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ultfreakme · 5 months ago

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I've read the WarWorld saga and I love the twins. However, like Chris, they are also sidelined and underdeveloped. Otho is the only one with agency, while Osul feels like another version of Chris. All three characters needed more time and development beyond Clark rescuing them.

Regarding Zod and Ursa's abuse, I understand this may not be what you meant, so this isn't an attack on you, but rather a statement. No child abuse ever makes sense. There is no justification for a parent to hurt their child. Ever. Unfortunately, there are people who want kids and still end up abusing them. Abuse never makes sense—some people are just awful. Zod and Ursa are simply terrible people. A wanted child doesn't always equate to a loved child, which is a sad reality. Zod and Ursa are just bad parents—monsters without any real motive, just inherently cruel. Just like all real-life abusive parents. There's no point in trying to rationalize their abusive behavior because there is no reason parents should ever abuse their child.

Anon, again oh god I hope this does not come off as me condescending to you. I have no personal anything for Chris. I'm mostly indifferent to what he is to people in fandom, all of ym gripes lie with writing decisions. I personally disagree about Otho, Osul and Chris being similarly dismisses, and I think I have textual proof Otho & Osul got more investment as characters independently, and as children to Clark more than Chris ever was, and with more intention behind WHY they act the way they do. This will not be about Chris or Osul or Otho as characters, but about how Geoff Johns wrote Chris & PKJ wrote super twins. I'm doing this to dissect storytelling and characters. I genuinely wish you all the happiness and fun for liking Chris. I am personally simply not compelled by him and I think the text doesn't provide me nearly enough of him in comparison to his counterparts and alternatives. That's all, this is just me showing why.

Right off the bat, introduction scene; this is pivotal, this is where your character makes an impact & shows us what they're about. How they talk, what they do on the regular. This is the establishing moment.

PKJ with Otho & Osul's very first scene:

I don't need to speculate or think too hard to know that Otho's the hardass who doesn't give a crap- she's resourceful, motivated entirely by survival and being warzoon. Osul's the more empathetic one, he tries to be the same kind of tough his sister is with the way he sneers and talks, but he tells her to go easy and is clearly the more open and kind one.

Sibling dynamic establish. Individual character and action established(along with individulistic design).

What was Chris's introduction scene? I'm dismissing the very first page we get of him in the pod because he isn't really a character there, but going to the scene where he does something character-wise

K, nice dramatic shot. What does this tell us about Chris Kent? He's smiling as he says "I'm hungry" and lifting up a TV set. What does this tell us? What does this mean? Why is he doing this?

In-text, this entire issue, I don't get an answer for this. We can speculate, but it's not factual. I can make up that he's lifting the cabinet to draw attention because he comes from an abusive home but I can also just as easily defy this by saying Zod & Ursa would never allow this level insubordination and disobedience by randomly lifting objects. I can say whatever I want to explain this behaviour of smiling, lifting an object and saying hes hungry but in-text, in canon, we are given no explanation for why he does this as a character.

This scene is actually in service of the audience. This is just to show us the reader, a kryptonian feat, which is simply visually repeating a thing Clark's already verbally confirmed.

But I do have a answer for why Otho & Osul said every single thing they did in their introduction scene, down to their expressions. Otho's cool with Clark being dead because dead people have resources on them she can steal to better defend herself. She's sneering because she doesn't give a crap if he's 'Superman'. Osul is looking unimpressed up there because Clark is looking rough & he is in disbelief that this is apparently the famed "Superman" who they held admiration for. His expression softens because yeah Superman is weak, but he still admired him at some point & he's trying to calm Otho. I don't need to dig or search because the writer is telling us "hey this is their deal". Otho's the more aggressive one and we spend more time with her because she's taken on the role of being the tough one, protecting Osul.

Chris? We never learn why Chris acts the way he does. In fact, we see a page immediately after the cabinet scene that puzzles me as to why Chris was lifting it in the first place. He doesn't KNOW he has these superpowers, he tries to fly like Clark and almost falls. So why is he smiling? Is he happy he's strong now? I'm purely guessing because the writing and art don't convey anything congruent. He says he doesn't have a name. He is entirely unfazed. And we never get an actual, canon explanation for why. We need it though, because these things are character defining and this behaviour especially is highly odd for a kid who just landed in a planet he doesn't know, away from the only world he understands, among complete strangers crowding around him to observe. The entire time, he smiles serenely and for some reason, trusts Clark after an extremely brief conversation. It can't be just because he's kryptonian because Zod & Ursa are also kryptonian.

Otho & Osul's reason for trusting Clark? Established immediately in the next two chapters. Otho & Osul are the most precious things to each other > Mongul says they must kill each other > But Clark says absolutely not > Twins like Clark better than Mongul because they figure out if they must become the people Mongul wants, they must destroy one another which is NOT on the table > Clark's the better bet. This is why Otho chooses to somewhat warm up to Clark and Osul goes from "hesitant" to "yeah I trust him entirely". Their trust in Clark develops slowly, we know why they're hesitant, and we know why they open up.

Chris? Why does Chris trust Clark? Is he the first kind person he encountered? What did he mean when he say "you don't belong here either, do you?" Again I can personally hc a bunch of things but it is not clearly intended by the text. GJ doesn't ever allow Chris to talk. And when Chris does, it's singular words and are rarely insightful into Chris's psyche, even in Kryptonian. Like why does Chris want to be adopted by Lois & Clark, specifically Lois, when he himself says "Lois doesn't like m" and Lois does nothing on-page to subvert this? If kindness is what made Chris attach to Clark, shouldn't he be averse to Lois the entire time?

Chris is entirely well-adjusted with Clois. We see no evidence of abuse, the stories never discuss Zod & Ursa, or what Chris specifically thinks about them. There's nothing reflected in his behaviour or character other than "he's nice". Which is fine, but again, why?

Even Jon, who experienced extreme abuse for years is now very nice. But there's an in-text reason for this. Jon refused to bend to Ultraman and kept fighting, and this meant holding onto hope. He refuses to be unkind because then he'd become like Ultraman(which was Ultraman's point). He also shows the after effects of this time through his insecurities with his powers and abilities as a hero.

Chris? Where? I read the action comic arc and the Tim stuff, there's little to nothing. He's got your typical kryptonian struggles but every Kryptonian's got em and after that it's up to the chraracter to react how they do. Otho was frustrated and immediately getting into fights, Osul was trying but still not getting the hang of it and both of them exhibited their inability to adjust through a penchant for violence because of Mongul. Chris just, he just says "this is difficult" without any unique expression as to why. He just says it's hard and reports generic symptoms.

Otho and Osul each got a separate arc btw. Otho got the final PKJ arc with the Blue Earth Movement with Ra's Al Ghul's alternate dimension granddaughter trying to force her further into being a ruthless warrior. Osul got the opening arc on Earth where he had an entire go inside him and Mongul's lackeys were hunting after him.

Chris got.....afaik, individual arc only after his spontaneous age-up. I'm not counting it because atp he's not Clois's kid anymore.

Onto the next point.

Abuse itself is senseless, but we are not dealing with real people here. These are characters, and characters have motives, that's their entire deal. Zod isn't just generically evil, he's like that because he wants Kryptonian supremacy dictated by violence and might. Same goes for Ursa. You cannot just say "these characters are simply evil" because then I can replace Zod and Ursa with two robots if all we need is "generic evil person".

Characters, be they good or bad, stand for something. They have to, otherwise it's just bad writing.

These character motives define actions. So when I say the abuse doesn't make any sense, I'm talking about it in terms of character, and what the writers and creatives intended to tell the audience through these choices. Zod and Ursa arent just inherently cruel, there's a reason for why they're like that. Their families value military might and strategic importance, they consider kryptonians to be superior to humans and shun any intermingling with "lower species". If you paint Zod & Ursa as just "simple evil", then you dismiss the message CLARK is trying to convey by defeating them.

When Clark defeats Zod, it's not just "good guy defeats evil". It's showing that this kind of exceptionalism and what's basically an analogy for racism and colonization, THAT is what is bad. If Ursa and Zod are just evil, it's not about child abuse as a story arc. It's just "child suffers under villain".

If the message was "abuse bad", it was lackluster and stating the obvious. We all KNOW parental abuse is bad. Now what does that mean for Chris Kent? How is he impacted? You can't say Ursa and Zod abused Chris and then not explore such a severe topic. The entire Chris arc in Action Comics fully ignored this aspect until the final 2 issues, and even then it didn't show Chris's turmoil. He had all of 10 lines across the issues dealing with his abuse. There is no exploration, no insight, no genuine engagement by Geoff Johns with the topic of child abuse.

I am saying all this not because I think Ursa and Zod can in any way be justified. I want to reiterate that, nothing will justify what Ursa and Zod did. With that in mind, an explanation for their abuse is NOT a justification.

Abuse and its cruelty makes no sense. But every abuser has an explanation for why the do it (again this is not a justification, this is still bad, explanations don't make a single thing better). The point of a story is to give a believable explanation for the things that happen and Geoff Johns didn't even TRY to explain.

I feel like I grew less and less coherent as the post continued but I hope I got my point across. You are not going to make me enjoy Chris as a character. And in turn I am not going to make you hatete Chris as a character. That's not what I want, I don't care about asserting which character is better. My current favorite is an anime character who showed up for 4 episodes in a 40 episode anime who people say I need to move tf on from. I am doing this not to bash Chris, but to bash Geoff Johns, who failed to deliver a compelling story.

This is again, a criticism of writing. You can love Chris all you want, I just don't think the Chris arc is a well-crafted story, and there aren't enough well-crafted stories of him for me to try to like him.

#riki asks #chris kent #otho ra #osul ra #super twins #superfam

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jisungshotfirst · 2 years ago

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Toku anon: so speaking of the Kpop survival show with Hui in it, I have some questions about Kpop survival/predebut shows in general.

1. Why does everything seem so dramatic whenever I see clips of these shows? Are they always like this? I think the least-toxic-feeling one I've seen clips of was the Stray Kids one. And even then, there were some tense moments.

2.a. I've noticed that a group doesn't always seem to debut from the shows? Like, there was a clip of predebut Ateez on a show called Mix-Nine, but I don't think that was their show? Because I was told only some of them got near the end. And the YG boss guy was there for some reason? (At least, I think it's him? It was the same dude that showed up in one of the SKZ survival show episodes.) So then which group was that show for?

2.b. and then there's that show that some of the Cravity guys were in, that led to X1, but apparently X1 disbanded. But it must have happened fast, because the Cravity guys looked almost the same in those clips as when they debuted in Cravity. So what's going on there?

3. Not exactly a survival show question, but what was happening in that predebut Seventeen show with the green basement? On the one hand, it wasn't scary the way the survival shows were (none of the evil edits and that type of drama). And I don't mind the low video quality (I've watched a couple toku shows at 144p). But there's just. Just something that doesn't sit right. As if at any moment some narrator would start saying that these videos were the start of an urban-legend creepypasta. But that never happens.

4. So how often do the "losing" trainees end up going to another company (and maybe debuting)? Because on the one hand, some of these shows have around 100 contestants. But on the other hand, it does seem to happen sometimes (again, seeing Ateez, and half of Cravity. Those are the only ones I know of though.)

5. How often do these Hui Moments happen? As in, a musician who's in an arguably-active group appears as a contestant.

Ahh<3 the world of survival shows<3 I shall answer all ur questions my friend 😎

1. They are edited and written that dramatically because it is reality tv 💔 drama needs to happen for it to be entertaining (subjective ofc! but to producers it needs to be) and again it's reality tv so it needs to at least Seem real. So the editors use what footage they have and dramatise the Heck out of it or some things will be scripted. It will fully depend on the situation and show as to how much the trainees are made aware of all of this (most of the time I feel they are not to have more 'realistic' emotional outbursts). They come in a whole range of toxicity<3 like in the skz one they do kick out felix and minho for drama despite the fact I'm sure jype had the full intention to debut them all. But yeah there can be a lot worse or just different. No mercy is the show that debuted monsta x and I have literally only seen a handful of clips from it because i hear it's one of the toughest to watch, I am not emotionally strong enough. Survival shows are often that dramatic because it's produced as a competition, but run-up-to-debut shows? A lot of them I fucking Love. Because there can be drama but it's not over elimination, the tasks are team building/training skills ! Oneus/onewe and ateez had very fun ones and my BELOVED flower snack .. which was tbz predebut show and it was just them running a restaurant. So nothing to do with performing skills but it was extremely entertaining and was just about team-building and getting to know the members personalities!

2a . There are survival/elimination shows of 2 kinds - one where trainees are from multiple different companies and winners debut in a temporary group together before going back to their companies (eg. Produce series, MixNine). And another where the trainees are from one company, or the show is run by one company, and there are eliminations and the winners debut in a fixed group (eg. treasure box, i-land). And then there are debut/predebut/run-up-to-debut shows with the lineup already fixed (eg. codename is ateez, flower snack). And then there are the few that are technically predebut shows with a fixed lineup but pretend there are eliminations for drama/ have temporary eliminations (eg. stray kids, pentagon maker). I will make a little list here of whos from what!! Official groups are ones made through winning the competition. Follow-on are ones with many losing trainees, or formed by winning contestants but After the temporary group disbands

produce (4 seasons) = [an mnet show - the most watched survival show]

official groups: I.O.I, wanna one, iz*one, x1

follow-on groups: ab6ix, cix, oneus, wei, cravity, bae173, ive, lesserafim, wekimeki +

mixnine = [a show made between yang hyunsuk (yg guy) and jtbc (tv producer)]

(No official group coz their debut was cancelled - yg SUCKS)

follow-on groups: ateez, oneus, onf, a.c.e, treasure, itzy, loona +

other shows

ateez = codename is ateez, treasure = treasure box, oneus/onewe = i will debut, pentagon = pentagon maker, enhypen = i-land, twice = sixteen

yes, some groups are listed multiple times<3 either members went through multiple shows or the group split themselves up between them all.

2.b. so... x1 jnfnd btw anything opinionated here is my personal opinion and people are welcome to disagree! but personally x1 disbanding to quickly improved my life tenfold. x1 was a group made of the 11 top trainees at the end of produce season 4. produce has had a lot of controversy to do with voting fraud (just in season 3 and 4 as far as im aware) so it's very unlikely that the iz*one and X1 lineups where the actual true winners. but iz*one were well debuted by the time it blew up but x1 were just debuted and it was decided that they'd disband and the members went back to their companies. there were 5 starship boys in produce season 4, 4 who are in cravity, and 2 of who got into x1. because x1 disbanded, the 2 x1 boys went back to starship and cravity were able to debut as 9 when they did! which ofc means the world to me because i love them so dearly as they are. and speed was of the essence to try debut and put out music as quickly as possible to make everyone forget about the controversies so it did happen super fast! (x1 disbanded jan 2020, vity debuted april 2020)

3. DFGJFGD no seventeen were just weird <3 not a survival show but not quite the official line up because there's footage from before all svt members joined and also of this kid samuel was training to be in svt but didn't end up doing that. (which kinda thank god because he was literally way too young. also he later was in produce season 2 and choreographed my favourite stage<3). those predebut svt clips are insanity... like they r being weird because they're svt and a big group of teenage boys but also pledis sucks so they were probably being driven insane too. but we got incredible memes<3

4. very often!! the world of entertainment companies is rly small it seems and trainees quite often jump around but especially through competitions and stuff! because they gain attention from other companies who offer a contract etc. a fun little case study for this is kang seokhwa <3 so seokhwa was a YG trainee and was in treasure box survival show and eliminated. he then left YG and entered produce season 4 as an individual with no company. during produce he befriends yohan of oui entertainment and yohan is like 'bro, come join my company and we can debut together!'. seokhwa agrees but yohan wins produce so is put in x1.... but THEN x1 disband. Yohan is shipped back to oui and oh? seokhwas here now! and then they debut together in wei!! but yeah. trainees can audition for different companies and companies can scout people from survival shows. this wasnt the fact with ateez tho! they went into mixnine as kq trainees and went back to kq when they lost. also with cravity, 4 of the 5 starshipz in produce went back to starship and debuted in cravity, the other guy went to rain company and debuted in ciipher!

5. so the hui thing... there have been similar occurences! i think beginning with produce season 2 when 4 of the 100 trainees were members of nu'est, so already debuted. however, they hadn't been active in a long time and had it Very tough trying to prevent disbandment so them joining produce was somewhat of a "last chance" - and it WORKED! minhyun got into wanna one and promoted with them for a year or so, and the rest of nu'est released music while waiting for him and they had an increase in fans from being on produce! this has since been replicated to varying degrees of success (victon, up10tion). there's a possibility that hui being in boysplanet was an attempt at the same thing (my initial understanding) and that it was some kind of strategical move but I be confused as to why because pentagon are not the same as nu'est victon and up10tion... its not the same situation, pentagon are comparatively much more popular. But i think now, hui might've just... decided to go himself. i can't remember exactly but it was something shinwon said about trusting hui to do what we wants to so now i'm not as mad at cube (i always am a bit tho) but im confuzzled by hui's existence. like what is that man thinking.

i hope all ur questions were answered!! if u have more or want me to elaborate on anything please just hit me. I love talking about this shit

#i could li2terally write a thesis about this #this basically IS a thesis #i hope u like reading<3 #jdfjgfd #thank you for asking tho!!#i know a lot of these shows are very toxic and trauma inducing but ... the patterns #my brain Loves patterns and being able to connect so much of the kpop scene to eachother by knowing these shows... incredible #u could throw me two random idols and i could connect them somehow #produce be my main specialty #also i think it's fine to enjoy these shows but not condone a lot of it #or just understand the negatives #like it all boils down to fuck mnet and fuck hybe and fuck yg #and pledis and cube why not!#but the trainees join these shows to be watched and get support and i do be supporting them!!#speaking of! vote for woonggi on boys planet<3 #my son<3 #asks #anons #toku anon #kpop survival shows #kit rants

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kabutoraiger · 2 years ago

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double... whatta tv show!

wowow is usually the place to go for more Artistic dramas but the vast majority of those are like. about crimes or political conspiracies. very interesting to see something like this which has no mystery to solve, no deaths, no corporate sabotage, just a slice of life about two Are They Gay Y/N theatre homies doing acting gigs,

except the presentation here actually isn’t dissimilar from a murder mystery bc the main characters are SO dramatic about their emotions and occasionally unmoored from reality. i would love to see more dramas like this get made where “will these 2 men ever fuck each other” is treated with the same sort of gravitas as finding the killer would be in another show.

i mean just on the basis of production value i’d recommend this show to most people - it’s very atmospheric, well-shot, i especially loved the music used in it which made me feel some kinda way.

it all combines together to really capture the strange mindset of these two people who exist in this like dreamy borderland between their real lives and their entwined identities and their acting. certain scenes actually reminded me of my favorite movie of all time millennium actress, so. bonus points there. i do kinda wish double had leaned into the “boundaries between reality and fiction blurring” angle a little more; i think it could’ve done some wild stuff with that. but as is i still enjoyed what it was going for.

if it has any issues i’d say... the end does feel a bit abrupt. you expect some big final confrontation about their relationship but it all happens inside takara’s weird headspace without the real yujin being present and you kinda feel like you missed a step in the finale and wish you had more of yujin’s actual perspective on all this. but perhaps it makes sense that you don’t get it. maybe even he will never know how he really feels since it’s so wrapped up under layers of Acting Hyperfocus.

i’m still not totally sold on chiba yudai in this. he’s very good as takara, especially his cuter, naive moments, and he is a good crier i’ll tell ya what, but takara is also supposed to be this like enchanting magnetic stage presence in every role he takes and. that part just doesn’t really come across in yudai’s performance. i’m not sure it ever could have come across bc that’s just not the vibe yudai conveys. it does take you out of it a bit.

the other minor problem is the fansubs which are good enough for your average jdrama but. this is not your average jdrama. it’s laden with parallels and subtext and complicated exchanges that even if i was fluent in the language might give me pause, but as someone reliant on subs there were several times when i just couldn’t really grasp what was being communicated at all. (some weird turns of phrase used by the subber too and they get one character’s name wrong every time it’s spoken which was driving me up the fucking wall.)

so maybe only really recommendable to people who don’t mind being a bit confused by media. in the end i found the nebulousness to be more of a pro than a con, honestly. it’s a fun show to sit and think about after you’ve finished an episode. like me going “damn.... being a theatre person seems exhausting”

#doramablogging

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ariel-seagull-wings · 3 years ago

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TOP 12 SNOW WHITE PORTRAYALS

@princesssarisa @superkingofpriderock @sunlit-music @mademoiselle-princesse @amalthea9 @theancientvaleofsoulmaking @astrangechoiceoffavourites

Lips red as blood. Skin white as snow. Hair black as ebony. The fairest woman of all.

Snow White is one of the most iconic fairy tale characters ever created. And also one of the hardest to portray. This happens because, the story is less about her as a person, and more about following her exploration of the world and how this world reacts to her. The tale calls her a princess, but really she is more meant to be a common everygirl for a variety of readers and audiences to see themselves in. So the greatest challenge to portray the character becomes how to make at the same time universally relatable, and an individual character, and today, i’d like to share my favorite portrayals, that camed closer in acomplishing this goal.

12º Laura Berlin in Sechs Auf Einen Streich (2009)

Berlin’s Snow White acts as an outgoing, playfull young lady who deep down is trying to deal with the longing for her dead mother. And then, her father marries a new, vain and cruel woman, and sayed woman orders that the portrait of the previous queen be trown out, wich obviously makes the princess verbally snap against her father weak-willed and her tyranical stepmother. And then her father has a stroke and her stepmother orders her death. Here is a young lady in an emotinal turmoil and distress, wich makes her very relatable to audiences.

