusion of Noah Centineo, and that weird ass montage at the beginning of stock video shots of girls just...doing miscellaneous things. Why, Elizabeth Banks, why!?

Toy Story 4 (Josh Cooley, 2019)

In some ways, I see why Toy Story 4 was narratively necessary: co-dependency had been a running theme throughout and we needed to see Woody (I feel stupid saying this considering he’s a fucking toy but allow it) realise that he can exist independently of Andy, and that there’s more to life than pleasing somebody else. The way Toy Story 4 ended felt like a satisfying conclusion to his character arc, and as well as the animation being top tier, Forky was a hilarious addition to the cast. However, I don’t think it carried the emotional weight of the 3rd Toy Story, which I think people had accepted as the last instalment and had used to say goodbye to the franchise, and therefore the sceptic in me thinks that the obvious purpose of this addition was a cash grab. I don’t doubt that a lot of people worked incredibly hard on it-I’m just saying that the propelling force behind the film probably wasn’t “the people need to see Woody��s character growth” and that was quite apparent throughout.

Doctor Sleep (Mike Flanagan, 2019)

There were some really beautiful scenes in Doctor Sleep; the astral projection sequences in particular were magnificent and I loved Rebecca Ferguson as the villain. Stylistically, though I didn’t find out he was the director until I was writing this up, you can definitely tell it’s Mike Flanagan, and like I’ve said, he does horror very tastefully. Unfortunately, I just wasn’t all that interested in the premise and I wasn’t hugely invested in grown up Danny Torrance either. The execution was great and the return to the Overlook was brilliant, of course, but the story just wasn’t for me and nothing much sticks out as being a particularly intriguing plot point.

Mary Queen of Scots (Josie Rourke, 2019)

What to say about Mary Queen of Scots other than...yeah, it was alright. I mean, I really should’ve liked it more than I did, because these specific events were part of the Edexcel A-Level history curriculum (Can I get some Rebellion and Disorder Under the Tudors students representation up in here!?) and I usually love seeing history translated onto screen, plus it centred around Margot Robbie and Saoirse Ronan. It was just very...meh. I feel like there’s so much more complex a story here than was told. Both women were undoubtedly a lot more complicated than this film made them out to be and I think to reduce Mary Queen of Scots to a Mary Sue-ish heroine was a disappointing choice. Plus, if we’re gonna talk historical accuracy (which all the racists came out of their caves to discuss at the time), Mary and Elizabeth never actually met; I’m sure there was a more creative way to explore their dynamic than by forcing an interaction that never actually happened.

Apostle (Gareth Evans, 2018)

There were elements of this film I really liked; the mythology behind the cult, I.E what the townsfolk actually worshipped when you stripped away all the secrecy was pretty interesting. However, I felt it depended too much on atmosphere and not enough on plot, and I didn’t warm to any of the characters.

Searching (Aneesh Chaganty, 2018)

It’s difficult because technically, Searching is obviously an ingenious film. My issue is the way it ended, which was imo, super anti-climatic, and honestly pretty predictable in that it seemed like the writers just went out of their way *SPOILERS AHEAD* to make the culprit the person viewers would’ve ruled out by default for shock value, and then work out WHY that person was the culprit from there. I was expecting something a lot darker to be behind the protagonist’s daughter’s disappearance-irl, these situations usually are-and so maybe it’s just me being a bit of a sadist but I was disappointed by how things resolved themselves.

Deliver Us from Evil (Scott Derrickson, 2014)

So, this isn’t boring. It’s interesting to have a horror navigated through the lens of something as procedural as a police investigation. But ultimately, the acting isn’t great, there’s very few scary moments, and it’s a little cheesy. As horrors go, it’s pretty shallow-it is what it says on the tin.

Dumplin’ (Anne Fletcher, 2018)

I watched this right at the beginning of the year and I can’t remember all too much about it, but I remember not hating it? See, looking at the cast, Odeya Rush and Dove Cameron are both in it which would suggest I’d come away hating MYSELF instead but yeah...I got nothing.

Lights Out (David F.Sandberg, 2016)

The concept is very scary, the execution not so much, and the actual storyline is a little cheesy. I found myself just being like OH MY GOD, IT’S BELLA’S DAD FROM TWILIGHT! And then *SPOILERS AHEAD* getting mad that they did Charlie Swan dirty like that by killing him off in the first 10/15 minutes.

The Goldfinch (John Crowley, 2019)

So I LOVED the book of The Goldfinch. I read it after the Secret History and even though most people seem to prefer the latter, the former hit me right in the sweet spot. The length was almost one of my favourite things about it; I felt by the end that I came to know the character so well he felt like someone I knew in real life. When I heard Ansel Elgort was cast as Theo, I was really happy; I’m not necessarily a huge fan of him as an actor, I've only ever seen him in shitty teen-y dramas which I forced myself to like at the time E.G. The Fault in Our Stars and Divergent, but he looks kind of exactly how I pictured Theo looking. Almost like an Evanna Lynch as Luna Lovegood situation. And then honestly, the actual film came around, and I found myself much preferring the young Theo sections. I get that Theo is quite a muted character and I hate to properly slate anyone’s performance, but Ansel as him felt a bit flat. The casting in general was pretty whack; I love Nicole Kidman but she didn’t feel right as Mrs.Barbour and it seemed that they added a lot to her character to the detriment of Hobie’s character who was a much bigger part of Theo’s life in the book. Also, can we talk about Finn Wolfhard as Boris? I’m sorry, but that accent was godawful. Really bad. Boris’ accent was always supposed to be kind of ambiguous but this was just butchered Russian. Another gripe that my friend and I, who also read the book, had with the Vegas section of the film (which was otherwise probably the best part) was that they never properly explored the complexity of Boris and Theo’s relationship. Obviously I’m not saying that I want 2 minors to shoot a sex scene but it could have been referenced when they reunite as adults because the kiss on the head when they part in Vegas seemed misleadingly platonic. It was heavily implied in the book that there was some kind of love that went beyond friendship between the two and I didn’t get that in the film at all.

Ultimately, when you try and adapt a book as long as the Goldfinch, you’re always going to have some pacing issues and people complaining that things were left out or that X or Y character didn’t have enough screen time. But in ways, I think the fault here was trying to stay TOO faithful in the limited time available. They definitely could have focussed less on certain relationships and more on others, and when it comes down to it, I think we lost a lot of the grittiness of the original book for the sake of pretty visuals.

Once Upon a Time in Hollywood (Quentin Tarantino, 2019)

Don’t get me wrong, this would 100% be in shit tier if it wasn’t for the last hour or so of the film and all the Manson lore which is so disappointing because I love Tarantino films and I love that era. As for the first couple of hours, I loved the vibe and I love Margot Robbie, and I think it was very respectful towards the Tate family (if anything radiated through the screen more than anything else it was Sharon Tate’s sweetness), but I just wasn’t that invested in Leo or Brad’s characters-it all just felt a bit pointless. I really like Brad Pitt and even that couldn’t really save it for me. Maybe if you took away the remaining 2 hours and 20 minutes of Leo DiCaprio making vague allusions to his own career to a girl only slightly younger than the combined age of all girlfriends past I’d enjoy it more but then I don’t think there’d be much footage left. I guess we should just be grateful that Tarantino managed to refrain from unnecessarily sprinkling the N-word into every other line of his script this time, right?

Also.

SO. MANY. FEET.

But then again, this did result in Brad publicly mocking Tarantino’s foot fetish during his speech at the SAG awards so...I’ll allow it. Sometimes kink shaming is okay. Especially when it’s this guy:

Isn’t it Romantic (Todd Strauss-Schulson, 2019)

I guess as romantic comedies go it wasn’t AWFUL because it was self-aware but still just not my cup of tea and it didn’t really make me laugh. Plus, I feel like it did just follow the plot of a conventional rom-com in the end so...what was it all for, you know?

Green Room (Jeremy Saulnier, 2016)

I think my disappointment with this film was a case of too high expectations. It wasn’t as gory as I hoped, in fact, there was very little on screen gore at all. I was just expecting something very messed up and I didn’t get that. But then again we did get Maeby from Arrested Development singing a fuck Nazis song so I guess that was a nice surprise?

Shit Tier

Birdbox (Susanne Bier, 2018)

First the disappointment of the Goldfinch, and now Birdbox (although they were chronologically the other way round but for the sake of this review, let’s just ignore that). It really is a bad year for bird films.

It’s weird because when this first came out I remember everyone hyping it up and making memes about it and stuff and then I actually watched it and dear god, it was boring. Honestly, who paid you lot to pretend you cared enough about it enough to make content? And where can I get in on this action?

I mean it didn’t start off terribly but then they killed off SARAH FUCKING PAULSON and somehow managed to make SANDRA FUCKING BULLOCK unlikeable. How does one do that? The mind baffles.

Pet Sematary (Kevin Kolsch & Dennis Widmyer, 2019)

The kid acting was bad, the leads were meh and there wasn’t one creepy moment. This should be SO MUCH MORE hard hitting than it actually was given the subject matter and it just fell completely flat. I will say, though, *SPOILERS AHEAD* that the ending was appropriately doom and gloom and even though I’ve seen lots of others say they hate it it was probably the only thing I actually liked.

The Lion King (Jon Favreau, 2019)

Seth Rogen and Billie Eichner were the only good things about this which is sad because I fucking love Donald Glover and I was so excited when he was cast as Simba. Like, it was pretty but empty and unnecessary and I’m not one of these people who think CGI remakes always have to be this way-I loved Dumbo and I liked the live-action Jungle Book too! I just think the people who made this cared too much about good CGI and realism and less about heart. There was no personality whatsoever and it’s such a waste when you think about the fact that they had Donald and Beyonce on board.

Red Sparrow (Francis Lawrence, 2018)

Eurgh, I hated this. I think Jennifer Lawrence is stunning and I usually love her films but every shot of her in this felt so male-gaze oriented, even the ones which were sexually violent, which I found to be completely unnecessary in the first place. At times it felt almost torture-porn-y which was not what I expected at all seeing as the marketing made it seem like some kind of female empowerment movie.

It Comes at Night (Trey Edward Shults, 2017)

I literally can’t remember fucking anything from this film. Clearly there is a very, very fine line between atmospheric and boring.

Warm Bodies (Jonathan Levine, 2013)

Maybe it’s because I watched this about 6 years too late and the whole human-girl-falls-in-love-with-supernatural-creature hype train has long since left the station but I couldn’t even finish it. Cutesy necrophilia ain’t for me, sorry Nicholas Hoult. Still love ya. You’ll always be Tony Stonem to me xoxo

Million Dollar Baby (Clint Eastwood, 2005)

I’m pretty sure this movie won a lot of awards so I’m sure this is a very unpopular opinion but the way this film ended was so...depressing. SO depressing. Did it have to be THAT depressing? The Always Sunny in Philadelphia episode outsold.

This is the range Oscar winning actress Hilary Swank wishes she had.

Would You Rather (David Guy Levy, 2013)

Started off well but became cheesy and predictable as it went on. The acting wasn’t great either plus there was another unnecessary attempted rape scene here too.

Christmas with the Kranks (Joe Roth, 2004)

So I watched this movie in the run up to Christmas because my best friend and her mum were referencing it like it was this cult classic (which I guess for some reason it is?) and I’m sorry to her and her mum but what the hell is this shit?! It’s not even so bad it’s good. It’s just bad.

