#in fact the two scenes are so visually similar i feel like if I lied and collected screenshots from both scenes and said they were the same

[nyaskitten]

maybe its JUST me but I hate how often ninjago has to rely on "world-ending evil" each season, because seriously how can you go higher than that in the next season?

[flanaganfilm]

Hey there!

I’m a new writer-director finishing up film school and I keep getting into little spats with some of my instructors over my characters talking too much/for too long.

My stock response at this point has basically become “Well, it works just fine when Mike Flanagan does it.”

I don’t know if it’s because I come from a theatre background or what, but I really don’t like the seemingly common wisdom that characters talking—actors orating—is boring for audiences. That you have to have Something Happening all the time, and that characters “just” conversing or telling a story doesn’t count, as though “to speak” isn’t a verb.

Since you tend to have characters speak at length and it turns out riveting—I’m thinking specifically of the confetti speech from Hill House and Hassan’s speech about being a Muslim cop in NYC from Midnight Mass—I was hoping you could share some of your thoughts on balancing action with conversation, giving actors room to “just” talk, and keeping lengthy oration engaging.

Thanks!

I also come from a theater background. I wouldn't be too hard on your instructors - in fact, they sound like they're pretty in sync with a lot of executives in the industry.

I received similar feedback when I was a film student. My first few student features were very talky. We were studying the breakthrough work of Kevin Smith, Spike Lee, and Jim Jarmusch. The indie movies that were selling at Sundance and hitting theaters were The Brothers McMullen and Chuck and Buck. Tarantino had hit the scene and his characters were dropping pages and pages and pages of thick, unhurried dialogue. Reservoir Dogs posters were hanging on every dorm room wall on campus, and that movie was essentially just a long conversation. We watched My Dinner With Andre in class. So yeah, most of our student films were emulating that.

I have always loved a monologue. Going back to Robert Shaw's hypnotic story in Jaws, to Harry Dean Stanton's jaw-dropping monologue in Paris, Texas. It's an art form. Giving actors room to speak, to find music in dialogue, to transport a viewer just with mere words... that's an incredible feat, I think. It's some of the oldest magic left.

That said, I've always tried to balance that out. It's a visual medium, after all, and whenever I've found myself leaning too hard on the words, I've tried to counterbalance that was a very ambitions visual sequence, a long unbroken camera maneuver, or something else that honors the difference between filmed entertainment and theatre.

One of the reasons I made Hush was to challenge myself to eliminate words from my arsenal and focus on visual storytelling.

I take a fair amount of flack for my monologues and dialogue, first from studio executives and then from a small percentage of viewers whose attention spans are being challenged. The most common note I get on any project is to take out talking. It can be disheartening, but I'm always trying to be fair about it, and to be sympathetic to the fact that a lot of movies and television have actively tried to shorten viewers' attention spans for decades now. Audiences are being trained for things to happen faster, louder, shorter. What good is your amazing 6-minute monologue if people changed the channel two episodes ago?

There are times when it is more important to me than others. I dug in hard on Midnight Mass, where the words and ideas in those soliloquies are a big part of the point of the show... but on The Midnight Club, I didn't push for it. I kept scenes relatively short, and there isn't a monologue to be found.

But my overarching feeling is that an artfully written and well performed monologue is a gift, and a dying art. It celebrates great acting, it requires great trust of the performer and of the viewer, and it has the power to transport us with one of the oldest magics human beings ever discovered - the spoken word.

Storytelling began that way: monologues around a campfire. Over the millennia, we've harnessed that campfire light, we've even learned to paint with it, to pull our dreams out of our minds and put them onto giant screens, so the whole world can dream together... but the real magic still starts with the words.

Which is my long-winded way of trying to encourage you to make your films the way you want to make them. Make the films you want to see. And if you love words... that's a great thing. Try to find a balance, never lose sight of the visual medium, and if you're going to drop a big chunk of words in there, try to earn it with something visually challenging as well.

Or, just tell your instructors you'll make it shorter, and then cut out ten frames of air. ;)

[watching-pictures-move]

Movie Review | Miami Vice (Mann, 2006)

I last saw this movie nine years ago, when my awareness of the original TV series only was through parodies like Grand Theft Auto: Vice City and a general consensus I’d encountered that it was just some cheesy ‘80s cop show. And at the time I was pretty taken with its arthouse action movie stylings, if I can glibly summarize what the movie’s trying to do. So I was long overdue for a rewatch, especially after I’d spent the second half of last year going through the series. And listen, there’s no way I can be fully objective about any comparisons between the two, given that I could not shut up about the show the entire time I watched it and in the months since, and how obsessively I’ve rewatched the first encounter between Crockett and Tubbs and the subsequent chase scene on Youtube, and the fact that I still regularly listen to Jan Hammer’s score. So there may be a tinge of “this isn’t the Miami Vice I remember” fanboy whining to this.

But while this is on the surface a different beast, I don’t actually think it’s as divorced from the original series as seems to be the consensus. Michael Mann obviously has certain interests that he returns to, and there will be similarities in how you explore international drug dealing wherein Miami is a nexus, even if the particulars of how such crime is conducted differs across decades. But the sense of mood I don’t think is actually that divorced from the series, with its iconic music-video style needledrops that let you linger in feeling, it’s just now the music featured is way worse. (I’m a musical luddite and don’t listen to much past the mid ‘90s, so take what I say with a grain of salt, but I do think Mann’s taste in music here is substantially worse than it was in the ‘80s.)

Mann is applying a mumbly distanced arthouse style to the dramatics here, which is a novel choice given that action movies about drug dealers tend to be high on the dramatics. But quite frankly I’ve lost my tolerance for mumbly distanced arthouse style over the years, and I think it’s an especially bad mix with most of the performances here, which this time around I found bizarrely hammy. John Ortiz plays the main villain like he’s in an SNL sketch, and there’s an especially embarrassing scene where Naomie Harris and Eddie Marsan shout at each other in their respective shitty accents. Some of the actors seem to be channeling their TV counterparts but doing it way worse, like Colin Farrell doing a bad take on Don Johnson’s growl but also dropping it with every second line, or Barry Shabaka Henley trying to evoke Edward James Olmos’ minimalism and precision but instead coming off as a sleepy nonentity. The only good performances here are by Jamie Foxx, whose charisma survives Mann’s smothering dramatic style, and Tom Towles, whose unsavoury aura pierces through it not unlike how the better guest stars’ presences would emanate in the original series. Others seem to be taken with Gong Li’s performance, but I found her dialogue too stilted, and whatever emotion is supposed to be there between her and Farrell I did not feel at all this time around.

All that being said, the visual style did still work for me this time around. A lot has been said by smarter people than myself about Mann’s use of digital cinematography. I will point out collapsing effect of the digital image, both in its sense of depth (which makes the over the shoulder shots in the action scenes especially immediate) and in colour (with lights becoming bright smears and shadows crushing in their darkness) and the tension between the movie’s stylization and verisimilitude are summarized somewhat poetically in the dialogue. “Fabricated identity and what’s really up collapse into one frame.” And the art direction here is much more muted than in the original series (not a lot of pastel or neon here), but I do think the way the digital image makes the texture of the fabrics shimmer makes for a pretty interesting visual flourish.

[tokiro07]

Cipher Academy ch. 28 thoughts

[Prop a Gander]

TWO FOR TWO THIS WEEK BABYYY!!! I WAS RIGHT ABOUT THE HONG KONG ARC IN UNDEAD UNLUCK, AND I WAS RIGHT ABOUT KUBINASHI DELIBERATELY EXPOSITING ABOUT HER SHARED BACKSTORY WITH OMOMURO!

More specifically, the point was to raise tension among Class A’s team, prompting Iroha to question Omomuro’s loyalties and motives while also illustrating the untrustworthiness of his teammates’ words. The scene of Kubinashi and Nutaba trading off their sides of the story, their words literally becoming inversions of each other with black and white text bubbles positioned symmetrically to each other until they collide on the one point they can’t disagree on (Omomuro’s involvement), was a beautiful visual representation of how propaganda and misinformation can be spread. This all being framed as Q.87, a six-star question, drives the point home with the moral and ethical dilemma of which side do you put more stock in? Is it right for us to believe the side speaking in white just because they’re our friends and to ignore the side speaking in black because they’re our enemy, or do we assume that the one’s defending themselves are trying to censor the truth while the one’s accusing are shedding light on it? Of course, the real answer is that there’s a mix of truth, lies, biases and misunderstandings on both sides, but that still obscures the truth of the matter, making the answer unknowable no matter what you do. A six-star question indeed!

Iroha’s statement that he’s afraid of himself when he mused that he trusts Omomuro despite being given a very clear reason not to is an interesting sentiment, considering that several other characters have said something very similar over the course of the series. Iroha’s mental state, his fortitude, his quick decision-making, his flexibility, every little thing can be taken as a red flag if looked at from the right perspective, so it’s interesting that even he’s started to notice he’s a Little Abnormal (TM)

Seeing Omomuro’s transformation from her long-haired, delinquent-esque self to her much more militaristic short-haired self is a great way to illustrate visually that Kubinashi’s side of the story, that Omomuro has been brainwashed or indoctrinated, may well have some truth to it. Shaving a recruit’s head is a common practice in the military (at least in movies anyway, what do I know about the real army?) to decrease feelings of individuality, as the point of an army is to act as an organized unit. I’m sure there’s heaps of other bits of symbolism here, but that’s the most obvious given the military setting. Fingers crossed this series goes long enough that when everyone starts switching hair styles Omomuro goes back to her long hair

“Don’t misunderstand. We only want to become friends with you, that’s all.” Do those words sound familiar to you? They should: it’s exactly the same thing Toshusai said to Iroha in chapter 1! The way chapter 1 was framed, it definitely seemed like the kind of thing a bully would say when recruiting a new gofer, but as we’ve gotten to know Toshusai better, it’s started to seem like she’s just a gruff and awkward person to talk to, so her intentions aren’t super clear. I think we’re meant to have faith that Toshusai is genuine when she says that sort of thing, but she’s also explicitly called a villainess pretty consistently without her denying it, so I think there’s a lot of room for interpretation here, at least until we get a deeper look at her backstory

Of course, there is one thing we know for sure: regardless of how their relationship started and what her intentions were back then, Toshusai considers Omomuro to be her friend. If she didn’t, the crux of Q.88 would fall apart, as the tension of whether or not Toshusai can identify the real Omomuro lies in the fact that failing to do so would be a permanent stain on their relationship. Once we get to see their side of this Rashomon plot, we’ll know just how important it is for Toshusai to be able to identify Omomuro, and why Omomuro is able to put so much faith in her despite starting on opposite sides

I anticipate that we’ll also learn why Omomuro is apparently so obsessed with dancing, as she issued her Code or Dance Battle ultimatum to Hanranbara the same way she did to Iroha in chapter 3. Clearly, this is a dichotomy that has special meaning to her and wasn’t just an arbitrary joke in the beginning of the story, and challenging Hanranbara will somehow create the opening that Toshusai needs to succeed in this puzzle. If nothing else, I’m confident that Omomuro is in fact present among the two shown through the camera obscura, as Kubinashi looked into the projection for a beat panel and questioned if something occurred behind-the-scenes. Something was off to her, and she wasn’t privy to what was happening outside, so if there were two fake Omomuro’s on her order, there’d be no reason for her to express concern like that

I’m glad this puzzle is a two-parter, cus unlike the last two, I get to ruminate on the implications before getting the answer. Not that the other two were bad, but this feeling of suspense really helps make it feel like something is at stake and allows me time to be curious about what will happen next.I feel like I could have used a little more foreshadowing for Nutaba, personally, but at the same time, she’s not as central to the story as Omomuro is, so naturally Omomuro is more worth using to build tension, as we’re already invested in her. I don’t necessarily want that payoff to take more than one more chapter, but if it takes a few, I don’t really mind so long as it doesn’t get suddenly canceled in that time

As a final note, I’m so sure that this Kubinashi is a fake and the last member of Class E. Everything else has been a lie or misdirection, with everyone present being hidden in some way, so if Kubinashi wants to take part in the last round to face Iroha, it would only make sense for her to continue that time-honored tradition right up to the end. It would certainly be a fitting way to double up on her participation in a sense

I’m always glad to see more of this cast and learn more about them, so hopefully Nisio clues us in to Omomuro’s backstory next week instead of giving us the solution and working backwards. However he chooses to do it, though, I have faith in Nisio. Sorry for doubting you with that sloppy exposition comment last week, Nisio, won’t happen again!

See y’all next week!

[chalkrevelations]

SO. Back to the beginning, Episode 1 of Word of Honor. This is likely to be a little bit different experience than the prior posts, when I was watching the eps as they aired, compared to now approaching the show as whole and complete. May be rummaging around for things I missed the first time through, stuff that takes on new meaning set in additional context – we’ll see how it goes.

With that in mind, spoilers for not just this ep but possibly for the entire series. Get out of the car now and come back later, if you haven’t seen all 36.5 eps and want to watch it unspoiled.

First thing to strike me, right up front: You know, I think we tend to lose sight in later parts of the show – when we’re getting Laopo!Zhou Zishu pouting so he doesn’t have to cook dinner - how terrifying ZZS is in his own right (and by “we,” I actually mean the show, too). One of the things the first few episodes gets right, I think, is the sense of eerie inevitability and dread created by both the falling lanterns of Tian Chuang and the blowing paper figures of the Ghost Valley, and how similar they are. I think it’s easy to lose that - when the lanterns and the paper figures are gone and our charming and adorable couple are busy being charming and adorable at each other, in between varying rounds of being wracked by guilt and PTSD – easy to lose that this is there too, part of them – both of them - under the skin. I think it’s particularly easy to lose that for ZZS, when he’s already done a lot of work, off-screen, pre-Episode 1, during the 18 months he was putting in those first six Nails, to come to some kind of equilibrium, and meanwhile we watch Wen Kexing’s entire torturous process play out on-screen. Wen Kexing’s story is one of reaching an equilibrium, but Zhou Zishu’s story is one of maintaining it, which I think may be less showy, but is equally valuable, just as I value the Four Seasons Manor arc, especially, for giving us a vibe of two adults comfortable in an already intimate relationship, as opposed to the veritable sea of will-they-won’t-they tug-of-war coming-together-for-the-first-time-as-emotional-AND-plot climax relationships that we’re usually awash in.

Anyway, straight up we’re introduced to an assassin who, we discover, doesn’t like to get blood on himself. It looks like metaphorical blood is fine, just not actual blood, but then we discover, well, maybe he’s not as OK with metaphorical blood as he schools himself to look. Also that conversation with Li Jingan about her dad having to die because he’s a traitor to the country – I now wonder how much of that particular conversation Zhou Zishu mentally brings to the table in later conversations about his own father being executed for the same reason. Also, wait wait wait. Zhou Zishu tells Jingan that he took Jiuxiao’s body back to Four Seasons Manor and buried him next to their shifu, but I don’t remember seeing another grave there, other than Qin Huaizhang’s and his wife’s. Script inconsistency, or are you supposed to be lying, ZZS? I mean, would you be so downcast at the state of Four Seasons Manor when you arrive with your husband and son for your honeymoon, if you’d actually been there only a couple of years before? It didn’t fall to pieces overnight. Also, HAIRPIN FORESHADOWING ALERT. Our first sign of how important the hairpin is, the way ZZS’s impassive face cracks wide open when he sees the hairpin that Jiuxiao made and realizes he must have given it to Jingan. Clearly important!

Mmm. Here’s a point for the “Prince Jin is a f’kn asshole” list – Prince Jin wants ZZS to deal with Bi Changfeng personally when Bi Changfeng requests to leave Tian Chuang. And OK, ZZS is the leader of Tian Chuang. But you’re never going to convince me Prince Jin wants ZZS to deal with it personally because Prince Jin is actually so very furious that Bi Changfeng made a mistake. You will never convince me this isn’t a … it’s not even a test of loyalty, at this point, because Prince Jin has no reason to think yet that ZZS is anything other than the faithful hunting dog on a leash that he’s been, lo, these many years. Putting ZZS in a position where not only is he losing the last of the direct disciples of Four Seasons Manor, but he’s being asked to (as good as) kill him with his own hands - it’s just cruelty for the proof of your power and influence over someone. Also, given Prince Jin’s later diatribe about how everyone leaves him OMG (have you considered it’s your personality?) (But also Beiyuan! I know who you are now, and yeah, I would have let Wu Xi bride-kidnap me away from this jerk, too), I have to wonder if Prince Jin isn’t trying to make ZZS feel exactly as isolated as he, himself, feels, as part of his overall desire to make sure that ZZS has no one other than Prince Jin so that their positions are parallel – only having each other in the whole world. I also have to wonder if he’s not hoping for precisely the reaction ZZS has to Bi Changfeng – you’d rather be dead than be with me? Because that hurts, you can see it on ZZS’s face (thanks already, Zhang Zhehan), and I rather suspect Prince Jin wants it to hurt. I notice we get an echo of this later in the ep, with Prince Jin saying pretty much the same thing when ZZS asks for the final Nail. GOOD. I hope it hurts you just as much. I wonder if ZZS realizes this while he’s kneeling there in the throne room. It’s probably too late for him to get any satisfaction out of it.