11º Nicola Stapleton and Sarah Paterson in Canon Movie Tales: Snow White (1987)

One of the first times that we see the fair princess explicitly growing up from child to young adult. Nicola Stapleton is probably more charismatic as child! Snow White, having more time on scene where she gets to sing with her father, explore the room where her stepmother keeps the magic mirror, until finally having to run trough the woods and meeting the dwarfs, but Sarah Paterson also makes adult! Snow White likable, singing about her desire to someday leave the dwarfs house because she is growing and may need her own space, and showing the doubt between fear and curiosity in her interactions with her disguised stepmother. This highlights more the themes of coming of age and confronting ones fears from the tale.

10º Yuri Amano/Donatella Fanfani/Eileen Stevens in The Legend of Snow White (1994)

In this italian-japanese coproduced anime, the twelve year old Snow White is an inquisitive, merry and kind girl, that has to adapt to a more scary reality when she has to run away from the castle to not be killed. At the dwarfs house, where she is so hungry and tired she takes all bread from a basket and sleeps for hours, she decides to give her hazelnuts and try to do shores to compensate for entering the house and eating the bread. Unfortunally, being a princess who lived in comfort all her life, she fails hard when she tries to do domestic shores, burning bread and cutting lettuce that she tought were garden plagues. But she is so sweet and kind, that it doesn’t matter. Conquering the affection of people for who she is, and not for what she can do in exchange, is the greatest strenght of this encarnation.

09º Elizabeth McGovern in Faerie Tale Theatre (1984)

A lonely girl who just wants some atention and love. Those are the characteristics that McGovern’s Snow White extablishes for herself in her first appearance, trying to impress her stepmother with juggling tricks learned with the Court Jester. Later, in the forest, when she is about to be stabbed, she prays to God for the soul of the Huntsman who is about to kill her, and to her surprise this act of kindness is what changes the Huntsman’s heart and convinces him to spare her life. In the woods she finds the dwarfs cottage, and can finally have friends to talk about things like her nostalgia for swiming in the castle moat/pit. She won’t feel alone again.

08º Kristin Kreuk in Snow White: The Fairest of them All (2001)

In this Hallmark TV Movie, Kreuk gives a 16 year old Snow White who searches friendship in garden gnomes. In a way, she expands the theme of loneliness explored by McGovern, and goes deeper about it, relating sayed loneliness with beauty: she is an awkward and melancholic person, who feels that people only care with her pretty appearance, but don’t actually come close to truly meet her as a person. In a lesser hand, this idea of a person who thinks being considered beautifull is hard could sound absurd and over dramatic, but the screenwriters and Kreuk’s sincere performance make it a compelling dilema.

07º Natalie Minko in Schneewitchen (1992)

An energetic fifteen year old, who likes to run around to play with the Court Jester, and mess up the kitchen while doing pancakes that glue in the ceiling. Minko’s Snow White is one of the few Snow White’s who is allowed to act as a normal teenager: she makes messes, she sometimes verbally fights with people, she constantly questions the adults around her, all the wille still being a genuinelly kind hearted person pursuing the path of truth.

06º Tamara Rojo in Emilio Aragon’s Blancanieves (2005)

I loved watching the DVD of this ballet production over and over as a kid. Trough dance movements, Tamara Rojo gives us a gracious and fun princess. Whetever she goes, a party will always start.

05º Adriana Caselotti in Disney’s Snow White and the Seven Dwarfs (1937)

My first portrayal of Snow White. The Disney version was raised working as a palace scullery maid, wich her stepmother hoped would make her ugly. But that didn’t work. She grows beautifull in body and soul: her singing voice is so sweet it is enough to make a dashing Prince fall in love with her, the animals are always engaged by her joyfull and sassy conversations, and she has a firm way of talking that assures a position of leadership among both the animals and the dwarfs who later befriend her. Really, she is awesome. What can i say about her that hasn’t been sayed already?

04º Marguerite Clark in Snow White (1916)

The version that inspired Walt Disney to make his version. Based on a 1912 stage play, this is the version that extablished being raised as a palace scullery maid as the reason Snow White is good with domestic tasks despite being a rich princess. Clark’s Snow White is also compassionate, sweet, romantic and dreamy, and she mix those qualities with some energy and spunkiness, being an almost wild girl.

03º Carol Heiss in Snow White and The Three Stooges (1961)

The sass, spunkiness and sweet romanticism are back, but with a new adition: an athletic hobby. Carol Heiss was originally a golden medal winner olimpic ice skater, and this movie was made to capitalize in her popularity at the time (along with reviving the Three Stooges popularity). So, we extablish in this version that the heroine who is linked to the snow loves the winter, and one of the most popular sports in this season. No other version before or after that did this, even tough its the most obvious and most awesome thing to do with the character. Ad to that the (uncredited) singing voice dubbed by Norma Zimmer, and you have one of the most complete portrayals of Snow White: she is beauty, she is grace, she can sing, she can cook and she can ice skate. She is the most interesting woman that ever lived.

02º Sakiko Tamagawa/Julie Maddalena in Grimm’s Fairy Tale Classics (1989)

Orphaned from her mother at birth and having a father who is always too busy rulling the kingdom to pay attention to her, this version of Snow White grows up raised by a nurse named Doris, and playing on the garden with a young boy named Klaus. Her favorite pass time is to climb trees to pick apples, her favorite fruit. But one day her stepmother, who for years has been ignoring her, calls the princess to her chamber, and asks if she thinks herself to be most beautifull than the Queen. Annoyed with the absurd of the question, Snow White calls her stepmother out in her vanity. What follows is her running away, having to survive as a fugitive. Getting lost from her Klaus and stumbling in a root, she crawls for her life, until being saved by the seven dwarfs and their wolf friends. Time passes, and she finds a bit of fullfilment while slowly learning to do domestic chores to help the dwarfs, and finding friendship in the wolfs and a giant black bear. But she still craves to reunite with her friend Klaus and to find some love, while the Queen’s menace lures in the air.

And now the moment everyone was expecting... My number one favorite portrayal of Snow White is:

01º Camryn Manhein in The 10th Kingdom (2000)

I know what are you thinking: “Wait, a two episode cameo in a tv minisseries, instead of a protagonist, this is your favorite”? Yes. Yes, she is. In the Hallmark minisseries The 10th Kingdom, a young lady from the real world comes to the magical world to help to disenchant a Prince that has been turned into a dog. This dog prince is Snow White’s grandson. And then the heroes arrive at the Dragon Mountain in the 09th Kingdom, and Virginia has a conversation with the spirit of the late Snow White for counsel. And Snow White counsels Virginia by simply telling her story of once being an afrayed, lonely lost girl in the woods, finding new friends in the dwarfs, suffering three murder attempts from her stepmother, being aesleep for years with the poisoned apple in her troat, until the Prince’s servants stumbled with her casket so she could trow away the apple piece, so she could finally live happily ever after. While she narrates the tale, she says that she knew the danger presented by the ribbons, the comb and the apple, but she also knew that she could hide in the dwarfs cottage, afrayed to be hurt, forever. And her husband was a good man, but she saved herself from death. With that dialogue, Manheim’s sensitive and wise Snow White ressignified the fairy tale for me, making me appreciate better the story and her character. And that is why she my number one portrayal of the fairest princess of all.

HONORABLE MENTIONS: Elke Arendt in Schneewitchen (1955), Maresa Hörbiger in Schneewitchen (1971) and Elaine Bilstad as White Snow in Happily Ever After: Fairy Tales for Every Child (1995).

#snow white #schneewittchen #snow white and the seven dwarfs #brothers grimm #fairy tales #fairy tale #folklore #mithology #literature #genre fiction #pop culture

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introvertguide · 3 years ago

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Violence in Film: A Psychological Perspective

I have had many comments about the different movies that I have reviewed and most of them are very supportive and encourage me to keep going through the list. There is a small minority, however, who are not fans of the movies I review and do not feel that they should be promoted. There are some comments that speak against the themes of the films, sometimes because of nudity or adult themes, but mostly due to violence. Reviewing films like Pulp Fiction, Saving Private Ryan, Schindler's List, and now The Wild Bunch have brought out a few commentors who feel that these films promote or glorify violence and I should mention these things in my reviews. Fair enough, but I would also like mention some things about violence in film since the topic has been brought up.

General violence in film can be correlated with some violent acts in real life, but it is difficult to say which thing led to the other: There are tragic events that occur like the man who broke into a screening of The Dark Knight Rises and shot into the audience. There was also a rise in kicking injuries in school children immediately following the release of The Karate Kid. There were also claims involving a rise in gang violence following the film The Boys in the Hood. But is it the movies that cause a rise in violence or is it a rise in violence that inspire the films? Is it specific violence in films that inspires violent acts or are there disturbed people that will be violent no matter what? I am not sure that there was a rise in violence following the introduction of the ECW to TV and that is spectacularly violent. So it is hard to say whether a rise in violent acts in reality have caused a rise in on-screen violence or the other way around. I know better than to make an assumption either way and no testing in the past has shown strong evidence in either direction.

Violent crimes on screen have gone up while violent crimes in the U.S. have gone down (a lot) since the 80s: There was a steady increase in violent crimes from the 1940s all the way to the early 1990s when it suddenly dropped substantially in the mid to late 90s (US Census Bureau). However, movies like Reservoir Dogs, Natural Born Killers, and Pulp Fiction came out right before the dramatic drop in violent crimes in the US. Nobody credits these films with possibly reducing crimes, but previous logic would suggest such a connection.

Is there a reason for the violence? Does it serve a purpose? I can agree that some movie violence is there just to attract an audience and some acts like explicit rape are used just get the attention of certain audience members. I don't believe that most theater going audiences enjoy this, and the directors are using these kinds of things for that negative visceral reaction to persuade an audience to like or dislike a character. Violence is not generally portrayed as fun or cool, and, when it is, it is over the top and presented in an unrealistic way. The current film with far and away the most on-screen deaths won best picture and most of the deaths were not of humans (Lord of the Rings: Return of the King). The rise of the ultra-violent Tarantino films has a negative correlation with violent crimes in the US. Maybe people are getting all their aggressions out by watching violent films and then not acting out in the real world?

I don't want to try and explain away the violence in film as acceptable because there are many cases in which it isn't. But when I look at Schindler's List or Saving Private Ryan, the extreme violence makes the audience fear for the safety of each character, and it draws you in to the drama. The violence in Pulp Fiction, A Clockwork Orange, and The Wild Bunch keeps the audience from identifying with the lead so that we can accept the bad things they do and accept the consequences that come from it. I don't personally think that watching these films will make a person more violent, but I do think that naturally violent people will enjoy these types of films. I am a very non-violent person and I enjoy violent films for what they are, but I am pretty sure that I am not more likely to harm somebody because of all the films I have seen. If anything, films have turned me off from violence because sometimes I can barely handle watching it happen to actors.

#introvert #introverts #psychology #film violence

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florrickandassociates · 3 years ago

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TGF Thoughts: 5x04- And the clerk had a firm...

You can tell I’m enjoying this season when episodes air on Thursdays and I’ve written a recap by Friday night. More under the cut, as always.

I woke up very early on Thursday morning and couldn’t get back to sleep, so I decided to just watch this episode on my phone (I write these on rewatch). I’m sure the show was hoping that the upside-down clips of fake!Love Island would be disorienting, but wow, did this work on me. Between the lack of sleep and how plausible it would’ve been for me to accidentally have my phone upside-down with rotation lock on... I truly thought it was an ad for Love Island and also had to pause the episode to check my phone settings. Good job, show!

It turns out, however, that Carmen is doing a headstand and watching reality TV on her laptop. Very happy to see Carmen at home. It would be easy for the show to have her just be a mysterious presence at the firm, so even seeing her do perfectly normal things is a good reminder that she is a whole person and not just Associate Who Will Defend Anyone.

(I wouldn’t have expected Carmen to enjoy reality tv, but then again, I love Big Brother so...)

Carmen lives in a studio that doesn’t look like it is brand new!!! I’m ridiculously excited to see an apartment that actually looks like a place someone fresh out of law school might live. I’d believe it if Carmen lived in a studio in a luxury building or a one-bed on the salary she’s surely making at RL, but it’s very refreshing to see a character who isn’t super-wealthy on this show that tends to be about, well, very wealthy people.

Carmen is smarter than every other character on this show and on most TV shows: instead of opening the door without taking any precautions, she puts the chain on first. Remember how people used to just show up at Alicia’s door when she was the governor’s wife, and she’d always just open the door and look surprised?

Charles Lester is at Carmen’s door even though it’s nearly midnight. She tries to get him to leave, but he insists on staying. She closes the door to undo the chain, and uses the privacy of the closed door to grab a makeshift weapon, just in case.

Carmen explains her apartment by saying, “student loans.” So she doesn’t come from (excessive) money. (Or she was cut off by her family, but I feel like the early character description of Carmen said something about her family not having money.)

Lester has something very important to tell Carmen, but all his notes are on different scraps of paper and, even though he says his information is time sensitive, he takes his time looking for the right piece of paper.

He says Carmen can’t say she heard the info from him, blah blah. He’s there to share that in ten minutes, someone at the firm is going to be searched by the FBI. This info comes, of course, from Rivi.

Do we think Lester has to reference his notes to remember that the FBI is searching a name partner of Carmen’s firm? Or do we think he’s fucking with her? I think the latter.

Carmen was doing exercises to help with migraines, btw.

Carmen calls Diane to tip her off. Diane and Kurt are already asleep, but luckily, Diane has her phone on full volume and takes the call. She’s not happy about it and asks if it can wait until tomorrow. Asks is the wrong word—she instructs the caller to hang up if it can wait.

Even though Carmen can’t say where she got the information, Diane knows it must be from Rivi. Seems obvious enough.

Kurt gets out of bed and starts locking up guns and getting to work; Diane calls Liz. Liz is in bed with a guy we’ve never seen before and she does not really want to talk.

Liz notes that the info also could’ve come from Wolfe-Coleman, since Carmen is “tangled up with some rough characters.”

I’m sorry, fake Netflix CEO man... WHY ARE YOU STILL TRYING TO KISS AND PLAY WITH LIZ WHEN SHE IS ON THE PHONE TALKING ABOUT PURGING FILES AND THE FBI????

I don’t even hold this against the character. This is one of those things the writers of this show LOVE doing to heighten tension. They think people behave like this in real life and that it’s funny to have a million competing priorities at once, so they insist on doing things like this. In reality, I would be concerned about any person who did not hear “FBI” and go, “um, what the hell is happening? I should stop trying to fuck rn.”

Kurt starts burning papers. Is no one going to point out that maybe being on the phone (after you KNOW you’ve had NSA issues) talking about tips from powerful criminals and asking questions that are pretty clearly about document destruction... is a bad strategy?

Dude, why are you STILL GOING after Liz clearly tells you to stop!? Do you want me to hate you?!

Liz adds Jay to the call. He is asleep and also his hallucination from the premiere is (sadly) back. I still don’t get what they’re going for with this, so I’ll just be happy that (1) there is only one hallucination this time and (2) it’s only on screen for a minute.

This dude is really chanting “Let me see ‘em!” at Liz while she is on a frantic work call! This is how we are introduced to him! This is not funny! If this weren’t being played for laughs/to raise the stakes by having a lot going on I would be calling this man misogynistic!

Liz remembers that Diane has full boxes of files! They spill onto the floor as she tries to hide them! Drama!

And then the FBI arrives, so Diane asks Liz to take her 9 am with Wackner

The FBI enters, accompanied by... Nancy Crozier! Nancy is now an AUSA for some reason!

Nancy has graduated from “just a girl from Michigan” to using her pregnancy for dramatic effect. I guess she’s aged into being Patti Nyholm, or something. (I would LOVE to see Patti Nyholm show up on TGF.)

I know the client files are top of mind for Diane, but isn’t it kind of obvious that the FBI would be there about Kurt, given that the FBI was talking to Kurt days earlier?

9 mins in is early for credits!! (This first act flies, too—did not feel like 9 minutes.)

I say this once an episode, but isn’t it so fun to see all the characters from season one of TGW pop up in season five of TGF?

Liz sees her new man, Del Cooper, in reception. He’s a client. They try to be professional with each other. Liz remembers Diane’s 9 am with Wackner and asks the receptionist to tell her when he arrives. She dismissively says it’s “Some judge guy.” Wackner is, of course, already there and watching the interaction with interest. He uses this as an opportunity to “look for the restroom,” observe Liz meeting with someone else, and walk down to the associate floor.

He asks associate Leah (we’ve definitely seen her several times before) where he’s supposed to go for the staff meeting. She asks if he means the partner meeting or the associate one—he wants whichever is more interesting. She says she only knows about the associate meeting, and so he tags along.

Leah and Lucy (the associate from last week; Michael Boatman’s daughter) talk and assume that Wackner is from STR Laurie and thus in charge of the fate of their careers.

The associate meeting is fairly small—Leah refers to it as their “daily” so I wonder if it’s more like a team meeting than a meeting of all the associates.

The COTW is about a comedian who isn’t always PC. FakeNetflix is getting a lot of Twitter pushback.

“Ah, so you’re worried about being cancelled,” Liz notes. “Don’t say the ‘C’ word,” Del jokes. Then he asks the firm to do a sensitivity read of the comedian’s act.

Liz asks why them. David doesn’t get why she’s asking, though obviously Liz knows he won’t be offended by her question since they have a relationship outside of work. Del thinks that RL is the right firm for this task because they are a black firm, and also because this can be an audition for the rest of their legal business.

This seems like it is better for a PR firm or image consultant? Not a law firm? But sure.

Diane explains the whole January 6th situation to Liz. Liz immediately understands that if Kurt is in trouble, Diane is the one representing him. Because Kurt is Kurt, I’m willing to accept the “spouses-representing-each-other" trope here. But let the record reflect that, as always on this show, it is a TERRIBLE idea to have your spouse represent you! Just pick someone outside of the firm! JUST PICK ELSBETH, KURT.

Diane asks how her 9 am went; David Lee interrupts to ask Liz why she is being so casual with Del. “David, I am on the phone,” Liz responds. I love that she doesn’t really answer him.

Leah and Lucy try to turn the associate meeting into a showcase of how great they are; the other associates catch on quickly and all are happy to answer Wackner’s questions. He wants to understand jury trials.

Nancy’s pregnancy act does not work on Judge Farley, yet she keeps it up anyway. Court doesn’t go well for Diane, but it also doesn’t go well for Nancy.

Some of these interactions remind me a little too much of Peter’s trial at the end of TGW, like this one where Nancy goes to Diane with information about Kurt.

Leah gets off the elevator as Diane and Nancy talk, and to Diane’s surprise, Wackner is shadowing Leah! She takes a moment to look surprised before we return to the scene with Nancy.

I like all the little interactions within this Wackner plot. Diane asking Liz to meet with Wackner both connects Wackner to Liz AND shows that Diane would turn to Liz for back-up, and having Wackner/Leah run into Diane in court is a good reminder that even though Diane is dealing with a pressing issue, Wackner hasn’t just disappeared.

Diane encourages Kurt to talk. She wants to know if he’s not telling her something because she’s his wife or because she’s his lawyer. This is maybe why you don’t hire your wife as your lawyer.

Kurt says it’s because of politics—Diane doesn’t like that, since this is one issue where their politics should be shared.

“Diane, this works between us because we don’t let our political judgements overwhelm our respect for each other,” Kurt explains. But... is that relevant to this particular issue?

Diane asks the same question, essentially, noting that January 6th changed “everything” for her and she can’t treat this like a “chess game” anymore. Kurt wants to know what she’s calling a chess game. She says their marriage is the one thing that’s not a game.

On one level I understand exactly what Diane is saying and on another level I have no clue what this dialogue actually means. She can’t treat things like a game anymore, but also their marriage is the only thing that isn’t a game? So does that mean she can treat everything else like a game, then? I think what she’s trying to say is that the time for seeing political disagreements as a calm and rational game of strategy is over, and that she values her marriage and won’t play around with it.

Kurt tells her what he burned—a list of people in his little group. He says he’d protect them just like he’d protect Diane’s book group friends. Oh, wow, I was not EVER expecting to hear about that arc again! This is a pretty perfect time to mention it, though, since Kurt DID protect book group for the exact same reason he’s protecting the members of his club.

Other than “winning over a new client is important,” I have no idea why Liz and David Lee would gather together a group of partners to do the sensitivity read. I don’t know who IS the appropriate person to do the sensitivity read, given that this is a law firm, but I know this is a bad call.

Oh, they are going to go through line by line dissecting each joke in a group. They get through one joke before Madeline notes that the comedian is “objectifying black men.” A black male partner says he doesn’t mind. Madeline says that doesn’t matter because the joke is racially insensitive.

Overlapping chatter ensues, and the partners try to make changes to the comedian’s jokes, like substituting Norwegian for Nigerian. This... is not what law firms do. The joke isn’t funny with the substitution, but it also wasn’t funny before. It was low hanging fruit and the correct answer is to just cut it entirely. (Also, if you’re a comedian and all your jokes are about common stereotypes of groups to which you do not belong, you are probably not a very funny comedian!)

Diane has Jay do some more investigating. Jay looks up when Diane says, “ringleader of the insurrectionists,” and Diane is just like, “I know.” Then Carmen walks in.

Diane congratulates Carmen on “hitting the ground running” and then asks again how she knew about the warrant. Diane says she’s covered by the same attorney-client privilege, so Carmen should be able to share. Carmen notes the warrant was actually about Kurt, which does not answer Diane’s question. “So this came from Rivi?” Diane asks. Carmen says she can’t confirm.

“Carmen. You have been here three weeks. You have two clients: Wolfe-Coleman and Oscar Rivi. It’s one or the other!” Diane notes. Yep. I love that they didn’t forget that this isn’t much of a mystery. It’s more about principle than anything. If Diane knows it’s one of two sources and needs more information, I’m sure Jay can figure it out.