The plot, the characters, EVERYTHING, it’s ridiculous on every level. I wasn’t into it enough to suspend my disbelief that anyone’s neighbours would actually care THAT much that they weren’t celebrating Christmas. Go on your damn cruise, take me with you whilst you're at it, ease my seasonal depression! I wouldn’t mind so much if it was funny or if the protagonists were likeable but it wasn’t and they’re not. Nobody’s actions made any sense. It didn’t put me in the Christmas spirit at all it just made me angry that Jamie Lee Curtis’ agent made her do this shit. She’s a scream queen goddess and she deserves better.

ANYWAY.

I’m now realising that I should have started on shit tier and worked my way up to god tier because now this post has ended on the rather sour note of me getting worked up over Christmas with the Kranks, lol. As always, these are just my opinions and I love to hear other people’s; when it comes to something like this, it’s all a matter of preference and there really isn’t a right or wrong answer, so I’m open to discussion!

With the Oscars less than a week away now I rushed a little to get this out on time, so apologies in advance if anything doesn’t make any sense or there’s any typos, I will look back over it at some point over the next couple of days to check.

But if you read to the end thank you! And stay tuned for my overview of Paris Haute Couture Week S/S 2020 if that’s something you’re interested in as that will most likely be next post!

Lauren x

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thesuitelifeofjughead · 5 years ago

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Riverdale Rewatch Review - Season One

Hey guys! So, as everyone knows, there’s like, this big thing happening in the world right now causing everyone to have to stay inside and a lot of people have way more free time on their hands than they know what to do with. I am one of those people. After I finish my schoolwork I find that barely even half a day has passed. What do I fill that time with? Animal Crossing. But also, watching Netflix.

I’ve wanted to rewatch Riverdale for the longest time, and I figure that now is the best time to do it.

So, the way this will work, I’ll give my overall thoughts and review of the season, my favorite episodes, and then I’m going to give you a play-by-play of my thoughts while rewatching each episode under the break. So, without further ado:

Overall Review

Looking at the bigger picture of everything I know Riverdale has come to be, I think the statement stands true that Season One is one of their strongest season, if not their actual strongest (Season Four has been climbing up there for me in fav seasons).

Watching it all together, the drama seemed evenly paced, and everyone seemed to get the same amount of screen time, including characters we barely see anymore like Kevin and Reggie. There are some interesting shots, and I found myself jammin to some of the songs they had the characters sing as well as the background music.

It was clear that they had a plan, and they knew where they were going. Hints of relationships happened WAY before they became official, and it seemed like everyone was on the same page, which is difficult to say for later seasons (which I will also be making reviews on shortly).

For only having 13 episodes, Riverdale did an excellent job in it’s first season hooking everyone in to the drama and the mystery, including me. I believe it was after the second or third episode when this blog was created, and I’ve been here ever since. This season is responsible for why a lot of fans stuck around, and for why a lot of fans left.

Overall, I would say it had amazing storytelling, character development, cinematic techniques, and everything else you could think of. My final rating would be a 10/10. Even if you don’t like later seasons, you can’t deny this one was really good, and had a lot of classic Riverdale moments -insert gif of Jughead saying “I’m a weirdo” here bc I tried to find it but couldn’t-.

My personal favorite episodes: Episode 6, Episode 10, Episode 13

Rewatch Thoughts

Episode 1:

It’s so clear right from the start that Veronica likes Archie oh my god

I love Betty Cooper dance parties and I want more of them

Wow I hate Alice from the very beginning

Fred Andrews was the best parent on Riverdale from the very beginning. Period.

Maybe the show is more consistent than I thought. Archie was dumb since season one episode one for lying to his dad.

Veronica was so supportive of Betty and Archie we stan a supportive friend

Oh my god did we all collectively forget that Archie dated a freaking TEACHER?!

JOSIE AND THE PUSSYCATS MY HEART I love and miss them

Jughead was such a broody lil boy wasn’t he oh my gosh Betty really did change him for the better didn’t she

“Whatever happened with Betty, just talk to her. It’ll go a long way” We stan a king who wants open communication from the beginning yas Jughead

Episode Rating: 8/10

Episode 2:

God, the teacher is so manipulative

Oh god i’m gonna have to relive the dark Betty arc aren’t I

This rewatch is just gonna further my love for Jughead. He was the smartest one since day one

WAIT i completely forgot they changed Reggie’s actor oh my goodness

Episode Rating: 5/10

Episode 3:

there was a mention of Greendale in the VERY FIRST SEASON

The only good thing Penelope Blossom ever did was punch Alice Cooper and that’s that on that

I love the early journalism relationship between Betty and Jughead

Episode Rating: 7/10

Episode 4:

Ya’ll I miss jughead narrating at the beginning and end of every episode

THE TWILIGHT DRIVE IN. I MADE SO MANY FANFICTIONS SET THERE AWH

Jug was so upset over the drive in my HEART. Jughead had a JOB. Am I the only one who forgot that?

He called her Betts and she called him Juggy their already in a relationship let’s face it.

“It’s like my home” AWH JUG IT WAS HIS HOME MY HEART

Ya’ll remember how INSANE the reveal of Jughead’s dad was?

Episode Rating: 10/10

Episode 5:

Why would he have to run away from mommy and daddy? BECAUSE DADDY DID IT JUG YOURE SO SMART

Everyone was so SHADY in season one

THE FREAKING SNAKE IN THE BOX

This was the episode with Jughead’s stupid cute smile in his stupid cute hat and stupid cute tux my heart

Remember when Fred and Hermione had that thing? Yeah me neither I hate it

Episode Rating: 8/10

Episode 6:

Wow makes sense that Polly joined a cult, she’s so fragile from everything that’s happened to her

I love the early music in this show

Betty straight up asks Hal if he killed Jason Blossom. OMG Alice goes “You think he has the stomach or that?” UHM hate to break it to ya but your dad is,,, oof

ITS THE HEY JULIET EPISODE AWH

WAIT THAT MEANS

The little “also” and his voice cracks I’m

FIRST BUGHEAD KISS FIRST BUGHEAD KISS

“In the middle of our moment” ICONIC

Episode Rating: 10/10

Episode 7:

the episode in which we find out Jughead is living in the school

“Don’t tell Betty” they’re already so in love I swear

Jughead walking Betty home is literally the softest thing

The farm was a part of the plot from SEASON ONE oh my god

Episode Rating: 7/10

Episode 8:

I’m p sure this is just a filler episode

Oh wait it’s the reveal to Archie and Fred that FP is a serpent

WAIT ITS THE BABY SHOWER SCENE

“It’s totally on my bucket list” we don’t deserve Jughead

the LOOKS Archie got when he walked into that baby shower

Can you believe how normal it became to be a part of the serpents? And in the beginning it was such a big deal? Like Arch, hate to break it to you, you become an honorary serpent one day

Episode Rating: 7/10

Episode 9:

Riverdale season one really be hitting different. It’s so,, innocent lol, and that’s sayin something

The Blossoms are a cult all their own I’m just sayin

“That was a joke, you hobo” ICONIC

Otherwise known as the episode where Alice throws a rock at a window

The parents really do be acting like teenagers tho

ALSO known as the episode where Veronica rips of her pearls

YOOO remember when Cheryl kissed Archie? That was a moment

Episode Rating: 9/10

Episode 10:

oh my god this is the birthday episode isn’t it

OH NO

lmao Ronnie was Tik Tok dancing before it was cool huh

The movie part of the party was so pure awh

oh god the creepy birthday song

i hate it

I HATE ITTTT

Cheryl arrives to mess shit UP

We love that Bughead took this as a learning experience and Jughead has never had a birthday party since

“In CaSe YoU HaVeN’t NoTiCEd, I’m WeiRd. I’m A weiRDo. I DoN’t FiT iN aNd I DoN’t WaNnA FiT in. HAvE YoU eVeR SeeN mE WiThOuT ThiS HaT oN? THAT’S WEIRD.”

Jughead was so opposed to letting her in my heart

Just let her love you Jug

Dilton’s actor also changed and we just,, let it slide? oof my guys

THE PUNCH. he DEFENDS his WOMAN

the first sign of FP bein a good dad, telling Jughead not to run away from Betty. We stan a father who’s basically responsible for Bughead.

The reveal that Alice lived on the south side was also in this episode.

THE FIRST TIME JUG TOOK OFF HIS BEANIE

their first heart to heart ya’ll I love them

This is the softest scene point blank period

When I said I hated it before? Yeah I lied I love this episode

The episode where Archie and Ronnie also officially got togther kinda?? Wow so much happened this episode

Episode Rating: 10/10

Episode 11:

Hail our fair RIVERDALLEEEE

YOOO you remember when FP literally was an accomplice to MURDER and then they let him become sheriff? Man, what a time

Ya’ll why did they hurt Jughead so much in the first season my heart

Yo THIS is why they have such good communication in later seasons

he’s being FRAMED

Episode Rating: 7/10

Episode 12:

oh my goodness the tollbooth scene

The second time his beanie is off

he looks so SAD ouch

He just stood there and TOOK Cheryl’s punches someone save my poor boy

THE REVEAL THAT THE BLOSSOMS AND COOPERS ARE RELATED AH

They watched the videooooo

Episode Rating: 9/10

Episode 13:

The camera work around this table is really interesting. It’s literally circling them at the lunch table. SPEAKING OF LUNCH TABLES, why haven’t we seen them eating lunch at school for like two seasons lol

“I’m with Jughead now”

God Penelope Blossom is so melodramatic

Can i just say thank GOD Fred never sold Andrew’s Construction

Oh my god the locker scene. The way he cups her cheek and takes her away

Jughead going to South Side High without telling anyone I’m

Cheryl on the ice

Remember when KJ literally broke his arm bc of the dedication to this scene

BURN THE HOUSE TO THE GROUND

the I love you scene my hEART

His beanie is off and the way he says I love you I”M CRYING

Oh god this song

I made so many fanfictions about this freaking scene with the jacket I’m

We all thought it was so BAD to be a serpent and yet they all literally become one over the next two seasons I’m. the fandom had NO IDEA

“Juggy”

The looks they give each other I’m laughing

Cheryl starring into the FLAMES

OH MY GOD WAIT THIS CLIFFHANGER IS SO MUCH MORE SAD NOW NOOOOO. This didn’t age well I’m.

HE SHOOK HIS HEAD HE WAS PROTECTING ARCHIE

But also,, Black Hood Intro? Oof.

Episode Rating: 10/10

If you got this far, thank you for reading my rambles! Season Two rewatch is up next!

#Riverdale #Jughead #Jughead Jones #Cole Sprouse #Betty #Betty Cooper #Season One #Bughead

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birdsy-purplefishes · 5 years ago

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I have MANY thoughts and feelings about Midsommar.

Okay I saw Midsommar last night and it was an experience. So this post is probably going to be long and rambling and it is definitely 100% for-sure going to contain some spoilers. I’m gonna put a whole lot of it behind a Read More.

First, though, I want to say that while I thought this film was great it is definitely one of the most disturbing things I have ever seen. I went into it knowing almost nothing--and honestly I wouldn’t have been prepared even if I had read spoilers--and that was the ideal way to see it for me but there are many triggering things and some very problematic things in this film. I’m gonna try to be vague as possible but you might not not to watch this one if anything from the following list is something you can’t handle. That said: I am very easily disturbed by a lot of things and I found that this film was so bizarre that I never really felt like I couldn’t finish it. It’s... kind of weirdly selective about which gruesome stuff it shows and what it doesn’t. The most terrifying things to me were implied things and I didn’t realize them until after it had ended. Somehow... miraculously... this film didn’t come across as gore/torture-p*rn to me. So Trigger Warning / Content Warnings for this movie: Violence, blood, gore, horrible suffering. Sex, nudity. Mental illness and stigmatization/perpetuation of harmful myths about mentally ill people. Suicide. Ableism. Racism. A rape scene that I think most people didn’t even realize was a rape scene because it’s bizarre and left somewhat ambiguous. Emetophobia triggers. Body horror. A whole lot of drugs. Squicky grossout stuff. Emotional, psychological, and religious abuse.