OH, HEY. That’s HAN YING already, one of the two people accompanying ZZS to put down Bi Changfeng, looking super-pained like he knows what this is all costing his beloved. Han Ying, I really hope you got to tap that at least a few times before ZZS made his break for it. Is that one of the reasons Prince Jin seems to have such antipathy for you, or is it really just that he can’t stand the idea of someone whose loyalty to ZZS is greater than their loyalty to Prince Jin, himself? (Seriously, y’all, why is there not much much more Han Ying/ZZS fic?) Meanwhile Duan Pengju, omg, this asshole, is already looking smug and punchable. Really, he’s kind of enjoying the Seven Nails placement a little too much. Showing your hand pretty fast on the petty evil thing, show.

So, one thing I didn’t catch the first time around, is that ZZS isn’t just self-injuring to punish himself when he takes the knife to his chest – he re-opens wounds on all the places where the first six Nails have already been placed, so it will look like the placement is fresh. If you can’t tell he hasn’t just put them in, there’s no reason for anyone else (read: Prince Jin) to suspect he’s bought himself some time before he loses his senses. As far as anyone knows, he’s going to fall over with locked-in syndrome any day now. Which just makes the implications of Prince Jin vowing that he’s only letting him go for now EVEN ICKIER. For all Prince Jin knows, what he’s going to get back is a flesh doll that will just lie there, although I guess on the plus side, ZZS would never leave him again. Thanks, show, I need a shower, now.

ZZS says all the right things to argue his case to Prince Jin – he’s only good as a weapon, he has no skills nor utility for building and governing the country – and I think partly this is because he just knows the right things to say. I mean, you don’t become the Number Two guy in the country, with thousands under you and only one above you, if you can’t play imperial politics. But I also wonder if deep down he doesn’t actually believe it – he was successful at building Tian Chuang, but he couldn’t maintain Four Seasons Manor and even drove it to ruin. So, I’ll just be over here, clutching my chest, over my heart. Fortunately, Zhang Zhehan provides quick distraction from this pain, and I … Y’all. I can’t. I just. I CANNOT. When ZZS drops to his knees and starts stripping in the throne room. Just. Mmmmmrgh. THIS VISUAL. Although, you want to know what one of the hottest parts actually is? That pair of leather bracers hitting the floor on top of his belt, and ZZS isn’t even in the shot at that point. OK, fine, I am willing to read some dirtybadwrong fic with this whole scene premise at its heart, even if it does include Prince Jin. Zhang Zhehan, you are KILLING ME. I might have rewound this part. More than once. You can’t prove anything.

Aaaand then we get that gorgeous, painful shot of ZZS riding out into the snow that I know I’ve talked about before (including the way I get an odd echo of Lan Xichen off of it). There are several places in this ep where the cinematography is to die for, and this is one of them, the bleakness of the landscape and Zhang Zhehan (and his FACE) deep in that shadowing cloak against the stark snow as he rides out into freedom and the unknown. Then cut to somewhere green and forested. Interesting that the show starts with snow and ends with snow. That parallel with the imperial cage says some things about immortality that could stand to be unpacked – but later. Because ZZS is putting his face on – literally – and I am once again in pain, only it’s not the good kind of pain. It’s caused by that dreadful fake facial hair. There are some things that could be unpacked here, as well, about the fact that making ZZS supposedly unattractive involves a clearly fake goatee, a single aesthetically placed scar, and darkening his skin. I’m going to try to step carefully here, because this is kind of out of my lane, but it is … a noticeable thing. That probably ought to be noted.

So, ZZS takes just a moment to turn his (fake) face up to the sun and feel the warmth on it … and then with 10 minutes left, we’re on our way to Ghost Valley, where there’s some chaos and then Hanging Ghost gets got by a Mysterious Stranger To Be Revealed Later, who chokes him out (remember this). The Mysterious Master of Ghost Valley appears dramatically on his High Ledge to Make Some Pronouncements while playing with some walnuts omg (rolling two of them in one hand – remember this), and we see his eyes, which are partially obscured by chunky sidebangs, which are farther forward on his forehead than we’re going to see later, not only hiding some of his face but making it look more angular. The troops get berated, shit rolls downhill, and another dude gets choked (remember this) as Ghost Valley Master’s hair continues to artfully hide most of his face and he worries about his manicure post-kill (remember this). War is declared on Hanging Ghost for stealing the Glazed Armor, and more chaos is set into motion.

All of that takes literally two minutes, and then we cut to three months later, and no one realizes it yet, but the fam is getting together. ZZS is tits out in the gutter - only beginning his career of being a minx who flashes his collarbones an awful lot for someone who has Very Secret Scars He’s Hiding On His Chest - happily drinking himself to death in the sun (we really need to talk about this correlation of snow and immortality vs. sun and happiness …). Meanwhile, slo-mo shot of Wen Kexing looking precious and perfect, with delicate pink lips and dove-grey robes, as he checks out the rough trade in the gutter. Oh, the expectations this show is getting ready to smash. We cut from a shot of pristine precious WKX to ZZS holding up his hand, and we get a shot of the sun through ZZS’s fingers looking an awful lot like some shots of characters halo’d in light that we’ll get back to much much later in the show. Chengling appears out of nowhere to be Best Boy. A-Xiang is purple and smol and ready to brawl, and I already love her. I already love them all!  So much! Here are my delicate and precious feelings, show, go ahead and stomp all over them!

[life-rewritten]

Start up: Nam Dosan and his helping hands

I find it challenging to accept finding clues for 'the husband scavenger hunt' type kdramas because they always have this leftover annoyance and unfairness when the second lead gets duped and broken-hearted in the end. Shows like the Reply me series, Hospital playlist, Dreamhigh etc. always use this device, flesh out both men and their reasons and love for our main girl whilst making us hurt with the push and pull of how both men are perfect for her. If one loses her, we all lose. In Start-Up, Jipyeong joins that list of the second lead men who are known to play with our heartstrings and get us rooting for him. He's Cyrano; he's pitiful, the one who's been by the girl's side this whole time, the one who spoke to her and won her heart, the soul of the letters she clings to in her mind as her happiness and person that she wants. Her fantasy for a prince come true. He's exactly that. This is why he should end up with the girl except the main lead Dosan isn't someone to forget, he seems determined and driven to get the girl, he looks ready to give it all for her. Who should she choose? After watching episode 1 and 2, seeing the in-depth and sad yet profound background story of Jipyeong, our minds automatically leans towards him. It makes no sense why he is second lead; he has this incredible bond with her grandmother, he's precisely the guy on paper she's looking for, and he has this innate thing in him ready to protect and look out for her. In a way, fortune has brought them back together again so why is Dosan still the one she probably will end up with? I've written this analysis to stand behind Dosan despite the many people who have dropped him and gone aboard Jipyeong's ship. I want to say that as a writer the show has already given Dosan the girl 80% he's the endgame why you ask because of Fate (Luck)—warning a very long essay upcoming. 

Nam Dosan and Dalmi are meant to be together

The first reason Nam Do san enters Dalmi's heart without knowing who he actually was (she held onto his picture, his name and also how smart he was (from seeing him win the awards) is because fate wanted them to interact and meet each other. Hear me out before you roll your eyes, it feels more like fate is pushing her and Jipyeong together since he's the one who wrote the letters that got her out of her depression and were her rock and anchor when she was broken and looking for something to hold on to. His words comforted her, but fate still made happen in Dosan's name. Fate has supported Dosan and Dalmi from the start. It's fate who pulled Jipyeong to notice Dosan on those tv screens winning his gold medal  (a psychological trick to get him to pick the newspaper later on and be open to using him as a proxy for the letter). Likewise, him seeing Dosan winning a gold medal also hints to who's winning at the end of this. The medal has other meanings as we find out in episode 5 so I'll just move on from that for now and continue with this first. Here's how Fate/The universe is on Dosan's side instead of Jipyeong. 

The universe is supportive of Dosan's journey. Most things that happen to Dosan and Dalmi seem convenient and just random luck because the universe supports them in the story. Dalmi mentions this in episode 5; it's the writers warning us already. First Dosan is good at manifesting what he wants at the right moment and time:

He needed to get support from Jipyeong (his role model who he adored and looked up to) to get into the Sandbox (something Dalmi's inspiration created/she's also the little girl on the swings). This is manifested to him by Dalmi showing up and him selling baseball being the reason she finds him (follow your dreams). Because of her, Jipyeong has to pay attention, mentor and push him into wanting to be better. It's all fate conspiring to get him what he wants; his dreams to succeed in his company despite everyone looking down on him because he's a loser.

The universe provides him with Dalmi's love and support. Dalmi is the companion he never knew he needed (he realized it so much in episode 5 as she was giving his speech; she was his missing piece to his company). She's his catalyst for inspiration and the spark that was missing from his company's startup. He's given a chance to get into Sandbox because of her, (first because of her, Jipyeong backs him in Sandbox hoping he fails, and then second she chooses him to join her team)

The universe has set someone else on his team; Alex, the other Korean American, is also another way Dosan manifests his dream into a reality. Despite everyone looking down on him, Alex is amazed at Dosan and has a past with him that he wants to repay (I'll talk more about how both Dosan and Dalmi's 'choices' is why fate is on their side in another post)

Fate is on Dosan's side, and it keeps on helping him to get there with the presence of Dalmi. Fate wants them to be together regardless if she doesn't know that he's not her first love, the universe already set him up like that by his name being the proxy for the letters, they were destined from the start. 

Nam Dosan always chooses/gets the real Dalmi

The second reason why Dosan and Dalmi are meant to be together, for now, is because he loves and knows the real Dalmi. Jipyeong has been writing letters to Dalmi, listening to her express her self and he never paid attention or remembered who the real Dalmi is. That's already a sign that his slowness will cost him the win in this race. Dosan who the letter was intended for from the start (because it was to his name) reads her messages, and he's affected by who Dalmi is. He chooses to keep going to her side because of this. Her words inspire him, and her genuine self makes him want to push out of his comfort zone and want to win. Her presence in his life is so significant to him because she's meant to be there and it's vice versa for her. They both needed each other, both being pulled to each other without knowing why. Its destiny.  

Let's focus a bit more on this fact about authenticity, both Dalmi and Dosan are on equal grounds (they may seem like they're just acting with each other but they're not they see through each other when it matters), they both think they're nobodies, they're not necessary, they lose on purpose for other people's happiness, and they react the same way to things. The first time we're given this idea of how similar they are  is when she understands why he would lie about being wealthy and prosperous; she just did the same thing in episode 1, so it made her understanding and grateful instead of thinking about the fact she lied to him, Dalmi focused on how she found someone just like her, someone who understands what it's like to be her(it brought her comfort and confidence that he's the right partner for her)

Dosan is her father’s mirror image (the right choice)

The third, Dosan, is a mirror character for her dad. The show has had so many people come to her to mock her for choosing to stick with her dad. When in reality, as we know it was the right choice, that consequences for her choice are slowly unveiling. It's also the reason why fate is on her side She's the inspiration of Sandbox (she's always been destined to enter and become CEO, she became great at what she does because of how many times she spent helping her dad with his own startups, and she stayed untainted by greediness and wealth because she chose him she has heart and different perspectives to the others who just follow things by the books; this is important because that's what her most significant strength is). 

The show is already showing you that Dalmi always choosing things that may not seem perfect for her in the long run rather than the ideal choice (Jipyeong), is already foreshadowing why she'll pick Dosan at the end (if he doesn't change). I noticed Dosan's connection to her dad when he mentioned that the food he wanted to eat in episode 3 was Fried chicken, and Jipyeong told him to erase it and criticized him for his lack of communication skills. Dosan is like that fried chicken (a weird symbol but hear me out this show has so many signs for these two), it's not very fancy, or romantic as a meal (both Injae and Jipyeong reject and look down on it because it holds the opposite connotations to wealth and success). 

Still, it has a sense of comfort and authenticity for Dalmi. See again; authenticity makes its way back to Dalmi and Dosan. Fried chicken is what connected Dalmi to her father; it's also what he went to get for her before he died. It represents family, unity and just a time she was the most grateful for because it brought her to spend time with her father. It was all he could give her without it seeming like it was something, it's just like Dosan who she appreciates his hands, it may seem like nothing, but it means the world to her that he's just there by her side, together and close and real (chooses her authentic self). Just like her father needed Dalmi's steadfast support, Dosan also needs her by his side because of that; she's also his helping hand. Still, he also is that to her by choosing her to become a CEO of their sandbox company, thereby helping her achieve her father's dreams. This is again the universe supporting and bringing them together to make their dreams a reality. 

Jipyeong; the fanstasy and ideal man/The mentor

First look at the ending of episode 5, the show already shows you through visual cues what Jipyeong represents; a mentor for both Dalmi and Dosan. And it breaks my heart. Life already assigned him to be behind the scenes a tool to bring them together. Let's pause and look at what Jipyeong represents. Jipyeong represents fantasy. As much as he was important to Dalmi when she was younger by being the reason she was happy all those times, he was like a fantasy to run to that wasn't real. He wasn't the real Nam Do San. As much as behind the scenes, he's the reason for why Dosan entered her life (both times), and he's falling for her slowly. Like I said the picture above is pretty telling what he is to her and Dosan, life has assigned him as a mentor.  Apart from his wealth, knowledge and being her ideal guy on paper, he isn't doing much for Dalmi as of now. (Hear me out before you lose your minds) Yes, he helped her in episode 5 by teaching her how to speak and present and its all cute that he's there. He isn't Dosan who stayed up with her and stayed by her side through the whole making of the product. He is helpful as a mentor,  able to offer his knowledge and wealth to help Dalmi become successful but as we've seen that's not what Dalmi needs, she just needs someone to hold her hand and be by her side and inspire her to be better. (Do san keeps on doing this for her). Jipyeong represents idealism of our first love, a fantasy, an ideal situation, but that isn't enough to make him the right person for her. Both her and Dosan actually catalyze and affect each other positively, they push each other and provide for each other things they didn't know they needed. Still, they also provide (through the lessons from each other) a healthy but dose of realism. 

That's what love is meant to be about, both equally providing and aiding the other by each other's side, pushing each other to their calling. 

I keep on saying it, but the Jipyeong/Fake Nam Do San she fell in love with is a fantasy, he's good with his words, but they don't hold as much authenticity as Nam Do san's actual words to her, she may fangirl over his texts and letters, but it doesn't mean anything. I fangirl over fantasies (celebrities speeches, love letters written by other people, movie characters) all the time, doesn't mean it's my true love or my soulmate you know? Unless Dosan's character switches, nothing has made me think Jipyeong is even close to being who Dalmi needs, I don't see him as her one despite him realizing how great she is and helping her from behind the scenes because he's been assigned by life to be her helper, not a soulmate. Sorry, not sorry. 

Symbolism, Foreshadowing and Visual Devices pointing to Dosan

Lastly, the proof is with the writers: Symbolism, subtext and foreshadowing devices for Namdosan and Dalmi. 

Let's mention a few:

1. The music box; she wrote about it in her letter. In episode 3, after spending time with him, she realized opening it was wonderful. Foreshadowing, knowing the real Do san, she finally opened the music box. This inspires him to go to her side and choose to stay there despite what's to come)

2. The baseball that brought them together despite Jipyeong and Grandma thinking there was no way it would happen. Fate had other plans. The ball received says what they are meant to be for each other, a way to follow your dreams. It's a representation of fate pulling them to each other to make their dreams a reality. Emphasis as if I haven't said it enough times already they are meant to be with each other, and they are destined to be together. 

3. His hands; Her helping hand she needs,  a hand pulling her up when she's down, lifting her when she's low, pulling her to her dreams, a companion by her side always, comfort, intelligence (as his friends explained in episode 5. This  is also what he's looked down for when it comes to romance; his logical, robotic personality but its needed for her company, and to teach her.) Lastly, his hands represent his authenticity and potential. (like his friend said it's not about how it looks but what he does with it)

4. Her letters and his name; the messages affect him and make him choose her because of her real voice and her authentic self. His name is what makes them meet again, remember he's the actual recipient of her notes from the start.