Carmen knows she’s stuck, so she asks if she can make a phone call. “I think that would be smart,” Diane says.

I’ve noticed that Liz and Diane are both being quite firm with others this season—and I like it. They're spending more time with lower-level characters, and both Diane and Liz have reasons to be more curt this year. Diane is under a lot of stress and it’s showing in all of her interactions; Liz is making a point of seeming in control to establish herself as the leader of the firm.

Then Marissa walks in. “What is going on with your crazy court judge?” Diane asks. “My?” Marissa asks. “Marissa, I am in no mood for defensiveness,” Diane insists. She mentions Wackner missing his meeting and shadowing Leah. That’s news to Marissa.

Marissa heads to Wackner’s court to figure out what’s going on.

Wackner is now experimenting with juries. This is interesting to me—I'd wondered before how smart it was to just have Wackner make all the rulings, so exploring the idea of having a jury shows he’s thinking about that, too. Also, it’s another sign that Wackner wants his court to have many of the same structures as a real courtroom. There are still judges, juries, witnesses, trials—he's starting something new, but it feels more like he’s testing out improvements for an imperfect system. I wonder if his end goal would be to set up separate courts, or if he’s more interested in shaping laws/reforming the system? Surely Wackner has ambitions of scaling up whatever conclusions he comes to. So what are they?

The reason for the juries is that the associates told him that juries are racially biased, so he’s trying to correct it. He also explains how he ended up shadowing Leah, and advises Marissa to go exploring whenever she’s kept waiting. (I have a feeling Marissa doesn’t need to be told this, but then, that’s why she’s Wackner’s “muse.”)

Marissa notes that Wackner’s court is looking nicer—there must be money coming in from somewhere new. Wackner confirms there’s been a sympathetic donor.

Wackner is dealing with a case about NFT fraud. Marissa says she doesn’t know what that is. I’m going to assume that Marissa is using Wackner’s strategies against him (she had just accused him of playing dumb to get others to talk) because I cannot believe that Marissa, who always knows random facts, ESPECIALLY ones that involve weird corners of the internet, would not know what an NFT is.

Marissa hears the case is about $4 million, and she’s shocked because this raises the stakes a little more than even she is comfortable with. Wackner has a signed and notarized document saying that both sides will honor the verdict. It is, as Marissa points out, notarized in 9 ¾ court by Wackner about a fictional case. “About a fictional crime,” Wackner adds on.

I’m a little surprised this is all these writers had to say about NFTs! Maybe they knew that by the time this aired, the actual topic would feel dated.

Mandy Patinkin is just SO GOOD as Wackner! I’m watching a fictional show about a fictional crime in a fictional court and even I am starting to believe in his ludicrous court!

Wackner’s jury selection process involves catching potential jurors in traps, like pretending to know the national anthem when they don’t. Smart. Probably super problematic if you think about it too hard and put it in the wrong people’s hands and people start to know the system. But smart, for now.

Diane is now in the sensitivity read meeting, for reasons passing understanding. They are still talking about the first joke. Jay calls Liz out of the meeting and notes that everyone in the room is old and no one is funny. “I’m funny!” Liz argues. Diane tries to leave the meeting, and Liz tells Diane Jay’s idea about needing younger people. “Oh god yes,” Diane agrees. I’m glad she sees it and a little alarmed that Liz doesn’t! I feel like they should’ve sent the tape to everyone interested in participating, then asked them to write up (separately) anything they found questionable or offensive, and gone from there, ending with a close review of anything that wasn’t previously flagged. If you debate every single line for hours you’re going to get nowhere.

I don’t know why Liz is so concerned that Jay thinks she’s not funny? But she is.

Diane asks Liz to join her meeting with Carmen and Lester. This is a scene I’ve been waiting for! Diane and Liz are both there and so the scene FEELS important. The plot advances. And, most importantly, they address why Carmen is staying at RL!

Lester reiterates that Carmen is super important to Rivi, so if Carmen says she can’t share info, then she can’t share info. Liz and Diane do not accept this. “I am a name partner. Carmen is a first-year associate,” Liz says. “Now, Carmen is free to resign and hang her shingle wherever she’d like. She can even go and work for you. That is up to her. But while she is here, she is subject to the rules and the mentoring of this firm.”

Lester tries to take Carmen out of the meeting. Liz and Diane won’t let him: They need to know if Carmen is staying with the firm, now.

“You have a lot to learn, Carmen. And you can only do that here,” Diane pitches. I don’t think that’s exactly true, but it’s not untrue.

Here is a question I have about Carmen: she is WILLING to represent drug dealers and rapists. Does she WANT to? She chooses RL, so I’m guessing her interests lie in big law and not in aiding criminals.

Lester leaves, but not before saying Kurt is about to get a grand jury summons. Diane gets one too. It’s not the usual guy! Too bad.

A bigger group is now deciding on if jokes are offensive or not, and they’re doing so with paddles that are red on one side (offensive) and green on the other (funny). I’m sure this is going to go well.

The group sees the replacement jokes and they are confused. Marissa wants to see the original joke. Julius shows the room, and everyone laughs. The joke is funny—and offensive. Someone from the mail room notes that he would be the butt of this joke, but he finds it funny, so he thinks the comedian should be able to continue with her set.

Here is where I think I fall on this: Get sensitivity reads to get ahead of any huge issues (like, don’t be Pepsi with the ad with whichever Jenner it was who solved racism). Be aware of the potential issues. Let viewers decide what is and isn’t offensive, and make informed decisions rather than arbitrary rules about what content to show. You’ll KNOW if you are indulging the tendencies of someone with a history of making the same type of problematic jokes (for example, maybe if you are reviewing something by Tina Fey and she tries to write another edgy plot where racial stereotypes are the punchline, you advise her to not do that because, I mean, why WERE there so many episodes of 30 Rock that involved blackface??). You’ll KNOW if you are giving a platform to someone who is actively trying to spread misinformation and be cruel to others. Someone’s going to be offended by everything, and it may be a huge deal and it may not be. IMO, it doesn’t really matter that I can’t make an exact set of rules about what is/isn’t smart to air. I don’t think anyone—not networks, not creators, and not audiences—would benefit from that. Lawyers might, though, for all the billable hours...

“You can’t tell a joke without offending someone,” Jay notes. I do not think this is true! Puns don’t offend anyone!

David Lee’s counter-example to Jay’s point is Gilbert & Sullivan. Of course it is.

As always, the argument devolves into overlapping chatter. These episodes exhaust me. At least this episode has some fun with the topic of the week and seems to have more of a point of view than some of the past episodes where the only conclusion is, “Wow! Controversy is controversial!”

Marissa ends up in the mail room with Jay and one of the mailroom guys (captions say his name is Jimmy). They are mocking the partner’s ideas of comedy. Jay and Jimmy agree that the best comedy is mean. But, Jay says, now it feels like you need “a permission slip to tell a joke.” Is... this true? This feels like one of those things people who would never actually get “cancelled” worry about because their fear overtakes their ability to understand what really gets someone cancelled.

Then again, this episode was written by professional writers who would absolutely know better than I am if people are really hesitant to tell jokes.

Jimmy has started making literal permission slips to allow people to tell jokes about specific groups. Jay and Marissa are down.

Jay asks Jimmy to make a card for something so inappropriate he wouldn’t joke about it... and Jimmy prints a card that says Greta Thunberg. No one wants to joke about that.

And you know why this joke lands well for me? Part of it is that the vibe of this scene is very fun and laid back. But mostly it’s because Younger tried to make a Greta Thunberg joke this season, and it was quite possibly the worst, most embarrassing thing I’ve seen a TV show do in ages. It wasn’t funny, just mean, over the top, lazy, and never-ending. (Poor Younger. That show had an awful final season.)

Liz is still worried she’s not funny. She asks Del if she’s funny and mentions Jay’s comment. He says she’s funny, but she’s not convinced he’s being honest. He points out this is a discussion no one will win. Del ends up accidentally saying “I love you” to Liz, which is a big deal for a relationship we’ve seen for all of two seconds. Liz says they don’t have to talk about it, but Del insists on explaining that he meant “affection,” not love. I’m glad they’re talking about this.

“Then maybe we should get married,” Liz says as seriously as possible. She stares at Del and smiles. He laughs and admits that was funny. It was VERY funny!

Grand jury time! Yet Another Ham Sandwich: The Sequel: The Musical: The Series. (Am I funny? Pls tell me I’m funny and hip with the teens!)

It’s Diane’s turn first. She does well, but there’s not much to say when Nancy plays the recording of Diane phoning the FBI with the rioter’s name. I did not need the clip from last episode in here. Diane is calm in court, but rushes to tell Kurt immediately. Nancy predicted Diane would do that, so she calls in Kurt before Diane has a chance to warn him.

So, wait, Kurt thought all of this was just a COINCIDENCE? Diane didn’t tell him earlier?! I don’t love this choice, but okay.

Liz finds a joke permission slip on her desk. Julius has one too. “Did you use it?” Liz asks. Julius doesn’t understand what that even means. Then they trade clothes, because Liz does want to tell a joke about white girl clothes.

Julius suspects the cards are a way to make fun of the partners for being unfunny. The associates are also chatting about the cards, having lots of fun, so it’s clearly not about the partners.

I think now is an appropriate time to mention that TGW and TGF have both been consistently hilarious shows and have been on the air for a combined twelve years. Neither rely on the types of jokes that these cards permit. This is a kind of interesting thought experiment, but... doesn’t it say something that the shows never use these jokes as crutches and still manage to be funny? This is what I meant earlier about people being afraid of cancel culture when they’re not actually really at risk of coming under fire. These writers know how to write things that are funny. They know how to make comedy out of absurdity and subverting expectations. And yet they’re worried about how to have jokes that aren’t mean? Really?

The first laugh out loud funny TGW moment that comes to mind right now is the episode that ends with that obnoxious talk show guy trying to out Diane as a lesbian. That joke deals with identity. But it still holds up 12 years later, because the joke isn’t that Diane could be gay... the joke is that Diane DOES NOT GIVE A SHIT what this pest is saying about her on TV, and so she laughs. And because the tension of the talk show guy’s BIG DRAMATIC REVEAL is cut with Diane’s dynamic, loud laugh, we laugh with her! I’m not really sure what I'm trying to illustrate with this example. I’m just noting that you can be topical, funny, and entirely appropriate at the same time... and these writers are great at finding that balance.

HR starts, like, texting (they TEXT Marissa!!!) employees about the joke permission slips? It’s so bizarrely done that I thought this was going to be a prank.

Jay decides they won’t go to HR, and Jimmy decides they’ll delay. Why wouldn’t HR just come down and take away the cards?

For this week’s dose of Wackner Wackiness, witnesses will be fully costumed, and it goes without saying that the costumes will be as over the top as possible.

David Cord is the mysterious donor. Marissa spots him and instantly puts the pieces together. Cord explains he met Wackner on the elevator. I can’t say enough how much I like that this season has a lot of moving pieces that feel like part of a whole. Cord showed up as part of a case that caused internal debate at the firm and had a thematic parallel to an ongoing plot, then crossed over into Wackner’s plot once he was established as a character!

Cord says he’s interested in “disrupting things” so he’s interested in Wackner. I did not need the still photo of where they founded HP that’s used to illustrate humble beginnings, I guess.

Nancy mentions Kurt’s unfortunate last name—she so would. Kurt takes the fifth. Was this thing about needing a reason to take the fifth true in the earlier seasons and just not mentioned? Didn’t Kalinda and Will use this strategy?

Nancy, obviously, plays the recording of Diane reporting the rioter. Kurt conceals his reaction for the grand jury, but he’s pissed.

Diane tries to apologize and Kurt asks for another lawyer. This is the right move. I can’t be all that sad.

The partners have collected all the cards and are trying to do damage control with HR. (Interestingly, there are certain topics the cards we see don’t touch on. Like, where’s the rape joke card? Aren’t rape jokes what we usually talk about when we talk about comedians getting cancelled? And where are the jokes about minority groups (aside from little people, referred to using the PC name instead of the names that would probably be used in most offensive jokes about little people) not represented in the TGF cast? I find this little bit of self-censorship quite notable, especially given that the writers seem to be arguing in favor of not regulating humor. These omissions, which MUST be intentional, tell me the writers do have their own lines they won’t cross...)

(My larger point there, and where this funny-but-unnecessary subplot fails for me, is that this whole episode feels like a bit of a panic over cancel culture and winds up being a strawman argument. I don’t disagree with the conclusions the writers come to and I do find some of these scenes funny. But at the same time, I don’t think Cancel Culture is actually about coming after every single joke that makes fun of any person or group (if we must do a cancel culture plot, why not do one about someone who is an odious person and yet still has a following even after they’ve been “cancelled”). And I don’t think that showing HR as a very stern, strict, humorless body is helpful. I’m getting ahead of myself, but all that accomplishes is having Liz win on a point that pretty much everyone can agree on, because no one is actually as humorless as STRL’s HR department! Humor has so many gray areas and if you try to make it black and white, obviously the side that’s saying YOU CANNOT MAKE JOKES ABOUT ANYTHING is going to be the one that is wrong.

I did just remember that all of these writers have probably dealt with unfun and strict standards & practices departments, and I like the way HR is portrayed more if I try to imagine them as Standards & Practices.

Liz decides she is going to see HR so she’s seen as an authority figure, not someone subversive. But first, Liz has to meet with Del and the comedian.

Wackner and Cord are in Diane’s office. Diane’s skeptical of their alliance. She also points out that it is corrupt for Wackner to be financed by Cord and decide on Cord’s cases. This is true. Cord says he has no vested interest in any of the cases. And Wackner says he’s the “most untouchable man on earth” and quotes a song again. Yet another example of how this court only works if Wackner is in charge.

The comedy meeting does not go well. David Lee is already trying to pitch their other servicces. The comedian finds the censored version hilarious in how terrible it is, and then she starts making fun of it, loudly, and for way too long.

David thinks it went poorly; Liz isn’t concerned. David is all, “you failed” and Liz asks him to cool it and notes that David isn’t the highest-ranking person at STRL, so he should “stop the shit” and work with her. She’s already sounding more like a boss.

Julius complements her on being “Boseman-like,” which is true (though I wish she didn’t need to be compared to her ex-husband). “I know,” Liz says quietly, likely because she hates that Adrian is still influencing her this much.

Del joins Wackner and Cord in the elevator, and this isn’t the end of the episode but I’m going to pretend it is so all the episodes can end on elevators this year. It’s close enough.

Kurt’s new lawyer is Julius. Ah, yes, choose the corrupt judge Trump pardoned who works at your wife’s firm to represent you. Seems smart.

Liz walks past Diane’s office and the camera follows her up to HR. She tries to get HR to understand humor. They do not. And that’s the episode.

So, a few thoughts to conclude. First, I went into this recap thinking I’d have a lot more to say about cancel culture and the way this episode handled the debate. But I ended up liking this plot—and this episode-- more the second time around. I still don’t think this episode said anything groundbreaking about cancel culture, because I don’t think it actually engaged with the topic beyond the surface. As I noted earlier, coming to the conclusion that jokes should be allowed because we’re all human isn’t really a resolution the real topic. What about accountability? What about allowing for some jokes to be too far without taking the teeth out of every joke? What about the way people panic over cancel culture when they’re not being canceled (this episode felt a little bit like a panic over cancel culture, which is why I reacted negatively to it the first time through) or about how cancellation doesn’t always stick or have meaning? There is SOMETHING to explore here, but I don’t think this episode found that something.

Second, because I didn’t find a way to work it in above... is it me, or is it actually HELPING the show to not have Adrian or Lucca around!? This season feels so much more focused than the past several, and I think it might be because the writers (who are, as always, very good at adapting to curveballs) had to restructure the show. Lucca always had her own subplots that were separate from everything else, and Adrian’s charisma tended to overpower others’ presence (especially Liz’s) whenever he was in the room. It didn’t help that the writers seemed to LOVE writing Adrian plots, even if it meant neglecting others.

Don’t get me wrong—I love Adrian and Lucca both. But there’s something to be said for a tighter show with three main interconnected pieces (Liz/firm drama, Diane/FBI and Kurt, Marissa/Wackner’s court) that carry over from episode to episode. Like the titles of the season, these episodes build on each other.

Also, there’s the right amount of every character this season. David Lee is used sparingly; Jay and Julius are supporting players who sometimes get the spotlight; Wackner is a huge presence but his plot feels like part of the show; Carmen feels important but isn’t being given screentime for the sake of screentime; Liz is finally the type of lead she should’ve been from the start; Marissa has nicely grown into a role closer to leading than supporting; Diane remains a clear lead.

5x05 next week!!! I am expecting some Hitting the Fan level quality and at least one fan-service-y reference. (Not really, but wouldn’t it be fun?)

#tgfthoughts #the good fight

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m0e-ru · 4 years ago

Text

eight months in somebody actually asked me abt visualive instead of me immediately annoying ppl about it without former notice. I might actually write properly for once 😳😳😳

OK OK!!!!! In this essay I will.... I will.... Visualive Adachi.... Visu/BURSTS INTO TEARS/

OKAY OKAY for real I just care Visualive so much (as someone who can’t fully understand Japanese AHAHA)

First I’ll add some foundation about what Visualive really is, then I talk abt Adachi in the latter parts of it because this is technically the first time I’m properly talking about this hehe 🐿

T....table of contents???

Visualive

Visualive the Evolution

Masami Itou

Visualive Adachi

Visualive the Evolution Adachi

Terms and Legend

VL - Visualive

VLE - Visualive the Evolution

stage - shortened for “stageplay”

面白い - omoshiroi (it’s just that specific)

Yuuya - VL Hero name

Hayato - VLE Hero name

Baba - Hero

Masami - Adachi

Taniguchi - Dojima

Saotome - Daisuke

Mamiya - Izanami

I add honorifics but sometimes I forget the hyphen intentionally or unintentionally I’m sorry if it makes it hard to read lol

all links have automatic timestamps for easy viewing. i mean. i hope the timestamps work

VISUALIVE “Persona 4.” A stage adaptation of SMT: Persona 4 by Atlus. It adapts the first part of the story, from the hero’s arrival to after recovering Mitsuo Kubo from the TV world. It also ends on a cliff hanger, showing a teaser of Shadow Naoto being projected on the screen.

It takes up a speedy recapitulation of the hero’s spring life, before slowing down and showing in depth his school life in summer. A day before Morooka-sensei’s death, there is a little skit with Kou, Daisuke and Adachi. The hero walks into the conversation before the two other boys leaving, and Morooka-sensei walking in on the student and detective. The next day follow’s the teacher’s death and the Investigation Team (IT) begin investigating their new lead.

From the words “visual” and “alive,” the niche of this stage was meant to be the fusion of live acting and visual digital projections. All seen from the stageplay with the colorful cast of actors and CG animations being projected on the screen. This offers an opportunity for characters to summon their personas, perform cool visual effects, change the backdrop, or even confront their own Shadows.

Performed in Sunshine Theater from the 15th to the 20th of March 2012. The screenplay was written and directed by Shintaro Asanuma from the theatrical group “bpm.” The video production produced by Shutaro Oku, a film director and visual planner. He later takes over as director for VISUALIVE THE EVOLUTION, the sequel stage. The stage music was produced by Shunsuke Wada, with a special show exclusive vocal track sung by Shihoko Hirata.

On this note, I haven’t seen any sort of original soundtrack released for any of the stages and I’m SO SAD. The last song in Mitsuo’s boss fight was such a BANGER and literally EVERYTHING ELSE Marvelous, Wadasan please take my MONEY

Regarding the cast, there were some special accommodations for Teddie, Rise, and Nanako, all of which did not have live actors at the time. During the casting, actors for the three characters could not be found or simply left the directors unsatisfied they couldn’t cast anybody. An exception for Rise, who was able to have a live actor in the sequel stage. It has been stated that there weren’t any “pretty boy” actors that fit the “Teddie Criteria.” While there weren’t any child actors that were believed to portray Nanako well.

Teddie was only ever seen in his bear costume while Rise was busy talking through a call, all voiced by their video game cast. Nanako has never appeared on stage, only being scarcely mentioned in the script. Again, this is different in the sequel stage where her role was extremely important and was shown as a screen projection.

VISUALIVE “Persona 4” THE EVOLUTION. A sequel stage. Beginning abruptly in the middle of Shadow Naoto’s boss fight, the story continues from there until the “true end” of the game’s original story. *Certain characters are introduced while others have been reintroduced. And on a personal note, when it’s all comedic in the beginning, it’s all for what’s coming right after.

I don’t know if I’m salty or just find it really funny AHAHA I might go talk abt it some other day with more context ehehe

Performed in The Galaxy Theater from the 3rd to the 9th of October 2012, only a few months after the PSVITA Persona 4 Golden release, which is July 2012. The screenplay was now written by Jun Kumagi while directed by Shutaro Oku. And music production finally taken over by Shoji Meguro himself.

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HAHAHA this is starting to look like a wiki page. moving on. I might start rambling rn

(warning LONG !!!! aaa,,)

My thoughts on the stage adaptations. For the first Visualive (VL) I believe it’s pretty close to canon! I enjoy the characterization and how much love and care was present when handling the entire production.

Actors were busy playing the game itself, wherein a PS2 was present in the practice room. Along with magazines and game guides explaining the game’s story and the characters itself. Actors performing together and even improv acting together to get a grasp of their characters. All of them knowing well of Persona 4 as a well loved game, delicately handling their characters and hopefully performing them right while making the audience happy.

The staff taking care of each other while the director and video producer, Asanuma-san and Oku-san, working together well to make their vision into a reality.