There’s probably other stuff I forgot. Basically everything horrible is in this movie. It was definitely worth it but it’s a hard watch.

Okay, now for spoilery stuff.

The backstory shown in the first few minutes is incredibly disturbing. Dani’s bipolar sister murders their parents and kills herself. It’s graphic. It’s disturbing. It definitely portrays suicide in a negative light, which is pretty much good, but: can horror movies stop perpetuating myths about mentally ill people?! This stuff is damaging! It makes mentally ill people out to be monsters and then ignorant people treat them worse. It makes mentally ill people feel like there isn’t any hope for them! This part sucked a lot. The only interpretation of this that isn’t awful is the fan theory that there are clues in the background that suggest that the cult may have actually framed Dani’s sister but that’s kind of a stretch. None of the other foreshadowing in the film is as subtle as the supposed hints that the cult fabricated the whole thing so I doubt it.

The foreshadowing is actually super obvious. It’s the typical horror film where the characters have no idea what’s going on & you’re like “DUDE GET OUT OF THERE!” the whole time. People on the subreddit are pointing out all kinds of foreshadowing and even the tapestry at the beginning shows you who all of the characters are and like 90% of the story.

Dani’s boyfriend, Christian, sucks. His friends suck. There’s a lot of macho bullshit and they’re just cold and dismissive. And the boyfriend’s a manipulative little leech. You hate him so much! I found myself hoping that she’d kill them all except maybe the cute friendly Swede. Basically the entire movie he’s gaslighting and dismissing her and his friends talk shit about her constantly. It’s the typical “oh, women are irrational and over sensitive” macho bullshit. Like to the extent that all of them know about the murder-suicide of her entire family but none of them try to fucking shield her from seeing the suicide ritual. Not even the guys who know damn well what it is going into it!

The fact that they’re all anthropology majors and they go into it with a sense of cold detachment and an insistence on cultural relativism (or utter obliviousness) and it makes them total assholes wasn’t lost on me and I’m glad that someone went into detail: https://slate.com/culture/2019/07/midsommar-graduate-students-villains-ari-aster.html

The bros say something about him dumping her and finding somebody who “actually likes sex” and there’s a lot of interpretations to that, none of which are less than horrible. Like does he try to pressure her into doing stuff she doesn’t want to? Probably! Like whether she has emotional or physical sexual dysfunction isn’t discussed and that’s kind of brilliant because even if she does have issues it’s not her fault at all and the dudes are g a r b a g e for even suggesting it.

The cute friendly Swedish dude (Pelle) who was the only one to be kind to Dani at all was actually the worst manipulator of all! He’s totally luring her in! He’s love-bombing and manipulating her! He literally “draws” her in. He does some forced-teaming shared-trauma bullshit. I gotta say though: I fell for it! I wanted her to dump the guy for him! I’m almost surprised that she didn’t fall for it. I think it’s more due to the fact that she’s traumatized and grieving than anything.

The most disturbing thing about the guy, though, is that I can’t decide if he does all of this because he’s evil or because he’s genuinely a true believer and believes with all his heart that he’s doing good things. That will haunt me forever tbh. Just... always watch out for guys who want to “save” you. They are the scariest fucking abusers.

The whole cult is love-bombing her, actually. The whole film is like Cult Tactics 101. They find a vulnerable young woman who’s lost everything. She doesn’t feel a sense of love and belonging anywhere. She has no support system unless you count her garbage basically-sociopathic-but-aloof boyfriend who really doesn’t count. Pelle hand-selected her because she’s the ideal cult brainwashing candidate. He’s seen firsthand just how much shit she takes from Christian and how she’s constantly falling for his gaslighting and tolerating him mistreating her. I was actually kind of disturbed at how many women I saw online reacting to the cult saying it was empowering or matriarchal. It’s not at all! The first elder we see leading things is female but the ones handling the book and enforcing the rules are men. I can only recall two women elders who do much of anything and they’re both just prominent parts of ceremonies. They’re announcers/performers. They’re definitely complicit but the men are behind the scenes controlling it. And look at the sex ritual! There’s no real emphasis on female pleasure and it’s all being a good little brood mare. It’s a performance. And small babies are kept away from their mothers to be raised communally. They send the mothers away from their babies! Even the May Queen role sucks if you think about it for even a second. The whole “we’re a family” thing is just creepy as hell. There’s even a lot of foreshadowing to it that I missed, like the guy who greets her shaking the mens’ hands but saying “welcome home” to her. Said guy also calls his traditional garb “girly” when Dani compliments it, btw! And of course the division of labor is patriarchal. The clothing is patriarchal too.

The mental health ableism stuff is bad but there’s ableism based on physical disability as well. Arguably it’s supposed to condemn the cult for fetishizing disabled people and promoting incest to deliberately create disabled people but... it still comes across as “look at this deformed kid” and it’s fucked up.

I can’t tell if the movie is trying to show us that the cult is racist or if the movie itself is racist. They kill off the three non-white outsiders pretty quick. Was that classic horror movie “the black guy dies first” bullshit or was that supposed to be like “look, these seemingly peaceful and loving people are xenophobic and racist and there’s a reason why all of them are super duper white despite bringing in outsiders”. Like I came out of the film definitely convinced that it’s no coincidence that the blue-eyed blonde chick gets singled out as special by these people.

It made me really uncomfortable to realize that the sex ritual is technically a rape scene. We get clues that Christian goes into it voluntarily to some extent, sure. When he knows that girl (and she does look like a young girl!) is trying to seduce him we don’t really see his reaction but he doesn’t seem to refuse outright. He seems ambivalent until he's offered the drugs but then he hears that they’ll make him lose his inhibitions, looks at the girl, and gulps the liquid. He saw it as an excuse to get away with cheating and he took it. But that doesn’t change the fact that he’s drugged when he actually agrees to the sex. He’s tripping the whole time. He’s being pressured and prodded and even literally physically manipulated. He’s out of it. The girl seems kind of out of it too. It’s really fucked up. But like it’s so weird and you’re so mad at him for everything shitty he’s done to Dani that you’re just like what?! But when you think about the fact that he’s drugged and you see the way he’s horrified after he realizes what he’s done... it’s horrific. He was violated.

I like that we see just how viscerally traumatic it is to be cheated on. Dani vomits, collapses and wails. And our sympathies are with her.

The cultists imitation of their members’ suffering is actually deeply disturbing and a huge aspect of the love-bombing thing, especially for Dani. She goes from being barely held by her expressionless piece-of-shit boyfriend while she wails to having a whole bunch of women replicate and act out her suffering. They do this too at the botched suicide and the final scene. They even kind of do it when she fails to eat the fish. It kind of looks communal and empathetic but it’s a feigned empathy. It’s another way that people in the cult lose their own personal identities. Nothing is yours there! Not even your suffering is yours.

To be honest... I went to see this film ‘cause a lot of the reactions to it were women gleefully enjoying seeing a shitty boyfriend suffer a horrible fate. I’m always down for misandry and cinematography! BUT... this was just excessive. The boyfriend is a total bastard. He did kinda need to die tbh. But he basically gets tortured to death. It’s made pretty explicitly clear that it’s horrific. They make no effort to mercy kill him like they did to the elderly guy whose jump failed to kill him. And like... the actor even gets it. The guy’s a scumbag and he doesn’t give a shit about anyone but himself. He even backstabs Chidi From The Good Place! But what happened to him is just awful.

The director and the lead actor actually disagree about the ending! Ari Aster says that Dani knows what she’s doing when she condemns Christian to die. Florence Pugh says she’s out of it.

I say it doesn’t actually matter whether Dani chose to kill Christian or not or what her motive was. Honestly it might have been a mercy killing given the state that he was in! Like maybe it was revenge for her and maybe the cult did it to make her feel empowered but it sucks being forced to choose who lives and dies. It sucks that some creepy cultist basically stole her man. It’s the whole “a pedestal is the same as a cage” thing for sure.

Last thing I can think of for now: I’m very surprised and more than a little distressed at all the people--especially women--who see this as a happy ending for Dani. Sure, it’s kind of a dark fairy tale revenge fantasy. But she’s objectively worse off than she is at the beginning of the film! She’s brainwashed and trapped! Like... I forgot where I read this now but basically Aster says that she goes from with one gaslighter to being with an entire cult of gaslighters! What do you think is gonna happen to her in the future?! She’s gonna have to live with her dead boyfriend’s baby that he had with some rando chick if that fertility ritual worked! She’s gonna have to live in a shitty commune. She’s gonna have PTSD 5ever from everything that happened. It’s honestly a tragic and horrible ending.

I’m... still processing this. I know I’m gonna end up adding to this. Feel free to chime in and discuss it with me! This movie was just Intense. BONUS LINKSPAM: Good Takes And Shit!

https://www.cinemablend.com/news/2474518/jordan-peele-says-midsommar-has-the-most-atrociously-disturbing-imagery-hes-ever-seen

https://themuse.jezebel.com/boy-problems-whos-got-em-midsommar-does-1835878652

https://www.buzzfeednews.com/article/alisonwillmore/midsommar-ari-aster-florence-pugh

https://www.vulture.com/2019/07/the-end-of-midsommar-ari-asters-last-minutes-explained.html

https://www.npr.org/2019/07/03/738422258/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight

EDIT: Also!!! This film?! Somehow is a comedy! It’s funny as fuck and I’m definitely going to hell for laughing!

#midsommar #horror movies #horror

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dantediscoversfic · 6 years ago

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Chapter 40: The Crap Cave

“Dante! You found us!” Clio said as I hovered awkwardly in the doorway of the art room that first day of school during lunch period.

She bounded over and grabbed my elbow to draw me into the oddly dark classroom. The overhead lights were all off, the window shades partially drawn down and gloomy pop music I vaguely recognized as The Cure droned from a cassette player. About ten kids were sprawled out around the room, most of them sporting various degrees of punk/goth/New Waver style. Two corset-clad girls in billowy skirts drew intricate designs on each other’s arms in black pen; a couple dressed in “normal” clothes was making out with gusto in the corner by the potter wheels; a boy wearing all black continually skimmed his pointer finger over the top of a Bic lighter flame; and the rest were eating lunch, chatting, scribbling in notepads or singing along to the music. Clio flicked the overhead lights a few times to get everyone’s attention, eliciting a few winces and hisses and boos from the group.

“Everyone, listen up, this is Dante. He’s new. He’s from Texas, but try not to hold that against him. He’s a brilliant artist. Dante, this is everyone. That’s Raija, Jane, Sachi, Fletch and Kelly back there sucking face, Joseph, Ann, Dave, Forest and Vee.”

I was greeted with a few head nods and finger waves, except for the couple making out who kept at it with sloppy yet admirable enthusiasm. Everyone went back to their conversations as Clio led me closer to the girls she’d pointed out as being named Jane and Sachi.