5. Sandbox; both their dreams and reason for inspiration. They were always on their way to get there; to get her to make her dad's plans a reality, to make his company dreams a reality, a place for a push to become better, both are a team here, both are meant to work with each other on equal ground, and again both are inspiring each other and bringing their positives out.  

6. And even fried chicken; her dad, authenticity vs fantasy, comfort, warmth, togetherness and looked down upon but what she wants in the end

From episode 5: 

1. Tarzan and Jane; from the story, Tarzan is slow and can't provide accurately for Jane the romantic/ideal things she is meant to like and want (Flowers, bunnies etc.).  Just like Jipyeong can provide for Dalmi all the things that are intended to be an ideal for Dalmi (his wealth, his status, making Dosan look rich, providing the texts for Dosan to send to her, the letters etc.). Still, it isn't what she wants in the end. Dalmi says out loud that she overlooks the pretty on the surface things, she wants the useful stuff, like Dosan's helping hands, Dosan's presence by her side, and his words of wisdom to help them create a product in episode 5. Tarzan may seem like he has nothing to offer but the rocks and the gifts he gave Jane is actually what was needed to survive and be happy. Dalmi recognized that. That's foreshadowing who she will choose.

2.The sweets: At first, I wondered why they kept using it as a recurring motif to show Dosan eager to choose what Dalmi chose for him. But no it's foreshadowing. Jipyeong tries to steal the sweets from Dosan unintentionally, and interferingly  (just like he's been unintentionally falling for Dalmi and is slowly starting to want to reveal the truth). Still, Dosan chides him and takes back all the ones she chose for him. This foreshadows that he will lose her to Jipyeong, but because of his heart, and determination, he'll get her back. She's also like the sweets; people don't see the importance to her yet, but Dosan and his friends are excited and eager to have all the free food and sweets because they've struggled for a bit, they have this childlike fascination with it, and she joins them as well later. Dosan doesn't overlook Dalmi's importance, she means a lot to him, and he appreciates and is grateful for her just like the sweets. 

3.Lastly, the handwriting test/ the ability to test forgery: Another symbol for both Dosan and Dalmi. It's telling that the test was able to see 99.8% of what was real and what was fake (idealism vs realism), but it failed to recognize the new handwriting created by Injae and the others. This is foreshadowing there will be a moment when Dalmi won't be able to acknowledge idealism vs realism when Jipyeong reveals who he is. However, it doesn't mean that the handwritings were authentic, they were still forged even though the machine picked them up as real. Dalmi will question things, but at the end of the day, she already said it with the Jane metaphor, she will choose what's accurate and useful to her. This also makes the metaphor she told her grandmother (Jipyeong overheard this I think) about the rain and the storms to create something sweet, instead of choosing again what is ideal (just sunshine), Dalmi chooses the other way all the time, and she appreciates the results of it. That's why I believe she will end up with Dosan/choose him if he doesn't change. 

So yeh for now Dosan is endgame for Dalmi, Jipyeong has been shoved into the role to bring them together and fulfill their goals and destinies. This could change because there’s so much more stuff that can happen, Dosan maybe tempted by greed later on and change and that will pull Jipyeong ahead. But if Dosan doesn’t change, then there’s no doubt that Dalmi even after she knows he’s not her first love, will not choose him. Let’s see how it turns out. 

[ordinaryschmuck]

What I Thought About “Separate Tides” from The Owl House

Salutations, random people on the internet who most likely won’t read this! I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons.

...>A-hem< F**KING CALLED IT!

I said that the earliest that The Owl House would return would be late June and early July. And some of YYYOOOUUU sons of witches doubted me by saying it would be fall or winter. Well, guess what! "Separate Tides'' has come and gone, the show is back and better than ever, and we are all happy about it! You see how it pays to be optimistic, you persistent PACK OF PESSIMISTS!

...Sorry. Got a little hot there. I'm just so happy it's BACK!

10 MONTHS! It's been nearly 10 months since this show began its hiatus, large in part because of the pandemic. It was painful. BOY, was it painful. But I can already tell that the new season is going to be well worth the wait just by this episode alone.

But beware you mangey sea dogs! Thar be spoilers ahead when discussing such a premier.

And I swear to you that it's only spoilers for "Separate Tides." I haven't seen "Escaping Expulsion" either, and I promise you will be safe from anybody ruining it for you. But maybe don't read any responses from this post. Thar may be d**ks in these waters. So let's review, shall we!

WHAT I LIKE

Mirroring Season One’s Opening Scene: First off, this is a neat callback to what is the perfect first impression of the series. That scene perfectly introduces us to the type of show The Owl House is, while this one acts as a reintroduction to the world we left for way too long.

Second, this is also a well-hidden character moment. Luz is finally living the life she dreamed of, but it isn't exactly all that she expected. It's a great showcase that despite literally running away to a fantasy world, Luz is still getting a regular dose of reality. And I still love the irony in all of that.

(Plus, King eating the bounty is just funny).

The Recap Recording: This is a smart way to recap events from the season finale. It might be weird that Luz says things that the audience already knows, but she's not talking to us. She's talking to her mom. So she's going to explain all that she can in a way for Camila to fully understand. Besides, not every fan had repeatedly watched The Owl House Season One over and over again like a bunch of frickin' lunatics...You know who you are.

Plus, as an upside, Luz gets to explain new events and concepts for how she and the rest of the Owl House are making a living. In no way does it feel like forced exposition because, again, she's trying to describe as much as she can to her mother. It's a reasonable and natural way to talk to the audience in order to catch them up while also showing what's been happening since we've last left this show.

Luz Can’t Send Texts to Her Mom: ...Well, Texts to Home, it was fun while it lasted, but the current canon has decided that you're done. I'll miss you and appreciate all that you've done for me, but, yeah, this is the end. Sorry.

Alright, now that I got my jokes out of the way, allow me to explain how this is really a heartbreaking moment. Because the fact that Luz is forever cut off from her mother, even through texts, is an idea that just twists the knife in your heart when you really sit down to think about it. Luz's little goodbye at the end of her video does nothing but makes it worse.

On the upside, we get some solid character development as Luz doesn't even hesitate to send the video to Camila, learning her lesson from "Enchanted Grom Fright" about being more honest. She finally faced her fear, even if it was a fruitless effort.

They’re Doing Odd Jobs Now: This is a smart workaround for how the Owl House residents are making money. Some fans guessed that maybe Eda had so much junk piled up that they wouldn’t worry, but this seems more of a logical direction. Even if Eda had enough garbage to sell, she’ll can and will eventually run out at some point, meaning that they will all have to take the odd jobs anyway. So I appreciate the writers used that plot point sooner rather than later, as a fun romp as bounty hunters is something you want to do early in the season instead of later on. Especially with how Dana Terrace confirmed that s**t’s gonna go down in the future.

Lilith: ...I'm still willing to hold off--What the f**k did I say his name was? *looks up past review* Frederick Ulis--Frederick Ulisinsburg!

I am willing to hold off Frederick Ulisinsburg, for now, because Lilith is...sort of on the right track. I mean, I don't like how quick she was to playfully mock Eda or rudely yell at Hooty. But I do think that there is potential for her character. She feels genuine guilt for what she's done, and there's a chance that the new season will explore that further if the writers are smart (which they are). On top of that, there's a possibility that every time Lilith tries to act cocky or full of herself, she will be treated as a proverbial punching bag because of it. Like how her poster got burned down after boasting how impressive she looks. Or how Golden Guard's poster magically sealed itself to her face when Lilith tried to throw it away. It's the latter that primarily got me cackling like a madman due to how deservingly hilarious it was.

And, well...she happily clapped like a schoolgirl! Which was adorable! I can't hate characters who have the potential to be adorable! It's not in my nature!

So, while I am a little hesitant in liking her, I think there's a chance for improvement in her character in the future that I look forward to. We just have to wait and see if the writers pull it off.

(By the way, to the person that came up with Lilith wearing a "battery low" shirt...you're a genius in visual gags/storytelling.)

Greg’s List: Have I ever mentioned that this show is funny?

Who's Greg? Why does he organize a list of perfect bounties?

I don't know, but the idea of some random person in the Boiling Isles is putting it on himself to set up a list to make bounties...I'm sorry, but that's funny to me. It's also probably for how Craig's List was made, but when you really think about it, Craig's List is a funny idea as well.

Eda Isn’t Feared Anymore: I sort of guessed that this would happen, but seeing it is a whole different level of sympathy to feel for the character. Eda's main schtick was being the most powerful witch on the Isles, and that's gone now. She's forced to adapt to this new normal, which she's quick to do, but still. Tt's got to be a rough kick to the ego now that no one even cares about who she is anymore.

It's a low moment for her character that hopefully sets up her own arc for the rest of the season.

Luz Feels Like She’s a Burden: I will demolish her with love and kindness if she even CONSIDERS talking so poorly about herself again! Because Luz is not a burden. She is a beam of light that literally brightens up the lives of nearly everyone she meets. Eda already explains how her life is better because of Luz (through a heart-tugging speech that almost got to me, by the way), but it's not just Eda.

King now has his first real friend who admires him and treats him like the king he wants to be.

Willow has become much more confident and cheerful because Luz was always in her corner.

Gus learns more about the humans he appreciates with his whole heart while also having a friend that treats him like an equal rather than a kid.

And do I even have to say ANYTHING about Amity?

The Boiling Isles wouldn't be better off without Luz. It's better because of her. And shame on this girl for thinking otherwise...even though I fully understand where she's coming from.

I'm about to get personal for a second, so strap in. Because I am a twenty-somthing-year-old who is currently living with his mom. It's as pathetic as it sounds. But it's because I'm still attending college, and she says school comes first and jobs and apartments come second. Despite that, I feel like trash for just...living here as she still takes care of me and pays for the food I can't afford. She says that I shouldn't worry about it, but I still wait for the day I can finally pay her back for everything. Not some things, but everything. And that's Luz's mentality in this episode. The overwhelming guilt she's feeling for thinking she's inconveniencing Eda's life is something that hits really hard for me. It doesn't matter if it's true, but that she believes it's true. It's a heartbreaking character arc she's forced into for this episode that also adds more to why she's one of the many characters I heavily relate to.

Lulu and Hootstipher: Whoever thought of this idea...I f**king love you.

This is similar to when Noah and Owen became friends in Total Drama World Tour. Seemingly one-sided at first, you see a cute friendship that you would have never expected, but it works! Hooty is this happy and naive character who hardly understands what's going on half the time, and Lilith is...Lilith. Their chemistry is instantly fun as their dynamic is quick to understand.

This also shines with potential for character growth, for it could give Lilith a chance to be more caring and Hooty a chance to be more than just the comic relief. If you were to tell me that this is what was going to happen when the season premiered, I would have thought you were crazy. But now, after seeing it in action, I'm genuinely excited to see where this cute friendship between these two goes.

(As long as it doesn't involve fans shipping them. Because Hooty can do better)

Luz Getting Better with Her Magic: Our little bisexual princess is growing up! And, man, is it awesome to see. Luz going from just barely knowing how to do magic to full-on using her spells like second nature just warms my heart with all the character growth it presents. Now, some people might want an explanation for how she's able to do said spells, to which I say: "Who the f**k cares?"

If you ask me, Luz's magic is one of those things that doesn't need a direct answer because it doesn't matter as much. But if you're going to be a baby about it, here's what I can offer: As far as I can tell, it's equal parts having the glyph and mentally picturing what the spell should do. It's much like how Willow draws a spell circle and can either make giant jungle vines or a patch of flowers to land on. Luz's glyphs are her own spell circles. As long as she concentrates hard enough, she can make the glyph do whatever she wants it to.

There. You have your explanation. Now let's just all appreciate the fact that Luz can now throw fireballs and make vine whips like the superpowered teenager she most likely fantasized of being. Ok? Ok.

A Pirate Losing His Head...Literally: ...And I'm gonna go ahead and add that to the list.

I mean, for f**k's sake, WE SEE BONE! He puts his head back on, but we still see the bone!

Eda in a Pirate Outfit: ...That is all.

The Golden Guard: This guy shows up for only a few minutes, and I'm already beginning to like him. He seems just as threatening as Belos while also coming across as a guy who loves his job and being a ton of fun to watch because of it. I adore villains that find that balance of being funny and terrifying. The result is a character who makes me laugh on top of making me scared of what they could do to our protagonists. So far, that's the Golden Guard in a nutshell, and I can't wait to see what the rest of the season has in store with him. Whether it involves seeing him play with food as he did with Eda and Luz in this episode or seeing him getting kicked in the crotch like a little punk like him deserves, I am all for it.

(Bonus points if it's Amity who does the crotch kicking if he ever makes an advancement on Luz)

Eda Wanting to Protect the Selkidomus: I love this. It plays into the idea that Eda cares about things being wild and free and despises how Emperor Belos would want to control everything, including the most insignificant of animals. It shows just how kind Eda really is rather than someone motivated by greed...even if she does end up filthy rich in the end.

Emperor Belos’ Brief Cameo: Yup, still terrifying!

And if it turns out that Belos can see the Scrying Potion that Lilith made...we're going to have some problems.

Much like the actual problems that I have with this episode!

(Like that transition?)

WHAT I DISLIKE

King Being Stupid: King has two different personalities in this series. Either he's a pathetic wannabe ruler who seems intelligent or an idiotic Disney comedic sidekick. That latter version of King is what we get in "Separate Tides," and I don't like it (obviously). I don't care how cute it is to see him cling onto Luz's leg and exclaim how he won't let her leave. The same character who helped Luz break into a prison to save Eda shouldn't be the same one who falls asleep when a sheet covers him like a dumbass parrot! King's at his best when he's as intelligent as the rest of the characters. And not as dumb as someone like Hooty.

Eda Being Too Nice Around Lilith: This one bothers me the most. After being cursed for thirty years and having her life ruined by the person she thought she could trust the most, Eda is still all smiley and jokey when talking to Lilith. Yeah, sorry, but I don't buy that. No one in their right mind would be that cool with a person who did all of what Lilith did. It's a major misstep that squanders what could have been a fantastic overarching story of Eda learning to forgive her sister and Lilith trying to earn it. We'll at least get Lilith's guilt, but as is, I feel Eda showing genuine anger towards her would elevate that story by a lot.

IN CONCLUSION

But that's about all the bad things I have to say about "Separate Tides." As is, it is a well-earned, solid A of a season premiere. It introduces new concepts and characters I can't wait to see more of, continues old storylines and character development instead of ignoring them, and still proves that The Owl House is as charming and funny as it always was. Maybe the rest of the season could continue to be great, or maybe things might get worse. Time can only tell. For now, all I can tell you is that "Separate Tides" is a great and fun episode that makes me excited as we set sail to this new season.

(And Scared. Mostly scared)

[cybernaght]

Guardian rewatch: Episode 5

I thought this would be a shorter recap. Ha!

Every now and then throughout this show we are getting CGI wide shots of the Dragon City, mostly establishing the time of day. They have three settings: nighttime, daytime, and sunset/sunrise. While quality-wise those wide shots would not feel out of place in a video game from ten years ago, with buildings looking all rubbery, I actually really like this sunset sky. I also appreciate that they firmly establish that this is city is not, in fact, a real place. I almost wish the architecture was a little bit less familiar, but making the city look truly otherworldly here would make location scouting much harder. As it happens, the buildings on the forefront have a very 60’s art deco revival inspired feeling, and there are some distinctively neoclassical buildings peppered around as well. We can also see that the roads are very wide, and generally there is a hint of Stalinist grandioseness about the downtown. Unfortunately, it looks nothing like the locations and sets the characters are running in; we also get a feeling that the Dragon City is very large, which is not entirely consistent with the very few locations that were available when shooting the series. This shot does, however, remind me the city I grew up in (Moscow).

The actual plot of the episode centres around Huang Linqi and his fiancé, Li Jiaqi, going missing - it will be important, because their disastrous wedding will produce the most Clark Kent moment that Shen Wei will ever have. We also meet the parents of the couple, who are stinking rich and extremely unpleasant. It also introduces us to Butler Wu (Wu Tian’en) and his son, who will become important in later episodes. Butler Wu is not actually the villain of the piece, despite this shot clearly telling us otherwise. 

Back at the university, Shen Wei is having a morning tea with his dean. He holding his teacup with almost god-like elegance, very close to actually covering his mouth when he drinks, which is extremely old-fashioned. This is in stark contrast with him brazenly and un-gentlemanly showing his ankles. 