The same thing happened with VL the Evolution (VLE) and literally every other good stage. Except... I feel the script kinda got out of hand with too much liberty where it feels a bit more disconnected from canon. But! It makes up for it in its content, whether comedic or (INCREDIBLY) dramatic! It’s great as its own story at that point. So in this case, I like to take the first VL and get to connect it canon, while I don’t know what the hell happened in VLE to the point I’ll just enjoy it as its own content.

These opinions deserve its own essay, post whatever bc I have SO much to say abt this. ANYWAY. VL ADACHI

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Tohru Adachi is portrayed by Masami Itou (伊藤マサミ), a screenplay writer, director and an stage actor himself. He does have a single character voice role along with a fellow troupe member in the same franchise, but mostly works as the former three. He is part of Asanuma-san’s entertainment group “bpm.” On a similar note, Masashi Taniguchi, Dojima’s actor, was also part of their group from 2011 to 2016, which may explain their good synergy as the boss and the bumbling fool dynamic. I mean, somebody’s gotta get hit in the head every few skits.

With Masami-san being an important part of the cast, he doesn’t appear as often as Taniguchi-san in backstage content like the VL bonus disk or the official blog. Mentioned in his own personal blog, he had been busy with his roles as assistant director (I am assuming also for VL).

Also fun to note, because his role is mainly comic relief, he has been using his liberty to change up the material almost everyday making each performance exciting. This also leaves some other actors jealous of his freedom in his role, such as Saotome-san, Daisuke’s actor.

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VL Adachi really has a... how do I say this? an adorable speech pattern (THE SAME SPEECH PATTERN THAT DROVE ME MAD TRYING TO DECIPHER I THOUGHT YOU WERE A CITY BOY OSSU OSSU MY ASS /shakes you violently/). Overall, he really fits the loose lipped bumbling fool, and his accent really makes him seem more casual and invested. What I’m saying is... VL Adachi either actually has genuine empathy or he actually has more energy to fake it (compared to some other edgelord. i mean you saw my p4ga analysis. I’m sick of him lol ahaha).

One of my favorite ways to explain this (OTHER THAN CHAIR CAR ADVENTURE MY BELOVED WE’LL GET TO THAT LATER) is the rice field scene with him and Dojima. It’s overanalyzation time 🎉

youtube

(43:04)

While investigating, Adachi whines about being tired while Dojima smacks him in the head. In this case, it’s established that Adachi doesn’t want to be there, yes? It’s the country, it’s hot and it smells like green.

"Ah... Dojima-san..! Why don't we take a break? (...) There really is nothing out here... Is the criminal still even here at all? (...) I wonder if I've passed being a rookie yet. Haha, but this city doesn't even have convenient transportation. I can't go to leisure lands (recreation, amusement parks, arcades, ect.) and head home at all."

Adachi then tries to tell Dojima a story. “when I got to this city after being newly assigned, I met an interesting guy (...) Yeah, I remember that the cherry blossoms haven't bloomed yet. So, I was driving my car and got near the station and--” Dojima gets a phone call.

Adachi politely puts his hands down waiting for his boss to finish so he can finish the story. Again and again, Adachi attempts to talk to Dojima about a story he’s so persistent trying to tell someone about. It was so 面白い that he would find someone to talk to about it. Even being polite and patient enough to wait for a chance to speak. He even gets fed up with it and blows up in front of his boss, clearly irritated he’s not given a chance to talk.

Sure, it could be Adachi feeling fed up like a normal person where someone agreed he to listen to him, before being constantly ignored. Or Adachi trying to be a more annoying whiny brat, depending on where you look at it.

If the story wasn’t too “interesting” to Adachi, he would’ve just brushed it off and stopped talking to Dojima entirely, or start up new small talk, or even complain some more. But no, he had a story he wanted to voice out so bad that he got irritated that the one person in the vicinity couldn’t listen to him.

Only after Dojima told him to continue their investigation elsewhere did Adachi finally stop and focus on something else. Maybe that story was for another day, or maybe it was never meant to be told.

What if it was just original (game) Adachi? He’d find a way to squirrel out of the investigation as usual, or push Dojima to “investigate” elsewhere. “Hey boss, don’t you think it’s hot? Why don’t we go elsewhere? We’ve seen this place too many times to count and I doubt anything new’ll turn up. How about we take a break at Junes, y’know? Where it’s cool? C’mon boss,” something like that.

og Adachi is just really annoying and silly to me. Some grown man thinking he can freeload because he never gets anything out of putting in more energy and effort? I don’t care how tall he is, I will smack him in the head.

Yeah VL Adachi whines, too, but at least it doesn’t look like he’s going to escape and waste his time somewhere else. He just sucks it up stops trying to leave the situation.

Or maybe I’m getting this all wrong and VL is exactly the same and my rage just gets dampened because of Masamisan’s execution of character hmm...

SO. What was his story about anyway? The one he really wanted to share to Dojima?

I mean... it’s obvious enough

youtube

First day in town? Spring? Actually mentioned driving a car when literally out of every single persona 4 media at the time was there not a SINGLE mention of Adachi having a car OTHER THAN the same stageplay it’s being mentioned in?

A story, from somewhere around uhh four? five months ago? was something that he remembered so dearly and was willing to share despite it obviously embarrassing him even if he puts the blame on a certain somebody in the same story?

Or maybe it’s because he really had nothing to talk about ever since he realized all his stories from the city weren’t actually that funny or interesting in the first place.

BUT then that would mean out of all the things he could talk about—more whining, complaining, complimenting, small talk—he insisted about talking about this story in particular.

Okay, look. I’m just. Just. As someone who talks too much, of course I have things I actually want people to hear out of all the bullshit that comes out of my mouth. And if the thing I actually want people to listen to doesn’t even get heard, I’d go mad.

Sure, Adachi’d be fine when his complaints or intentionally unfunny jokes get brushed off. But a story of a guy that he thought was so funny, interesting, 面白い gets ignored, he really blew up, even just for a split second, maybe.

And ALL the things that happened in that story—on his first day in Inaba! His car got dented, he had to deal with a weirdo dumbass employee that knew zero personal space, yelled in his ear, who didn’t know how to do their job, got his station reputation messed up on the first day, got his ass grabbed, got (unintentionally?) mocked for his lame stories, and got his car dented for the SECOND time. Probably MORE

And he STILL wanted to talk about it /punches through concrete wall/

yes I’m overthinking about this of course i am

This little tidbit of VL Adachi kinda makes me go insane sometimes—his entire characterization in VL in particular. It was really refreshing to see and how they included both of his characters in it, his facade and how irritated he is of a lot of things underneath. And how flexible his character is immediately working with other characters when there’s sudden improv to balance the situation. Like him and Dojima, Morooka, the attendant, or even Yuuya (hero) himself.

I’ll take Taniguchi-san’s messing around in the VL bonus backstage disc in place of Masami-san being so busy he couldn’t appear in it as often as other characters.

For stagetime that lasted for fifteen minutes or less, my appreciation for VL Adachi, even if he was just comic relief, really rocketed. I say VL, bc Adachi the edgelord he’s supposed to be in literally every other media is something I analyze separately.

I haven’t even gotten to VLE oh my GODDDDD

Like I said, I don’t really regard VLE close to canon but as something to be appreciated for what it is by itself. But the way Adachi was characterized there, in or out of character, still struck me.

---

Yes, there was his strange fan-agreed-canon which is,,, now canon obsession with cabbages (not that that’s a bad thing lmao). There was also him being a lot more jumpy and intimate in a clowny way, patting people on the shoulder or even downright hugging them just to mess around. Even FORGETTING who the same goddam loser who grabbed his ass almost a year ago is. But like, can’t blame him they literally changed their actor (and screenplay writer) AHAHAHA

ha... no more comedy, only dorky sword fights now

(speaking of sword fights I think it’s a fun thought how Mamiya-san [Izanami, also one of the youngest in the cast] admitted it was his first time doing sword fight choreography and even thanked Masami-san and other staff members for guiding him)

One thing unintentionally in character was Adachi accidentally nabbing the sushi overdosed in wasabi. Masami-san didn’t actually account for a joke sushi and didn’t immediately eat it—until Taniguchi-san (who also made Dojima go off his shits compared to VL) jokingly yelled at him and even riled up the audience for him to eat it. He even went off stage to get water just for him to eat the goddam sushi.

And Masami-san did! (kinda choked, but he’s fine).

Continuing from the same scene, while being overly giddy about sushi dinner (and I mean overly--he was singing about it while hopping to the Dojima residence), he tried to remind the two, Dojima and Hayato (hero), that Nanako was sleeping. Probably where she was sick if the scene was translated from the game.

youtube

(30:07)

And... the dramatic parts of VLE

Adachi was the one who reported to the IT that Dojima was chasing Namatame in the rain. While Naoto was discussing Namatame’s journal entries, Adachi, as giddy as he is, took it from Naoto’s hands and reveled in the discovery of evidence so childishly(?). He even ran to Dojima when he began regaining consciousness and immediately called the nurses to help him wheel Dojima to the ER.

Then, The Hospital Scene™️, right after Nanako flatlines.

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(1:02:02)

Adachi, who recently walked into the scene, immediately worries about Dojima and IT who were ALL crying. He looks down, devastated—before yelling how Dojima’s heading to Namatame’s room.

He yells in terror and the same grief at his injured boss, all while running past and even jumping over children, who fell to the ground sobbing, to get to him. He continues yelling in a pained fashion while immediately reprimanding Dojima to stop. He gets carried by the collar before being tossed to the ground at Hayato’s feet, all while being pat by the same boy.

Dojima makes his speech about how unfair it is for the ‘killer’ to be alive when his daughter isn’t. When he finally falls to his knees, Adachi rises from the ground, humbly saying he’ll do his best to take care of Dojima (or something like that I’m in tears I literally can’t do VLE’s hospital scene i h8 this). He finally starts crying along with everyone else, being pushed away again but still tries again, trying to usher his boss away from the door.

With the help of the guard in front of the door, they all disappear off stage

please... I know this scene doesn’t need that much translation because of how important this scene is in the entire story. and I know my narratives aren’t enough so just,,,, just watch it please it’s so much more than this. everyone’s acting was just spectacular

youtube

(1:08:47)

So, after the IT (YOSUKE. JUST YOSUKE. good job Mae-chan) stop themselves from k wording Namatame, it was ADACHI who reported Nanako’s miracle recovery. He ran to the same corridor where they all cried in, even panting and falling to the ground in relief trying to report the good news. Then he pats Hayato on the shoulder and says he’s going to Dojima.

With this... /slaps roof of half of VLE/ ALL of this....adachi.... adachisan.... he Cares™️..... holy shit.....

now. comparing to the game. do you even remember what og Adachi did? did he.. even do anything?????

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(56:39)

NO!!! he just stood there!!!! being a bumbling fool but.... inappropriately!!! man. he didn’t act concerned enough.

adachi: /walks into a bunch of kids crying outside a hospital room/ “lmao why tf are y’all crying? did uhhh what’s her face uhhh nanako. did she d word or something? rip, I guess lol” LIKE????? CAN YOU IMPLY FASTER

and then he’s like “wgat hmm Where’s Dojima-san Heading Because That’s Not The Way To His Room 🤔” and only when he’s asked he actually mentions he’s heading to Namatame’s room and still needs to get choked by a first year for the room number like..... zero consideration

and his boss??? where his daughter he loves so much just??? di*s???? and he’s so devastated he’s doing what he can that very moment while he’s so numbed of thinking of the consequences???? And adachi goes “uhh boss that’s illegal” LIKE. BITCH. /punches through a concrete wall but harder/

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And??? His confrontation scene??? Like, I know they mashed it up w his tv confession scene to save stagetime for other scenes BUT IT WAS SO MMBMBMBMMGN /gestures in a good way/

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(1:15:56)

UM?? guy behind everything??? in a vulnerable area where he could easily get physically assaulted bc hes not in the tv world w his persona?? Trash talks women like he absolute misogynist he is??? getting yelled at by a bunch of kids and YELLING BACK IN THE SAME AGITATED MANNER even TAUNTING THEM then and there to GET HIS ASS?????

og Adachi was such a pussy he got caught and just scurried off into the TV world where he ended up having powers like...ok....scared of getting beat down by a bunch of highschoolers unless you have powers...ok....

he only taunted them to get him when he was in the tv world too.....he rlly couldn’t say shit in the real world huh... lol

(yeah yeah this shows how VLE Adachi knew abt his TV world powers which would make you think if he ever went into the tv world and came back out alive. Or he’s really just a badass who doesnt give a shit abt anyone’s opinions and CAN beat anyone’s ass. i have a separate thing abt this but bc i like to laught at vle rather than overthink its own lore i might. not. idk lol)

and ??? VLE Adachi can??? He can swordfight??? he doesn’t even NEED a gun—he even reflects bullets w his blade (but apparently he can still get slapped by a flying fan more often than any other attack). His fight choreo was just...so poggers. He’s like short villains done good—like??? he’s short compared to everyone else!!! but he makes up for it for stuffing all the energy inside him while is bursts out making him him the over energetic gremlin he is!!! go VL adachi!!!!

(am I low key making fun of Madono-san in the TUUSH stageplay I’ve seen four minutes of? maybe)

OK!!! Yes I was gushing abt Masami-san again back to Adachi.

It’s portrayed that while not being afraid to admit his crimes, he also goes out of his way to be a bastard and have the gall to get a bunch of kids to fight him, one on eight. He can use a katana, probably a narrative dark reflection of the hero, Hayato which I thought was nice—and he can fight!!! It also shows his persona, yes, but...it doesn’t make it clear if he’s overwhelmed by his Shadow like in the game, where his eyes were yellow and he was emitting a dark aura.

But it gets interesting how he sees he’s getting overwhelmed and starting to lose his edge towards a bunch of kids. He falls to the ground even banging the floor like a whiny brat while literally the IT tries to tell him to turn himself in. Again, like a brat he tells everyone to shut up—before getting incapacitated. While some of the IT rejoice, he bolts up unaccepting of his defeat—before getting hit in the stomach.

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(1:23:54)

And his words from when he drops his katana, “Why..?” He grabs the foldable chair against his stomach, and with a remorseful look in his eyes, he says “I’m sorry..!”

THEN HE BACKFLIPS—then Hayato slashes him.

In a tone of disbelief, he goes “no way...” and collapses to the ground, being possessed by Ame-no-Sagiri.

Blah blah blah then Teddie rockets himself into the eyeball spy cam and then they both explode aaaaa

Teddie survives but I really don’t know where Adachi went. Not even a mention by Dojima if he turned himself in or was ever found—or I need to review VLE for the 48274827482nd time hehe

WHOO then the whole cast appears for the dance number at the end of show YAHOO

#long post #persona 4 #persona 4 visualive #persona 4 visualive the evolution #tohru adachi #sulululat #pagsususuri #p4 #p4v #p4ve #//HAPPY 4K WORDS VL ANON #// if theres anything u want to ask... im right here /collapses/#// i almost went ham over actor relationships like. talking abt bpm was ENOUGHHH we're talking about the character not the assistant direct #// aaa this took so long... i literally mashed up so many other idea documents into one.. man.

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twothumbsandnostakeincanon · 5 years ago

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Have I talked on here about my fake exes bachelorette au?? I feel like maybe I haven’t. It’s something I obsess about like, once every six months so I’ll probably never write it, but let me talk about it for a minute.

Peter and Stiles are both contestants, competing for Lydia/Kira/idk Deaton maybe or whoever, and they immediately start off at level 10 snark. There is no off switch. They’re enjoying themselves immensely, and most of the cast and crew can see that their barbs aren’t actually hurtful, just a little abrasive.

But if you take away the context of their comments, like any good reality show does, their interactions instantly become much more Spicy.™

Sometime after a week or so of shooting, a producer gets them alone and suggests that they pretend to be exes.

Peter and Stiles are 100% up for the game.

Anyway here have a few snippets that are never going to grow into anything else:

“I didn’t come here to make friends, I came to win.”

“Really? What a bummer. ‘Cause, you know, the real treasure was the friends we made along the way, so that’s why I came. Plus the food. The catering is amazing, have you tried- where are you going?”

A camera followed Hale as he walked away from Stiles, rolling his eyes. Stiles stayed where he was, smirking. His eyes were immediately drawn to the very well tailored retreating ass. After all, this was reality TV, ergo everyone here was unrealistically beautiful. It would be an insult to the genre for Stiles not to properly appreciate it.

__________

“Where are my pants???”

Peter raised an eyebrow. “Normally I would assume they’re on your legs, but apparently that’s not the case.”

Stiles wiped his still-dripping hair out of his eyes, just in time to see Peter’s eyes travel down toward the towel wrapped around his waist. It was tempting to make a remark, but there was a slightly more pressing issue.

“My pants, Peter. Where are they. I left them my room when I went to the sauna and now every single pair is gone,” Stiles said with a scowl.

“Oh dear, I’m so sorry,” Peter drawled. “I was doing laundry and I didn’t have quite enough for a load. I saw your full basket, and decided you wouldn’t mind if I did some laundry for you.”

Stiles stared, trying to decide whether or not he was mad. Sure, he had no pants, but on the other hand, he also had no laundry… he sighed.

“Whatever. You had to pick through my dirty laundry and I’m getting clean clothes out of it, so whatever.”

And with that he let the towel drop and walked away to the private yard. Some sunbathing sounded nice.

While a little disgruntled that Stilinski hadn’t been more irritated, Peter couldn’t bring himself to think of his endeavor as a failure. Certainly not when he was watching those magnificent glutes flex on their way out the door.

__________

It was one of the very few times the cameras were turned off and no sound was being recorded. Stiles, Peter and the producer, Braeden, stood in a dim spare room, filled with various props and filming equipment.

“You want us to what?” Peter said with disbelief.

Stiles grinned with delight.

“Pretend we’re exes!! Oh this is gonna be great, I’m totally in.”

“What??” said Peter again.

“The little feud you two have going is great for ratings, but we were thinking that if you made it a little more… personal, then this season is really going to catch fire,” Braeden explained. “You don’t need to say anything explicitly untrue, just… insinuate heavily.”

“Oh no, if I’m going to do this, I’m going All-The-Way,” Stiles said with emphasis. “ ‘He left me barefoot and pregnant in the snow’ all-the-way.”

Peter snorted.

“But dear, who got the dog in the divorce?” he asked sarcastically.

“Oh honey, we never needed a divorce, you left me at the altar,” replied Stiles, turning big, mournful eyes on Peter.

Peter shook his head, and said, “I guess this is what I signed up for. What the hell, I’ll do it.”

“We’re gonna get so many endorsement deals out this!” Stiles said gleefully.

“Endorsement deals for what? Tinder?” Peter asked, a dubious eyebrow raised.

“Tinder, Grindr; if we angle it right I bet we could make a deal with a law firm that does D-list celebrity divorces.”

“What lofty goals you have,” Peter said dryly.

“It’s why you fell in love with me, sweetheart,” Stiles replied, gooey eyed and saccharine sweet. “That and my gorgeous ass.”

Peter looked down speculatively.

“I could overlook a lot for an ass like that,” he mused.

“Oh, this is going to be so good,” Braeden whispered.

__________

“Damn it!” Stiles cursed. Why did the challenge have to be asparagus?? Who even likes asparagus? Besides Peter, apparently, because he’d eaten the whole goddamn casserole in seven minutes and 13 seconds.

As Stiles bent over with his hands on his knees, willing the casserole to stay down, Peter passed by and clapped a hand on his shoulder.

“Better luck next time Stilinski,” Peter purred.

Stiles’ eyes narrowed as he silently fumed.

Two hours later, in front of the confessional cam, Stiles worked up an eyeful of unshed tears.

“It makes sense that Peter would win today’s challenge… he’s always loved asparagus. I remember once, back when we were…” he let out a choked little noise. “…When we used to know each other, I once made him dinner. Asparagus and salmon… he never came home. He ‘worked late’ that night,” Stiles was sure to use air quotes for full effect, “like so many other nights. I ended up eating the leftovers myself.” Stiles gave a dramatic sniff and pasted a pathetic smile on his face. “I haven’t cared much for asparagus since then.”

_________

“… cared much for asparagus since then.”

Shit, this was good. Bad for him obviously, thought Peter, but it was a good attack and it was really good TV. Braeden had been right. It was time to bring his A-game.

_________

As the 9 remaining contestants rode the limo to the next destination, Peter leaned against the window and sighed dramatically, making sure his face was in full view of the car camera.

“Just look at that view! Stiles, look! Doesn’t it remind you of that trip we took to the Caribbean?” Peter said, with a fond look on his face.

Stiles hummed noncommittally, unsure of where this was going, but knowing it probably wasn’t good for him.

“The weather was gorgeous for that whole trip… it’s too bad I had to spend most of it inside that tiny hospital room.” Peter reached over and patted Stiles on the leg. “I’m just glad you didn’t let it get in the way of your fun while we were there. You still went scuba diving, and hiking, remember? And didn’t that nice dance instructor take you out for a practical demonstration? You hardly wasted any time in that chair next to my bed!” Peter chuckled. “I just hope you’ve gotten better at identifying what’s egg salad, and what’s crab salad. Don’t want to have to use my epi pen again!”

And with that, they pulled up to their destination and Peter hopped out of the limo.

Stiles’ mouth hung open for a moment before snapping shut. A few of the other contestants were staring at him, waiting for his reaction. Stiles shrugged.

"We didn’t have a prenup.”

__________

“Shit!” Peter barely had time to catch himself with his hands before his leg gave way, sending him sprawling into the dirt.

Their bachelorette waited at the end of the footrace, and while he’d been in the lead, Peter certainly wouldn’t be getting there first anymore. He eyed the hole he’d stepped in with vindictive anger, trying to ignore the throb in his ankle.

He was just attempting to move it when Stiles shot past him, before almost comically windmilling to a stop. He turned around and jogged back.

“Peter? What the fuck are you doing on the ground?”