“So, Dante from Texas, welcome to 'The Crap Cave’”, Clio said using air quotes. “We have lit mag meetings here and also make our own ‘zines and stuff. Raija’s mom Ms. B is the art teacher—she just stepped out for a minute—so she doesn’t care if we hang out here as long as we don’t you know, perform ritual animal sacrifices or set anything on fire. Again.” She coughed pointedly in the direction of the boy with the lighter seated a few desks down from us and the girls chuckled. Seeing my apparent confusion she said, “See, Joseph’s a bit of a pyro and went through a destruction of property phase last year, didn’t you, Jo-Jo?” The boy in question grinned slyly up at us. “But he’s got it under control now,” Clio continued. “He channels his urges into sculptures where he can use an actual blowtorch from woodshop.”

“Blowtorches rule,” he said and cast me one more glance before focusing all his attention back to his lighter and intrepid pointer finger. I couldn’t help but notice that all his fingernails were painted black and he was wearing eyeliner and dark lipstick like the girls.

I pulled my gaze away from him, not wanting to stare too hard and be rude. “What did you call this room? The ‘crap cave’?” I asked Clio. “Did I hear that right?”

“Oh yeah, you heard me right.”

“Do I even want to know?”

Clio laughed. “Don’t look so scared, we know how to use the bathrooms like everyone else. It’s a sort of long story. You ever hear of The Batcave?”

“You mean like from Bat Man comics?”

“No. Well yes, but no. Same but different. The Batcave is this famous club in London for people like us. Bauhaus, Robert Smith, Siouxie, Nick Cave, Specimen all hang out and play there. Jane actually got to go there this summer, that lucky bitch,” Clio knocked Jane’s shoulder with friendly admiration. “So we kind of started calling it that in homage to the club like a year ago. But then the school had this gross mouse problem and their little poops were, like, this constant presence in our lives, so somewhere along the line we started calling it ‘The Crap Cave’ instead. Because that's how we roll.”

“The mice were perfect and adorable, not gross,” Sachi said.

“Sachi, no. Just no. The mice themselves might have been cute but their poops definitely weren’t.”

The two girls bantered about whether the mice should have been saved and kept as pets or if they were indeed an icky health hazard while I took everyone in, trying not to gawk, and sat down to eat my packed lunch. I was fascinated by the group’s collective style: a motley assortment of teased and spiked dyed hair, leather jackets, ripped band t-shirts, corsets and lace, fishnets, heavy boots, winged eyeliner, black lipstick and nail polish, powdered white faces, spiky hardware chain jewelry mixed with rosaries, crosses and pentagram necklaces. Some of the boys were even wearing makeup, which was something you hardly ever saw in El Paso. Joseph, the pyro boy, was particularly fascinating to me. His raven hair was teased out as much as Clio’s and his dramatic eye makeup accentuated his blue eyes and delicate, almost pretty features. The flame from his Bic lighter cast a warm glow on his ghostly pale skin.

Clio must have caught me staring because she leaned in close to my ear and said, “Don’t worry, Dante, we might look at little scary but we don’t bite. At least most of us don’t. Forest over there is saving up to get his teeth filed, but it’s not for blood sucking purposes. It’s because it’ll look badass.”

“Wow. My old school in El Paso was a Catholic private school so we all had to wear uniforms. It’s so cool you can wear whatever you want here. And be whoever you want. Do you all make your own clothes? I love your corsets,” I said to Jane and Sachi.

The girls grinned at me with approval and Clio said, “I knew you were a good egg, Dante. Jane made the corsets. She’s an amazing designer and sewer. I think the rest of us get by with thrift stores, hot glue and a crapload of paperclips.”

“I’ve never really thought about my clothes before,” I said. “But now I feel so boring compared to you all.”

“Aw, there’s nothing wrong with being a normie,” Clio said and patted me on the back. “It doesn’t make you boring.”

“Well, if you want to try something new, let me know,” Jane said. “Jo-Jo’s my twin brother. I make stuff for him all the time. Cravats, vests, things like that. I’m sure he’d let you borrow something.”

“Wow, thanks. You think I’d look good?”

“Yeah, for sure. But don’t let us pressure you. We dress like this because it feels right, right? But it’s not for everyone.”

The girls nodded.

“How did you all know you wanted to get into goth stuff?” I asked.

Jane said, “Well, for me, growing up I loved making clothes and dressing up since forever. Halloween was my always my favorite holiday. I was obsessed, like obsessed. Like I’d start planning my costume and how to decorate the house six months in advance. And after it was over each year, the next day I’d get so sad and cry for days and beg my mom to keep the decorations up and let me keep wearing a cape or whatever to school every day. So when I figured out that I could dress however I wanted whenever I wanted and basically have Halloween all year round and have my clothes express how I feel inside all the time, it was like a big weight was lifted.”

“Do people make fun of you?”

“I mean, sure, dicks are dicks,” Jane said.

“We get all sorts of ignorant comments at school, on the street, wherever. Like…‘Hey Morticia, Halloween is over,’” Clio lowered her voice to a dopey male grumble.

“Or ‘Errr….Do you sleep in a coffin?’” Jane said.

“Or ‘You look pretty hot for a dead girl!’” Sachi said.

“Or my personal favorite, the classic ‘Going to a funeral?’” Clio said with an epic eyeroll. “Yeah, your funeral if you don’t shut up about it. Please. But there are lots of people who aren’t asshats and you can just ignore the losers.”

“Yeah,” Sachi said. “People say things like ‘Oh, you’d look so pretty if you didn’t dress like that’ but this is how I feel pretty and beautiful. I didn’t feel right before. Now I feel good. Right. Like myself.”

“Raija’s mom is super cool because she’s an old hippie and gets it,” Clio said. “But my mom is still waiting and praying for the day when I let her dress me all in pink pouffy dresses again. Sorry Anita, not gonna happen.” There was an edge to Clio’s voice when she talked about her mom that I hadn’t heard from her yet. It made me wonder what her home life was like.

Sachi said, “Yeah, my parents were all worried at first that I was depressed and wanting to kill myself. They tried to have an intervention with all my aunties and cousins. ‘We’re worried about you, Sachi.’ ‘This isn’t the real you.’ Um, first off, yes it is. And second off, I’m so much happier now than before when I felt like a fake.”

“Yeah, people think that we do this for attention or as a cry for help or because we’re suicidal or worship Satan or are in a cult, but that’s not true at all,” Jane said. “I started making clothes for myself when I was ten. This isn’t a ‘phase’. I’m not going to just grow out of it.”

“And finding people who are into the same bands and fashion and movies and everything makes putting up with all the weird looks and comments easier. We’re here for each other, ” Sachi said.

“And sure, we get attention,” Clio said, “because we stand out with our awesome amazingness. But it’s not like we do it for attention.”

“Yeah, I totally get it.” I said. “I think it’s great.”

The girls smiled at me and I wondered how it would feel to dress like them, if that would feel ‘right’ for me or not. I understood what Sachi had said about feeling like a fake, though, and not liking how that made me feel. I felt that way when I used to tell people my name was Dan and not Dante. I felt that way still, a little. Because I didn’t quite know what it meant to be totally free and open with myself and the world and the universe. Not when it came to the biggest secret I had. In El Paso, I felt like I already stood out by not looking Mexican enough, by liking art and poetry and books and astronomy too much. It was enough to blend in and not get teased or bullied for being a little strange. Now I wondered if I flipped the script and really tried to stand out—if I dressed all in black and put on makeup and spiked my hair and embraced my innate weirdness—if that would make me feel more like me. It might make me feel tough and cool and badass for a little while, but I doubted it would make me feel more like myself the way it did for this group. How did I know, though? I’d never tried it before.

I wondered what Ari would think of my new friends. I bet he’d like them. And then I wondered what Ari would look like in black nail polish and eyeliner. I bet he’d look like a dark glamorous rock star. The thought did funny things to my insides.

Then the art teacher, Ms. Baldwin a.k.a. Raija’s mom, came in. She had gray hair in a long braid all the way down her back and wore a long flowy dress and bangle bracelets. She turned the overhead lights on and said, “Hey darklings, the cruel daylight beckons. Gotta get ready for the next class. Lunch is over in five. And you two, yoo-hoo, Earth to Fletch and Kelly! Please rein in your raging hormones during lunch if at all humanly possible? I can’t have anyone getting pregnant on school grounds.” Everyone cracked up at that and Fletch and Kelly turned beet red but finally disentangled their entwined limbs (and tongues).

I had an art class with Ms. Baldwin later in the day so I introduced myself.

“Hi, I’m Dante Quintana, I’m in your painting class during sixth period.”

“Dante, it’s so nice to meet you. You’re new, yes? This lot showing you the ropes?”

“Yes, Clio invited me to eat lunch with her and be part of lit mag.”

“That would be lovely. I’m the advisor, so I’m sure I’ll be seeing a lot of you. How are you finding Chicago? Settling in all right?”

“Yes, ma’am.”

“Ma’am! Please, call me Ms. B. Where are you from?”

“El Paso.”

“Ah. I’ve only been there once. EPMA is a lovely museum. Have you been to the Art Institute yet?”

“No, I haven’t.”

“We’ll be doing a field trip later in the year, but if you are a lover of art you must go. It’s one of the prides of Chicago.”

“Thanks, Ms. B, I will.”

"Now if you’ll excuse me, Dante, I have to prep for next period. See you in a few hours!”

Ms. B went over to her daughter Raija, who had been sitting off to herself drawing in a sketchpad for most of lunch, and gave her a quick side hug before disappearing into a supply closet. Since everyone else was getting packed up I ate the rest of my lunch quickly and consulted my schedule to see where I was headed next.

“You’re in sixth period drawing?” I looked up and saw it was Joseph who had asked me the question. Standing up instead of hunched over the desk I saw how truly long and lanky he was. He was about a foot taller than me.

I nodded up at him and tried to smile but had a hard time keeping eye contact.

“Cool. Me too.”

He flicked his lighter a few times in his right hand and then grinned a lopsided grin at me before heading out into the hallway right as the bell rang.

This was shaping up to be a much different first day of school than I had expected.

#aridante fic #aaddtsotu

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transcriptroopers · 7 years ago

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Regarding Veteran’s Day

So it’s Veteran’s Day! 11/11 huh? Sometimes that brings back memories. I was in JROTC in high school and they organized the schools at these events every year. It was optional, but I attended every single Veteran’s Day memorial service, whether it was being on color guard or just showing up to stand with my fellow cadets in uniform. Some would leave as soon as the ceremony was done, but I loved to make the rounds and talk to the aging vets who came to speak at the ceremonies. I actually made my mom take me to it every year, and that is impressive for me because my mother was pretty abusive and I hated asking her for anything :’)

I hope all of my vet followers are gonna have a rad day. It’s Saturday! The world is at your finger tips. Spend time with friends and family; reflect on the good in your life.

and most importantly

As soon as the clock turned midnight, I knew it was Veteran’s Day. That’s because my passengers (I’m a Lyft driver) started giving me the ol’ “thank you for your service” (to which I always respond: “and thank you for yours!” because I choose to hear it as “thank you, a Lyft driver, for performing this service) razzle-dazzle but pumped up to eleven. And yeah, I bring it upon myself by even saying it. Somehow the passengers who want to converse with me always wind up asking me how I moved to the area or what kind of work I did, and having lived a pretty uneventful life I always wind up mentioning the army. But it’s not just Lyft, right? It’s like I can’t escape it. Every year I’m getting bombarded with e-mails, news articles, tumblr posts, webcomics, “thanking me for my service” and talking about how golly-gosh-darn much they respect the military and those noble folks who serve. I have some words that are part advice and part cry for help. I hope I’m understood, but this is personal for me, so it’s inevitably biased. Whether you read or skip, thank you for your continued support and appreciation, and I hope you appreciate my new URL based on the anti-fascist cult classic Starship Troopers.