Shen Wei is asked to move off campus, because, apparently, having a chief of the special task force showing up at your office is bad for the reputation. Since the professor does not look surprised, and states that he has already found a flat, I’m guessing that he was clever enough to have predicted this turn of events, and used it to secure the place a breath away from Zhao Yunlan. It is up to speculation as to when he started scouting for an apartment: it could not have been more than a few weeks since he met Zhao Yunlan, and finding a flat can take a while. 

At the SID office, we are treated to a lovely moment between the team members, crowding around Lin Jin’s new invention: a popcorn-specific microwave.

It’s very sweet to see the team indulge in some nonsense outside of their case work, made even better by Wang Zheng being there. The fact that Zhao Yunlan is on board with his department’s time and resources being spent on a popcorn maker only makes this scene better. He is crouching on the table, because chairs are for the weak.

After inspecting the crime scene, Zhao Yunlan is spending some time outside chatting to Buttler Wu, and comments on Li Jiaqi’s good looks, since Zhao Yunlan is a man who can appreciate beauty.

As Xiao Guo is awe-struck at his boss’ ability to note someone’s prettiness from a distance, Chu Shuzhi literally rolls his eyes calling those “instincts of a beast”, and Zhao Yunlan fails to reprimand him for the remark, because… fair enough. Very fair enough. It’s hard not to relate to Zhao Yunlan, a self-admitted bi disaster. 

Shen Wei is being shown his new apartment. He does not even look around it, staring instead at Zhao Yunlan’s front door across the hall from him.

Moving here is a completely senseless thing to do. How on earth is he planning to hide his Hei Pao Shi persona while being a next door neighbour to the chief of SID? My conclusion is that from a character stand-point, it’s nothing but an act of desperate devotion; from a narrative stand-point, this codifies that their relationship is about to get very intimate indeed. 

The SID members are interrogating Buttler Wu: as is often the case, instead of bringing him in, like they did with Shen Wei, they hijack a cafe nearby to have a more relaxed conversation. As they talk, Shen Wei is making his way past the cafe, which both Wu Tian'en and Shen Wei notice. 

Shen Wei proceed to follow Butler Wu, who calls him out on it. This leads to a removal of his glasses so epic it warrants a jump-cut to close-up, on top of the dutch angle used mere seconds prior to it.

Instantly recognizing Shen Wei as Hei Pao Shi, Wu Tian’en sinks to his knees in reverence. Again, fair enough. After having a brief conversation about their shared history, Shen Wei states that Butler Wu is not allowed to lay a hand on Zhao Yunlan. 

“Chief Zhao? You’re stalking him?” 

“You don’t need to know more.”

That is not a no. Mostly because that is a yes. 

Shen Wei promises to not take Wu Tian’en away before the man resolves his current problems, adding that he hopes his old acquaintance won’t have any regrets when that happens. As Shen Wei walks away, he muses “Then how much time is there left for me?” 

(And I have to fight an uncomfortable sinking feeling in my stomach, which is occurring a lot as I rewatch those series.) 

The same evening at the SID offices the team is struggling with the case so much Da Qing suggests asking Hei Pao Shi’s help. Zhao Yunlan bristles at the idea, and… calls Shen Wei instead. Of course he does.

To be fair, he does so to check whether the other man is stalking him, but he also calls him by his given name rather Professor Shen, reinforcing that he makes this enquiry as a friend, not at as the chief of the Special Investigations Department. 

During the phone call Shen Wei is absentmindedly playing with the corner of the publication he is reading. 

While Yunlan does not deny that he still thinks Shen Wei is potentially up to something dodgy, he still proceeds to ask his advice on the case. This continues the dynamic from the previous episode: it’s not that Yunlan is completely blind, it’s just that he trusts Shen Wei regardless of the secrets he might be hiding. 

Moving on, here’s what I have to say on he topic of bad CGI. There are several reasons in the world for a piece of visual media to have a poor quality computer animation. It could be laziness, or it could be absence of imagination, both of which are inexcusable. It also could be absence of funds, as is the case with the Guardian. And, honestly, I am alright with that. It’s not their fault, and I would much rather see this drama as it is - bad CGI and all - than none at all. 

And, the quality of CGI here has energy similar to Live Action Sailor Moon (PGSM), which I honestly find both nostalgic and endearing. 

That show also has a talking cat, but it’s performed by a literal plush toy on strings, so Guardian certainly wins here.

While Huang Linqi and Li Jiaqi are being kept together (possibly in an alternate dimension, seeing as how they have emerged from the lake completely dry), they talk through their relationship issues, and the audience finds itself with a sugar-sweet take on the arranged marriage/strangers to lovers trope. I feel a little bit bad about their disaster wedding now. 

At the same time, Xiao Jun and Wu Tian’en’s story is a tiny echo of Shen Wei end Je Zun: the son thinks his dad left him to fend for himself when he was young and vulnerable, and distrusts the very concept of love because of that perceived abandonment. Unlike Je Zun however, he stops to have an actual conversation, which ultimately forces him to quit his senseless act of revenge, and make the first step on the path of reconciliation and redemption. This is Guardian telling us that communication skills do, in fact, matter. 

He also drops this bombshell of a line, which hurts my heart a lot.

“In the face of death every love in the world is mere foam”

On an entirely separate note, I am very glad that the actor who plays Butler Wu is wearing nice thick knee pads. 

They are very visible, and they make a little “boing” when he hits the ground, but the actor has to fall to his knees twice in this episode, both times on hard surfaces, one of which is literal gravel, and I’m happy that the production is being considerate of their actors’ physical well-being. 

While this episode does not mark the first time Zhao Yunlan is being understanding to the Undergrounders in pain, this is the first time anti-Unvergrounder bigotry is explicitly framed in a negative light. The two evil businessmen, who cast a child aside just because he has special powers, are shown as unquestionably in the wrong. Xiao Jun is lightly scolded for his rash actions, but he is not brought back to SID in cuffs, and he is not immediately given away to Hei Pao Shi. Far from that: he is brought in softly, to spend some time at his dying father’s side. 

As Butler Wu slipping away, we once more see Guo Changcheng being recklessly heroic, as he is prepared to use the Longevity Dial to share his life force. Instead of letting him do it, Zhao Yunlan snatches the Hallow away and decides to perform this particular miracle himself. This is the same man who will later sacrifice his eyesight to bring people’s lives back. Bai Yu’s acting in that moment is utterly phenomenal, showing a whole range of emotion from horror to determination to dismay in mere seconds. 

Hei Pao Shi teleports in, and, without a preamble, scolds Zhao Yunlan (the first episode in the series-long “don’t touch the Hallows” saga), and then asks him whether it’s worth shortening his life for an Undergrounder. This is in equal parts a provocation and a test, because I’m fairly certain that Shen Wei was going to save Wu Tian’en anyway. 

As SID members beg Hei Pao Shi to save Butler Wu in perfect unison, Zhao Yunlan states that a person is a person, regardless of their origin. Shen Wei notes inwardly that SID had changed, and, as expected, heals Butler Wu, while Yunlan stares at his power with relief and awe.

Since I have talked about the wide shot of the Dragon City, let’s talk about its counterpart in the Underworld. 

I have failed to notice before that there appears to be a vast city next to the volcano river, some way away from the royal Palace, looming over it. Geographically, this makes little sense: we will see characters leave the Palace and instantly end up in a city square throughout the series, but I still really enjoy this wide shot. It is also interesting to see the architecture of the place. It is somewhere between (western) medieval abodes and futuristic shipment container blocks, with living spaces built on top of each other, crammed-in, and unpleasant. I also love the lighting here, contrasting blue and red.

Hallows random power #n: projecting their brethren. Imagine how useful it would be if they also did that for the Brush and the Lantern.

The next day, Zhao Yunlan and Da Qing are on a leisurely morning jog, while Yunlan is wearing bottoms that my partner refers to as “sheggings” (as in, shorts + leggings)

They are talking about Shen Wei, naturally. In my head-canon, Zhao Yunlan is driving his colleagues nuts because can’t help himself but bring the good professor up every goddamn minute of every goddamn day.

As they turn the corner to go home, they bump into the subject of discussion, who informs them that he moved into the building, and leaves abruptly looking more than slightly pleased with himself. 

Finally, we are treated to Guo Changcheng’s surveillance exam. I don’t know why he thought this outfit would make him look less conspicuous. 

Eventually, the SID will learn that some of their staff members don’t have to be fighters or detectives. In Xiao Guo, they have found the heart of their team, and that is enough. 

Next up, Episode 6: The Coat Zhao Yunlan Will Buy

—

PS: I have mentioned earlier, that I have a sinking feeling as I watch Guardian, and I would like to elaborate on that. You see, I am very scared of flying. It’s an irrational fear, but it is the one I nonetheless have. There is a very specific feeling I get just as the plane starts gaining speed on the runway: there is joy, because at the end of this journey they is something to look forward to (my parents’ hugs, a drink with a friend, a favourite place, a new city to explore), but there is also a painful anticipation, as I brace for the moment the aircraft will tilt upwards, knowing that I will be pushed back into my chair by gravity, battling against an onslaught of a panic attack, shaking, learning to breathe, fighting with everything I have to keep my heart rate down. Watching Guardian from the beginning, knowing where the story is going, mirrors that feeling perfectly.

PPS: The following conversation happened with my partner as I way typing this recap.

My partner: Do you think Shen Wei ever wears sheggings?

Me: Sweetie, I think he would rather die. 

[athenagrantnash]

Gunpowder Milkshake review

There are four elements to a film that, when all are achieved, can elevate a film from “good” to “great”; and any film that can achieve at least two of these elements is certainly a good and enjoyable film.

These elements are (in no particular order)*:

Aesthetic

Cast (charm, likeability, acting skill, etc)

Characters

Writing (story, script, dialogue etc.)

*While all four elements are important, writing is in my opinion the most important of the four.

So does Gunpowder Milkshake achieve all of these elements? Let’s discuss. (not a spoiler free review)

1) Aesthetic

I cannot say enough good things about the aesthetic of this film. The lighting, the camerawork, the set design, the costumes, it is all top notch. There is never a moment where what you are looking at isn’t visually engaging.

One of my favorite elements is how much is said about each character based on their costumes. 

Karen Gillan’s Sam wears an orange jacket for the majority of the film - a jacket she stole because she didn’t like the clothing provided for her. Early in the film it’s established she doesn’t quite know what kind of assassin she is - she is as undefined as her jacket. But there’s a sportsmanship about her, as she won’t kill the three stooges when they aren’t trying to kill her, and she draws the line at ever letting a child be in danger.

Chloe Coleman’s Emily spends the entire movie in a yellow coat - representing the optimism and joy that comes with childhood innocence, an innocence that at the end is marred by the blood red handprint across the back of her coat.

The clothes worn by Angela Bassett’s Anna May, Carla Gugino’s Madeleine, and Michelle Yeoh’s Florence are all very similar, but specific to each character.

Anna May wears dark blue - signifying depth and power - and she has more layers than anybody else - Madeleine has the sweater/jacket, Florence has the vest, and Anna May has both. And just like her clothing, she has layers. You can sense the power and ferocity, and anger that lies rippling just below the surface, only just barely kept in check. 

Florence wears green - signifying serenity - , and her outfit has nothing loose or soft about it. She is exactly as she appears to be - exactly as a tiger stalking its prey appears to be - quiet, contained, serene... deadly. It’s her serenity that keeps Anna May’s ferocity in check, but don’t mistake that for safety.

Madeleine wears pink - signifying kindness - and instead of Florence’s vest or Anna May’s vest/suit jacket combo, she instead wears a soft sweater. She is kind, trusting to her instincts, and protective of Emily. But her kindness is not weakness - just look at her weapon of choice if you disagree.

And while everybody else is wearing bright and/or striking colors, Sam’s orange jacket, Emily’s yellow coat, Anna May’s blue suit, Florence’s green vest, Madeleine’s pink sweater, Scarlet - completely at odds with her name - is wearing colors that are practically nondescript. She has isolated herself from the other Librarians, and that’s shown in a beautifully subtle way through her clothing. And yet, in a further note of subtlety, she is wearing soft oranges, showing her connection to Sam (also in orange) and how that connection is what brings her back from her isolation. Her clothing is loose, but not soft, reflecting a deceptive casualness, which matches her personality perfectly.

I’m not even going to touch on the visual brilliance of the lighting, set design, and camerawork because words literally will not do it justice. You just have to watch and see for yourself.

Additionally, an argument can be made that, since “action” is not its own category, that would fit into this section too - and while it’s literally impossible to top how visually engaging the lighting/set design/camerawork/etc. are, the action is certainly on par with it. The fights are all incredibly fun and creative, and they take advantage of the setting they are placed in, the road blocks or handicaps the characters have to work with, and at no point ever feel stale, repetetive, or boring.

So where does this movie rank in aesthetic? 5/5

2) Cast

There is not a weak link in this entire cast! Karen Gillan, Lena Heady, Angela Bassett, Michelle Yeoh, Carla Gugino, Paul Giamatti - every single one of these actors has proven time and again how much talent, charm, and onscreen charisma they have. Relative newcomer Chloe Coleman legitimately holds her own, even among such a star-studded cast, and is simultaneously sympathetic, charming, likable, and absolutely adorable.

Even bit players like the three stooges that Sam takes out, Emily’s dad, the doctor, and Jim McAlester play their roles to perfection.

As a side note, am I the only one who was a little bit disappointed that McAlester’s first name was Jim? It would have been hilarious if his first name was Kevin, and then we could have drawn our own conclusions about the criminal turn Kevin McCallister’s life took when he truly embraced his childhood propensity for chaos.

So where does this movie rank in cast? 5/5

3) Characters

This is where the movie starts to falter a little bit. Every single character is likable, but a lot of that can be attributed to how excellent the cast is.

Most of the characters are fairly cookie cutter, and while there is nothing about them that is particularly annoying or stereotypical, none of them have enough depth to truly be “great” characters.

The closest any character has to having any sort of depth or complexity is Nathan, who - while he doesn’t hesitate to send an entire army after Sam - sends her a private message and provides the only help he can.

Not that any of the characters are bad - I think my analysis of the lead lady’s clothing proves my opinions on that pretty conclusively - but they could have been better

Additionally, at just under 2 hours there is barely enough time to develop them properly. Florence in particular could have been much further fleshed out in ways that are not solely inferred through the costume design and acting.

The relationships between Emily and Sam, Sam and Scarlet, Scarlet and Anna May, Sam and Madeleine, Anna May and Madeleine, and Madeleine and Emily are done fairly well. I understood each dynamic and how it worked in the larger story that was unfolding. Florence had none of that - to the point that (if not for the inferred analysis based on clothing) I’m still not entirely sure if she or Anna May was the de facto leader of the librarians. If they had added something - either her legitimately having a moment where she takes charge or (even better) establish a rivalry between Florence and Anna May over who is in charge that would have done a lot, but unfortunately as it stands Florence didn’t get the development that Michelle Yeoh deserved.

So where does this movie rank in characters? 3/5

4) Writing

If the movie started to falter a bit when it came to its characters, it faltered even more when it came to the writing. In fact it’s the writing that can be blamed for the characters not given the development they should have gotten, even if these are two different categories.

And yes, it’s an action film, so technically the plot takes second place to the fisticuffs and gunplay - and while I’m not going to hold the genre against the film, even as an action film the script could have been a lot stronger.

Most importantly, the movie should have been at least thirty minutes longer in order to allow more growth and development for each of the characters. One scene that should have been in the movie was one of Emily while she was captured by McAlister. He should have tried to turn her against Sam, not realizing that the revelation that he had killed her dad had already done that. But Emily is smart, and the more he talks the more she realizes she’s directing her anger at the wrong person. Then when Sam turns herself in so that she’ll be safe it solidifies it for her - Sam might have pulled the trigger, but she’s not the heartless killer that she should be angry at.

And that is just one example of how a longer runtime and a few more rewrites could have given the story and characters a lot more depth.

Now onto the white elephant in the room.

“There’s a group of men called the firm” (yes, I’m going there... somebody has to).

I get what the film was going for, but this is the most perfect example of why it needed one or two more rewrites. 1) If it’s a group of men, why is Sam working for them and why is she recognized as the best at what she does? The movie is trying to imply inherent sexism, but because it felt the need to slam us over the head with that line all subtlety was lost.

Sam could have just called it “a group” and then we the audience would see that while men and women work for them, the ones calling the shots are all men. And then to turn around and show how much more prepared, professional, and competent the Librarians are would make this point in a much more subtle and compelling way. There is a lot more power in using that kind of storytelling than in explicitly telling your point to the audience in so many words. 