“Trying to get a date with the dirt,” he bit out through grit teeth, hissing when his ankle vehemently protested movement.

“Stop it moron,” Stiles chided. “Look at it, it’s already swelling. Here-” Stiles swept his jacket off and balled it up, gently lifting Peter’s ankle to elevate it. Another contestant came around the corner and zoomed past them without a second glance.

They both watched him go.

“You just lost,” Peter remarked.

“So did you,” Stiles pointed out, and then shrugged. “Whatever. Maybe this will win me brownie points.” He smiled a little crookedly. “Let me go get one of the production paramedics, and then we can get you an x-ray.”

Peter rolled his eyes, firmly ignoring the soft little place inside of him that surfaced more and more when Stiles was around.

“Stop being dramatic, it’s not broken.”

Stiles looked at the ankle skeptically.

“I dunno dude. Ankles aren’t usually that shade of purple. Or that puffy. You have like, the world’s largest singular cankle right now.”

“-Cankle?!”

“I’m your ex, you can trust me to call it like I see it.”

“Cankle!! I’m divorcing you.”

“We’re already divorced.”

“Fine, then I’m going to remarry you so that I can divorce you again,” Peter insisted.

Stiles’ crooked smile grew.

“I don’t think that’s the theme of the show, Peter.”

They were still sniping when the paramedics arrived a few minutes later, bachelorette in tow, who had plenty of kisses for both the injured hero and the rescuer.

Anyway obviously this ends when they get caught making out because they forgot to take off their mics.

#idk I really don't think I'm ever going to actually write it but these snippets are fun #steter #this blog needs a tag for my bullshit #tumblr fic and kinda fic

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panharmonium · 5 years ago

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no man can know his destiny...

...because if we told him what it was, he might decide to tell destiny to bugger off!

all right, folks. i am obviously eight years late to this party (party? maybe not party; that’s...maybe not the best word), and i am aware that everybody who was ever in this fandom has probably already consumed all the finale reaction posts that they ever needed to read. i am putting this S5 finale round-up together for my own purposes anyway, because now that i’m no longer avoiding spoilers, i want to make sure i get all of my own thoughts down on paper before i accidentally run into anyone else’s.

fair warning before anyone decides to invest their time: this post is sixteen single-spaced pages long. i am putting it under a cut here, so feel free to scroll on by.

with that said, off we go!

in a land of myth and a time of magic (i fell in love with a ten-year-old tv show):

so, to preface this, i think it’s pretty fair to say that i very rarely complain about merlin.

i watched the first episode of merlin on a complete whim - i was by myself, on a trip to atlanta, and despite the fact that i usually never sit down and just decide to watch random tv, i was scrolling around on netflix before bed and saw merlin and thought “oh hey, that’s always been on my list as something i thought i might like.” i clicked it. i watched it. i thought it was going to be a silly, fun, low-investment show i could use to fill the spare time on my trip.

it was silly. and it was fun. it was not low-investment. i fell in LOVE.

and i know this comes through in the way i write about it, like - the vast majority of the blogging i have done about merlin has come from a place of THIS THING IS GREAT AND I WANT TO TALK ABOUT IT BECAUSE IT’S GREAT. sometimes the story will go places that stress me out or make me sad, but usually that hasn’t impacted my enjoyment, because generally, when i evaluate stories, i react more to my perception of the story’s integrity, as opposed to whether or not i personally ‘liked’ the ending. so i might personally prefer stories that don’t end in tragedy, but if the story has earned its ending, with integrity, then i won’t feel any desire to criticize it. i will talk about how sad i am or how low it made me feel, but if the story has earned its ending then i can’t - i just can’t argue with it. i have to respect it.

and i think i’ve demonstrated that well enough in all the other blogging i’ve done about merlin. with 5.10 and 5.11 particularly; i felt those episodes were impossibly tragic and dark and SO unhappy, but i respected the storytelling, despite this. i wasn’t hopping on here to make posts like ‘ugh this is getting so dark this episode sucks!!!’ i was writing about the story they were crafting - which, yes, WAS getting dark, certainly - and about how impactful it was (even when that impact was just “OUCH”). i was still deeply engaged, at that time.

so - i think i have earned the right to say honestly that the following analysis does not come from a place of ‘this was SAD and that makes it automatically CRAPPY!!!’ that’s not how i assess things. 5.10 and 5.11 were devastating, but i respect them. i loved watching them. i would watch them again. i thought that the show had the potential to pull off something masterful, after those two episodes.

but the one thing this series has always struggled with a little bit is follow-through. bbc merlin is at its finest when they aren’t afraid to go barreling after the moral ambiguity and complexities that their show inherently contains (‘to kill the king,’ ‘the sorcerer’s shadow,’ ‘the disir,’ ‘the kindness of strangers,’ ‘the drawing of the dark,’ to name just a few), and they achieve real greatness in those moments. but they sometimes pull back from the difficult questions they pose. and i can’t tell if it’s that they’re deliberately chickening out, or if it’s just some variation of carelessness or ineptitude that makes them fumble the ball, but the end result is that they hit these amazing highs of “wow, i can’t believe we’re finally going there; we’re addressing the central conflict” and then all the complicated questions they asked just get dropped.

it happens in ‘the sorcerer’s shadow’ (which is an amazing episode otherwise), when kilgharrah kind of...word-of-god handwaves away merlin’s conflict, saying ‘we just gotta wait for arthur to be king, that’s the right way to go about this.’ and they double down on this by having merlin say that it was gilli, not merlin, who had betrayed their kind - which is just not - that is not what that episode had been saying, up until that point! the entire point of that episode was that yeah, merlin has in fact gotten himself into a position where he’s made a morally questionable decision to serve a regime that oppresses him and others like him. they show us how conflicted he feels when he’s confronted by this reality. they show us that he knows it’s true. it was brilliantly done - and then they pulled WAY back.

but even then i don’t think it was like...unforgivable, at that point. it doesn’t break the story’s integrity; i can definitely believe that merlin would take that tack - i’m not sure he’s quite ready to confront/accept the reality of his situation at that point. so i get it. it wouldn’t be a big deal - if the show had eventually addressed/followed through on this conflict in the end.

and i think the same is true of the episodes leading up to the finale. they were dark and complicated and tragic, but they were telling an important story; and none of the terrible things we saw happening to the characters were dead-ends, story-wise. there was a place for that story to go. there was room for morgana to have her arc resolve in a meaningful way. there was room for mordred’s arc to do the same. the place in which we found ourselves at the end of 5.11 was as dark and complicated as merlin had ever been, and it was still bursting with potential.

and then you watch the finale and it’s just - empty. i described it as a paper castle in some other post, and that’s what it felt like. no substance. it was like they stuffed us on a bullet train and whizzed us past material that should have taken an entire season to handle, and you didn’t see any of it or feel anything because the trip took ten seconds and the scenery was a blur.

it honestly felt like they thought they had another season coming and then someone popped in and told them “actually you have to wrap this up in two episodes.” i can’t think of another way to reasonably explain how dramatically the quality of the storytelling downshifts between 5.11 and 5.12. i wasn’t watching the show then, so i don’t know, but it’s - at least if that had been the case, i would UNDERSTAND what had happened. it’s just insanity, otherwise.

so anyway, with all that said, here are my own reasons for why i think the last two episodes were objectively bad writing, as opposed to just writing i don’t personally like. nobody is obligated to agree with me on any of these points, but i’m also not putting them up here to debate them, really - i truly believe that almost everything i watched in the last two episodes was poorly-conceived.

(there’s an entirely different discussion to be had, of course, about the relative merits of ending your, uh, hopeful fantasy story on a bummer of a death knell, and i might touch on that later, but that’s a little bit more subject to personal preference, and honestly, it’s not the point i’m trying to make here, because to be frank, these episodes are bad without even getting into who lives and who dies.)

i. plot contrivances: EVERYWHERE.

i don’t mean plot devices. plot devices are important, in a story. a plot device is something like how merlin throws excalibur into the lake in 1.09, and then is able to retrieve it in 3.13 because of a choice he made to show someone compassion in 2.09, and thus he is able to save the day and defeat the undead. excalibur is a plot device, in that scenario - the ability to use it in 3.13 unfolds organically.

a plot contrivance, on the other hand, is artificial. it’s unnaturally convenient. it doesn’t feel convincing. it’s what you reach for when you can’t think of a way to make something happen, but a writer is supposed to look at these things when they edit and think ‘hey. if i can’t make this happen without it being contrived, maybe it shouldn’t happen. maybe i need to look at this again.’

so like, from the very beginning of 5.12, we have:

the face-sucker slug. never seen one before. never heard of it before. never given any indication that any such creature ever existed. never given any indication that “stealing” magic was something that could even happen. no idea where morgana found it. created for and introduced in this very episode, just to give merlin a reason to go to the crystal cave; removed from the episode ten minutes after it’s introduced, forgotten.

gwaine’s sudden girlfriend. NEVER SEEN HER BEFORE. NEVER HEARD OF HER BEFORE. NEVER GIVEN ANY INDICATION THAT ANY SUCH CREATURE EVER EXISTED. where does she come from? why do we care? (surprise: we don’t.) created for and introduced in this very episode for the sole purpose of explaining how morgana could get the information she needed to interfere with everyone’s plans, which was a contrived idea in and of itself, because it relied completely on making gwaine act like the kind of dope who tells a civilian military secrets.

you just. you can’t. if your plot point can’t function without a) introducing a brand new character in the penultimate episode of your show and b) forcing a long-standing character to do something they just wouldn’t do, you can’t use it. you just can’t. you have to figure out something else.

this lady’s very existence is nonsense. absolutely, utterly contrived. to waste that much time on a character we’ve never seen before and don’t care about, in the last two hours of your five-season show...incredible.

morgana’s army. they outnumber camelot’s forces “five to one.” where did they come from? how did she amass such a force? in season 4 she was losing all her allies - the episode with annis and caerleon was specifically designed to show us how people were turning from her methods and aligning with arthur. and then she spent two years in a pit. how did she amass such a force in such a short period of time? what could she offer them? why do they fight for her? there is no explanation of who the “saxons” are or what they want - the show just needed an army for camlann.

aithusa. aithusa was, apparently, just a vehicle to enable mordred to obtain a blade forged in the dragon’s breath. beyond that, he served no purpose. he literally just vanishes, along with that entire storyline - the future of the dragons, everything - just dropped, forgotten, never mentioned again.

morgana in the crystal cave. “gee, i finally caught merlin, the guy who’s supposed to be my doom. i think i’ll just...trap him behind some rocks. wouldn’t want to kill him, while i have him completely powerless and at my mercy. how then would he escape from this super powerful magical cave and ensure that the next step in this impossibly weak plot unfolds?”

the crystal cave itself. what is the entire point of this detour? killing time while arthur and merlin are separated? i mean, the whole “merlin loses his magic for all of five minutes” thing was a contrivance itself, just to ensure that merlin and arthur had a reason to be separated during the battle. but even putting that aside, once merlin is in there, and balinor says ‘you have to go into the light to discover who you truly are, you have power of which you cannot conceive’ - what purpose did that serve? all we see merlin do once he gets to camlann is call down some lightning. he’s done that before. he...he did that in season one.

the entire detour in the crystal cave changed nothing. it was a contrivance to mark time so merlin didn’t arrive at camlann at the same time as everybody else.

arthur at camlann. the idea that we are supposed to believe that arthur somehow finds himself all alone on that battlefield, long enough for mordred to sneak up on him and stab him and for him not be found by a single other human being until merlin shows up. he is the KING. there is no conceivable circumstance where his army lets him go wandering around by himself after the battle has been mostly won. it doesn’t make sense. it isn’t believable. it’s a contrivance to make sure mordred has an opportunity to get him.

“only the sidhe possess such magic.” the SIDHE????? you guys. the last time we saw the sidhe was in that gooftastically wonderful filler episode where a pixie wanted to bone gaius. you can’t - you just - you can’t center your entire ‘this is how we save arthur’ plan on a race of beings that we haven’t heard of since early season 3 and which we never knew anything more about than that they once possessed a farting princess.

“not without the horses.” are you telling me. that the reason they don’t make it to this fabulous isle in time. is because. their horses. were conveniently scared away. that’s what killed the glorious once and future king. the horses ran off.

and the horses conveniently ran off because they were conveniently scared away by morgana, who conveniently happened to show up because she was conveniently put in a position to extract information from someone who conveniently knew where arthur was going - all of this, of course, predicated on the impossible-to-believe assumption that a) gwen would ever tell anybody where arthur was going, when the stakes were this high, when nobody needed to know and camelot had already fallen prey to spies multiple times, and b) that gwaine and percival would, if they did for some reason know where arthur was headed, be so foolish as to literally serve themselves up to morgana on a plate, when they know that the whole point of this scheme is that they WANT morgana to hang out in brineved wasting her time in order to allow arthur to reach the isle safely.

I SAY AGAIN: if your plot point cannot function without making characters do things we just do not believe they would do, you can’t use it. you can’t. you have to revisit what you’re doing. you can’t just make anything happen that you want to in order to drive the story to the place you want it to go. it has to make sense.

kilgharrah. is called just in time to deliver a pat explanation of the ending, but not in time to shuttle arthur over to the isle? merlin could have called for a ride ages ago. merlin and arthur weren’t traveling fast, or far. it’s not like kilgharrah was having that much trouble getting around. we see that he handles carrying the two of them just fine. we see that he flies away, zoop, no problem. there is no reason for him not to have been called even a single hour sooner, other than that the plot demanded that he could not be, because the plot demanded that arthur not get there in time.

it breaks the boundaries of disbelief. it takes you right out of the story. it reminds you, inappropriately, that all of this is a thing someone planned (poorly). all of it is contrived.

ii. dropped plotlines

i can’t believe i actually have to say this.

i’ve seen tv shows tank before, but usually, when tv shows tank, it’s just that the quality of their writing has declined, and they’ve resorted to resolving their plotlines in ill-conceived ways.

i have never, in my life, seen a tv show DROP all of its major plotlines before it ends. i have never seen a tv show just. FORGET. to address their premise. never. i still can’t believe it actually happened. i’m sitting here trying to remember if the merlin finale was actually some kind of anxiety-induced fever dream i had while i was gearing myself up to watch the last few episodes.

merlin bbc had, at its outset, two major plotlines. these would be supplemented later by other throughlines (many of which were also dropped), but the two major ones always stayed the same, one for arthur and one for merlin:

for arthur, the question of him one day becoming the greatest king in history and uniting the land of albion

for merlin, the question of him one day liberating the magical community from oppression and being able to live free from fear

those were the two constant throughlines in this show, from episode one. the struggle to unite the land of albion, and the struggle to make the land a free and just one for ALL of its people, not just those without magic.

this show, somehow, ended without actually addressing either of these things.

it’s amazing. i don’t even know how they managed it. somehow, this show ended without actually ending.

to elaborate on this (and other dropped plots):

a) the once and future king: we never see a united albion. the show is driving at it, in seasons 4 and 5, when arthur makes peace with annis in S4, and then gets annis’s permission to travel through her lands in 5.01, and then helps Mithian’s father in S5, and makes peace with odin in 5.04, and then tries to make peace with the sarrum in 5.08, and it’s all making sense, and you expect that plotline to continue until we see its eventual fulfillment at the end of the show. you would expect, if this were supposed to be such an important thing, that the big struggle at the end of the series would have been all the peoples of albion united together against a threat.

but we never see any of these kingdoms again. we never hear a peep out of them. no one ever mentions them. it’s like they all just vanished into the wind. as far as we’re aware, camelot fights morgana’s army on their own - it’s like annis and odin and godwyn and rodor and those five kings that came together to sign the treaty in 2.10 never existed.

the dragon says at the end, “all you have dreamt of building has come to pass,” but we’re just like - WHERE? we literally didn’t see it! it was never shown to happen! you can’t just say that the most important outcome of your five-season series happened when it never did! it demonstrably NEVER DID! you can’t…..oh my god, you can’t...try to end your show offscreen, lol; i don’t know what else to say!

look - this is something i wrote before i knew how the series ended, when i was considering the possibility of arthur dying:

i wrote that before i even knew what happened. that’s not the result of, you know, retroactive complaining because they killed a character and i didn’t like it. i was doubting the idea that they would even be able to kill arthur, because i legitimately didn’t believe the show had shown us the uniting of albion yet (and they hadn’t, lol).

it just...it truly doesn’t make sense. something got tangled as they approached these last episodes. in 5.10, finna tells merlin, “without you, emrys, arthur cannot build the new world we all long for,” indicating that it hasn’t been built yet. but that scene takes place just a few weeks before the finale - you’re saying “the new world” hadn’t yet been accomplished at that point, but now, a few week later, it has? arthur didn’t DO ANYTHING in that interval! we saw camelot fight off a bunch of invaders (alone) like they’ve done a billion times before. there was nothing to hint that now albion is united.

and if finna was referring to the “new world” meaning a magical world, i mean - arthur didn’t do anything to build that, either. he died.

something happened. some wire got crossed. i don’t know what it was, but it meant that the show ended without actually closing out Main Plotline #1.

b) one day, we will be free: this show also somehow managed to end without addressing the plight of the magical community, which was THE central conflict of the show for all five seasons. more than that, it was the show’s premise - it was how they crafted their entire idea; it was one of two defining features of their pitch to BBC: that they would “wind back the clock” to when the characters were young, and that magic in this universe would be outlawed.

they literally abandoned the show’s premise. the episode directly preceding the finale was entirely about camelot’s wrongdoing and the right of magic-users to stand up and fight for their rights. it is not a crime to fight for the right to be who you are. and then we literally never heard a word about this struggle again. it was dropped like a hot sack of bricks.

IMPOSSIBLE.

and yet

it’s just left, twisting in the wind. we have no idea what happened. the one and only glimpse of camelot that we get at the end of this show has nothing to do with magic; it’s grim and somber people chanting ‘long live the queen’ in the throne room. and then we’re gone from that place, forever, never to return. it’s like they don’t even remember that ‘freedom for magical folk!’ was the driving source of conflict for the entire show. you would never have known that “magical oppression” was ever a feature in this show, if you just watched the end. camelot’s wrongs are never addressed, never referred to, never amended. the fate of the magical community is never hinted at. we don’t have any inkling of what happened to those people. we literally do not even have any indication of whether the magic ban was lifted.

it’s like none of that ever existed. it’s like the show just FORGOT its entire premise.

this truly might be the most unbelievable thing about the finale, for me. i’m still having trouble wrapping my head around it. in a roomful of writers and editors and producers, not a single person pointed out “hey uhhhh...we haven’t actually resolved either of our plots?”

i was exposed to enough vague reactions from fans to expect the finale to be disappointing. i assumed that the show would resolve its major plotlines in ways that i either didn’t approve of or found unsatisfying.

i did NOT expect them not to resolve their major plotlines at all.

i have never seen a tv show literally forget to end. never. never seen that happen before in my life.

c.) i am the last of my kind: the reveal of merlin as a dragonlord ushered in a third important plotline - his responsibility to the dragons, his duty to protect them and help them thrive. and the question was always ‘all right, so as a dragonlord, how is merlin going to ensure the survival of the dragons as a species, since they’ve been almost exterminated - .’ and that was also dropped. like a hot potato. like it never was. we never get clarity on what the heck was going on with aithusa, and then at camlann, aithusa just vanishes. gone. literally never to be seen, mentioned, or wondered about again.

d) i am old, merlin: this is a smaller thing, but in 5.10 the show starts this subplot about kilgharrah being unwell and merlin suddenly confronting the idea that kilgharrah is not, in fact, immortal. and it was actually very poignant and made me emotional despite how kilgharrah kind of drives us insane. they set us up for the idea that we are going to lose him. they set us up to expect that we will eventually see merlin arrive at a place where he doesn’t have that voice in his ear anymore, kind of like when luke goes to cloud city and obi-wan can’t help him.

but then, in the finale, kilgharrah just shows up like he always does, and there’s no mention of anything that came before. he’s fine.

it’s - it’s inconsistent, it’s not appropriate; there’s no emotional throughline. the exchange they have in 5.10 is such a beautiful moment, when a wavering merlin asks “what will i do without you?”

and kilgharrah says, like it’s the simplest thing in the world, “you will remember me.”

that’s such a powerful thing. for someone like merlin, for someone who has lost so many people who mattered to him - you can feel that line expand to cover miles and miles of ground. it’s about more than just kilgharrah.

but having kilgharrah then show up at the end of the finale to deliver his neat little explanatory summary the same way he always does dilutes that previous moment down to almost non-meaning. there’s no emotional consistency. they emotionally prep us for this figure’s departure, and instead he shows up, the same as always, with no reference to the fact that a few episodes ago we were getting ready to watch him leave us.

it’s not good writing. it just isn’t good writing.

iii. i want you to always earn your ending

i think it’s hard to come to grips with the idea that bbc merlin was specifically a show whose kind of...big premise was being a deliciously torturous slow burn up to some massive and long-awaited reveal, and then it fizzled just before it gave the audience what it had been leading up to for five seasons. it’s really just...wow. i’ve seen shows fizzle before, obviously, but the fact that this one was specifically built on the idea that you were waiting for something momentous (and inevitable!) to happen - which then doesn’t happen? that’s just...hoo boy.

the long-awaited, promised “payoff” doesn’t happen in any way that is convincing or satisfying or remotely plausible. it’s a little walk in the woods, and it ultimately doesn’t matter, because as soon as it’s over, so is the show, and everybody except merlin is long dead.

not with a bang, but with a whimper, indeed.

for a show that had its audience waiting on tenterhooks for five seasons for merlin’s secret to be stripped away, the fact that the show’s biggest “payoff” ended up carrying so little weight and feeling so unconvincing is truly a shame. there was no way for the show to give this concept the weight it deserved by flying through it in thirty minutes. the audience knows that there’s no way this could have been resolved so quickly, so everything that happens between the “reveal” (such as it was) and the end feels...false. it doesn’t seem real. it’s not believable. it feels (again, to use the word that truly sums up the entire spirit of this finale) contrived. rushed and squished together to be neatly tied up in the time they had available.

and that’s poor craftsmanship. stories shouldn’t feel like ‘well, i needed to reach x destination no matter what, so i made this that and the other thing happen to ensure that we got there.’ a reader/viewer shouldn’t be able to sense the presence of the author. they shouldn’t be able to feel the hand of god reaching in and arranging pieces to force a conclusion or extract an emotion that hasn’t been earned.

stories, if they are crafted appropriately, should feel like they have no author at all. like they just are. like everything that happens is the natural next step to whatever came before, as if events could not possibly have unfolded any other way. and i don’t feel like the “reveal” and arthur’s reaction to it met those criteria. all the supposedly super sad and emotional moments they were having at the end made me feel absolutely nothing, because the things arthur says don’t feel real. they haven’t been earned in-story. i felt like i was watching that sequence from a hundred miles away...just like...clinical. removed. like i was taken completely out of the story. like i was in the lighting booth of a theater watching some scripted scene play out below me.