— “Thank you for your service” isn’t common courtesy whenever you see a soldier. It’s just something civilians say because they’ve been taught all their lives to hero worship the military no matter what. The only ones who like you doing it are the ones who especially don’t need it – those who have some sort of superiority/martyr complex about being in military. Please don’t enforce this kind of culture. And I’m not saying “be disrespectful.” Just talk to veterans like normal people, yeah?

Other things NOT to say: • What did you do over there? • Did you kill/shoot anyone? • Did you like it? • So you’re probably in favor of -most recent military newspiece- • My so-and-so is in the military, so a) I’m going to talk about that for twenty minutes because I’m sure you appreciate hearing about other people in the military/ b) I 100% understand what you all go through. • That’s so brave/selfless/patriotic/courageous of you (to join) • So how much did they fuck you up/so did it leave it in one piece/other euphemisms for “are you disabled now and how?” • Me: “Oh, I was in the army.” You: *loud screeching, cheering, clapping, and wooing* (This is embarrassingly common in Lyfts). Please also don’t…run up to us suddenly and ask to shake our hands? Or just thrust your hand out and hope we reciprocate without even getting our attention? What are you doing??

Things that are okay to say: • Can I ask about your time in service? <— for real though like…stop assuming every vet wants to talk to you about everything they ever did in the military. • Were you stationed anywhere cool? <— gives vet option to omit assignments they don’t want to talk about/allows vet to decline to answer. people usually just straight up hit me with “where were you stationed?” like it’s an interrogation and like… no offense but ?? • Did you hear about -insert military news here-? <— vets aren’t a hive mind. We don’t always know what every other branch of the military is up to. People hit me with “What did you think about that x that happened in y because of z?” Also I once casually mentioned I spent a year in South Korea and got back “Oh man so you probably have the inside scoop on North Korea and everything huh?” and like…bro vets usually aren’t much more informed than civilians about military maneuvers tbh like sometimes they’re less informed because they think they don’t HAVE to be. And like…just in case I haven’t made it clear in the past, the vast majority of soldiers will never be in combat and they will never so much as aim their weapon at another person, let alone fire it. Somehow so many civilians seem to think soldiers shooting people is inevitable; i wonder why…

If you are with or know a veteran and you’re going to a restaurant courtesy of the now popular ploy of offering freebies on the 11th, be sure to

A. Tip on the original amount. Servers get fucking screwed on V-Day because veterans get their whole meal for free and tip on the cost of the drinks. Don’t be that asshole. B. Don’t engage the server with military stories or solicit perks because they’re “serving a hero.” They’re busy. They have four hundred other heroes to serve today who aren’t going to be tipping them and who expect way more respect given than they give in return so eat your free frozen spaghetti with microwaved meatballs and leave. C. On that last note consider just…NOT going to these restaurants?? Come on; they’re all overpriced and shitty chains and franchises with frozen food, they usually only offer you some partial free item or something from a list of like three super-limited entrees, and they want you to come and get a free meal so your friends and family feel obligated to come along and they have to purchase their meals and it’s really not about helping or appreciating veterans it’s about drawing business. Excluding poor veterans because free food is free food I get it. D. Consider giving your leftovers or perhaps your full free meal to a homeless person. Personally this is how I’m going to be spending V-Day; I’ll be going restaurant to restaurant for anyone who’ll give me that free food to go, and then I’ll just pass it out to the innumerable homeless lined up in my area. And no, not specifically homeless veterans. All homeless deserve to eat. I mention this specifically because I had a conversation recently with a Lyft passenger about how I thought it would be better to give all of this free food to homeless instead of soldiers, (because hint hint - active duty soldiers are veterans, and they’re getting this free food despite already having their every need provided for) and I was told that many homeless people are veterans, so it works out in the wash. • It can be hard to keep track of the dates when you’re homeless. You’re assuming they’ll know it’s the 11th to begin with, or that they’ll have access to the knowledge of which restaurants are offering deals. • Homeless people usually have to walk to get around, and the U.S. is not very accessible on foot. So you’re assuming that homeless person even has access to a restaurant offering this deal. • These deals usually require that you purchase a drink or something, and drinks can be upwards of $3. It’s like the only stipulation for it being “free” and it specifically inhibits homeless accessibility. • Homeless are not welcome in society. A homeless person, even a vet, walking into a restaurant for a free meal is facing a lot of risk; at the very least the staff will probably treat them poorly, at the worst they’ll be kicked out, especially if they try to use the bathroom because everyone assumes they’re doing drugs in there and not, you know, the thing we all have to do five times a day. • Trust me, I’ve gone to a lot of these free meal things. There ain’t no mass movement of homeless vets lining up to get that free food. Besides, if society wanted homeless vets to get the food, they would target homeless vets and low-income vets; not try to bribe people to bring their family to Applebee’s. And finally if you weren’t convinced • You need to have proof that you’re prior military to get that food. And not just like your old dog tags or being able to recall your time in service. You need a military I.D or a DD 214, the paper that officially releases you from service. How many homeless vets do you think are carrying around their discharge paperwork from decades ago? Does everyone on the streets have a valid ID? Dude some homeless don’t remember their goddamn names. Get a fuckin’ clue. In short

Happy Veterans Day. I hope all other veterans have a nice day. Please don’t hero worship soldiers. Please treat us like people. Please also look back on the lives lost in unethical political wars, illegal invasions, hostile takeovers, foreign overthrow of governments, and the ever-present “collateral” damage that is still murdering innocent civilians in the form of hushed up drone strikes. Please consider how the United States has been at war for 222 years out of its current 239 years of existence. Doesn’t that seem weird? Almost unreal? Like something out of a dystopian novel? Ask yourself why this holiday began as a remembrance of the dead and the celebration of the end of the Great War, a global day to celebrate world peace, and ask why it is that other parts of the world still know it as such while America’s 222 years of war has caused it to instead hail the tools of those wars. A final statement: there is currently nothing to thank your military for.

-Kingsley

#veterans day #military #army #navy #marines #air force

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tranxendance · 6 years ago

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Westworld Spoilercast Rebuttal

So I made the thing because I feel like Woolie on the super best friendcast dismissed a lot of things that were good, and latched on to a few things that were bad and that seems to have ruined his experience. Readmore because I wrote a lot. Singlequotes are Woolie’s paraphrased remarks from the spoilercast video.

'Maeve has to take human hostages to get done what she wants done'

Sylvester was sympathetic and went along with it willingly. The other tech guy whose name I forget didn't believe Maeve was awoken UNTIL she started issuing threats.

'Fear for their lives, then punch off the clock, go home...and come back into being a hostage'

There's no going home from westworld island, everyone lives on-site. Again, they weren't really hostages despite being threatened by Maeve at times.

'So then you have to account for human incompetence'

Yes, Woolie, a main part of why the hosts managed to become awoken in the first place is that all these people want to keep their lucrative jobs and put up the big numbers and at every level we're shown people that want to keep their status by sweeping actual problems under the rug.

'The dumbest part is soldiers with guns coming in and seeing robots shooting people and yelling PUT IT DOWN'

Maybe. When hosts started acting up before, they always would just shout “freeze all motor functions” and it worked.

'These future soldiers with body armor and machineguns and ATVs are getting killed by dudes on horses with revolvers' 'You can say they've been modified, but we don't see that at all'

There's arguments on both sides here, I think removing the limiters to not kill, and not stop functioning when you take a human-like level of damage did this, but we aren't explicitly shown it, so maybe. Also, for the time being there's a lot LESS of the human mercenaries than there are hosts in these battles, and even then the hosts take big losses.

'They have the humans with machineguns walking into range of the people with the shit guns and dropping dead' (at the fort battle)

But the humans won that battle...like, they clearly trounced the Hosts, and this was by design so that they'd get in range of the Nitro trap. Them walking forward slowly and shooting is a little odd maybe instead of taking coolguy tactical covering positions but the end result would've been the same of them winning and then getting blown the fuck up as they're finishing off the confederados outside the walls. This is probably like a fight choreography fail because HBO likes to skimp on this sort of thing for some reason.

'Maeve going through her problems, she can literally wave her hands and make the problems go away'

Except Maeve wakes hosts only willingly. She does this for Akane who rejects her offer. She says later that she uses her powers to make hostile hosts kill each other because by attacking her 'they made their choice'. A bit weak of a justification? Maybe, but if she didn't and just forced everyone to obey her she'd be the same character as Dolores

'They take a completely useless detour to samurai world'

This whole thing was intended to show another, mostly still functioning park running with the same rules as westworld was. There are zero humans left in shogun world, and it's pretty much been left to its own devices and hosts are living their own lives and making their own stories even without human intervention. We needed to see Shogun World not just because it's cool, but to demonstrate that the hosts absolutely don't need humans in order to affirm their humanity.

'Ha ha, i've cut off my men's ears so they can't hear your commands'

Well yeah, but the actor also gestures to give his men orders, so the verbal part of his orders are probably just for the audience. If I was him I definitely would've agreed on a couple of gestures that mean certain things, and they definitely were planning on taking Maeve captive before this, so it seems obvious to me they woud've agreed that 'a sweeping arm gesture' means to take them away. Not really a plothole, just a tv-thing that Woolie is reading too much into.

'There's never really a concrete reasoning why (Delores says) some hosts can be free or not'

He's right, there isn't. Delores is kind of a psychopath and is promising these hosts freedom knowing that she's going to be sacrificing all but 5 of them. It's classic cult leader shit. If you work real hard and kill lots of humans for me you too can be saved. it's a lie she feeds them to justify to them why she kills some and uses others for her own ends and so on.

'Seeing the symbol (awakes hosts) but there's also this ear worm of 'violent delights bring violent ends''

The Maze is a host-created symbol that helps other hosts awaken. The spoken command was created by Bernard to unlock hosts' ability to kill humans. While it's not clear if the maze-awakening also gives you the ability to kill humans and those awakened hosts simply did not do so, or if they needed the secondary command before they could. Non-awoken hosts that get the verbal command usually just become tools of Delores.

'There's a whole thing of hearing the inner voice and realizing 'this is me' but the guy that did that to Delores just walks up and sees the wood carving and goes 'I hear the voice' skipping all that'

Bernard spends two seasons getting pushed around to develop his struggle, and mistakes the Ford-voice for not being himself for awhile.

'Delores has the godlike ability to modify people with an Ipad' 'She reprograms Teddy to be a super accurate killer assassin dude' 'And basically has the ability to nullify all of her problems by keeping this ipad around'

Can't reprogram humans. Teddy rejected his changes and was driven to suicide. I'd say human soldiers are Delores' biggest problem, not other hosts, and that it's not the magic bullet she thought it was since Teddy ended up killing himself because of it. Also they go over the point over and over again that having backups or any ability to come back from death or be modified makes you not human in her eyes. Like, this was a major plot point and reasoning for why Delores does most of the things she does, you can't have missed this. She realizes around this time that open conflict is not going to win her freedom, and that having respawning, perfectly accurate shooting host army will eventually get overrun by a larger military force when it comes to the island so she swaps over to commando raids and ultimately wins by stealth.