However, while most movies that go this route make all their male characters useless or stupid, Gunpowder Milkshake did manage to not do that. Other than the three stooges, which Nathan chose to send after Sam because he didn’t want her killed, therefore by design are supposed to be useless, all of the people that our mains go up against feel like legitimate threats.

And I’m glad, because as a woman I do not like the recent tendency to turn men into useless idiots and then imply that is the only way the women managed to defeat them. I want women going up against men who are at their best, and still win. And this movie did that.

Additionally, I will say that the whole “group of men” thing is a minor quibble on my part, as it doesn’t fall into the pitfalls most other movies who are making this point fall into. But it is unfortunately an example of why the writing could have been much better.

Add in some awkward dialogue that only worked because of how ridiculously charming and likable everybody in the cast is, and we unfortunately have writing that is sub par and does not live up to the standards set by the other three elements. The aesthetic, the cast, and even the characters deserved better writing.

As a side note: Where do these people get their milkshakes that they manage not to melt even after three hours? Because that’s some circa 3000 level galaxy brain and I want it.

So where does this movie rank in its writing? 2/5

Conclusion:

I said at the top that for a movie to be “great” it has to meet all four elements, but to be "good” it only has to meet two, and Gunpowder Milkshake  definitely  meets two of the elements.

Where it begins faltering and falls short of being “great” is in the characters and the writing, which is a shame because the brilliance of the cast and the genuinely engaging and breathtaking aesthetic deserved to be in a movie that can be called great.

I would love a sequel to this movie that does flesh out the relationships better, provide more depth to the characters, and allows for the writing to match the quality of the cast/aesthetic.

So what is my total ranking for this film? 3.5/5

It’s good, and I will definitely watch it again and recommend it to people, but it so easily could have been great.

[everythingsinred]

Let's Talk About Natsumikan: Natsume (pt. 3)

Previously, we started talking about Natsume, how cold he is, and his mannerisms. If you want, you can think of this next segment as the final analysis for this stretch of plot where Natsume is being fully introduced and his behaviors explored. After this one, things will start to get really interesting!

TW for bullying, suicidal ideation, depression, mental illness, and child abuse. Almost all of my essays will be heavily focused on one or all of these themes so if these topics are triggering to you, it might be best to not read.

Chapter Nine

We went crazy analyzing the episode counterpart in the anime, going over the dodgeball game and all of its consequences regarding Natsume’s feelings for Mikan. The manga has just as much to analyze regarding Natsume, but very little of it is as pleasant!

In the manga, Natsume does not start falling for Mikan here. There is no beautiful scene where she confesses this was all done to make him smile. There is no pretend peace for Natsume at the end of the episode where he and Ruka muse about the game.

No, this is worse.

The beginning concept is more or less the same, but with significantly less emphasis on Natsume individually. In fact, Tsubasa tells Mikan Natsume isn’t solely to blame for the chaos in Class B--that they all need a way to let out their feelings and start having fun instead.

Natsume ends up sucked into the game against his will. He does not feel like playing, but he goes along with it when the bet is made--that is, if Mikan loses, she and her team need to be servants forever, but if she wins the other team has to quit their bullying of Substitute-sensei forever. There is no focus on Natsume ditching, or even on Natsume at all. Really Natsume only gets into it when he sees Ruka has been roped into joining Mikan’s team by accident. Natsume despises Mikan and, considering that Ruka has been kidnapped by her before, is not any happier to see him in Mikan’s custody again. He hits her in the head with the ball on purpose, knowing it would be out of bounds, because he wants to hurt her more than he wants to get her out of the game.

From Natsume's perspective, it does seem like she's trying to push his buttons on purpose lmao.

Natsume’s team has way more players, but because they’re afraid to hit Ruka on accident and face Natsume’s wrath, and because they are too crowded on their side, they have some obstacles. Sumire attempts to salvage this through good old fashioned cheating. Whether Natsume is privy to this seems unimportant. He doesn’t care about winning or losing either way, and doesn’t seem like he’s actively bullying the teacher to begin with like the others are. Now he’s just playing against Mikan for stealing Ruka away.

Compared to the anime’s version, the manga’s counterpart might seem anticlimactic, or less fun. But the truth is that the dodgeball game in the manga was never about befriending Natsume. Mikan never considered that because she despises him, maybe the same amount that he hates her. Creating a friendship is the last thing on either of their minds. This chapter is about Mikan finally feeling more at place in Class B as a whole, rather than winning over Natsume.

This chapter carries weight for him on an entirely different level. Natsume might have gotten himself involved with the game, and might have even had a bit of fun, but that was never going to last.

Natsume's life vs. Class B's life. Shadows vs. Shinies!

Natsume goes to get a drink of water after the game, where he encounters Persona, who tells him he has a mission. Right after this, we have a panel of the kids of Class B wondering what they should play next. This is the most obvious visual we will get of the jarring divide between Natsume’s life and that of the rest of Class B. Even Ruka seems to fit in with the other kids, despite trying to align himself more with his best friend. Natsume truly will never be like them, even if he does let himself have fun. He will always have to stop, put away the game, and don his mask for his missions. He can’t be a child like they can; his life is too dark.

In the anime, Persona is hidden in a tree but does not confront Natsume. If anything, he is a mere shadow looming over Natsume, threatening to bring darkness on Natsume’s newfound sunshine. In the manga, Persona’s presence is more potent.

The other children can laugh and play games and the biggest worry they have is what they will play next time. For Natsume, he will never belong with the rest of them, no matter how much they might admire him. Persona is just a reminder that Natsume isn’t like the rest of them.

Chapter Ten

Natsume is in a sour mood from the mission he recently went on, and Iinchou confirms this by saying he’s been grumpy since the dodgeball game. I talked about other reasons he may have been angry in the anime but in the manga it’s indisputable that Persona is the cause.

Thus, he has no qualms telling Mikan how it is: that her grandpa isn’t receiving the letters because they aren’t being sent, and that the teachers can’t be trusted. All of the things Ruka told her before are now coming from the horse’s mouth: this school is a prison. And again he reiterates: he and Mikan are marked, and more than anybody else, they’re treated differently from the rest of the kids. He is, after all, even more isolated from his loved ones than the rest are. On New Years, when everyone gets some letters and cards from loved ones, Natsume is the only one who’s not allowed anything. For him to imagine that there’s a kind-hearted teacher willing to send a letter or two is simply not even worth his time.

Okay but. Like. Nobody asked you, though.

It’s hard to say for sure why Natsume decided to tell Mikan this (other than to plant the seed of doubt in Mikan’s head story-wise). It’s possible that he wanted to help her, but keep in mind that he still hates her at this point. It’s far more likely that he, after a period of missions and consequent depleted health, is not in the mood to tolerate her rose-colored lenses and is much more willing to destroy her idealism and say it like it is, to shut her up.

After all, his threat from the Northern Woods is still relevant: he truly thinks that she will come to regret enrolling at the academy. If nothing else has worked to dampen her spirits, maybe the realization that she has been lied to will do the trick. He's just helping that epiphany along.

Chapter Eleven

The school festival is approaching and Mikan is dead set on making friends with people she wouldn’t normally consider. Naturally, this means trying with Natsume, who burns her hair and tells her to piss off.

Comparing the manga to the anime with this particular chapter is fascinating. In the anime, Natsume has already started liking Mikan. He helps her come up with ideas for her class to do and even encourages her to make up with her senpais when they have an argument. She starts understanding his unique type of kindness and appreciating his presence. It’s a cute episode where they can relate to each other and bond.

In the manga, they still hate each other. Mikan only approaches him because of Narumi’s advice, and because he doesn’t care, Natsume doesn’t mind burning her hair to get her away from him. He is in a sour mood because he can’t participate, made clear when Seaweed-head, Sumire’s brother, makes an appearance. He taunts both Mikan and Natsume for their lame ability classes, particularly the dangerous ability class, because they’re not even allowed to enter the festival. He makes a comment, something along the lines of them being “perfect partners” as a result (exhibit who’s-even-keeping-count-anymore of them being paired off before they even like each other). Natsume burns his hair too and calls him “fried seaweed”, playing off of Mikan’s insult for him.

You can't see his eyes in these panels, and then he walks off, so it's almost easy to fall for the idea that he couldn't care less... but we know better.

Mikan later runs into him again, and this is where there is some consistency. In the anime, they are both clearly outcasts regarding the festival. Everyone expects the worst from the special ability class, and the dangerous ability class isn’t even allowed to enter the competitions. In the manga, the same things are true, and they are both aware of this.

Mikan, shocked at seeing him again, drops all her papers. She’s expecting him to insult her or use his alice again, on account of him being a “hateful person”, but Natsume does no such thing. They’re the only ones who would truly get it, being left out, so Natsume says instead that he doesn’t get what all the hype is about. Such a big fuss over nothing. Pathetic, even. He picks up her papers for her, though he doesn’t have to move much to do so. They stand in silence for a moment.

I mean... he didn't have to pick up her papers for her.

Perhaps his hatred for her is actually cooling. She is struggling through similar things as he is, and there’s room for bonding between them, even if neither of them particularly wants to. Whatever the reason, Natsume is choosing to just talk to her instead of insulting or teasing her here. Moreover, the way he says all this, so transparently, as if he wouldn’t have found the festival interesting even if he could participate, is something she can see through. You can imagine Mochu or Sumire nodding in agreement with his statement, maybe even pretending they thought so too this whole time, rather than connecting the dots as Mikan does. Natsume has a similar viewpoint on many things, things that are “all hype over nothing”, in his opinion, like the festival or even kissing that he actually does want to do.

If Natsume can't participate, then Ruka won't either...

At the end of the chapter, Ruka comes to hang out with Natsume, choosing time with his best friend over meetings about the festival. He knows better than anyone probably how Natsume feels, being left out. Ruka will always choose Natsume over everything else, as he always has done, and keeping him company so he doesn’t feel lonely is an easy thing to sacrifice. It is his way of keeping his promise that he will make sure Natsume doesn't feel alone at the academy.

Chapter Twelve

Yet another chapter where the plots diverge from the anime’s version of events, Chapter Twelve is our trip to Central Town. Just like in the anime, Natsume is Mikan’s one condition to go to Central Town, and he is only convinced by Youichi.

It would have been nice to see the time Natsume and Yo-chan first met, and how Natsume became so close to him since he doesn't seem fond of any other dangerous ability types.

It’s nice knowing that Natsume has people he loves even at the academy, other than Ruka, and things that can make him smile, if even for a brief moment. Youichi looks up to Natsume and Natsume acts like a protective big brother, which is something he’s had past experience with, as revealed in this chapter.

Once in Central Town, Natsume lingers by a jewelry story, where he sees a hair-clip that reminds him of Aoi. It’s something that would suit her, but he can’t get it for her. The reader can see that Natsume is a brother, and that his mystery sister is part of his tragic backstory (oh, to see Aoi animated ;-;). Mikan naturally misunderstands this and then Natsume is absent from the rest of the chapter. It’s almost like he was trying to prove the point that his presence could hardly be felt and wouldn’t make a difference in her trip, something she was distressed about.

Yeah, so Natsume hasn't seen his sister in two years and doesn't know if she's even safe. For people with close sibling relationships, this is like. the definition of hell.

In the anime, Mikan includes him by giving him some howalon, but in the manga no such exchange occurs. He spends this trip mostly on his own, not even with Ruka or Youichi.

I wonder if the hair-clip was upsetting to him to the extent that he wanted the time to himself, or if it was a more general feeling of not being able to fit in anyway so why even bother, similar to the dodgeball chapter. Either way, he stays gone, and that’s fine. We’ll see plenty of him in the chapters to come.

Conclusion

This is the last edition of analyzing Natsume this way, where he has disdain for Mikan while maneuvering her cheerful little antics. In the next edition, we'll see a little of what Natsume's dark secret life looks like, the one that caused him to be like this. We'll also see a monumental shift in the way he views Mikan and then this will start looking a lot more like a ship essay heheheehhehe.

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[dweemeister]

NOTE: This is the first (and perhaps only) film released theatrically during the COVID-19 pandemic that I am reviewing – I saw Wolfwalkers at the Vineland Drive-in at the City of Industry, California. Because moviegoing carries risks at this time, please remember to follow health and safety guidelines as outlined by your local, regional, and national health officials.

Wolfwalkers (2020)

In interviews prior to and after Wolfwalkers’ release, co-director Tomm Moore has described the film as the last panel of Cartoon Saloon’s Irish folklore triptych. That triptych (an informal trilogy) began with The Secret of Kells (2009) and continued with its centerpiece, Song of the Sea (2014). The global environment for animated cinema has transformed since Kells, and now – unexpectedly – Cartoon Saloon finds itself a hub for not just hand-drawn animation, but animation that rejects the crass commercialism emerging from mainstream animation studios (mostly from the United States). With the triptych completed (as well as 2017’s The Breadwinner), one can trace Cartoon Saloon’s evolution from their beginning to its present artistic maturation. While the film asserts its own uniqueness in the Cartoon Saloon filmography, there are connecting strands – aesthetic, spiritual, thematic – of the studio’s previous features apparent throughout. Upon a week’s reflection, I think Wolfwalkers is the studio’s second-best film, just behind Song of the Sea. Even at second-best, this level of artistry has rarely been seen in this young century.

It is 1650 in Kilkenny. Robyn Goodfellowe (Honor Kneafsey) is an apprentice hunter and only daughter of Bill (Sean Bean). Robyn and her father are expatriates from England, and some of their Irish neighbors will not let them forget that. Oliver Cromwell (Simon McBurney) – referred to as “The Lord Protector” throughout the film – has invaded Ireland and looks to secure his conquest over the Irish people (Cromwell is a despised figure in Ireland and lionized by some in England to this day). On an ill-advised trip outside the walls of Kilkenny, Robyn encounters and eventually befriends Mebh Óg MacTíre (Eva Whittaker in her first film role; pronounced “MABE”), a Wolfwalker. As a Wolfwalker, the animalistic Mebh can leave her physical body and take the shape of a wolf while slumbering. Mebh’s mother – who is also a Wolfwalker – has been missing for sometime while Cromwell has ordered the slaughter of all of Ireland’s wolves. Things are complicated when Bill is tasked by the Lord Protector to destroy the wolves living in the woods surrounding Kilkenny.

From the opening moments, lead background artist Ludovic Gavillet (2016’s The Secret Life of Pets, 2018’s The Grinch) sets the contrast between the scenes within and outside Kilkenny’s walls. Kilkenny is suffocatingly geometric, with squares and rectangles dominating the background and foreground. Backbreaking work defines life in Kilkenny, all devoted to the residents’ English conquerors, God, and the Lord Protector. Rarely does the average city resident venture outside the looming outer medieval walls (there are two sets of walls in the city). The structure of Kilkenny is inconceivably box-shaped when seen from a distance. It appears like a linocut. In that distance are the countryside and the forests. As one ventures further from Cromwell’s castle, expressionist swirls define the foliage that seems to enclose the living figures treading through. Green, brown, and black figures twist impossibly in this lush environment. Seemingly half-drawn or faded figures suggest a depthless, dense forest – similar in function to, but nevertheless distinct from, Tyrus Wong’s background art for Bambi (1942). In both Kilkenny and the forest scenes, selective uses of of CGI animation capture the dynamism of certain action scenes – two running scenes in particular employ these techniques (once in joy, the other in terror).

So often in modern CGI-animated films, the animators seem to grasp for heightened realism and minutiae. In such movies, too many details are packed into frames that can only be appreciated if prodigiously rewatched or paused mid-movie. It might feel like completing a visual checklist. In Wolfwalkers, the half-finished details amid breathtaking backgrounds, angular (or round) humans, and simultaneously threatening and delightful wolves almost seem to announce that, yes, humans drew this – and they did so with such artistic flare. In keeping with the references to triptychs in this review, the film itself sometimes divides the frame into thirds (a top, middle, and bottom or a left, center, and right) or halves in moments of dramatic weight. The thirds or halves are separated by dividing lines and are used for various purposes depending on the moment: to save the filmmakers from making two extra cuts, juxtapose differing if not contradicting perspectives, and intensify the emotions portrayed. Less utilized in this film but even more radical than the aforementioned techniques is the film’s use of shifting aspect ratios. Wolfwalkers is principally in 1.85:1 (the common American widescreen cinematic standard, which is slightly wider than the 16:9 widescreen TV standard), but there are notable moments which temporarily dispense of these standards. Like the division of the screen into thirds or halves, the shifts in screen aspect ratio help the audience focus and understand what is occurring on-screen. The most memorable screen aspect ratio shift appears before an eruption of violence.