(and this might be the time to mention that this has NOTHING to do with the actors. the entire cast was killing it. they were AMAZING. their performance threatened to wring emotion out of me even despite me being completely unconvinced by the idea of what was happening.)

but that aside - how can you stay immersed in something when you can feel the creator’s hand coming down and forcing a resolution that doesn’t make sense, that hasn’t been earned? it snaps you right out of the suspension of disbelief that all stories require you to maintain in order for you to engage with them. the writers needed arthur to say these things sometime before the end of the show, and so he says them, regardless of whether or not it would ever actually happen like that. but i didn’t believe it, because it wouldn’t have happened like that, and so the emotional impact was zero.

here’s the truth: you can’t use lines like “i want you to always be you” and expect me to get weepy about it when you haven’t earned that kind of resolution. it’s a false tearjerker. the writers are relying on our previous emotional attachment to these characters and our burning desire to see merlin validated in order to slip a contrived resolution past us without actually doing the work to make it plausible. they’re playing on our affections in order to cover up the structural shortcomings of the story they cobbled together.

i don’t like when a story tries to manipulate me like that. i’m not going to play that game.

iv. you are destined to be albion’s greatest king (*thor face* are you, though?)

i think there are probably some people out there for whom arthur’s death would have been a dealbreaker no matter what the rest of the story looked like. i respect that.

i’m in the camp where i could have accepted the ‘legend-compliant’ ending, if only it had been earned. as it is, arthur is never allowed to fully realize himself before he dies. the show keeps saying, and i quote, “one day you will be the greatest king this land has ever known,” but arthur skips off to avalon after having reigned for a whopping total of three years, during which time he is not shown to accomplish the only goal that was prophesied for him (uniting the land of albion) and during which time he also becomes further entrenched in his father’s anti-magic views (along with the hypocrisy of using magic for his own purposes), as opposed to ever seeing the error of his ways. he doesn’t right his father’s wrongs. he doesn’t usher in justice and freedom for all camelot’s people. he doesn’t change the status quo in camelot much at all, to be honest - and then he dies. and they try to tell us “there will never be another like [him].”

how? how can that not fall completely flat? he hasn’t accomplished his goal yet! he hasn’t become what they’ve kept telling us he will become.

so i can understand the ultimate plan of arthur shuffling off this mortal coil and being prophesied to return, and i could even accept that as an appropriate ending, but not when it hasn’t been earned. the way it actually unfolded, watching this moment feels like we skipped a season somewhere. it feels like a sham.

we’re being asked to give arthur credit for something he did not actually achieve, and it makes the whole thing feel like a farce.

v. gratuitousness and inconsistency

i had no emotional reaction when i realized they had actually killed gwaine.

that is insane, because you know how much i love him. but his death was so ridiculous that I actually started laughing in disbelief. and that in and of itself should be a sign that something wasn’t working. when your emotional beats are landing this wrong - falling this flat - something has slid fundamentally sideways with your storytelling.

i laughed when they killed my favorite knight! but what other reaction was i supposed to have? it was laughably silly! the premise itself was already foolish - that gwaine and percival would even come out here and endanger arthur in that way - and then gwaine dies because morgana used a nathair to extract information from him? we’ve seen morgana use the nathair twice before! she tortured elyan with it. she used it on alator. neither of them died. it’s never been indicated that being tortured with this creature will kill you. which isn’t to say that it can’t be the case, but from a writing perspective, if you’re going to use a sudden inconsistency to kill a major character, it’s noticeable! it’s jarring! and it makes us feel, once again, that the writers just grasped at any little thing they could think of to make what they wanted to happen happen.

and then there’s the whole question of why they wanted gwaine to die in the first place. what purpose did it serve? gwaine didn’t have to die in order for morgana to get the information the writers wanted her to have. and you’d assume that if they still killed him after that, that there would be a reason for it, or that it would at least...matter, somehow, but - WE LITERALLY NEVER HEAR ABOUT HIM AGAIN LOL. i wasn’t even sure he was dead at first. that’s how insignificant it felt. i felt like zuko in the ember island players.

that’s it. we never see him or percival again after that scene. there’s this weird moment where percival examines a footprint and the implication is that he’s going to follow morgana or something, but then it never happens. it’s like the showrunners ran out of time and were like ‘ok well, we just won’t be able to get back to that dangling thread.’ they gratuitously axed their most developed knight and then forgot they did it.

that’s why i laughed. it was so unbelievably bad - there was literally nothing else for me to do.

vi. let the bodies hit the floor (but like, anticlimactically)

i don’t feel like i need to examine mordred and morgana’s fates too closely, because i suspect the subject of “they deserved better” has already been done to death, and that’s kind of a different conversation than what i’m dealing with here. i’m not here right now to argue that they should have lived (though of course, yeah, i have my opinions on what would have made a better story), i’m just here to deal with how ineffectively the story we did get was executed.

one thing that amazes me is that when i watched the S5 deleted scenes, i realized that the showrunners did in fact originally have the right ideas about making morgana and mordred’s arcs deeper/more nuanced, but somehow these ideas never made it into the final cut. there are two deleted scenes that change so much about what could have been - one where arthur and merlin are talking about morgana and arthur is expressing regret and confusion about what happened to her, and merlin says it’s not arthur’s fault, that “there were others better placed to help morgana,” indicating his own guilty feelings.

and the other one was after mordred defected to morgana, where he has a whole conversation with her about how he thinks there is still GOOD in arthur!!!! he’s uncertain about what he’s doing! I JUST

i can’t believe

they had the seeds

of this better story

and they consciously decided not to pursue them. it’s not like they didn’t have the idea. it’s not like they just never thought of it. they thought of it, filmed it, and deliberately removed it. unfathomable.

it’s also pretty remarkable that the big baddie they’ve been touting for the last three seasons just pegs out from a stab wound in about 5 seconds as we’re being hustled on to something else. there is no space devoted to morgana’s death scene (such as it was…). it’s a parenthesis. it feels like, ‘oh we gotta get this out of the way quick hurry up let’s move on.’

and the thing is, i am not wholly opposed to the idea of morgana ultimately destroying herself - it’s not necessarily my first choice, but there are ways they could have gone that route and still told a meaningful story - but if they wanted to go that way, her death would have to matter. it would have to be treated like the terrible failure it represents. it would have to be given the weight of tragedy.

but structurally, the way this scene is set up, there is no way for this to happen. the viewers are already hyper-strung out on tension, when she appears, because they’re suddenly starting to get this horrible realization that one of the show’s two central characters might actually be about to die, but nobody wants to stop clinging to hope despite their bad feelings so there’s just this desperate, screamingly loud ticking clock running in the background, and when morgana shows up in the middle of that clenching fear, there’s absolutely no way her death can receive the attention she deserves. the audience doesn’t have room for something like that. they don’t have room to feel anything on top of what they’re already feeling. they’re already about to explode. they’re already maxed out on investment. they can’t focus on her; they want her to disappear because something more urgent is going on.

and so the show hustles us past her, and her death is just this blip. it barely registers. if you sneezed, you would miss it.

(and then mordred, for his part, doesn’t even have the benefit of a structural problem to explain the anticlimax of his death. he just gets taken out like the trash. for a character that they just spent all this time developing and making sympathetic - boy.)

i think...the thing, ultimately, is this: if this show truly felt that what they had to do was take their previously hopeful premise and stun their audience with the death of the hero, then they should have understood that trying to stack other things on top of that is too much. trying to squash morgana’s death right up against arthur’s is foolish. it’s ridiculous to expect your audience to be able to process morgana’s death and arthur’s in-progress dying at the same time. these two things happen within two minutes of each other. the audience has been following these characters for five years. it’s unreasonable to expect your audience to hold so much emotion at once.

vii. you’ll just have to trust me

the last thing i want to say is a more general thing.

the rest of this analysis focused on the ways in which the finale is poorly-crafted, rather than on my personal feelings about who they did dirty. it’s not really about my own personal thoughts re: the merits of killing gwaine and morgana and mordred and arthur or stranding merlin across the centuries; it’s about if these things (and all the other things in these episodes) were done effectively, and the answer, sadly, is no. the show could have killed all these people and still written something i would have respected (even though it would have been devastating), but that’s not what happened.

but here, at the end, i think i can make room for a little sentiment.

so what i want to reflect on here is this: ultimately, i don’t end up rejecting stories just because they do things i don’t like. the pre-finale episodes were filled with things i didn’t like. i hated how merlin turned mordred and kara in instead of letting them run. i hated how he let the execution proceed. i hated how arthur refused to see the injustice of his own actions. i hated how merlin was getting so wrapped up in ‘make sure arthur doesn’t die’ that everything else was fading away, that he was doing things he could never have done in good conscience before. but i was still deeply wrapped up in these stories, because i believed they were plausible and true. i accepted them. it made sense to me, that these things would be happening, dark and unpleasant as they were.

i don’t start rejecting stories just because they go places i don’t want them to go. i start rejecting stories when i feel they’ve betrayed my trust.

writers and readers/viewers can only ever move together if they trust each other. i allow stories to take me places i don’t want to go because i trust the authors to keep me safe while we travel. i know that they may take me somewhere i don’t want to be, but i trust that they will never take me somewhere i don’t need to be. i trust that they are taking me somewhere intentionally, with the story’s integrity in mind. a creator i trust can take their story anywhere, because i know they will take care. a creator i trust can end their story tragically, because they remember that i am experiencing it alongside them. they don’t surprise-punt me off the edge of the cliff so i can crash, alone, into the painful conclusion. they carry me the whole way, and by the time we get to the end of the line, we can both look back and see that the road that led us here was straight and true. i don’t fault them for taking me here. it was the right place to go.

the end of merlin didn’t feel like that to me. putting aside the fact that it was all so contrived that it didn’t even feel real (illustrated clearly enough in the ten pages above) - the truth is that even if it had displayed the highest quality writing in the world, the way this show ended felt like the audience had been abandoned. the bond of trust between the creator and the consumer was severed. the show forgot to take care.

i’m a ‘galaxy far far away’ girl first and foremost, so i’ll borrow an excerpt from the world according to star wars in order to make my point:

kasdan: i think you should kill luke and have leia take over.

lucas: you don’t want to kill luke.

kasdan: okay, then kill yoda.

lucas: i don’t want to kill yoda. you don’t have to kill people. you’re a product of the 1980’s. you don’t go around killing people. it’s not nice.

kasdan: no, i’m not. i’m trying to give the story some kind of edge to it…

lucas: by killing somebody, i think you alienate the audience. (x)

i think merlin forgot this.

i’m not saying that merlin shouldn’t have killed anybody at the end of their show. i’m not even saying that they shouldn’t have killed arthur. i’m saying that they forgot to take care.

merlin bbc betrayed their audience. you cannot take a show whose underlying theme has consistently been the promise of better things and then turn around and end it like that without taking special care of the people who are watching. you cannot just take an audience who has spent five years listening to someone bright and full of unflinching hope say - without any indication that anyone should doubt the certainty of this statement - “one day things will be better” and expect them to walk into this kind of ending safely.

by killing someone, i think you alienate the audience. and this doesn’t mean that nobody can ever die. but it does mean that if you’re going to kill someone, you have to understand that there is going to be an automatic pain reaction from your viewers/readers/etc, and if you want to maintain their trust, you have to take so much care. you have to be sure that you know exactly what you’re doing. you have to be sure that it’s the right thing. the only thing. you have to make sure that it doesn’t betray the fundamental promises you’ve made whilst crafting the rest of your story.

the end of merlin is truly stunning in a) its utter reversal/unfulfillment of every major promise that comprised its premise and b) the casualness with which it throws its characters away in the last episode. it’s not just “killing someone.” it’s a slaughter. we have to watch almost half the cast die onscreen, and then at the very end literally everybody is dead except merlin himself.

and this is merlin! not game of thrones! merlin is a “family show;” that’s what the writers/directors/producers keep calling it when you listen to the episode commentaries and they talk about how they can’t show certain things or make it too bloody. they wanted to follow in the tradition of “big, kind of epic family-entertaining shows, that—across generations—work on lots of different levels.” but i cannot imagine a young person who has watched this show for five years coming into the finale to see mordred and gwaine and morgana and arthur violently executed, and to see gwen in mourning, and merlin anguished and then more alone than he ever was even when he was hiding his secret, and then, whoop, there’s the credits, that’s all folks. aren’t you glad you got on this ride?

the show ends without fulfilling any of the promises it made repeatedly for years. the liberation of magic, the uniting of albion, and, for merlin, especially, the long-predicted day when he would be known and recognized for who he was - all forgotten. all abandoned. the finale finishes without giving the audience any of the things that they have spent five years being told to expect. the show rewards five years of emotional investment with death and desolation. it breaks all of its promises. it doesn’t take care.

i was lucky enough to have been so disconnected by how shockingly bad these episodes were that i mostly sat there shock-laughing at them in disbelief, the first time i watched. but going through them again to put this write-up together was just like - that’s when a deep sadness kicked in, for me. not at the ending itself, exactly, because, as i’ve said before, it was so poorly put-together that i can’t even see it as real. but just - at the idea that i still had to see it, period. that i had to witness this thing that i loved so much descend into this misery, for all that i didn’t recognize it as something plausible or true. that i still had to watch merlin drag arthur all over creation, still trying, still scrabbling for that sliver of hope, only to have arthur bite the dust like ten feet from their destination. that all merlin ever wanted in his life was to be accepted and loved for who he is, and that he put all of this on hold so he could (supposedly) bring about a world where it would be possible, and then he never gets it. that a life of hiding himself and believing that everybody around him hated who he was inside - that was as good as it was ever going to get, for him.

the writers just - piled it on. ‘you can watch mordred die, even though we just went to all this effort to make you root for him! and now you can watch gwaine die (why????? we don’t know!!! it doesn’t change the story, but why don’t you watch it happen anyway!). and now you can watch morgana die! but don’t look too long, because arthur is dying! and now you can see camelot cold and in mourning - but only for one second, because now you can see merlin, who we never showed meeting any of his friends ever again, wandering around as a solitary old man thousands of years after everybody else is dead and the universe we spent the last five seasons living in no longer exists!!!!!!’

unbelievable.

it doesn’t upset me in the sense of “it’s so terrible that the story ended that way” because i know it didn’t, really. it was contrived and false enough that i laughed through most of the episode. i know it isn’t the way things would have gone, and i won’t have any trouble forgetting it; whereas if it had been well-done, i wouldn’t have been able to dismiss it so easily. but i still had to watch it, regardless. you’re forced to watch it, because you care, and the creators know you care enough not to look away, and they use that trust to keep you glued there while they gut-punch you over and over and over again and then peace out without concluding any of their plotlines, saying, “isn’t it clever??? we really fooled you, didn’t we? technically, we fulfilled the prophecies - nobody ever said any of the characters would get to enjoy the new world they would build! i bet you’re so surprised!”

it leaves you stunned.

it’s so...mean.

it’s so careless.

i don’t have any desire to subject myself to that a second time. after i’m done with this post, i know i’m never going to watch those episodes again. they weren’t good, first of all; and if you need more clarification on that, please see the first ten pages of this document. but more importantly, i don’t feel the need to subject myself once again to the callous disregard for the trust i gave this show’s creators.

if i’m supposed to trust a creator to carry me over rough terrain, i’m trusting them to carry me all the way to the end. they can’t violently dump me to the ground two feet before the finish line, run me over with an ATV, and then expect me to willingly climb back into their arms.

viii: if you want something done right

in conclusion, i guess the one nice thing about this is that we can crawl the last two feet ourselves.

for me, sadly, i think canon!merlin is always going to end at 5.11. the last two episodes don’t feel believable to me. i couldn’t watch them and be convinced that i was watching something plausible; i felt like i was watching two hours of scripted theater. which is, of course, what we’re always doing - but if the story had been crafted appropriately, we shouldn’t have realized it. we shouldn’t have been able to feel the writer’s hand reaching in and making improbable things happen. we shouldn’t have been laughing in disbelief as supposedly “sad” things were happening in front of us, and we definitely shouldn’t have been almost falling off the couch because the last scene was so jarring we thought it was an advertisement. (the TRUCK, people. blaring across the screen and bulldozering through medieval fantasy-adventure show merlin bbc. nothing on earth or in high heaven could have prepared me for that moment.)

but the one good thing about a piece of media that ended so unsatisfactorily is that it lights a fire under people’s butts to go ahead and sort of...row the boat themselves. i was afraid, before i watched this, that seeing it would make me never want to go back to merlin again. i put off finishing season 5 for an entire year because i was in the middle of writing a fic and i thought that if the end of the show upset me, i would never want to write another word. but now that i’m finished, i’m relieved to be able to say that the finale, while it will always be a bitterly disappointing sore spot, was also SO laughably bad that i don’t feel the slightest compunction about just...letting it lie unrecognized. if it were well-crafted and i was just ignoring it because it made me sad, i’d feel guilty for being petty. but it was Just Actually That Bad, so my conscience is clear.

and so is the path to more fun things, i hope, because that is the point of fandom, in the end, to have fun with something you love in the company of other people who love it the same way.

i hope i haven’t written the last merlin thing i’ll ever write. i hope there’s more inside me that i want to say. i hope i haven’t come in too late to make connections. i hope i’ll enjoy rewatching (most of) this show someday. i couldn’t imagine that any of these things would be true, when i knew the end was going to be a let-down, but now that i’ve finished, i feel like there’s infinite room to play, and that, at least, makes me smile.

i’ve said before that this was a hell of a ride. it ended in a trainwreck, sure, but i’m not sorry i got on.

#the once and future slowburn #merlin S5 #meta

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boomerang109 · 4 years ago

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thoughts on uhhhh i have no thoughts oh no boom i’ve lost my one brain cell uhhh tfatws? have you been watching that? if not i’ll come up with some alternatives/additional ones:

thoughts on pears (aka wannabe apples)

thoughts on me dying my hair green apparently everyone already thinks it is and the concept is growing on me

thoughts on ace rings! (i have an aro one but i want both >:) )

thoughts on names. names in general, naming small children, whatever ya want

thoughts on reality tv shows

oh no snakefarm you gotta find that brain cell! i have not been watching tfatws but ashla and abby have so i’ve been hearing a bit about it. it’s on my to-watch list, but i’m not sure if i’ll ever get around to it or not. it seems like it has (or is trying to have?) some good messages around how sam wilson’s relationship with america is different due to his race, as well as having a lot of hot men, and a lot for the shippers to enjoy. idk if that’s accurate or not, but those are the thoughts atm

pears are gross, their texture are weird and grainy and they don’t even have a good taste to make up for it. do not recommend. (i think apples make me feel sick?? i need to investigate, but i’ve been avoiding apples since forming this theory and it’s very sad)

dye your hair green!! it’s aro pride and i have no idea what you look like, but i bet you can rock it. i associate you with green (cause that’s just your color) so i feel like green hair makes a lot of sense for you (what color is your hair now?)

boom is wordy af for no reason, so i’m putting in a cut for anyone who wants to scroll by(e)

i love ace rings!! i wish they were slightly better known (although i am glad that i’m not outting myself to society at large ig) but they’re a lovely show of pride and way for aces to identify each other in the wild! also, my ace ring is a spinny ring (and unfortunately it’s part silver because it’s a black chain on silver, which aesthetically i don’t love, but SPINNY) so i think that’s extra fun. i definitely recommend getting an ace ring, aroace pride all the way!!

names are strange and sometimes i wish i could just call myself boom in real life (and i know i technically could, but i’m very sensitive so i don’t want to be judged and boom is a very unusual name) but i actually love that you said naming small children cause i was just thinking about this?? for this, we’re just imagining me and my partner have decided to have children (either they’re preggers or adoption) and are choosing names, even tho i’m not actually sure if i will ever be stable enough to handle having human lives in my care. i’ve always really liked names that are very gendered so i was thinking the other day “:( it’s sad i can’t use these names cause i want to give my kids gender neutral names rather than assuming their gender” but then i was thinking, well, unless society changes drastically, it’ll probably be easiest on my kid to raise them as the gender that matches their sex, until they’re old enough to agree or disagree, so i could give them a first name that matches that gender and then a middle name of the opposite (or neutral) gender. (which also ruins the plan to give them family last names as a middle name, which is an important tradition to me, as i am the second to last person with [REDACTED] still in my name). but i don’t love that plan cause whenever i see something like “John Emily Smith” or whatever, i always think “oh that poor kid, probably got bullied for having a girl’s name for a middle name” and obviously that shouldn’t be the norm, but while it is,, idk if i want to set my kid up for that. so i think i’ll have to stick with genderless names, even if that means i have to do research in the future to find some more names i like (and obviously, if my kid ever decides they want a new name, that’s okay too! i just wanna give them the best chance of liking the one i pick out for them)

i always thought reality tv shows were kinda trashy and dumb but my high school acting teacher pointed out they’re a great way to study raw human emotion? and i’m pretty sure that’s just his dramatic excuse for loving reality tv, but it’s totally stuck with me cause that’s how i originally got into sitcoms (viewing them as writing practice, especially the office where they’re SUCH caricatures it’s really good character study)

#ask a boomerang #snakefarm tag #thanks for asking!!