'Mwaha, can't wait to kill you, ms. main character' and it cuts back to her on the gurney 'ooh you're gonna get it someday' 'Four or five episodes go by of just her lying on a table' 'Then she just decides i'm gonna take control of these dead bodies that are in here and free myself' 'She could've done it at any time and had to do it at this moment because the plot required it'

Maeve is extending her consciousness to other bodies this whole time and even listens to Akecheta's story through her daughter. After she's gathered all the information she can and knows there's somewhere she can escape to, and the six or so hosts in her control range can fight off the small amount of humans between her and freedom, only then does she enact her escape plan. 'Then they're in the cradle and a human soldier comes in to stop the hosts from destroying it but ther'es like a sexy host in there' 'Why do they care about the host-backups?'

They care about protecting the host backups because Ford is in there, and I think it's a big investment of dollars for Delos. The leader of the merc guys getting a boner and losing is pretty weird though, I don't know how to defend this one. Guess it was the moment of the villain gloating because he thinks he won? This moment is in fact kind of goofy.

'Why are we keeping a bunch of guest data? They never really explain why they're keeping all this stuff'

Because having multiple personalities 'vet' an incoming copy for fidelity and having real people's personalities to test with is valuable to creating more copies. Bernard was created by other people’s recollections of how Arnold was, after all. It's also not said but in the original westworld movie, they made robot copies of politicians and powerful people and replaced them. So this is a tie-in to the old movie or novel as well.

'Bernard has zero agency as a character'

But this whole thing of people pushing him around, using him for their ends, hurting him emotionally was the suffering he needed to awaken. You questioned this yourself earlier. Bernard is the most important character because the whole thing of him starting to make decisions on his own is what starts all of this stuff off. He decides to scramble himself so he'll be unhelpful to the humans when they force him to cooperate with them. He decides to do all these things and justify it to himself as it being Ford's programming, but that was his internal voice of him awakening.

'They are building up some secret about the man in black, there's something about him they're holding back' 'The story's not telling us what it is'

Sure it does. You got tricked. You thought that the secret was just what we the audience already knew, that TMIB is a bad person that pretends to be a good guy and that ruined his family life. But it's actually that TMIB was a host for most of season 2, and a lot of the violence and awfulness was him on his loop.

'And then there's this moment of sacrifice where this guy decides to sacrifice himself in this big blaze of glory'

Yeah, Lee had a redemption arc, to prove that some humans can change, even if the majority of us will remain violent selfish assholes as a matter of human nature. His actual sacrifice while shouting the lines he wrote is a little odd, but I got it that he was just trying to buy as much time as possible, deliberately shooting to miss to keep the Delos mercs' heads down and listening to him, and that they keep trying to talk him down because he's clearly not even killing any of them. Unspoken, but that's what I thought during this.

'They've taken the one that they put the power (To make all the other hosts kill each other) and put her on a horse, thus locking her to a slow horse speed'

Except everyone else in universe thinks that too, and they kill her, only for the rate of infection to keep going, and maybe even faster since now it's being passed up the line from host to host as well and her individual proximity doesn't matter after she infected one of them.

'There's all these things in the opening (...) But robirth never happens'

What about the ending when Delores in Tessa Thompson's body remakes people's bodies on the outside of the park?

'This dude, William, takes six shots to the body and manages to not only be fine but shoot armed soldiers'

He takes six shots and dies, and is made into a host-human hybrid. Future space medicine couldn't save him at that point.

'And the torture of being that paranoid apparently wasn't bad enough?'

No, clearly not, because William is a sociopath. He begins to believe that people shouldn't come back from the dead, and sort of stops trying to make the James Delos hybrid. The thing he would hate the most would be to be brought back to life, over and over, just like is father-in-law that he's had to watch breakdown and go insane over and over again, and there he is, now a hybrid himself.

I feel like Woolie missed a lot of things, or had a hate boner for it and dismissed things when he shouldn't. Such as the really (to my mind) obvious and strong differentiation between Maeve and Delores, where Delores takes, but Maeve asks. And she says things like 'I'm doing what I have to do to make it out' and in the end she's the only one that makes it out. Or downplaying Lee's redemption arc, or saying Bernard has no agency when he's the one that causes most of these things to happen, and the voice of Ford is actually his own thoughts. Him calling Shogunworld 'fanservice' hurts me the most because seeing a mostly functioning park post-disaster and having these hosts living their lives and making their own stories without any human interference was one of the most interesting things for me.

#I have my own criticisms but it's almost none of the things he brought up #westworld #mod ramblings #super best friends play

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radramblog · 4 years ago

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The Legacy of Shrek

I’m sure someone has already done this as a video essay, but if they have, I haven’t watched it. In before I’m inadvertently ripping off someone substantially more talented and dedicated than myself.

It’s been 20 years since Shrek came along and changed the course of animated films forever. With a potential fifth film soon joining the, uh, 5 film franchise (Puss in Boots doesn’t count), it’s probably worth revisiting the original at this point. What made it tick, what it is, and what it did to the world.

Not gonna lie, I’ve had it on the brain since rewatching it last week and that’s why I’m writing about it. I’m not going to be talking about the memes, though. We aren’t that horny today. Moving on!

Shrek arrived like a meteorite on the landscape of pop culture, standing out from the crowd in all the right ways. One does have to gape a little at the sheer audacity of such a film. It was the fifth fully CGI-animated film ever to release, and the first that didn’t look like shit (possible exception of Toy Story 2), from a studio with only 4 previous projects- to be fair, though, three out of those are completely excellent (sorry not sorry, Antz). You have to keep in mind that 3D animation was expensive back at that point, and as such doing a fully CG movie was a big risk- at this point, both Disney and Dreamworks were going back and forth between traditional and 2D animated flicks as a result.

As far as subject matter and content go, it was a standout in the form of a parody movie that was aimed squarely at family audiences. Looking at a list of parody contemporaries, they’re all extremely adult-oriented, with adult humour and shock factor being major players (only exception I could find was George of the Jungle, but that being a parody film is Wikipedia’s opinion and not mine). It’s also the first parody in a while to take specific aim at the stereotypical Disney movie- the only notable prior example I could find is The Princess Bride, and that released a full 13 years earlier than Shrek did, and was definitively not a box office success (cult classic status notwithstanding).

So why does Shrek work? Apart from the originality of its premise, and being a technical standout, the film excels as both a parody film and original story. Where it succeeds, and many parodies falter, is in tying the jokes to the plot. I’m sure we’ve all seen at least one of the Friedberg and Seltzer “Movie” movies (if you haven’t just imagine an entire film of bad Family Guy cutaway gags), and aside from being unfunny the skits in those are generally the entire film- it does not exist beyond what it is parodying. And while many of Shrek’s jokes are direct and obvious, there isn’t as much winking to the camera, they aren’t lifting obvious bits directly from their source material so much as weaving them into the existing story. Snow White suddenly appearing in Shrek’s house along with all the dwarves is a bit jarring, sure, butt part of the joke is the incredulousness of the situation, and the reason they are there is literally the inciting incident for the movie. The most jarring this ever gets is with the Magic Mirror’s game-show-esque segment where we are introduced to the character of Fiona via The Price is Right-style prize intros, but the delivery is pretty in-character for said mirror, and it’s one of those jokes that is aimed at the parents in the room. Said jokes are thankfully not super common, as sometimes they can really ruin a film if misaimed- though it always astonishes me how long it takes for people to understand the bit behind Lord Farquaad’s name.

But what elevates Shrek beyond its peers is the genuine heart behind the film. Behind all the parody and humour lies a genuine fantasy adventure about an outcast learning to make friends, falling in love, and learning to be less of a shit. Shrek’s arc through the movie is fully realised, even though it would continue throughout the rest of the series, and the emotional moments in the film do feel well set up and well paid off. It’s kind of astonishing how what appears to be such a scathing parody can get this real.

Also, Eddie Murphy as Donkey was fucking genius. Like, him being Mushu was fucking weird, but this is a story and role that much better suit that kind of neurotic energy.

Unfortunately, while the franchise…errr, half of the franchise, is legitimately good, the inspiration it has led to is less so. Whenever something good gets big, the ripoffs appear, and they’re never as good even remotely. The years after Shrek would give rise to a new breed of parody film, many of which targeted Disney and fairytales much like Shrek, but with much worse results- Hoodwinked is not a good movie, even before you find out it was produced by the Weinstein company. Ironically, the only good one of these would end up being Enchanted- the live-action/2D animated hybrid Disney themselves would put out in 2007.

The other massive impact I can think of regarding Shrek is it’s decision to just eschew voice actors for a shitload of celebrities. And I’m not going to act like this wasn’t an established trend- Tom Hanks in Toy Story, a bunch of people in Antz, the aforementioned Eddie Murphy in Mulan. But Shrek was the first film as far as I know that appeared to be using its star-studded cast as a selling point- and the animated film world took notice. There’s a distinct but subtle shift in the posters of animated films after Shrek- the main casts names start getting bigger and more visible, separated from the mass of other credits you’d see in a poster like, again, Antz. There’s basically no way we’d have the absurdity that is the Sausage Party cast list/poster were it not for Shrek. To be honest, there’s no way we’d have Sausage Party were it not for Shrek, and that might be the most damning thing you could say about the franchise.

And this is such a minor point, but its one that bugs me, and that’s that Shrek seemed to reinvigorate shitty kid’s media’s passion for gross-out humour, since hey, he’s a gross ogre dude and he made millions on the big screen. But like, the gross-out humour in Shrek was pretty much completely limited to the start, and it wasn’t a huge thing- not presented as perverse or shocking, it was literally just how Shrek lives his life. No-one else got that, and so we had a decade of emetophobia-inducing dreck that I, growing up in that decade, did not appreciate.

At this point, Shrek’s popularity is largely carried by nostalgia, I feel. People like me who saw it as a kid are adults now, and the franchise surely isn’t carrying itself- it hasn’t had any new films since Puss in Boots, 10 years ago, and it hasn’t had a good film in 17 years (Shrek the Third sucks ass, fight me Mark, and Forever After is better but still mediocre). As a result, it’s likely that another 5 or so years of the franchise’s absence will kill it- so I guess they better hop on that fifth movie. But regardless of whether or not the franchise survives, its impact will be felt for years to come. I’d be surprised if we see another animated film as influential for a while- though with the recent mind-boggling success of the Demon Slayer movie making almost double any other film in 2020 (to be fair though, it was 2020), maybe we’ll see a bunch of shonen-ass American CG flicks on the horizon. What is clear is that Shrek definitely didn’t kill Disney, though it sure tried its damndest, and to their credit, Dreamworks hasn’t ever done A Disney in the way many others have tried.

They sure did do Bee Movie, though. They sure did.

#ramble #film #shrek #shrek is loven't thank you very much #it is good tho

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adamgoldberg · 7 years ago

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Why I decided now was the time to bring The Hebrew Hammer out of cold storage.

The following is a letter I wrote to friends and family before our current equity crowdfunding campaign went live.

Dear Friends,

If you’re like me you hate nazis. Also if you’re like me you played a character called the Hebrew Hammer a fews years back in a movie called….The Hebrew Hammer. Back in those days, if I had to beg my friends and family for money to make a movie it was an infantilizing, demoralizing affair. But these days not only is it socially acceptable, it’s downright groovy. But before I pick your pocket, here’s a bit of background.