The Secret of Kells, too, was set in a city designed in a perfect, orderly shape. That film, like Wolfwalkers, evokes Christianity for narrative purposes. But where Kells celebrated God and found religion as a source of comfort, Wolfwalkers’ depiction of Christianity – specifically, Cromwell’s Anglican zealotry – is without redeeming elements. Under his breath, the Lord Protector prays to God that he will execute any providential commands by any means necessary. In public, he announces his actions as essential to rid Ireland of the lupine paganism that inhabits the wild. Without saying as much, Cromwell’s orders are nevertheless Anglican England imposing its will on Irish Catholics. Irish cinema, until the late 1990s and early 2000s, was usually deferential in its depictions of the clergy and religious practitioners (almost always Catholic). Though it is not unheard of for an Irish film to be critical in portrayals of religious belief, it remains uncommon. And though Cromwell is Anglican and not Catholic (and despite the fact he remains vilified in Ireland), Wolfwalkers’ cynical depiction in how he wields his religiosity as a cudgel is an extraordinary development in Irish cinema.

Tied to the film’s depiction of religiosity are its undercurrents of English colonialism and environmentalism. The latter will be obvious to viewers, but the former might cause confusion during a first viewing because it seems to be, at once, on the periphery and yet central to Wolfwalkers. Cromwell being referred to as “the Lord Protector” for the film’s entirety is indicative of screenwriter Will Collins’ (Song of the Sea) decision not to provide much historical context within the film. English colonial oppression usually occurs off-screen or is implied. This seems inconsistent with Cartoon Saloon’s work on The Breadwinner. That film identifies and openly describes Taliban injustices.

So what gives? As much as those who admire animated film disdain perceptions that it is solely for children (like myself), animated film is oftentimes a gateway for children to be exposed, eventually, to other corners of cinema. Can children understand Anglican-Catholic tensions in Cromwellian Ireland? Perhaps (especially British and Irish children), if presented with enough care. But the answer probably lies with the fact that the thematic goals of Wolfwalkers are more aligned with Kells and Song of the Sea than The Breadwinner. Cartoon Saloon’s Irish folklore triptych is concerned with how the Irish are inextricably, spiritually, bonded to the environment. There is a balance between humanity and nature – a mystical connection that, when disrupted, brings harm to all. The Breadwinner, though very much a part of Cartoon Saloon’s filmography, is grounded in recent history and, because of recent developments in the Taliban’s favor concerning the Afghan peace process, present-day concerns. In the film, fantastical stories are used to bring Parvana’s family together as the Taliban tighten their grip before the American invasion. This has little bearing on the folklore-centric storytelling of Wolfwalkers, but Collins, Moore, and Stewart’s editorial decision to downplay the film’s historical basis tempers any messaging they wished to convey.

Wolfwalkers meets The Breadwinner in its depiction of a young girl growing up in a male-dominated society. This film’s lead was supposed to be a young boy. But the story, to Collins, Moore, and Stewart, just did not click with the original male protagonist. As such, the trio made the decision early in the film’s production to switch the protagonist’s gender. Robyn, an English transplant to Ireland, is allowed remarkable freedom to do whatever she wants with her time in the opening stages of the film. This arrangement cannot persist as her father falls from the Lord Protector’s good graces. She is relegated to washing dishes from daybreak to dusk in the scullery – a task that she, in her heart, rejects for its gendered connotations. Robyn wears a Puritan’s frock while at the scullery, a uniform she has no desire for. While outdoors beyond the Kilkenny walls, she wears what her father wears – pants! – while out hunting wolves. Other than her father, few in the city care for Robyn’s intelligence and instincts. Most everybody ignores her protestations and truth-telling about the things she has seen in the forest. By film’s end, she is vindicated, in spite of Cromwell’s (and, to a lesser extent, her father’s) bluster and bravado.

This film also contains potentially queer subtext between Robyn and Mebh. Writers more skilled than I will provide better analysis of that subtext. Nothing explicit is shown, as the two are still children. Yet the nature of their friendship, the themes contained in Wolfwalkers, and some unspoken moments between Robyn and Mebh seem to relate a possible queerness. The film also does nothing to present either girl as heterosexual. Queer or not, Wolfwalkers shows the viewer a blossoming friendship between two girls – not without its tribulations, but rooted in their common earnestness.

Unlike previous films in Cartoon Saloon’s Irish folklore triptych, there are no notable original songs in Wolfwalkers. French composer Bruno Coulais and Irish folk music group Kíla are Cartoon Saloon regulars and return for Wolfwalkers. The musical ideas for Wolfwalkers’ score are not as apparent as the previous films in the triptych, as they are not quoting a song composed for the film. But the use of Irish instruments in their collaboration lends at atmospheric authenticity that only heaps upon the film’s sterling animation. Norwegian pop sensation AURORA has altered the lyrics and orchestration to her 2015 single “Running with the Wolves” to accompany a running scene that, by the filmmakers’ admission, was inspired by the running scene from The Tale of the Princess Kaguya (2013, Japan). The scene pales in comparison to the context and music from the late Isao Takahata’s final film, but Wolfwalkers is a movie more than the sum of its parts.

Production on Wolfwalkers was in its final stages as the COVID-19 pandemic reached the Republic of Ireland. When the Taoiseach, Leo Varadkar, announced a countrywide lockdown on March 12, 2020, Cartoon Saloon had already started preparing for a lockdown contingency three weeks’ prior. Clean-up was divided between Luxembourg-based Mélusine Productions and Cartoon Saloon’s headquarters in Kilkenny. After assessing the needs of the clean-up animators, both studios moved to remote work where the most pressing complication was their Internet bandwidth slowing down upload speeds.

Cartoon Saloon’s Irish folklore triptych is finished. In the last eleven years, the studio has proven itself one of the most interesting and important animation studios currently working. They have even proven they can make quality films without its primary director, as evidenced by Nora Twomey’s The Breadwinner (Twomey’s next project for Cartoon Saloon is My Father’s Dragon, slated for a 2021 release). Though just an indie studio with limited resources, their standing in animated cinema has only strengthened with this, their most ambitious film to date. It might seem like a rehash of the animation from Kells, but Wolfwalkers has improved upon its predecessor, and boasts perhaps the most beautiful artwork of any animated movie released this year. The film’s grandeur belongs on a movie screen, but, understandably, very few will have the opportunity to experience it in such an environment. This latest, ageless triumph will outlast these extraordinary times.

My rating: 8.5/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

[livinglikearoyal]

K-drama Recommendations (May 2020)

Here is part two of my Kdrama recommendations, since my first one had such a positive response and I had a couple people ask for more. All of the dramas on this list can be found on Netflix US as of posting. These are all dramas I have watched since my last post in November...I have described why ten of them are amazing and listed a handful of others that are worth a shot as well. (I watch too much Netflix...my goodness)

These aren’t in any order based on how much I liked them; they are ordered based on the order I watched them. The ones listed in the honorable mentions list are dramas that either had a somewhat similar storyline to one of the ten that are explained or I just couldn’t find the words to describe them! Obviously, everyone has different tastes and perspectives when it comes to dramas...this is just my take! 

I am always looking for new dramas to watch! Send your suggestions and/or thoughts my way!

Suits (law, witty, drama)

Summary: Go Yeonwoo is a man wrapped up in some shady business, just trying to get by. When a deal goes bad, he finds himself seeking safety by blending in with the many applicants trying to join the top law firm in Korea, Kang & Ham. Although he isn’t a law student, his photographic memory and previous experience taking assessments for law students helps him impress the company’s ace: Attorney Choi. Go (illegally) becomes Choi’s apprentice and the series follows them as they figure out how they work together, how to save their company, and how to not get caught. Based on the American series of the same name. 

Why I liked it: I watched the American version of Suits as soon as it came out and followed it for several seasons. This Korean version is much more my speed. The storyline is complicated enough to keep your attention but not so complicated to make you stop watching. They took the key components of the American series and made them better: more realistic, less focused on sex appeal and more on the storyline, and you could really connect with the characters. It really hits on the ideas of integrity, truth, and empathy.

The K2 (action, romantic, political)

Summary: Kim Jeha is on the run in France. While trying to elude his captors, he runs into a woman in a white dressing gown and she begs for his help because she is also on the run. He is hesitant but ends up helping her escape her captor’s hold in the subway. She runs but is captured again on the street and he doesn’t help her a second time. Flash forward several years: Jeha is now appointed as bodyguard for the wife of a presidential candidate (she is terrifyingly powerful) and he is assigned to watch over the candidate’s illegitimate daughter, Anna. Anna is the girl from the subway. The series follows Jeha as he seeks revenge for all of the false accusations that have marred his past while also protecting Anna from the political corruption and previous trauma she has encountered. 

Why I liked it: This one took a second to get into. The way that the storyline is introduced is purposely chaotic. Once I got to the second or third episode, I really got into it. Each character is well developed: There were so many characters in this storyline and I empathized with most of them. Each character has their own motives and reasons behind their actions; they don’t do something just to fit their role as the “good guy” or “bad guy”. The dynamic between Jeha and Anna definitely had me yelling at my screen several times. The corruption and complications that come along with power is portrayed in such a powerful way. It is a show where you think you have it figured out but you don’t and as soon as you give up and stop trying to guess, something predictable happens. It keeps you on your feet while making you fall in love with its characters. 

Inheritors (romantic, teenage angst, social issues)

Summary: Kim Tan is in California after essentially being kicked out of Korea by his family, especially his older brother. One day he sees Cha Eunsang arguing with her sister after Eunsang traveled to the U.S. to see her only to find out that her sister lied and she has been using all of the money that their mother has sent for things less legal than an education. Tan sees that Eunsang is alone so he offers for her to stay at his home mansion. His fiancee (arranged) shows up and is not pleased to see Eunsang in the house so she does all she can to kick her out. Eunsang eventually returns to Korea to be with her mother, who has now moved into a mansion as their housekeeper. Tan also returns to try to smooth over his relationship with his family and he has to return to his old high school, where he  had previously set the standard for how privileged students rule the roost. His friend turned enemy is now the “alpha male”. The series follows Tan and Eunsang mostly; showing their varying perspectives on attending the same school but coming from completely different backgrounds and financial situations.. Even comparing Tan’s perspectives from his other “inheritor” peers or himself several years prior is really interesting.  It also shows their very different relationships with their families

Why I liked it: This show started out soooo cheesy. I remember commenting to my friend that I was watching this with-- I felt like I was watching a crossover between “Saved by the Bell” and a daytime soap opera. The American characters at the beginning are so stereotypical it was funny to see. Once the storyline got past the first few episodes and they were back in Korea, it really increased in quality-- both visually and written. This is another one that really allows you to connect to so many of the characters. I was constantly wanting to jump through my screen and just give the characters a hug (social distancing may have contributed a little too…).  By the end of it, you have nearly 10 or more characters that you are invested in and you really want to see them succeed. The ending can be a little frustrating if you are the type of person that wants everything (all the minor storylines) to be wrapped up in a little bow. The ending closes out the main storyline well but leaves the others very open ended. I will always be on the lookout for a sequel/spin off. Also, Eunsang is a girl that will tell it like it is...she doesn’t take BS from anyone...unless she wants to. She isn’t the stereotypical damsel in distress. Also...that “Love is the Moment” song will forever play in my head during ANY romantic scene in ANY show from now on. 

My Secret Romance (romantic, work place drama, comedy)

Summary: Jin Wook is a rich man getting ready to inherit the family company. The only thing standing in his way is the fact that his father doesn’t want him to take over until he is married. And the fact that he doesn’t take proper care of himself nutritionally, causing him to pass out. The company has recently hired a brand new dietitian, Yoo Mi, and Jin Wook’s assistant assigns her with the task of providing three healthy meals for their very picky boss. Yoo Mi, being brand new, is learning to be the head of a very opinionated kitchen staff while struggling to make food that is worth eating. Once Jin Wook and Yoo Mi meet, they realize that this isn’t their first encounter. As the series progresses, the two work on figuring out how to work together after their first meeting, what they feel for each other (especially considering that Jin Wook is expected to marry another woman), and how to work through their interesting family dynamics. 

Why I liked it: This is a show that really shows the effect of emotional baggage. Neither of the main characters have a “simple life” and it plays into their interactions daily. It is a cute show, an easy watch, nothing too complicated but definitely heartfelt. It is a good illustration of the different ways that people care for those around them too. There are definitely several complications that come along and they are realistic and well thought out. 

Tomorrow, With You (time travel, emotional, romantic)

Summary: Yoo Sojoon is the CEO of a very successful real estate firm. He ends up saving photographer Song Marin from being hit in an intersection and begins to try to get to know her. Little does she know, that Sojoon has been able to time travel using the subway ever since he narrowly avoided being in a major accident in that same subway tunnel. Sojoon is interested in Song Marin because he wants to save her, being encouraged by his mentor, a man that is also able to time travel in the same way as Sojoon. Sojoon encounters the many issues that come along with time travel and does all that he can to avoid the heartbreak that he sees when he travels to the future. 

Why I liked it: This one was interesting. All of the characters storylines are so tangled together and there are times when you can’t tell if we are seeing past Sojoon, present Sojoon, or future Sojoon. It feels like we are in that time travel web right along with them. It is definitely a heartfelt story that will have you in your feelings while making you think. Life is complicated, with and without time travel, and this shows that. 

Itaewon Class (Social issues, workplace politics, vengeance, family)

Summary: Park Saeroyi is a teenager that gets kicked out of his new school after punching the school bully and refusing to apologize. His father has recently purchased a building and is working to make his own restaurant after being let go from his position (the bully’s dad was his boss). As Mr. Park was making a delivery, he is a victim of a hit and run and passes away. Saeroyi finds out that the bully was the one driving the other car and attacks him, landing Saeroyi in prison for several years. Upon release, Saeroyi sets out to begin his plan to take revenge on the bully and his family for all that they have done. Saeroyi’s goal: Become the #1 restaurant business, overthrowing that family’s company. The show follows Saeroyi as he puts his plan into action and tries to go from the bottom of the totem pole to the top. 

Why I liked it: I loved this drama! I’m not sure whether it was the storyline, the diverse characters, or the main character himself. The irony of so many things had me falling in love with Saeroyi’s plan and Saeroyi’s character was so...wholesome. I definitely yelled at my screen several times, especially during the last handful of episodes. The characters (at least those that work closely with Saeroyi) are so easy to love. Even those that aren’t the easiest to love, you still root for them. Now, the bad guys are the bad guys and they stay bad but you can see their motivations...not always making the pill any easier to swallow. It is definitely a drama I would recommend to everyone, whether they like foreign dramas or not. The storyline is good, the acting is wonderful, and it tugs at your heartstrings. 

My Holo Love (action, romance, emotional, sci-fi)

Summary: Soyeon has lived a very solitary life due the fact that she has a face blindness disorder where she can’t recognize the differences in individual’s faces. This all stems from a childhood trauma. By chance (or not), she ends up with a pair of high tech prototype glasses that allows her to interact with the AI program that is installed, named Holo. He is meant to be a sort of personal assistant and only the person wearing the glasses can see and hear him. Holo helps Soyeon throughout her daily life, explaining who people are as they walk up to Soyeon so she can identify them and taking on the role of love coach. They become quite attached to each other, emotionally. They both realize the limits though, considering one is a human and one is a hologram. Holo is the spitting image of his creator, Nan Do...a man that the world thinks is dead. He is not. There are many people looking for him and his glasses. This causes him to become well acquainted with Soyeon.

Why I liked it: This one is cute. It is relatively short too...only 12 or so episodes compared to other series that have 20+. It was really interesting to see Soyeon’s relationship with Holo vs. Nando, but a good sort of interesting. The pacing was good and I really became invested in these three main characters. The ending is bittersweet (leaning more toward the sweet side) and how they get there is complicated, sometimes messy, but very intriguing. Definitely a good show to watch if you are wanting to watch something a little out of the ordinary while also seeing most kdrama troupes represented. 

Chocolate (medical, romantic, angst, tearjerker)

Summary: The show begins in a small restaurant on the pier of a tiny town. Lee Kang’s mother is the owner and he loves helping around the business and watching her make the meals. He sees a young girl outside that is alone and hungry. He puts his skills to use (mind you, he is young...like 10 years old), and makes a full spread for this girl. He promises to make her a chocolate dessert later on if she returns. He makes it, but she never comes back (it was out of her hands). Fast forward to when these kids are adults. Lee Kang was taken in by his father’s family (who disproved of his mother) and groomed to become the top neurosurgeon at the family’s hospital. The young girl, Moon Chayoung, is now a chef and dating Kang’s best friend. They encounter each other another time in Greece when Kang searches for her to come back to Korea to make a final meal for his best friend who has failing health.  Kang and Chayoung end up in a car accident that changes both of their futures and makes everything even more complicated but also provides some reminders about what is really important. 