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bridgemeadhq · 4 years ago

Photo

THE FOOL

full name: Dakota ‘Kody’ Pierce

faceclaim: Austin Abrams

age: 18

birthday: December 13th

gender: Cis man

pronouns: He/him

four traits: Compassionate, goofy, loud & occasionally annoying

worst fear: Disneyworld getting nuked / accidentally killing somebody

favourite horror movie: Scooby Doo 2002 / Coraline

hometown: Orlando, Florida

living situation: living with his adorable parents who love him so so so much 💖💖💖

major: Sad high school student lmao

BIOGRAPHY

When Dakota was a little boy, there was nothing that he enjoyed more than sitting down in front of his parents enormous, outdated, television set and watching the same three Disney movies over and over: Aladdin, Alice in Wonderland, and Peter Pan. The third one was his favorite by far; the idea of never having to grow old, to just be a kid, running around and playing with his best friends forever was extremely appealing to him. This fantasy was only encouraged by the fact that his family lived in Orlando, twenty minutes away from Disney World, and frequently would visit the parks on weekends to amuse their darling son and his vivid imagination. And once Dakota got over his fear of rollercoasters, theme parks became his newest obsession. No longer did he love lounging around in a bean bag chair, sipping on a juice-box watching old animated films – he wanted to live it. Luckily for him, he was an only child with parents who lived to spoil him and shower him with attention, so when the general admission prices seemed to sky-rocket as the years went on, annual passes became a household necessity.

It wasn’t just the wonderful world of Disney that Dakota enjoyed – from a very young age he was exposed to the likes of Scooby Doo, The Clone Wars, and Harry Potter, and all things sci-fi, fantasy, and supernatural were easily his favorite things to read about, watch on tv, or experience at a theme park. He’ll never forget attending the opening day of Harry Potter World at Universal Studios, and not even being upset about having to wait in line for five hours to ride Harry Potter and the Forbidden Journey. It was after that first ride when Dakota made a decision about what his future career would be: he would be a rollercoaster designer – and not just any, the best. The goal was to become an Imagineer, but if that wasn’t possible, he’d take designing incredible coasters all over the world.

Eventually the desire to remain a happy, go-lucky child, playing games with his friends and riding rollercoasters every weekend forever became less appealing, because once Dakota entered middle school, he quickly realized that being the kid obsessed with Disney was very uncool. Talking to girls was cool, and playing Minecraft with his friends online was cool, not his collection of rare Winnie the Pooh mugs that he at one point thought was the coolest thing he could ever own. The love for theme parks and all things Disney still remained, it just became a lot more lowkey as he attempted to pursue an aura of coolness. It was then that Dakota decided to pickup a nickname, and to the dismay of his parents who named him after the great state where they fell in love, North Dakota, he started going by Kody. The obsession with being like Peter Pan still tickled the back of his mind occasionally – he often felt nostalgic for not having to worry that much about his grades, or for the days he could chatter on about his latest trip to the EPCOT Center without having other kids call him a baby – but once he kissed a girl at the eighth grade dance, that urge to be a kid forever was out the window. After that, all Kody wanted to do was grow up!

It was at the beginning of his Sophomore year in high school that his entire world was shaken up, when his parents revealed to him that they would be leaving their perfect suburb and moving up north. This was possibly the worst thing that had happened to him thus far in his life, leaving behind the friends he’d made, the girl he’d formed feelings for, and most importantly: the theme parks he loved. He threw fit after fit, slammed every damn door in the house, announced he would emancipate himself if he had to – he would not leave behind his precious Disney World. Obviously, being a fifteen year old without much say in the matter, within a couple of months their home was packed into moving trucks, and the family of three spent their last day in Orlando exactly where Dakota wanted to be: at the Magic Kingdom.

Starting at a new school was difficult, especially when the town his parents had forced him to move seemed to be the most boring place on earth. At a glance, it seems small, gloomy and uninteresting, and for the first months living there, Kody would spend most of his time holed up in his room, friendless, messing around on his computer and learning the ins and outs of coding. His parents encouraged him to get out, meet new people and make some friends, but it was just difficult – he didn’t want to. He wanted his old life, he wanted Disney World, as pathetic as he knew it sounded. The local Massachusetts theme parks just didn’t scratch the same itch, as much as his parents attempted to bring back the spark they used to see in him. It wasn’t until one late afternoon in his high schools library when he discovered there was a lot more to Bridgemead that meets the eye. It was there he came across three teenagers, AJ, Arabella, and Dylan, none of whom he recognized to be in any of his classes, who appeared to be searching for something. His curiosity got the better of him, and he ditched the calculus homework he’d been scribbling on to follow after them. This became a quite regular occurrence; Kody would find one of them after school, wait until the three united, and then linger behind them at a distance, eavesdropping to figure out what exactly they were up to. Suddenly, Kody had his newest obsession: getting to the bottom of…. whatever they were getting to the bottom of.

It didn’t take him long to realize what their game was, they don’t exactly whisper when they think no on else is around, and as surprising as it was to hear it, the revelation of the supernatural being real was brought to his attention, and he quickly realized exactly what the three he followed around were: they were Bridgemead’s version of the Scooby Gang!… sans a couple of members, sure – but he hoped that maybe, if he played his cards right, he could become one of them. It happened one day when he wasn’t being as sneaky as he usually would, and though they were skeptical about him following them around at first, if there’s one thing about Kody: it’s that he appears rather harmless, and to match that look, he’s adorably pure at heart. They quickly realized that he was simply a lonely new kid with bright eyes and a bubbly personality who was eager to help them on their quest to uncover the truths that hide within their town.

The subsequent year, following them around was an absolute blast. To his parents delight, he began bringing them around his home, and the basement became their unofficial HQ. While they never actually solved any of the mysteries the three seemed to have discover on their own, he was still having way more fun than he ever thought he could when he moved here. Somehow, investigating with the three of them was just as thrilling, if not more sometimes, than riding his favorite rollercoaster. Eventually his friends graduated, but that didn’t seem to split up their little team – everyone remained in town after graduation, attending the local college. In fact, them leaving high school actually resulted in Kody getting more friends, as they added Blair to their group. Once there were five of them, he really felt like they were the Scooby Doo Crew, and if he were to assign himself to a particular character: it would probably be Scoob. The fun didn’t exactly come to an end – just took a dramatic, unprecedented pause one night during winter break during Kody’s senior year on his walk home, after a scarfing down a larger-than-your-head neapolitan sundae at the Karma Cafe.

As much as Dakota likes to think he can’t remember what happened – he does. Vividly. He represses as much as he can, just likes to think he was simply attacked, and woke up in searing pain… but it’s much more to that. When he did awaken, it was like a part of his subconscious had been silenced, the good, sweet parts of him had vanished, if only for a moment to enact absolute terror on a random civilian. After spending about fiveish minutes sucking the blood out of their neck, he snapped back to reality, and realized the mess he had become. He couldn’t deal with the knowledge of whether or not he’d killed them, so he disappeared without bothering to check for a pulse, and returned home to clean up, cry madly, and go to sleep in the hopes that he’d wake up and all of this would’ve been some sort of dream. Unfortunately, Kody did not sleep, nor has he slept since that night ten months ago. When the sun rose that morning, he realized that it’s rays, even glistening through small slats in his blinds seemed to give him a headache, and when he attempted to pull them back and force himself to accept the day, he discovered that it’s heat was enough to set him on fire. The next several days were spent in absolute darkness, convincing his mother that he was sick with the flu and that she shouldn’t even dare to enter the room. At night, he would sneak out, part of his brain shut off again as he’d lurk through the town and find something he could feed on. After that first victim, Kody managed to learn to control himself, it was like the thing that he had become somehow understood how much was too much, and he would leave his victims gasping for breath and screaming as he’d vanish in the distance, unseen and further undetected. Each time he would hate himself afterwards, return back to his bedroom and cry, cry, cry until he didn’t feel much of anything anymore.

It was about a week after the attack when he discovered a mysterious package with his name on it on the dining room table. Inside was a letter with handwriting so fancy that Kody didn’t even bother to attempt to decipher it, a bulky silver ring with Latin inscribed, and two bags of blood. Without really thinking about it, he devoured both bags, and then kicked himself in the ass for it later when he realized how he could’ve rationed it. It was however, what gave him the idea to stop unnecessarily hurting people, and start stealing blood bags from wherever he could get: the hospital, local blood drives, and the occasional trip outside of town to scour nearby hospitals became his weekly spots to raid. The ring was the greatest part of the package, because when he wore it and stood in front of the blinds hanging from his window, the headache he’d feel all day every day was no longer there. He even dared to pull back the blinds and stand in full view of the sun, only to find that he wasn’t turning into a ball of flames – he was perfectly fine.

Once he’d acquired the ring, he was able to return to school, but this came with its own set of complications. The scent of blood was everywhere, all the time, calling to him to come have a delicious sip from any classmate who dared to offer him a smile that day. He managed to keep his composure when he was there, but this did result in him having to miss countless school days to prevent himself from hurting another student or a faculty member. There were dozens of days he can recall stepping onto campus, only to smell that someone had just accidentally cut their hand, or bruised their knee, or the worst: someone had just gotten their period, and he would have to leave as quickly as possible to curve his cravings. These repeated absences resulted in something detrimental to Kody: he was going to be held back.

All he wanted was for someone to be there for him, but he couldn’t tell his friends. As accepting as he knew they would be, considering how they had all reacted upon Dylan’s admission, he just couldn’t. It’s one thing to have an uncontrollable change once a month, it’s another to crave blood on a five-minute basis. That summer, their unofficial HQ found a more permanent location in the form of the basement underneath the Bridgemead College’s library, and this relocation resulted in Kody receiving another slew of new friends: Finley, and as time went on, Kendall both is he a little wary about, considering what he is. As their group seemed to grow, he spent three long, sleepless nights developing the perfect tool for them to use: a website equipped with an anonymous tip system, a message board, and catchy headlines to grab the attention of the average Bridgemead citizen. Once it looked absolutely perfect, complete with a header tilted BRIDGEMEAD’S SCOOBY GANG, he decided it was time to unveil it to everyone. The website came with mixed reviews from the group, but ultimately it was decided that they would be using it, though AJ did have to remind him a few times that Scooby Gang was definitely a working title. For the first time in a long while, he felt like he actually had… real friends, ones he didn’t have to put on some kind of cool front for, like he used to. This time, the facade he had to put up was that he was absolutely normal. Just an awkward, goofy kid who claims he faints at the sight of blood and can’t stand the scent of lemon verbena, and not the truth of what kind of monster he’s become. His only explanations of what was going on with him lied within vague Google searches which returned ambiguous answers, stating that what he was going through was a phenomenon limited only to the fictional world. If only they really knew.

So his childhood dream had come true: Kody would get to be a kid forever, just like Peter Pan.

#bio

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pretoriuspictures · 4 years ago

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https://www.talkhouse.com/on-the-virtues-of-cinematic-failure/

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Most journalists who have spoken to me about my new erotic drama PVT Chat (starring Peter Vack and Julia Fox and streaming now on most VOD platforms) assume it’s my first feature film. Actually, it’s my third. My first two features never played a single film festival and haven’t been seen by more than a few hundred people (mostly friends and/or curious followers of my rock band, Bodega). They were financial failures (even though they were made extremely cheaply), but you couldn’t call them critical failures because nobody has ever reviewed them. I spent the last decade working on these films and yet their cultural footprint is practically nonexistent.

Despite that, I still believe in them and hope one day I’ll make a movie (or record) that inspires people to seek them out. My early cinematic attempts certainly failed at behaving like normal movies, but to me it is precisely this failure that makes them interesting.

Godard said of Pierrot le Fou (1965), “It’s not really a film. It’s an attempt at a film.” This is a purposefully cryptic statement, but I think I understand what he meant. There is a sketch-like quality to his films from that period. He was less interested in following a particular plot through to its conclusion than suggesting narrative ideas and moving on. He enjoyed employing classical narrative tropes but didn’t want to waste screen time on the proper pacing required to sell those tropes to an audience. Instead he filled his screen time with spontaneous personal, poetic, and political ruminations that occurred to him literally on the day of filming. Many found – and still find – this approach infuriating, but for a select number of Godard disciples, like me, this type of filmmaking is still revolutionary. I remember seeing Weekend during my sophomore year of college at the University of South Carolina and having my mind completely ripped open. Suddenly the world wasn’t a small, mediocre, predictable place – it was full of music and color and philosophy and eroticism. There were people out there genuinely disgusted with the status quo and boldly proclaiming it with style.

Godard’s work is a fulfillment of the dream of the caméra-stylo – a term coined in 1948 by Alexandre Astruc that argued it was theoretically possible for someone to compose a film with as much direct personal expression as exists in prose. In order to achieve this level of expression, one often needs to move beyond the realm of mere plot and narrative naturalism, the principle that what you are seeing on screen is real. (On most movie sets, the filmmakers and actors work overtime to sell this illusion.) Films that focus solely on plot, character psychology, and one literary theme have to direct the majority of their screen time toward plotting mechanics and emotional manipulation of the audience. What you gain in dramatic catharsis you often lose in intellectual honesty. There’s always a tradeoff. I am invested in a cinema of the future that veers toward self-expression, but doesn’t need to avoid dramatic catharsis as Godard’s films did. Certainly many filmmakers my age are working to achieve such a synthesis of intellectual directness and narrative pleasure. Experimentation is required and many “bad” films need to be made to pave the way for future successes.

I graduated college in 2010 high on this dream of the caméra-stylo and philosophy (my field of study) and in 2011 started filming my first feature, Annunciation, with experimental filmmaker Simon Liu. Annunciation is an “adaptation” of the Mérode Altarpiece, an early Northern Renaissance oil painting triptych by Robert Campin. The film features three short separate narratives, one for each panel of the famous 15th-century painting. I wanted the performances in Annunciation to be controlled and somewhat surreal, as if the whole film existed in a heightened but slowed-down hypnotic state; I was thinking about Bresson, Ozu, Antonioni and, of course, Godard (particularly his work from the ’80s). There is some plot, but the main goal of the movie was to reveal the miracle of existence in the everyday. And because the Mérode Altarpiece depicts the scene in Christianity where the Virgin Mary was impregnated by light alone, the film had to be shot on 16mm film.

Now picture this: a 22-year-old walks into a conference room in Midtown Manhattan and gives this pitch to a producer who was then investing in thriller movies: “Every time light strikes a piece of celluloid, a miracle similar to the Annunciation scene occurs: an image appears in the likeness of man that redeems our fallen world and reveals it to be the beautiful place that we take for granted in our normal day-to-day.” This wasn’t met with the enthusiasm I was hoping for. “Don’t you see,” I said, “this is a film about the ecstatic of the quotidian! This is a film that audiences will flock to! It could do for Williamsburg and Bushwick what Breathless did for Paris!” Looking back, I am both shocked and charmed by my youthful naiveté, courage and idiocy.

I was laughed out of the room, but the producer was kind enough to wish me good luck and welcomed any future pitches, should I come up with something any “normal” person would want to watch. I never thought of films in the tradition of the caméra-stylo as being elite works only for the gallery or the Academy. I, like Godard before me, have always assumed that audiences are intelligent and long for thoughtful, challenging movies. That belief I carry to this day and thankfully it sometimes seems to be true. How else could you explain the recent success of heady films by Josephine Decker or Miranda July?

Thanks to small donations from family members (and credit cards), I was able to shoot Annunciation without any official backing. I cast the film with a mixture of non-actor friends and some undiscovered Backstage.com talent and dove head first into the production. Right as our principal photography began, Occupy Wall Street gained momentum, so Simon and I spent time at Zuccotti Park filming our actors experiencing the movement. The hopeful promise of OWS seemed to reflect the yearning desire of our film’s protagonists as well as our own idealist cinema experiment.

When the film was finished and edited, I naively assumed that we were well on our way towards global cinematic notoriety. Surely, I thought, this important film that manages to blend fiction with actual footage of OWS would premiere at Cannes or Berlin and the Criterion Collection would issue the DVD shortly after. In actuality, it was rejected from every single film festival we submitted to.

Undeterred, I conceded that maybe there were a few minor structural flaws in the edit. It was probably a little too long and perhaps the three separate narratives would work better if they were crosscut more. A year later, this new edit was again rejected from almost 100 festivals. Stubbornly, I thought that perhaps what could really bring the movie together was a comic voiceover by my then cinematic muse Nick Alden (who is a lead in both Annunciation and my second film, The Lion’s Den). Audiences seemed to ignore the comic tone underlying Annunciation. If only I could unearth it, they wouldn’t be put off by the pretensions to greatness the movie wore on its sleeve. There is nothing so offensive to American audiences as pretentiousness.

I didn’t send the overcooked voiceover version to festivals. I knew it was forced and worked against the core concept of the film. But it was then that I started for the first time to have doubts about Annunciation. Maybe my film wasn’t as emotional or clever as I imagined. Maybe it was bad? “No,” I decided. The film, whatever its flaws may be, has value. Herculean delusions of grandeur come in handy when you are trying to become an artist.

I opted to edit the film back to its original state, but without some of the weaker, obviously didactic moments, then hosted a few local screenings in NYC (most of them at DIY venues where my rock band would play) and put the film up for free on Vimeo. Around this time, it occurred to me that editing Annunciation had been my film school. Failure is a wonderful learning tool. Editing the same raw material in a myriad of different ways taught me about pacing and tone. Still to this day, when I find myself in a certain state of mind, I open up the Final Cut sessions and do a new edit of the footage just for fun, like some sort of DIY George Lucas tinkering with the past. Last year during quarantine, I did a new edit of Annunciation and uploaded it to Vimeo without telling a single person. It has become my own little cinematic sandbox to play in.

When people did chance upon one of my myriad edits, they often commented that they enjoyed its style but found the acting too unnatural. My response to this was to make my next film, The Lion’s Den, a cheaper HDV feature that doubled as a political farce and an essay about naturalism in cinema. The film is about a group of ding-dong radicals who kidnap a Wall Street banker and plan to donate his ransom money to UNICEF so salt pills can be provided for dehydrated children. The UNICEF plot was drawn from Living High and Letting Die, a 1996 work of moral philosophy by Peter K. Unger. It was both a serious attempt at political philosophy and a total slapstick farce; I was imagining the comedy of errors in Renoir’s The Rules of the Game mixed with the Marxist agitprop of Godard’s La Chinoise.

The acting style in The Lion’s Den was purposefully cartoonish; at no point in the film could an audience member believe that what they were seeing was real. I like to think that The Lion’s Den was an attempt at theatre for the camera, part Shakespeare and part Brecht. This was my own personal response to our epoch’s hyperrealism fetish. At the time, I believed that the current obsession with neo-neorealism, mumblecore and reality TV was worth combating. Art with a realistic aesthetic, I thought then, was inherently conservative and accepting of the political status quo (whether the artists were aware of this or not). Art with an imaginative anti-realistic aesthetic, so I thought, was utopian. It opened new vistas and ways of thinking and being. It dared to believe in a more beautiful world than the one we are living in.

The making of The Lion’s Den was extremely difficult. It was by far the hardest thing I have physically done in my life. At the time, I was malnourished and broke, not unlike the character of Jack in PVT Chat; my diet for that month we made the film consisted mostly of coffee, rice and beans, ramen, light beer, and the occasional waffle or fruit smoothie from the vegan frozen yogurt stall I worked at. Unlike Jack, my addiction wasn’t cam girls or internet gambling, but independent filmmaking. I begged, borrowed and scrimped $10,000 to make a film I knew I wouldn’t be able to sell. Despite having some key collaborators near the beginning of the shoot, most of the film was made with just me, the actors and a loyal boom operator, all living together in a house in Staten Island. This meant that I had to assemble all of the cumbersome lights for every setup, handle the art for every scene (which involved a lot of painting), block the scene and direct the actors, throw the camera on my shoulder and film, and then at the end of the day transfer the footage while logging the Screen Actors Guild reports and creating the call sheets for the next day’s scenes. Exhausted both mentally and physically, I often couldn’t stand up at the end of the day’s filming.

Once we’d wrapped and everyone had gone home, I stood in the middle of our set and played Beethoven on my headphones. Within seconds, I began bawling my eyes out, partly from exhaustion but also from the melancholy that all my friends had left and I was now alone for the first time in a month. I collapsed and slept for hours. When I woke up, it was my 26th birthday. I celebrated by watching Citizen Kane alone and then started the process of painting the walls back to a neutral white. The actor Kevin Moccia (who has been in all three of my films and actually works as a house painter) heroically came back to set and helped me. I told him that despite all of the agony of the past weeks (my bank account was now in the red, with overdraft fees piling up), I was happier than I had ever been. Working passionately on something that has great value to you is, without a doubt, the key to happiness.

Shortly after returning to the real world and my job at the vegan yogurt shop, I passed out while on the clock and was taken to a hospital by my very supportive girlfriend. Turns out, all I needed was an IV and some nutrients to get back on my feet, but unfortunately the trouble with The Lion’s Den had just begun. At some point, I formatted the production audio memory card and, in one instant, accidentally deleted everything on it. For the next two years, my friend Brian Goodheart and I worked with all of the actors to dub all of the dialogue and sound effects in the movie. Each actor had to completely re-do their verbal performance. It felt like remaking the entire movie. The result made the film especially un-naturalistic (which pleased me at the time) and it turned out far better than I think Brian and I expected.