Writer/Director Jon Kesselman and I conceived of a sequel to the cult classic (I can say that because I’m old and I can say that about shit I’m in) some 12 years back. Even two years after the first film’s release there was a lot of fan interest in a sequel. It actually began get annoying how often I was asked (in real life, there was no Twitter) if we were gonna do another one. So I Jon and I got together and I suggested we kill Hitler. Because, you know. Hitler. This was before Inglorious Bastards, by the way. Also I made a short film called Reservoir Dogs when I was in 3rd grade. (That last sentence isn’t true). Jon and I worked on the story, Jon pounded out a script and over the years there have been a variety of iterations and stabs at financing the film. But to be completely frank, between my personal projects, and living-making projects, and ambivalence about being over identified with any particular “franchise,” it got sidelined. My mindset was if it got made, great, if it didn’t, well, I wouldn’t have to wear a banana in my speedos 12 hours a day. (For those of you who missed the original, there’s a love scene in which I needed a little help from the craft service table in order to do the titular character justice).

But as Trump’s ascent and demagoguery began to incite some bonafide anti-semitism, in a sense I began to own my Jewishness which I had often felt owned me. By the time of the inauguration I found myself embroiled in some pretty awful exchanges on Twitter and on the receiving end of hate speech and imagery the likes of which I had really only ever heard or read about. On the other hand I found my inbox full of calls for The Hebrew Hammer. “Now more than ever,” they would often say. It didn’t seem to matter that the movie we made years ago and the movie that we were imagining for the sequel were broadly funny satires; people really considered the character to be a hero of sorts. I was at a Blue Jays game the other day (don’t ask, when in Toronto…) and a young vender asked me if I was The Hebrew Hammer, and when I said yes, that I had played him, the guy enthusiastically told me I was his hero. Certainly I wasn’t. But the Hammer, for all his kvetching, seemed to fill a void that clearly had existed prior to Jon’s conception of the character.

Over the past few months Jon and I retooled to the script to reflect some of the insanity of the Trump era. It was almost as if we had prematurely hatched the conceit to the sequel back in 2005, and needed the last year to occur in order to properly contextualize the story and get our asses into gear. This is not to say I wouldn’t trade the making of this film for just a single morning where I didn’t have to chase my Matcha with an Ativan. But Trump is president. So you might as well give me your money.

We teamed with Indiegogo which recently teamed with Microventures to do something fairly new, known as equity crowdsourcing. In short, instead of a coffee mug, you own part of the film. You can also have a coffee mug. The details are all on the site and Judy Greer and I do our best to explain in more detail at the end of a short Hammer film Jon and I made this last summer for the campaign.

This is the first time I’ve been involved in such a campaign and wouldn’t were I not really passionate about this. Or if I were really super wealthy and just could pay for the thing.

If you’d like to join the party…Let me rephrase…If you’d like to learn more click HERE.

Shabbat Shalom motherfuckers.

POST SCRIPT: THE CAMPAIGN IS VERY LIVE AND SINCE THE ANNOUNCEMENT THE BILIOUS TROLLING ON TWITTER HAS TAKING ON HEINOUS NEARLY COMICAL AND VERY CERTAINLY IRONIC PROPORTIONS, GIVEN THEY ARE PARTLY THE REASON FOR THE REBOOT.

#hebrew hammer #hebrew hammer vs hitler #adam goldberg #jonathan kesselman #donald trump #sebastian gorka #indiegogo

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dove-annarchie · 7 years ago

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A Slow Damage headcanon theory compilation by Ann

It’s late and I’m supposed to write short stories instead of a long rant about a game that’s not even out. But after watching the Slow Damage PV another hundred times and seeing that the N+C fandom is kinda dead. I decided to add my little, possibly going to remain unseen theories/headcanons/speculations/guesses etc. for the fans waiting for something new.

Note that nothing of what I’ve written is to be taken at face-value, it’s just my speculation and feel free to correct me on anything or share your theories with me. Anything to make this agonizing period of waiting a bit less agonizing!

First, these guesses wouldn’t be as strong without @shinocchidesu’s text decode on the PV and the inverted sketches @bara-mink (sorry, for some reason i couldn’t tag you :C) made to get a new perspective on the images, and they look clearer!. Kudos to them!

To start this trip, I may warn you this is gonna be long as heck. Be prepared.

We’ve got to start with the ambience. N+C has something like a track record regarding crapsack worlds, dramatical murder and maybe false alkanet being the exceptions (and even then, Dmmd was dark as fuck despite the cheery, colorful world it was in). Togainu no Chi was a post-war dystopia, Lamento was a story in a world that was slowly dying, and sweet pool’s world was fairly ordinary but the darkness on the plot was the product of the characters’ doing.

Slow damage seems to be the game where both the characters and the world around them are grimdark as hell.

Taking the PV at face value, the characters seemed suspicious, the music and effects were unsettling and the background left an impression (at least in me) that nothing was fine. Looked kind of like a decadent city, or a red-light district, just an urban zone full of crime. If I had to compare it to explain myself better, think of Dragon Palace in Omerta Chinmoku no Okite (another BL, mafia themed VN).

(what looks like an urban environment in the pv):

(omerta’s dragon palace, for comparison):

A crime-filled ambience is an ideal place for a dark plot with troubled characters.

Moving along with the characters, we see 4 of them (at least if there’s not a hidden twin, clone or doppelganger). None of them look 100% sane to me. The flashing visuals and slightly off-key music and sounds are likely to hint that at us, or maybe it’s the kanji, for the Japanese-speaking people? They’re either very involved with crime, or their hands aren’t clean enough to disprove any guilt. At least for me, since these are my deductions.

Moving on, I’m going to talk about the people we see in the PV. Starting with:

My thoughts about him? When there’s crime, there should be cops. He looks like a detective or cop to me. He also seems to be middle aged, or older than the MC at the very least. Old enough to have been a father? Who knows. But he reminds me of Motomi (TnC) and Kiryuu (Omerta) for some reason. I’ll call him Kiryu for now.

The words deciphered by shinocchidesu in their post read:

Sins, guilt, depression, self-loathing, to hide something, mask.

If I tie this to his assumed position in the law, Kiryu must have committed a crime himself and/or gotten someone killed. It was either an accident or intentional, whether in a moment of weakness or fully aware of what was going to unfold. In any case. It seems like Kiryu desperately wants to hide it, or forget it. Or the disgust he felt with himself after doing it.

Affection, mercy, silence, determination to be…

What if his route is like a healing process, maybe not just for Kiryu, but also for whatever the MC went through before? Maybe by taking his route, if he has one, we can make him move on or remind him that the past is in the past, and that he can still find worthy things in his life (Like the MC?). he’s going to feel more positive with the MC around him, he may quickly take a liking to him. Maybe because he reminds Kiryu of someone from his past? Is being romanced by the MC like a chance to symbolically or internally fix everything that went wrong?

Next is…

My thoughts about him? Looks like the typical pretty boy every anime media must have. Longish hair? Check. More delicate face structure? Check. Mischievous smile? Check. He also seems to have piercings, or maybe it’s the rough lines of the sketches. I’m going to call him Shi for now, read the explanation ahead.

The deciphered words read:

Unrestrained, unstoppable pleasure, blood, bone, flesh, violence.

This doesn’t spell good.

I’m going to stretch my deductions a lot and state that maybe Shi was (or is) a cannibal, or a serial killer. I see him as a hedonistic fuck who doesn’t care about other people’s wellbeing as long as he’s having a blast. Maybe he was under the influence of drugs. All of this spells that Shi was an outright criminal, the kind of pleasure-seeking person who will go to the extreme just to feel new sensations, even if they’re morally wrong. Shi wants to feel thrilled, he has no barriers or chains. He’s a free man and not even the police can keep him from having his way. He’s sassy, brash, carefree and confident. Has a joyful and fun façade to hide his bloodthirstiness and the misery it caused him.

Or we can take the other side and imply he was being forced to be like this. Maybe he was part of a cult or a very toxic group who indulged in killing and intoxication. He’s used to this, even if he doesn’t want to be. Maybe the MC can help him withdraw from his passions or push him deeper into it while joining him. I still don’t have this clear.

Self-denial, build and rebuild, hidden aesthetic.

Shi lives very frugally. Because of his criminal status he has to constantly relocate, but it’s not like he has important things to leave behind. Much like Nine told Aoba in dmmd re:connect, Shi can build and destroy his (outer) world whenever he wants or needs to and he doesn’t lose much by that. The build and rebuild part can also apply to his possible murderous intents, since he destroys lives in order to build up his pleasure. Possibly being with the MC may inspire a desire to settle down, despite the risk, and having legitimate reasons to do the opposite. A possible bad end might be joining in the bloody debauchery and being dominated by Shi?

Next one…

My thoughts about him? A classic character; the kichiku megane. Other than Ugajin (also from Omerta) and the yaoi manga with that name, I cannot make any comparisons due the fact I haven’t seen many examples of this archetype. Unless he turns out to be a caring, if amoral sweetheart, I’m betting my cat’s life that he’s going to follow the trope to a T. Stoic, sadistic, cruel and uncaring, but smart, sophisticated, desirable and maybe hiding a very tiny good heart. He looks like a high-ranking criminal, or yakuza or mafia or I dunno, he looks not like a lowlife thug, but more like an evil hidden-in-plain-sight kind of criminal. He can afford to look elegantly amoral. It took me a while to give him a decent placeholder name, so I’m just calling him Kenji for now.

Let’s analyze his phrases.

To put on, not being himself, inerasable past, acted out truth, hatred towards their own.

This one’s a little more complicated to me even if it seems to be explicitly spelled out. Kenji’s self-hatred must stem from a typical traumatic experience. Maybe his family/race/clan/group did something awful and he was one of the few who regretted letting it happen? And that’s why he’s involved with crime? Because he sees himself as nothing but another apple that rot far away from the tree and he can’t do better than commit more crimes?. A little part of himself knows that while he’s scum, or at least related with the real scum, he didn’t commit atrocities like his kind so he can afford to be a little bit better. He desperately tries to distance himself from his clan, erasing his past and not wanting the horrible truth to be discovered. He doesn’t need to have a higher moral ground, he’s content with not doing horrible things directly. And he clings to that.

Cruel, thorough confrontation, continuous obsession.

Rule of three dictated these might refer to Kenji’s relationship with the MC. While MC doesn’t look like a career criminal, he’s still at the very bottom of the barrel, living in the crime-ridden urban settlement on a filthy studio (assuming he’s an artist). While Kenji can flaunt of being sophisticated and respected. If the kichiku megane aspect is played straight, Kenji won’t limit his cruelty with the MC, maybe seeing him as just another ruffian undeserving of even mere eye contact, much like he sees the people working for him. MC will keep clashing with Kenji, causing the yakuza to become enticed and attracted to the young (?) smoker. As if he’s “deserving” of him. I don’t have much else, sorry.

And finally…

Now let’s go with the hooded person, who I’m assuming it’s the MC, and if he isn’t and turned out to be the main antagonist or some shit like that, welp, then screech in my ear and call me Rachel.

I’m basing my guesses from the teaser images rather than the kanji.

The first one is simplistic. We see a person in a hoodie sporting a macabre smile, standing in the middle of a street with distorted figures which must be buildings. The colors are limited, classical red, black and white, aiding the macabre aesthetic of the picture. The black figures seem to sink onto the ground and lose consistency. As seen on the N+C website, the title of the game is written twice; once in white and then in black, right over the white katakana in an irregular way that may be meant to add to the “instability” of the image.