Why I liked it: Good lord, did I cry with this one! Nearly every episode had me in tears: both happy and sad. It is so sweet and sad. Just...ahhh. It is bittersweet like dark chocolate. Even looking back at the episode summaries on Netflix has me feeling some kind of way. I texted my friend after nearly episode just to vent about why I was crying. These characters are so relatable and my heart broke for them so many times while also celebrating for them. The cast is amazing and the storyline really makes you think about what you have and how you should value those around you while you have them around. I will definitely rewatch this when I need to be lost in my emotions. This is a drama that I don’t know why more people aren’t talking about it. I absolutely loved it.

Crash Landing on You (realistic drama, romantic)

Summary: Yun Seri, a South Korean heiress, find herself stuck in a tree on the north side of the Korean DMZ after a paragliding incident and a freak tornado. Ri Jeong Hyeok finds her and hides her in his home, with the help of his troop of North Korean soldiers. He is not a fan of hers and is looking for ways to get her back to South Korea without raising suspicion. His fiance returns from being abroad after years and throws a wrench in the plan as he had been introducing Seri as his fiance to decrease the suspicion of the neighbors. Seri is getting used to life in North Korea. Several issues arise as they try to get Seri back to the south and these complications bring them even closer together. 

Why I liked it: This one is sweet. Nothing too emotional or heart wrenching. It is interesting to see how they portray the differences between the two countries and how important our relationships with others are, no matter what the government is like. The storyline isn’t rushed or forced and I really appreciated that. It seemed like events unfolded naturally. The characters are loveable and you find yourself wanting to be a part of their “squad”. Some characters redeem themselves, others don’t. Some characters get the ending they deserve, others don’t. The ending isn’t exactly what the viewer (or at least what I) hoped for, but it is more of a realistic ending and I appreciate that. 

Cinderella and the Four Knights (angst, romantic, dramedy)

Summary: Hawon is a high school student that is working multiple jobs. Her step-family is nasty toward her and her father is on the road most of the time. She shows her spunk when she speaks up against some men at a club that are jerks when she delivers food. Hyunmin is one of three heirs for his family’s business and fortune. He sees Hawon’s spunk and offers her a fair amount of money for her to play the role of his fiancee at his grandfather’s latest marriage ceremony. She doesn’t realize what she is in for. When she stands up for herself at the wedding, she grabs the grandfather’s attention. He ends up hiring her to live with his four grandsons to “whip them into shape” and gives her missions to complete, essentially trying to get the grandsons to interact with each other as they each live their own separate lives and don’t like each other.  Hyunmin is the eldest cousin and is the “arrogant playboy”. Jiwoon is the middle cousin and is the most withdrawn; he was an orphan and was thrown into this affluent role overnight...leading him to portray himself as wild and rebellious. Seowoo is the youngest cousin and he is a popular singer and is a sweetheart. The fourth knight is the secretary of Chairman Kang, Lee Yoonsung, and he is the bodyguard for Hawon and the three cousins. 

Why I liked it: This one is complicated in the best way possible. It definitely hits on many of the stereotypical Kdrama troupes. You fall in love with all of the the main characters, even the chairman (a role that typically is the bad guy). The relationships are complicated, the characters are lovable, and the main female character has a backbone. Throughout the show, I couldn’t decide which “knight” I wanted Hawon to end up with. The writers did a great job at portraying each of the characters in an equal but unique light to allow the viewers to see them for who they are. The storyline is complicated but simple at the same time. I will definitely rewatch “Cinderella and the Four Knights” again. 

Honorable Mentions: 

Cheese in the Trap

Man to Man

Because this is my First Love

The Lies Within

The Bride of Haebaek

The Legend of the Blue Sea

[cornerstonc]

🎶 🤗 👿

Angst Time | Accepting

Is there any particular music you listen to while writing/plotting angst?

oh u b ET there is fjifao music is kind of my go-to for inspiration of any sort, and that goes double for angst and despair rip mostly bc it's very easy for me to visualize Scenes while i listen to certain (largely instrumental) music or even to just imagine a certain atmosphere or mood. i have two Mood Music playlists on youtube, one general one, and one specifically for the ruination verse since it’s been on my mind a lot lately and it has a very specific Feel fjieao

some of my favorites are race to resting rock, what happens next, wishful thinking, i’m listening, all gone (the outside), vals de la mandragora, aaand. a rare vocal one-- no one is ever going to want me

Could you give us an angsty excerpt about your muse?

an. an excerpt?? like, writing? bc if so u know i'm going to toss out some more snippets of the ruination fic right........

“No doubt you’ve deluded yourself into believing that slavish devotion you once heaped upon our last king was, in fact, a kind of unconditional love, but we both know now that simply isn’t true… don’t we?”

It feels now as if it’s been quite some time since Natori had been removed from his position of tacit authority, that senseless stretch of time when he had spent his days numb and detached, oblivious to the chaos he’d eventually awoken to. Between Caishen’s needling words and his continuing touch, the way he squeezes Natori’s paw as if he is offering support through an onerous trial, Natori is beset suddenly by the powerful urge to succumb to that unfeeling languor again and this time never resurface.

fjfiea i just. got so mean in this fic lies down

What are your muse(s)’ fatal flaws? Any wishlists to do with them?

ohhh. i think one of his fatal flaws which is. probably most noticeable is his devotion to the royal family and to the kingdom itself. more than that, however, i think if someone saw the huge amount of responsibility he feels toward those things on top of his devotion, it’d make for a very easy undoing for him

and i would. honestly. really love to do something involving natori interacting with a more powerful villain or other Unpleasant Person who is using his loyalty against him, twisting his arm into working with them or Something similar thinking emoji 

mostly bc i adore it when what is usually a positive trait becomes a character’s undoing jfifeoa

tho honestly i would love to have natori interact with any villains period, bc he only has his wits to keep those he loves safe, and i just really like the idea of him desperately playing along with this villain or otherwise trying to appease them or even undermine them in very subtle ways in order to Fix Everything

[gayregis]

Do you have any thoughts on TWN using non polish actors to portray characters from polish fantasy book with dense polish culture and roots? And on how most of the cast apperereance are drastically different than in the books? Like Foltest, Renfri, Fringilla or Calanthe? (Sorry this is the correct one, i forgot to add Fringilla on my previous question.)

i feel like the witcher should not be handled by a large american company like netflix. it is clear that a lot of decisions were made to “dumb the series down” in a manner that would make it more of a pop culture phenomenon that could be used to profit off of from viewership, subscriptions, social buzz, and merchandise, instead of an opportunity to demonstrate actual artistry, storytelling, character depth, and poignant messages. the company that handles it CAN be american or another nationality besides polish, but it shouldn’t be a huge one focused on making as much money and social sharability as possible, that will ruin things. (i also feel like the witcher should not be a live-action adaptation, but this is kind of besides the point... to better gauge how i think the feel of a visual-audial witcher adaptation should look, my dream adaptation would be that of a more “adult version” (”adult” meaning in themes like war and despair) studio ghibli or laika).

in regards to casting, i feel like it’s fine to not use an all polish cast as long as they fit the character description in a way that is actually relevant to the plot. so many people in response to people of color being cast in the witcher were volalitely racist and demanded a “polish cast” - as if polish MUST = white. even though poland is not as ethically diverse as some other european countries, people of color do exist in poland, as they/we exist everywhere. if you want an “all-polish cast and production,” that’s fine to me, i don’t think it’s inherently necessary, but i think if one is doing so, that doesn’t mean that it would be wrong to cast actors of color in roles. 

i think the issue lies more with storytellng, for two reasons. one is that eastern european people involved on set seem to actually understand the witcher and what it’s about way better than any of the british cast, and by that i mean sakharov and baginski, who have demonstrated more understanding of like, the style of storytelling (not every scene needs to be jammed with action, drama, sex, gore), what the characters actually mean to each other, and the lore in general. this makes sense because i have read some articles and such before about how the witcher was and is important to its fans in poland and eastern europe because very little “slavic fantasy” ever gets exported and represented internationally, and of course sapkowski involved many cultural references in the series, so it’s recognizable to people from those regions (or are diaspora from those regions) who grew up hearing these fairytales, etc. it’s more of a meaningful callback and less of a “foreign curiosity,” if that makes sense. so for those reasons, i think it’s important to have a majority polish and/or slavic writing room/directors/etc, people behind the story and how the story is told - but that doesn’t mean the writer’s room should be all white men, though. diversity in gender, race, etc should be considered.

the other reason is that the casting for the netflix is inaccurate, but not for reasons of race. the issue with anya chalotra as yennefer isn’t that she is indian, it’s that her hair is incredibly straight and flat and not like yennefer’s curly stormy hair at all, and that her face is so soft and childlike, she doesn’t look stern and cold like yennefer at all. there are many casting issues amongst the white members of cast, such as henry cavill, who doesn’t fit the description of geralt at all because geralt looks like he’s starved constantly, and joey batey, who ... well, dandelion is supposed to be blonde and curly long-haired... but of course, these are the appearances which don’t really “matter” in regards to the story. except i think geralt’s build, as well as yennefer and ciri’s proximity in age, which makes me nauseous to think about how they only have a 6 year age difference

one physical description which does actually matter to the plot/lore is that of calanthe, pavetta, and ciri, as they are a matrelineal line, but in netflix, they don’t look related at all. i saw so many people complaining that they should have chosen a white actress for calanthe, but why is she the problem? why not cast people of color for calanthe, pavetta, and ciri altogether? they should look related and have the ashen grey hair/green eyes, but that doesn’t mean they have to be white. it’s a similar issue with yennefer and fringilla. they are supposed to look similar, and i saw many people complaining that they chose mimi who is black to be fringilla, they are just using “they need to look similar” as an excuse to hide their racism and anti-blackness, because anya is more white-passing than mimi is. from my perspective, why not then cast a black actress who looks similar to mimi as yennefer, then? “they need to look similar” again does not mean “they need to all be white or white-passing.”

we should have cast actors that both fit the descriptions of the characters in the books AND are diverse, without it being “random diversity to appeal to a diverse audience.” lauren thought she was so clever by throwing the actors of color in the roles of background characters, stereotypes, forgettable and disposable aides to the white leads, or super evil villains... i see what you did... why not center actors of color in an actually proud and leading light, with lead roles, where the casting makes sense and isn’t there for tokenization that does nothing to empower people of color? actually incorporate people of color into your artistic projects in a way that respects them and makes sense and not just so you can get more views to make more money

other divergences from canon like foltest were just piss-poor and demonstrated the lack of understanding about the messages of the story. foltest was supposed to be handsome, elegant, and as a refined a king as any, to show how those in power are actually corrupt and as prone to disgusting acts as any other human being, that foltest is not a better man than geralt because he is beautiful and sits on a throne. by making him disgusting on the outside, they totally missed the point that he is supposed to mask his disgustingness on the inside with beauty on the outside. also i feel like (maybe related) twn really made a whole joke out of foltest and his relationship to his sister because in one of the flashbacks (in the sorcerer? gala? party?) foltest is shown as a kid with his sister and his mom grabs his arm or whatever and is like “foltest stop bothering your sister” as like some kind of fucking joke... literally they made a “funny ahaha incest joke” like seriously wtf. the story of the striga in particular should be taken seriously imo because of how rawly the tragedy is depicted... this is probably why it’s one of my least favorite short stories... its so sad and also incest disgusts me horribly

for renfri i feel like she was just sooooo ... more “likable” as a character, a lot like how yennefer’s character was changed. you feel feelings of pity and curiosity towards her rather than actually being intimidated by her. renfri in the books actually made me so mad because i think she represents something like what ciri goes through across the saga, just how when you have the choice on how to respond to your abuse, you can easily become consumed with revenge, and i think renfri made me think of myself in that way so i really disliked it when they changed this terrifying raw aspect of her anguish and hunger for retrubution that made her lose her humanity into like, more of a palatable manner of killing... it really was just “girl with sword” and it was so boring. the lesser evil literally makes my stomach turn and that’s why i only read the story like once as well...

also to return to fringilla, i liked mimi and i thought she should have been cast for yennefer instead maybe.... i just was really upset at how much they changed fringilla’s character in the writing to be a “generic evil villain” when in the series she actually is kind of unique in my opinion. she is like, not allied at all with the main characters, but ends up saving both yennefer and geralt’s lives. she’s not good or bad, she’s not super loyal to the empire but she is still nilfgaardian/beauclairoise, and she just exists as a character and that’s why i actually like her in the books (asides from all of the unnecessary library nonsense). i thought mimi could have handled that complex role really well but they totally took that away from her and just made her a flat boring forgettable “evil” character that does “forbidden black magic” and is super loyal to an empire that brought her purpose because yennefer was mean to her once or smth ig... yeah ok. also i fucking hate how they had cahir of all fucking people order her around. idk how old cahir is supposed to be in netflix because he’s obviously not like 16-20 as he would be in canon during this time period, but to have him be the boss of fringilla... that is dumb as hell. i just try and think about that ever occuring with books verse cahir and fringilla and i think she would smack him off of his horse and into the mud. she’d tell assire and assire would get mawr to drag him off by his ear as he tries not to cry.  also of course i hate cahir’s casting and the fact that they showed his face. why. it ruins like every message that his character had...

oh also because i HAVE to talk about it. i hate how they tried to make jaskier more masculine/boyish with not giving joey a wig or flamboyant setting-appropriate garb, i think they are allergic to men with long hair that’s not a grime, dirt-covered mess... literally just give half of the production wigs or better wigs i swear to god ... also like this is totally for another post but i don’t think making jaskier a flirt is inherently misogynistic like he acts in the books at times. like just write the misogynistic bits out and it’s fine... flirtatiousness is not evil when it’s consensual and appreciated ... i think they just really wanted geralt to be the one that gets large amounts of p*ssy because he’s muscular or w/e and jaskier became this sort of helpless annoying barnacle on his side instead of a real character and friend to him. and to bring this point back to the main point , i think character appearance really affects their characterization: jaskier in twn has short, boyish hair with no facial hair, which makes him look kind of juvenile, jaskier in the books has curly long hair with some light facial hair, which kind of brings up ehhh what would you call it... 70s casanova energies maybe, a man that puts oils in his hair and such, male thottery...

[bestworstcase]

anyways race to the spire is my favorite episode of season three but i think in terms of cassandra’s villain arc and the cass/zhan tiri manipulation dynamic, once a handmaiden is the strongest.

fictional portrayals of “master manipulators” / the chessmaster archetype often get two things wrong: 1) they depict successful manipulators as meticulous planners, and 2) have them emotionally fall apart if their plans fall through, often by becoming enraged and violent. the second is not unrealistic per se, but it does shove the character out of the “chessmaster” category and into the “garden variety emotional abuser” one for me. 

the first, however, i think speaks to a fundamental misunderstanding of the way skillful, chessmaster-level manipulation works. there is no plan, and there shouldn’t be a plan. people are much too complicated and unpredictable for any plan built around manipulation to reliably succeed; thus truly successful manipulators have a clearly defined goal, a solid understanding of human nature, and an exceptional ability to improvise. this is zhan tiri to a T, and once a handmaiden showcases this more than any other episode in season three.

let’s break it down.

it’s difficult to say whether zhan tiri intended for cass to find the mirror shard or not. it would have been good for her if cass never saw the missing piece of that memory, because then cass would have continued to trust her; on the other hand, zhan tiri spun the fallout of cass finding the mirror shard to her benefit so effortlessly that it’s conceivable she prepared for it ahead of time. in the end, i think i come down on the side of zhan tiri just didn’t care, because by now she knows cassandra so well that it honestly did not matter whether cass found the shard or not. +1 for zhan tiri. 

so here is our starting position. cass realizes that zhan tiri lied to her and manipulated the situation in gothel’s cottage, and she’s furious. she storms up to her throne room to confront zhan tiri about it. what happens?

not only is zhan tiri not bothered, she seems almost pleased that cassandra has finally figured it out. instead of explaining herself as cassandra initially demands (“Do you want to explain to me how this got here?!”) or trying to make up an excuse, she calmly waits for cassandra to finish ranting. her only interjection is actually to goad cass into following the evidence to its natural conclusion:

CASS: Back at Gothel’s, I thought Rapunzel was hiding the one memory that proved my mother loved me.

ZHAN TIRI: And...?

CASS: And you manipulated that memory, didn’t you?! You took this piece out. You tricked me into abandoning Rapunzel!

zhan tiri also physically waits for cassandra to approach her, implicitly positioning herself as the one with all the power in this scene. note her relaxed posture here, also:

then, instead of answering the accusation directly, zhan tiri calmly flips it around to be about cass instead and again positioning herself as an authority, someone who knows cass, and what’s good for cass, better than cassandra herself: “Perhaps. Or perhaps I merely pushed you to become what you were always meant to be.”

this reaction lays the foundation for everything else zhan tiri does in this episode. she shifts the fulcrum of the conversation such that everything rests on cassandra’s identity rather than zhan tiri’s manipulation. she also reveals her true identity to cass in a manner that implies they are fundamentally alike by visually linking them together.

in race to the spire, both cassandra and rapunzel directly touch zhan tiri without getting any “glimpses” like this, so we can conclude that everything here is something zhan tiri consciously showed to cassandra. things to note: 

1. the line between what is zhan tiri and what is cassandra in this vision is intentionally blurred. is the reaching hand at the beginning zhan tiri attempting to grasp the original ancient power, or is it cassandra claiming the moonstone and emerging from the sundrop’s shadow as the next piece of the sequence would seem to imply? 

2. zhan tiri is depicted as appearing from within cassandra herself, visually implying that cassandra’s inner nature is similar to zhan tiri. this connection is further emphasized by the similar style in which they’re both drawn, silhouetted with glowing white eyes. 

again, the purpose of this is to change the course of the conversation so that it centers around who cassandra is, rather than what zhan tiri has done, and zhan tiri’s argument here is that fundamentally, she and cassandra are The Same. 

cassandra is shocked, and it is at this point that zhan tiri starts to lay on the emotion; switching from tolerant amusement to chiding cassandra: 

ZHAN TIRI: Oh, quit pretending you’re horrified. We’re not so different, you and I. We were both cheated out of our destinies. In fact, we’re more like sisters than you and Rapunzel ever were! We even want the same thing, and we can get it, if you continue to let me help you.

in this little speech, zhan tiri: 1) dismisses cassandra’s fear, casting it as just another lie she’s telling herself that is stopping her from achieving her full potential, 2) leans hard into associating cassandra’s nature with her own, and 3) continues to position herself as not just cassandra’s ally but also her friend—a better friend than she had in rapunzel, even. on the face of it, this may seem a little silly. you may be wondering how zhan tiri could possibly have imagined this would be at all convincing to cassandra. 

but the thing is... zhan tiri clearly doesn’t expect this to be at all convincing to cassandra. her goal here isn’t for cassandra to suddenly be all, “you’re right, ancient evil demon who’s been stringing me along for months, we ARE the same.” it’s to provoke cassandra into having an identity crisis. 

and it works.

see, the thing is, as soon as cassandra found that mirror shard, it was game over for zhan tiri’s ability to lie to her effectively. the breach of trust was just too egregious. but rather than cling to her old strategies even though they’re no longer functional (as she might do if she were a ‘planning’ manipulator with the inflexibility that implies) or fly into a rage and attempt to force cass to do what she wants (as the possessed-cass theory anticipated), zhan tiri simply moves seamlessly into a different strategy. 

she knows cassandra. she’s spent months digging into her brain, learning her weaknesses, familiarizing herself with what makes cass tick. she knows exactly how fragile cassandra’s self-justifications are, she knows how insecure cassandra is, knows how difficult it is for cass to be vulnerable and trust people. and she also knows, because she cultivated it, exactly how volatile and dangerous cassandra’s temper is.

so this:

CASS: ...No. No, I’m nothing like you. Just because I’m pursuing my destiny doesn’t make me a bad person!

ZHAN TIRI: [laughing] Doesn’t it?

is cassandra playing directly into zhan tiri’s hands. this is the Ideal Outcome, from zhan tiri’s perspective, of this confrontation, and that is why when cassandra turns around and sprints out of the tower to have a panic attack in the woods, zhan tiri just laughs and calls after her: 

ZHAN TIRI: Run, Cassandra! But you can’t run from who you are!

simply watching the rest of the episode demonstrates precisely why zhan tiri provoked cassandra into having this identity crisis. not only did it divert cassandra’s focus away from zhan tiri’s actions (and motives), it also enabled zhan tiri to exploit her insecurity and volatility in order to get cassandra to snap, destroying corona, forcing an eventual confrontation with rapunzel, and getting zhan tiri one step closer to achieving her ultimate goals. 

now let’s skip forward to the the scene in the tent, which i’m just going to quote in full here: 

ZHAN TIRI: You didn’t really think your plan to make things right would work, did you? 

CASS: What are you doing here? 

ZHAN TIRI: I don’t understand. You could have just gone up to her and apologized, face-to-face.

CASS: I said, get away from me.

ZHAN TIRI: You’ve had more than a few opportunities, and even still you haven’t done it. Why is that? I think—

CASS: Because I’m scared she won’t forgive me!

ZHAN TIRI: You’re right to be scared. I’m guessing she hasn’t told you about Project Obsidian. A weapon that was designed to destroy you. Rapunzel just authorized it yesterday.

CASS: What?! No, I don’t believe you. She would never— 

ZHAN TIRI: You can ask her yourself if you don’t believe me. You might want something to defend yourself against her; this potion may be your only protection against the princess when she inevitably turns on you.

the brilliance of this is that nothing zhan tiri says here is untrue. she is one hundred percent correct in her assessment of cassandra’s actions in corona: pretending to be someone else while doing vague nice things in no way makes up for what she’s done, and she has been purposefully avoiding the riskier but correct course of action ie to plainly apologize and accept whatever comes. 

by playing evil therapist here, zhan tiri goads cassandra into articulating her exact fear that her actions are unforgivable. this is something that cassandra needed to express, instead of continuing to run away from her feelings. it’s a vital moment in her redemption arc, and like zhan tiri’s little speech in the tower it can seem silly or even outright counterproductive for her to push cassandra in this way. after all, she’s literally encouraging cass to go make up with rapunzel for real. 

but what she’s also doing here is drawing cassandra’s subconscious fear into the open and putting that at the forefront of cass’s mind. she is forcing cassandra not just to articulate this fear but to intently feel it, which is the key to everything that comes next. this is why, after cassandra admits that she’s scared, zhan tiri moves right into reinforcing that fear—again, by bringing up objective facts. project obsidian does exist, it was created with the intention of destroying cassandra, and rapunzel did indeed authorize it yesterday. cassandra doesn’t trust zhan tiri anymore, but the beauty of zhan tiri telling the truth now is that cassandra’s doubt becomes a weakness rather than a strength.

because she no longer trusts zhan tiri, cassandra immediately goes out to “prove” zhan tiri “wrong” by doing the opposite of what she appears to want cass to do: from cass’s perspective, it looks like zhan tiri is making up lies to get cass to give up on reconciling with rapunzel and go back to following zhan tiri’s plan, so the most logical thing to do is to try harder to reconcile with rapunzel instead (despite the tiny grain of doubt that convinces her to take the potion anyway, just in case). 

except project obsidian isn’t a lie, which means that cassandra is actually placing herself in an even more vulnerable position, by walking outside and approaching rapunzel so that they’re right next to each other when zhan tiri pulls the cloak away. and then, when the gun is fired, and cassandra finds herself encased in amber it creates this terrible moment for her of zhan tiri was right. and it’s that that makes cassandra snap. and that’s exactly what zhan tiri intended to happen, and that’s the outcome zhan tiri is working towards from the instant cassandra reveals that she found the mirror shard. 

(i think in the end this manipulative strategy wasn’t 100% successful, because zhan tiri’s Ideal Outcome in plus est seems to have been that cassandra really would buy what zhan tiri was selling re: she and zhan tiri being The Same, and that didn’t happen. but again, zhan tiri knows cassandra well enough to see her betrayal coming, and swiftly and easily changes her tactics when it happens.)

so, more than any other episode in season three, i think once a handmaiden shows us not only that zhan tiri is manipulating cass, but how she does so, and just how skilled she is at manipulation in general. it also very neatly avoids the two biggest pitfalls of writing manipulation in stories and in general is a masterclass on how to write it well. 

also here is a bonus picture of zhan tiri and her grapes

in conclusion i love gremlin baby and once a handmaiden isn’t about cassandra flip-flopping it’s about zhan tiri seamlessly switching from manipulation with lies to manipulation with facts and cassandra not being able to keep up with the change of tactics and thus falling victim to them again

[toxtricityamped]

why jinsoul might be evil: a long-ass doc

I’m done!!!! I’ve written a full five page essay about how Jinsoul might be the final boss of Loona hehehehehehe! This was inspired by a post that I saw by @deerychuu yea i know the post is from 2018 but im bringing this back cause it inspired me

link to the google doc is here!

the entire doc is under the cut. it has no pictures so random sentences with arrows probably means that there was a picture there lolll

My stupid and mostly unsupported Loona theory: Jinsoul is evil hohoho

Ok so I saw a post a little while ago that was like “Olivia hye is the villain in yyxy but Jinsoul is loona’s final boss” or something like that, I don’t remember, but when I saw it I thought huh that's cool. But thEn I was watching the Singing in the Rain MV and like damn that makes sense so anyways here’s me finding evidence for it

My strange, messed up timeline:

1. Egoist Rap

2. Singing in the Rain

3. Love Cherry Motion

4. Love4Eva, Sweet Crazy Love

5. The rest of the Egoist MV

Part 1 of the ✨stupid✨ theory: Jinsoul is in prison for some reason who knows

Ok so basically this part I did not come up with (I found it on youtube oop) but it's important so I’m gonna leave this here. Throughout the earlier music videos featuring her, she’s shown in neon bars (or a fish tank) which probably represent her being trapped

But then at the end of Singing in the Rain, the bars aren’t straight (just like how Jinsoul isn’t straighUIDHFIUHDJDO *gets electrocuted*), they’re like all bent around and shit honestly idk what the word is but you get the idea.

(small cause I had to fit it on this page)

So what I think it is, is that Jinsoul broke out. She broke out of this ?prison thing? and she is out she’s gonna kill us all, run. Also let's all look at Jinsoul’s visuals there omg queen

Part 2: Jinsoul, when she was trapped, was on Eden (or at least had some way to contact Eden) and talked to Olivia Hye

You read the header, you know what's going on hohohoho. This part of the theory is me saying that Jinsoul is from Eden. Full theory is that I think that all of Odd Eye Circle is from different parts of the mobius strip that's actually important huh sO (Choerry is from Earth, that’s already a given as she is shown there and also shown going to the Middle Earth, Kim Lip is from the Middle Earth uhhh I just think that because she isn’t really shown anywhere else???, and Jinsoul is from Eden.)

Why do I think Jinsoul is from Eden you might ask, well hohohoho you’ve come to the right place (I sure do say hohohoho a lot)

In the Egoist MV, Jinsoul is seen (in a prison, implying that she was still trapped at this time) in front of a neon sign that says something in Chinese. (some people say that it has something to do with vivi but I personally think they just wrote it in Chinese so the Korean-speakers couldn't decipher it as easily lol) The characters say “Fallen Angel”. (I think, I don’t speak Chinese)

 Boom fallen angel my theory is PROVEN wahahahaha so basically what I’m saying is that Jinsoul probably was on Eden at some point, but she maybe tried to do something bad who knows what and it was terrible enough that rather than being exiled to earth, she was forced to be in prison.

The second part that I have to say about this is the connection between her and Olivia Hye. She’s (obviously as it is literally oLiViA hYe fEaT JiNsOuL) in the Egoist MV. She's shown still trapped in the blue neon lights and is whispering in who I believe is Olivia Hye’s ear. I think that Jinsoul was trying to convince Olivia to do whatever Olivia ended up doing I’m not sure.

Part 3: Jinsoul’s “Swallowing the sun in the afternoon” and other lyrics

This parts gonna be short because I have no idea who or what the sun is referring to! It may be Olivia Hye, or Choerry, or it also may be someone or something else, but I think this was the reason Jinsoul was exiled to her neon prison thingy. These lyrics are in both Singing in the Rain and Egoist, so they gotta have some kind of significance kskdjdjsk 

Personally I think that the sun may be referring to Choerry, because there is a can with the words ‘the sun in the afternoon’ on it, and Jinsoul eats a cherry out of it, and Choerry is very happy happy as everyone knows so it would make sense for her to be the sun.

 But this wouldn’t make sense because Love Cherry Motion comes after Singing in the Rain (as Jinsoul isn’t trapped at this time) soooo maybe Jinsoul had hurt her before the timeline??? This might make sense because Kim Lip might figure this out in Eclipse. (you know. The sun being swallowed by the moon in the afternoon hohoho) 

Also, who I think is Choerry is shown in the Egoist Mv taking the cherry out of the can. Her skin is a tone darker than Jinsoul’s, and the mouth is obviously wearing the same shade lipstick as Jinsoul so you can tell it's not her actually eating the cherry. I think Choerry was just a reference to the earlier music videos, or to the fact that Choerry was in One&Only.

<-- I think this is Choerry but it might be Olivia.

But she also says “for the sin of swallowing you” to Olivia. bUt none of this makes sense, this is just me ranting. Long story short, I think Jinsoul “swallowing the sun” was what landed her in prison. Let’s get onto the other lyrics!

Nevermind I lied. I'm still stuck on the similarities in Love Cherry Motion and Singing in the Rain. I’m pretty sure this happened before Jinsoul was exiled, and before she had an Odd Eye. 

← The moon shown in Love Cherry Motion and the moon shown in Singing in the Rain (more similarities!!!)

Idk I just definitely think that Choerry and Jinsoul are connected before the actual events somehow.

Also this is about different parts, but Jinsoul actually talks about being dangerous in the lyrics of Singing in the Rain hehehehe.

Part 4: Jinsoul egged Olivia on (specifically with her maybe killing ViVi)

Uhhhhhh so this part is mostly about the lyrics of the Egoist rap. Throughout the rap, the common theme of what Jinsoul is saying is “we’re together, I feel what you feel, come to me” and that kind of stuff. Placed around her are cans (like the afternoon sun one) and all of them are opened, implying that she’s eaten them. The lyrics of the rap are “Hey, for the sin of swallowing you, You get bigger and bigger, beautiful you, You are me, now I’m you, Little by little, soaked into my veins. On&on, you and me the endless cycle, We can’t be separated. When I miss you, I close my eyes and go to you for a while, Close your eyes and you come closer to me.

She’s shown talking in Olivia Hye’s ear during this, which may mean that Olivia Hye is the sun, but this isn’t about that, this is about Jinsoul being evil. 

Now this part (of this part loll) is still about Egoist, but the other parts of the MV. Most of the lyrics before the rap are about how Olivia misses someone (probably Yves but that's another story) and how she wants to love herself instead of them. It also opens with a scene in which Olivia lays on a mattress covered in white feathers. I believe that this part in Egoist happens after the rap, but the rap is put before the change in Olivia’s mentality for extra effect. After Jinsoul’s scene, Olivia looks at the mattress again, and the feathers that used to be white turn red. There’s also some scenes that show her eating a plum and having what looks like blood on her lips, as well as snips of a scene where she is washing lots of blood off of her hands. I think that Jinsoul may have influenced her into killing ViVi, or doing something else. (I’ll put a link to a doc that one of my friends wrote about why Olivia may have killed ViVi.) The placement of the rap between the two parts of Olivia’s music video are what make me think this theory is more plausible :).

Part 5: Jinsoul the blue fish

Now we’re getting into more detail about the Singing in the Rain MV!!! I already explained the theory about how Jinsoul is trapped in the blue lights, but there’s moreee!

During the Singing in the Rain and some small parts of Crazy Sweet Love, she’s shown with a blue fish. This is important because in Singing in the Rain, she’s also shown by rows of tanks, all filled with red or orange fish. She eventually stops by a tank on display in the middle. (I know which fane this is cause its my computer background lmaoooo) 

Ze fish in Singing in the Rain and Sweet Crazy Love

So the fish is consistently shown as different from all of the other fish. The ones on the pedestal are too, but they are all the same type, at least. Then, Jinsoul pours the blue fish into the tank of orange ones. However, it is shown just after that, that the blue fish actually represents Jinsoul. 

<-- Jinsoul, but she’s the blue fish ooooooo

I think this was showing that Jinsoul was not the same as the rest of the girls in Loona. She’s an outlier. 

Anyways that’s all for now, I’ll try to eventually find some evidence in the later music videos but for now this is what I’ve got! Please feel free to tell me what I got wrong cause I know there must be something and all those random details that i missed.