I don’t see much symbolism other that this being N+C’s way of saying “yo, we gon fuck your mind up but you gotta wait for it ;) also if you don’t speak Japanese then you’re doubly screwed fam”

The second one is more complex and gives us a very good look at the aspects and symbolism. We see the hooded person in much clearer detail. Looks definitely masculine (it’s a yaoi game, duh). He’s sitting on a stool, in a crooked posture, looking depressed and defeated, smoking while avoiding eye contact with the camera. Smoking was believed to reduce stress, but that was debunked a while ago, so he has pent up a ton of anxiety added to the usual problems with his already underprivileged lifestyle. Behind him there are numerous canvases (assuming he’s an artist, or at least a hobbyist) with a huge black one right behind his back, they show no images other than empty whiteness and some shadows, their meanings being that either he gave up, those easels are representing emptiness and gloom, he became disillusioned and he’s reflecting on stuff, or that there are multiple problems in his life that are unimportant or self-inflicted and thus cause him small amounts of misery but not to an extreme extent, and this one big black canvas right behind his back represents factor that started, prolonged or keeps fueling his bitterness and internal struggle.

I want you to save me./Do you want to be saved?

In a world of crime, a young man has the chance to make things right. Anything he could do may make things better or worse. Is he talking to himself? Is someone else asking him that? All the above?

By who? By me?

He’s doubtful and depressed. He started at the bottom and he’s still in the bottom (that was unintentional). But can he push his frustrations aside and face the music?

That concludes my analysis and helped quench my impatience a little bit. I should repeat that this is not to be taken at face value nor I’m saying this is 100% canon official information. It’s just another guessing game to see if I can give you an idea of what to expect. I dunno, I just wrote this for fun C: thanks for reading!

#slow damage #my posts #n+c #hooo boy that was long

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chillydayzgaming-blog · 7 years ago

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Borderlands

Ever wanted a million guns? How about 17.75 million guns ripe for the taking? Guns that'll melt your enemy's faces off, burn them alive, make them scream for their mothers as they experience more than 1.21 gigawatts of electricity coursing through their veins? Then Gearbox Software has a game for you. Released in 2009, Borderlands is a loot based FPS with RPG style skill perks and classes. Four characters to choose from: Sarcastic marksman Mordecai, over enthusiastic brick shithouse named appropriately enough Brick, femme fatale reality shifting Siren named Lilith and finally the impromptu leader of the bunch Roland. He's the big black guy with a turret. Between it's respawning enemies who exist to drop loot and it's wonderful space western setting Borderlands became a cult classic that enjoyed more fanfare over time, gaining traction as an alternative to standard shooters of the time. The first time I recall hearing about the game was from an article talking about Ice T playing it himself. A glowing recommendation from him and it being cheap used at GameStop ensured that I would pick it up. Showing it off to my friends we soon began to play it together, eventually I picked up the GoTY edition, getting all the DLCs that I hadn't yet grabbed anyway, but by that time I was in my third play through of the game. The game working off of a cyclical new game plus mode allows for the player to replay it over again if they wish, with additional difficulty added to the game. To offset that the loot gets better too, so yay, more farming. My fondest memories of Borderlands was starting up the game, putting on some Cage the Elephant and just going to town on the final difficulty. The first area, the Arid Badlands, is a blast. Classic space western fare: Hostile bandits, crazy alien animals to shoot and plenty of loot chests to open up. Learning about all the hidden boxes, running a circuit of slaughter and chilling out to a great band is phenomenal fun. Strongly suggest it as a cathartic method to relax. Surprisingly enough I actually enjoyed classic Borderlands' bare bones story. That doesn't mean it was fantastic, it was cut down from the early ideas for the final release. Essentially the story boils down to there being a vault full of loot, you know, the stuff you've been collecting all the while? But that in a way is a wonderful subversion of what we expect. We expect the McGuffin of the story to bring us what we want, when at it's heart it is meant to only play the role of a desired thing. Be it a princess in yet another fucking castle, big black books filled with Eldritch knowledge or in Borderlands case a vault full of loot. But, spoiler alert, it isn't. It's full of tentacle monster guy. You've seen enough hentai to know where this is going. So you trampled across the East coast of a forsaken continent on a largely abandoned planet just to have to fight a roughly four story interdimensional monster hell-bent on diddling you with his tentacles. Bet you feel used huh? But, really, didn't you have fun along the way? The NPCs are pretty entertaining without being overbearing, dry wit in ample supply in addition to the clear cut quests. I feel as though the vault's true purpose was to show us what we want more than anything in the game, and that's more challenges to overcome. We the players would find it boring if the PCs ended the game with an unending pile of loot, we want to keep up the lootfest ourselves. So after you beat the end boss, who was admittedly pretty easy, you get the opportunity to begin again, but stronger this time. There's a bit of side mentions of cyclical time to help handwave this, which I appreciate, separates it from most other games in that regard. At it's heart the game did have issues with it's writing however. While I did enjoy the more serious tone of the game the slight lean towards humor was very fitting for it, dark humor injected here and there helps to keep it from being too dry. But it felt like a tipsy guy trying to keep his composure, giggling to himself one minute and standing stone faced the next. This was later "fixed" via the DLCs and sequels, going from leaning towards humor to diving headfirst into it. But that left the first game in an awkward position, it's pretty light story doesn't nearly compare to later games in the series. However what was in the game was fairly well done, I'm judging it by it's initial release, not taking the DLCs into account. The main character's lacked good insights into them as people, perhaps to help us associate with them better, but when it comes to a story I want to know how a character reacts, feels about their world. For what it is I have to give the game a 15/20 in the story/concept category. Excellent loot based FPS, subpar story but cool world. Borderlands thrives on it's FPS mechanics. Wonderful gunplay, metric fucktons of guns to utilize and useful character perks to utilize. Want to turn a hawk into an AC-130? You can do that. Shift through reality while running like Speedy Gonzales? Yeah, kinda. Punch shit like, really really hard? Brick shithouse at your service. Ammo spewing, ally healing and bone hurting bullet shooting turret? You'll be making people go owie pretty fast. Along the way you'll gain a bunch of passive and activated abilities too, which are a staple of any perk based game nowadays. Come to think of it Skyrim has perk trees that kinda remind me of Borderlands, would be interesting if it was partially inspired to do so by the surprise hit. Anyway, gotta give the game.e a high five for it's system, it works fantastically. As it's a loot based FPS, you have a backpack that slowly gets upgraded over time. Which is great because after a certain point you end up drowning in grenade mods, shields and weapons after wading through a dungeon. Ooh, speaking of I should expand those things. First off we have those lovely modifiers for your grenades, teleporting, sticky, you name it. Hell, the healing ones are my favorite, a plethora of devastating health sucking good vibes at your fingertips. Your shields are like a secondary health bar that refill over time on their own, plus cool side effects to give you little bonuses. Stuff like resistance to elemental attacks, faster recharging or beyond average shield count. Borderlands' dungeons are some of the most fun I've had in a while. Not too big, ripe with hostiles and loot, perfect for an hour of stomping through with friends. Of course where Borderlands truly shines is in it's open air bandit camps. As I said before I adore the starting area, the Arid Badlands, it's handful of Skag dens and Bandit camps are some of the best fun I've ever had grinding. To me it's not even grinding, it's cathartic ass kicking. Anyway, you get a lot if dusty places to kill stuff in, plus some mountainous places later on. Overall it's world design is quite beautiful, can't really fault it beyond any spots you can get stuck in. Overall it's gameplay and mechanics earn it a solid 20/20, the little things like weapon skill building over time, class variation and just simple dumb fun in it's dungeon diving makes it a near perfect game to pop in and just tear shit up with your friends. Onto Graphics and art style. Borderlands utilizes a cell shaded design that's iconic and quite easy to recognize. Rocks pop out at you, enemies stand out amongst the backdrop and the equipment is well understood from afar. Just enough detail without it being too attention grabbing. Character designs are a bit exaggerated, but that's to be expected really. I can't fault the game for having generic visuals in terms of NPCs and the world, at the same time it also benefits from my soft spot for space westerns. So unlike a lot of shooters it gets a nice noon in the form of it's iconic style, which really helped to set it apart. Ironically it was to be more realistic, but midway through production they changed that. For the better I say. The graphics, for it's time, were/are wonderful. I say are because, well, they still look pretty good. Might not stand up to say... the sequels, but that's just due to higher resolution over time. All in all I believe it has solid graphical quality, no faults to be seen from my 100+ hours of gameplay. So to grade it on it's visuals I'd give it a 20/20, started a series strong with it's unique design, strong visuals and charming atmosphere. Space Western game's gotta have a twangy soundtrack yeah? This one does, plus some haunting tunes as well. While the gun sounds are a bit soft for me the music, both the OST and the choices for opening and ending tracks, are are superb. Opening up with Ain't No Rest For the Wicked by Cage the elephant (my favorite band) and ending with No Heaven by DJ Champion the game uses it's music to help set the mood. You aren't good guys, you are shades of anti-heroes that are on the planet of Pandora to kick ass and get loot. The reasons vary but in general you're gonna spend most of your time shooting native wildlife and locals in the face. A lot. Not much else to comment on, 15/20 in that regard. Just needs stronger sound effects. Plus more PC interaction, but that's more writing than anything else. Enjoy shooting shit? Looting shit? Then Borderlands is the game for you. Easily 30+ hours of shooting and looting, multiple playthroughs and a never-ending stream of baddies to torment even if you do "beat" the game. Not that you ever really do beat it, it's one of those games that you can keep playing forever really. And you know what? I really enjoy that. I see replayability being from two things: wanting to experience the game more/again or seeing how you can do things differently. Myself, I change very little across playthroughs, but I LOVE to feel those events again. If not for the story than for the sheer... wonder or excitement of the events. The first few nights in Minecraft, the end of a dungeon in Skyrim that deposits you at a vista and in this case just the thrill of stomping through dungeons that I've cleared dozens of times before. I can honestly play the same zone in this game for hours. For that reason I have to award it a 20/20 for longevity, just slip the disc in and keep enjoying the gift that keeps on giving. There is very little that I would change about the game, it's a bloody masterpiece as is really. But as I've said before it's lacking in the story department. Having the characters have more shit to say, either due to quests or at each other as they're out and about. Better sense of group cohesion is what I want, to feel that these guys are a group of fire forged friends out looting the countryside together. Plus expand in their back stories, have audio logs like future games had to help explain them a bit more, perhaps a personal quest or two. Hell, have their personalities and backgrounds come out via their dialogue with each other and NPCs, just enough to help us get them better without it being too distracting. Metal Gear Solid V: the Phantom Pain did this quite well, since Snake was meant to be more of a silent protagonist he had more personification via cassette tapes. Perhaps expand on the PCs via that sorta mechanic? Oh, and better SFX, guns and such. Just make it more visceral sounding, that feeling you get when you pop a bandit's head with a satisfying headshot... Enhanced with proper bullet sounds. This game helped bring back loot based games. Be they FPS, dungeon crawlers or whatever, it helped show that a non mainstream game could as much ass or even more ass as the same major releases of that year. It's art style, iconic. The atmosphere and tone, simply a pure mixture of light-hearted romp with violent lootfest. Gunplay that is up there with some of the best shooters. Very few things to complain about, it's a game you and your buddies should buy used and just pop it in to play all weekend. Gold star game overall, 90/100. Very few can match it in sheer fun, that's without taking DLCs into account.

#borderlands #video games #games #review #gearbox #Chilly Dayz #Chilly Dayz here #xbox 360 #classic

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