By then, I had some hopes that The Lion’s Den could reach a small audience. It is aggressively philosophical but also features a love triangle, a car chase and a final shootout. Its comic style, I was hoping, would attract people who were put off by the purposeful flatness of Annunciation. Nevertheless, the movie was also rejected from every conceivable festival. I now realized that submitting an aggressively experimental narrative film without a single famous person in it to festivals is basically like flushing your money down the toilet. Yet I continued submitting, like an addict at a casino putting all of their savings on the roulette table. You never know, right?

In hindsight, I now see The Lion’s Den as a very angry film that perhaps uses comedy to soften the blow of some of its hotheaded fervor, and suspect some of its critique of capitalism and naturalism came from hurt and jealousy. “You think my work isn’t natural enough, eh? I’ll show you motherfuckers naturalism!”

Sometime in 2017, to my surprise I became smitten with certain neo-neorealist filmmakers (Joe Swanberg, in particular) and decided I wanted in on the mumblecore party, albeit from my own outsider perspective. I began to see how I could work symbolically with naturalistic performances, which led me to my latest film. PVT Chat is by no means a work of strict realism, but nevertheless focuses on believable dramatic performances. The film’s cast blends some actors from my past work (Kevin Moccia, Nikki Belfiglio, David White) with some heroes of the modern neo-neorealist indie cinema (Peter Vack, Julia Fox, Buddy Duress, Keith Poulson).

I want to end with a bit of advice to other filmmakers: Don’t put your self-worth into the hands of festival reviewers or distributors. The future of the moving image will belong to the films that are willing to risk cinematic failure. If you make an earnest film that doesn’t behave like a normal movie, I want to see it, even if it is full of technical or narrative mistakes (which it most likely will be). There’s no right way to make a movie. Follow the dream of the caméra-stylo and make a film that if nobody else made, wouldn’t exist.

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makeste · 5 years ago

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BnHA Chapter 249: Todoroki Taco Night

Previously on BnHA: Nothing happened at all, because the manga was on break last week! Fortunately the anime had finally resumed after a billion years (estimation; exact length of time may be slightly off), so we had that to take the edge off in the meantime. Except we didn’t, because the anime also ended up going on break due to a rugby game or some shit. So that was nice. On a related note, when I die I’d like the Basement arc to lower me into my grave, so it can let me down one last time.

Anyway, Endeavor did some mentoring and gave Shouto and Kacchan a power-up assignment and told Deku to work on Air Force to help him master the fine control he needs for the Bloop. Then Fuyu called a week later and was all “HEY DAD, DINNER, OUR PLACE, TONIGHT, BRING THE KIDS.” And then as previously mentioned, we waited two whole fucking weeks and MY GOD, my body is ready, on to the new chapter we go!

Today on BnHA: Shouto, Katsuki, and Deku are cordially invited to Todosmith Farms for an evening of food and fun! They make it approximately six minutes into dinner before Natsu loses it and exits with more theatrics than a spurned reality TV show contestant. Baku and Deku spend the next hour being all “!!!” at each other back and forth, and whispering about how fucking dramatic the Todorokis are, which fully kills me and is my favorite thing ever to happen in the world. Deku then begins to guide Shouto through his personal healing process like fucking Mufasa booming at Simba from the heavens, and meanwhile Endeavor listens in while quietly kneeling before HIS DEAD SON’S PHOTOGRAPH, IN THE SHRINE THEY BUILT FOR SAID DEAD SON IN HIS BEDROOM, and sorrowfully wishing he could do more for his family. Anyways so I’m in ruins now, but otherwise fine. How are you?

(All comments are my unspoiled reactions from my initial readthrough of the chapter. I did a quick edit for grammar and clarity afterward, and added a few ETAs in the process, but aside from that there are no changes.)

well it’s Thursday morning, and I have just seen the picture of baby white-haired Touya because no one in this fandom knows how to fucking spoiler tag (and that’s on me too for browsing the BnHA tag on a Thursday; I know better, but I was just curious how this new group chat thing was working out), so here are my immediate thoughts

we never actually confirmed that the hair color correlates to their powers, huh. we just assumed. but come to think, there’s no reason why someone couldn’t have mom’s hair but dad’s quirk. it’s all Shouto’s fault for being a perfect 50/50 split and thus making everyone assume that THAT’S JUST HOW IT WORKS. damn you Shouto and your dramatic character design

anyways I tried not to look at the pic for too long -- once I realized what I was looking at, I averted my eyes -- but he does look like Dabi, I think. oh shit guys. it’s really fucking happening

and I also didn’t get a good enough look to determine whether this was a photo of Touya (that Deku or whoever happened to spot while visiting the Todochester Mystery House for the much-hyped dinner) or a flashback image (in which he is just standing really fucking still for some reason and staring directly at the camera), so I guess we’ll see. but anyways, Deku and Kacchan didn’t come all the way down to Todoroki taco night to not have their evening peppered with intricate family drama and reopened wounds and hysterical conspiracy theories, so you had better keep them goddamn entertained! lord knows the Todorokis don’t do small talk. this is literally their only way of spicing things up so their guests don’t die of sheer awkwardness while Endeavor sits in stony silence and Shouto just stuffs his face with soba all night

also aren’t we due some popularity poll results soon? just getting in all my random thoughts now before we dive in. anyways Horikoshi, so you know what I want to see now and you better deliver

aaaand now it’s Friday! so Happy Birthday Aizawa, and LET’S GET TO THAT CHAPTER

and we’re opening with Endeavor’s Redemption Arc: The Page. omg

holy fucking shit BnHA. you sure do have a way of making me wait WITH BATED BREATH!! FOR TWO WEEKS!!! ON THE EDGE OF MY SEAT!!!! for the new fucking chapter only to have me immediately suck in a deep breath through my teeth and seriously reconsider whether I am in any way emotionally prepared to handle this. “you think you know what you want?!” Horikoshi demands. “YOU HAVE NO IDEA.” sob it’s trueeee

okay. okay. we can do this. hell, if we made it through Tomura’s flashbacks then this should be child’s play. so all right, let’s go

-- oh wait, but before I click to the next page, I just want to note that Endeavor isn’t the only one who’s nowhere to be found in this pic, though! boy you have three sons. uno dos tres

“the hellish Todoroki residence” lmao this legitimately sounds like the title of a Buzzfeed Unsolved episode

ARE YOU TELLING ME ENDEAVOR PROVIDES LUXURY APARTMENTS FOR ALL HIS FUCKING EMPLOYEES OMFG

SO MY THREE SONS HAVE ALL BEEN ROOMING TOGETHER UNDER ENDEAVOR’S ROOF!? THE FANFIC ENDEAVOR AGENCY RESIDENCES?! WHAT KIND OF OT3 SHENANIGANS HAVE BEEN ABOUNDING THIS PAST WEEK OH MY GOODNESS THIS IS LIKE A DREAM

OH MY GOD

okay I have like... ten different notes I want to make about Katsuki and I don’t know where to start SO I’LL JUST START SOMEWHERE!

I’ve legit wanted to see how he would look with his mask pushed up into his hair like a headband for the longest fucking time (I don’t know why! I just wanted to see it!) so this. is. Christmas for me omg. if only he wasn’t making one of his (◣д◢) faces and was instead making a normal face. but that’s probably too much to ask of him at THE CRACK OF DAWN, which brings me to my next point,

I thought he was a morning person?? [furiously checking headcanon notes] kid you go to bed at 8pm. you have your full eight hours by four in the fucking morning. and the full nine and a half hours that GROWING BOYS ACTUALLY NEED by 5:30am, which is when I always assumed you typically woke up in order to get in your morning workout and BEAST IT UP IN THE PIT or whatever gym people do. yet here you are, half dead, while Deku and Burnin’ are raring to go. were you just burning the midnight oil and that’s why you’re grumpy? WAS IT THE FANFIC AGENCY RESIDENCES SHENANIGANS, OH MY GOD I CAN’T

lastly, look at that unzipped collar. why is it that the more disheveled he looks the more I want to pile him up in a headlock and give him noogies. I love him so fucking much, this is ridiculous, he was only gone for two weeks but it felt like SEVENTEEN YEARS anyway

so Burnin’ is all “catch any villains faster than Endeavor yet, LOL, LIKE THAT COULD EVER HAPPEN!!” and they’ve been putting up with this trolling for a fucking week now huh. no wonder Katsuki’s ready to pack it in and sleep for the next year

motherfucker holy shit

sure thing coach. Todoroki Shouto out here ready for the morning huddle. BRING IT IN! ONE TWO THREE PLUS ULTRA

meanwhile Katsuki better keep his hair like that for the rest of the arc now. the collar too. I am living for this

what is Shouto doing with his hands

are you blowing a kiss. or beckoning toward her like Neo in the Matrix. are you channeling your inner Iida. wtf is this

this one panel perfectly encapsulates everything I love about this OT3 dynamic oh my god

Katsuki screaming at Todoroki that he’s better than him (based on impeccable, flawless logic). Shouto completely disregarding this and calmly continuing to have a normal conversation at a normal person volume. and Deku ignoring them both while sending the chipperest, most positive energy in the world out toward this other person because he loves everyone!!

and now there’s three closeups of the boys showing how worn out they are

they’ve been working so hard I’m so proud of them and also they totally deserve a night off to go gorge themselves on soba at Toderly Manor

and then there’s a whole nother page continuing to establish that it has been a week! and they’re working hard! and YES, WE KNOW, though

yep yep yep we get it now WHAT ABOUT THAT DINNER oh my god. it’s been four pages! and if we’re only getting thirteen again then this is precious real estate we’re just wasting here, come onnnnn

so Endeavor is continuing to show off how great he is while the kids look on in frustration

heh but I like this panel because LOOK AT THEM

ALL THREE OF THEM CAN FLY (basically). I love it. yes. just let them be airborne for the rest of the series

meanwhile Endeavor’s thinking agitated thoughts about how Fuyu wants him to try and CONNECT TO THE CHILDREN ON AN ACTUAL EMOTIONAL LEVEL, like what do you think he is?? a human being??!

lol he’s got that look like “WHY DON’T YOU JUST KILL ME NOW AND BE DONE WITH IT.” things he would rather do than have a family dinner with his kids and his two new apprentices: literally. anything. else. ah, but Endeavor. no one said the path of Not Being A Bastard would be easy

he’s thinking about how happy Fuyu sounded on the phone, though. “the thought of us finally becoming a real family...” c’mon Enji you can’t just let your only daughter down like that

and also me. you better not fucking let me down. I was promised dinner at Todoton Abbey and DAMN IT THIS IS HAPPENING

lol he’s getting all fired up and the kids are just mindlessly yelling back like “FUCK YEAH”

even the guy in the background’s like “YEAHHHHHHH LET’S DO ITTT.” the best part is how not a single one of them has any clue what they are loudly agreeing to

OH MY GOD

TODOLAND RANCH, AT LONG LAST. YESSSSS

lmao Kacchan

“it’s not too late!” he is so desperate, bless him. all he wanted was to curl up in his room with a bowl of spicy ramen after a long day and watch old All Might clips on Youtube while blissfully not interacting with a single other soul. and now instead they’ve dragged him to fucking Todo-a-Lago for dinner with his boss, his two best friends who he hates, and SOMEONE’S SISTER. what a nightmare

FUYUMIIIIII

worst part is, I don’t think Kacchan will be able to resist Fuyu’s Kind Elementary School Teacher Energy at all. he’s totally screwed. -- OH MY GOD, IS HE HIDING

like, I know this is the Todoroki drama chapter and that’s where my focus should be, and I’M SORRY, but you guys all know what you signed up for by this point, right? you can read a million other Todo hot takes on tumblr today, but this will forever be the blog that spends paragraphs and paragraphs obsessing over Kacchan hiding behind the door frame and sulking and asking “why though?” in increasingly petulant tones like a four-year-old because SOMEONE DRAGGED HIM TO A SOCIAL EVENT and this is his personal hell! Fuyu’s gonna end up having to manually feed him chicken like Satou did at the party

meanwhile now that I’m actually READING THE REST OF THE PANEL LIKE A NORMAL PERSON, I have to pause for a moment to let my heart break over Deku saying that he hardly ever gets invited over by friends. hey Deku come here for a moment, I just have to give you a dozen hugs real quick and then you can continue as you were

anyway so guys I literally owe Todoroki Fuyumi my life and I want to send her flowers with a “THANKS FOR SAVING THE MANGA” card but it’ll have to wait until the chapter is done. let’s continue

NATSU’S HERE TOO, SHOUTO SAW HIS SHOES, OH M Y GO D

AHHHHHHHHHHHHH

(ETA: shout out to Natsu for wearing the greatest shirt of all time and taking Deku’s rookie-tier gags to THE NEXT LEVEL!)

I LOVE EVERYTHING. I’M SOBBING. BLESS YOU HORIKOSHI. LET THE GAMES BEGIN!!

holy shit Deku

Alton fucking Brown over here. chill my dude

NATSU BRINGING THAT DRAMA YESSSS

and look how oblivious Deku is to the general vibe settling in here

what the fuck do you see. you just literally had no idea how else to respond to that, huh

oh my god oh my fucking god

(ETA: I’m laughing so hard and I’ll explain in the tags. sob.)

guys let me just break down these two panels for you

1. Fuyu is all “NATSU YOU COOKED TOO”

2. Shouto is all “WTF, I ATE NATSU FOOD AND NO ONE FUCKING TOLD ME”

3. Natsu is all “YOU PROBABLY DIDN’T BECAUSE... THAT MAN PROBABLY WOULDN’T ALLOW IT”

how the fuck is there drama brewing over the fucking cooking. this fucking family. and Shouto’s face is two seconds away from being my new icon omg

LMAO

SO YOU TWO FINALLY FUCKING CONNED ON TO THE DANGEROUS SITUATION YOU’VE FOUND YOURSELVES IN, HUH. that’s right bitches. welcome to Todo’s Landing

and now Fuyu has finally made a FATAL ERROR IN JUDGEMENT oh no. that error being trying to fall back on Shouto of all people to ease the awkward tension. that boy literally is made up of awkward tension. right down to his atoms. Fuyu what were you thinking??

FUYUMI: [SLAMS HANDS ON TABLE] “SHOUTO WHAT KIND OF FOOD DO YOU EAT AT SCHOOL!!!!”

SHOUTO: [LEAPING TO HIS FEET] “AT THE CAFETERIA!!!!”

someone help me I’m fucking dying. actually, you know what, help them

“yo Deku, do you wanna get the fuck out of here right now.” “yes, yes I do.” turns out, they didn’t really need that internship anyway. maybe they can still convince the centipede man to take them instead

holy shit

like, I feel so bad for him, but also Fuyu looks so fucking sad and I can’t?? this is too much, and things haven’t even gotten spicy yet. this arc is going to leave me a wreck

DSFKSLDFJLK

“it’s okay,” Horikoshi says comfortingly, “here’s a panel of your two good boys helping clean up.” WELL THANK YOU, EXCUSE ME FOR A MOMENT, I’M GOING TO GO SIT. and think about Katsuki being a fucking gentleman whose momma raised him right and who helps clean up the dishes after being invited over for dinner. never mind that he didn’t even help clean up the Christmas party. but he saw Fuyu being sad and immediately went MY GOD, I’VE GOT TO DO SOMETHING TO HELP THIS STUPIDLY NICE LADY

anyway so are you two going to ask Endeavor why his kids hate him so fucking much. or just ignore it because you pretty much know the gist already because Shouto can’t keep a lid closed on anything

OH MY GOD THEY’RE HAVING A SECRET CONVERSATION ABOUT IT

FFFFFFFdfsLK -- “YOU GUYS WERE TALKING ABOUT IT RIGHT NEXT TO ME, ON ACCOUNT OF I WAS STANDING RIGHT THERE, IN THE SHADOWS, BECAUSE I WAS EAVESDROPPING, SHUT UP”

anyways so did you guys know that Deku and Kacchan having whispered conversations about how dramatic the fucking Todorokis are is my all-time aesthetic. I didn’t know either actually. but it is

Fuyu why are you apologizing to Shouto for making him help clean up

AND WHY ARE YOU PERSISTING IN MAKING THAT FACE. SON OF A BITCH. GIRL I’M BRINGING YOU SOME ICE CREAM AND SOME DVDS. WE’RE GONNA HAVE A SLEEPOVER AND FORGET ALL ABOUT THIS SHIT. PLEASE FEEL BETTER. I’M SORRY YOUR TWIN BROTHER IS DEAD AND YOUR WISH TO HAVE A NORMAL FAMILY IS NEVER GOING TO FUCKING COME TRUE BECAUSE WE CAN’T HAVE NICE THINGS OMG

oh my god she’s having a heart to heart with Shouto about how he feels about Endeavor. oh my god I see Horikoshi aiming a bow right at my fucking heart. he’s notching the fucking arrow, this is it, it’s been real you guys

that look in his one visible eye. god. there it is. oh god. hurts

(ETA: do you suppose all of the Todorokis have secretly had that exact same dream. we know Fuyu has, and Rei as well based on her letter. I’m starting to think that Shouto has too. it only makes sense that a boy who was denied a real childhood for the first fifteen years of his life is going to have some part of him that secretly longs to just have a normal family. in related news, Shouto had better get some fucking hugs in this arc!)

-- ARE YOU SERIOUS

WHAT IS IT WITH HORIKOSHI LATELY AND BEING DONE WITH JUST IMPLYING THINGS AND NOW VERY INTO SHOWING THEM IN EXPLICIT HORRIFYING DETAIL. HERE’S A DEAD DOG! HERE’S A DYING CHILD! HERE’S A SIX-YEAR-OLD WHOSE MOM JUST POURED SCALDING WATER ON HIS FUCKING FACE AND SHE DIDN’T MEAN TO BUT IT’S TOO LATE AND NOW THEY’RE BOTH TRAUMATIZED. AND SHE’S USING HER QUIRK TO HEAL HIM AND HELLO, THIS ONE PANEL IS ABOUT TO MAKE ME START CRYING. KATSUKI YOU WERE RIGHT. WHY, THOUGH

(ETA: yeah this does not bode well for an upcoming flashback in which a child was presumably burned the fuck alive. feels like Horikoshi was testing the waters to see how much he could get away with. we may be in for some brutal shit pretty shortly.)

OH MY GOD A LETTER

they’re going to discharge her soon!?? IMMINENT FEELINGS INBOUND. I HAVE NO MORE SPACE TO PUT THEM!! MY HOUSE IS PACKED WITH FUCKING FEELINGS ALREADY, PLEASE

ahhhh he says he doesn’t know

this is the most realistic fucking thing I’ve read in this manga to this date. not knowing how you feel about the abusive parent who did so much harm but is now trying to change. boyyyyy howdy I feel that in my fucking bones. Horikoshi is out there delivering the real shit. goddamn

KATSUKI MY HERO

it’s as though Horikoshi placed his hands on his shoulders and said “listen up sonny boy, I’ve got an important job that only you can do. defuse this tension. in any way you can.” and Katsuki looked him dead in the eye and said “I got this”

meanwhile Deku’s hoping he can spontaneously develop another new quirk which will open up a hole in the ground to swallow him up

DEKU: “I HAD PERMISSION!!!” KACCHAN: “I DIDN’T HAVE SHIT!!”

HE IS BITCHING LIKE A DISGRUNTLED HOUSEWIFE HOLY SHIT I’M LOSING MY MIND

“A NORMAL, PLEASANT EVENING!!” yes of course, that’s why you spent the entire ride over here clinging to Todoroki’s shirt and repeating “WHY” ad infinitum. anyways as usual this child is a nightmare whose fickle tirades absolutely no one deserves to be subjected to, god bless him and I adore him so

and Deku is again apologizing for him like they’re fucking married. this chapter is filled with so many highs and lows for me, it’s wild

this, to be clear, is one of the highs. god I love it

oh shit it looks like Deku’s getting ready to say something! SOMETHING WISE, I BET

YESSSSSSS

IS HE?? sometimes this kid can just peer into other people’s souls with perfect clarity, it’s uncanny

oh my god Shouto’s face

genuine shock. he doesn’t even know how he feels, but somehow Deku is able to cut right to the heart of it

oh my god Katsuki’s there to chime right in too and say “but if you feel like he doesn’t deserve forgiveness that’s fucking fine too”

this is actually incredibly fucking supportive? anyway so guys have I mentioned within the last five seconds how much I love Bakugou fucking Katsuki. I have? well that’s okay I’ll just say it again anyway. and also I love Deku and Shouto too oh my god. bless this chapter

oh lol nevermind that still Deku talking while Katsuki is just making faces. well he’s doing his best. anyways so like I said I love Midoriya fucking Izuku

(ETA: [chinhands] do you guys think. that perhaps. Midoriya Izuku might be harboring some unresolved feelings regarding his own absent daddo. maybe. ??? why does this chapter have so many layers??)

ah I see, Katsuki spied Natsu just STANDING THERE LISTENING IN THE DARK, as one does, and that’s why the face

and also YES, Shouto is like the kindest fucking person in the whole series possibly. thank you for acknowledging that?? I’m in the process of arranging all of these new feels into a comfy little pile now, so maybe I can curl up in them. if Horikoshi insists on delivering more and more

SLDKFJSLDKFLSHGLKJKLJSLGKJSDLFKSDLFKJLSDKJFLKSL

“THE OTHER CHILD WHO’S NO LONGER THERE” RED ALERT, RED FUCKING ALERT, IT’S REALLY HAPPENING, HOLY FUCKING SHIT. REMINDER TO SELF, NEXT THURSDAY I’M GONNA HAVE TO GO ON A SELF-IMPOSED INTERNET HIATUS FOR TWENTY-FOUR HOURS BECAUSE FANDOM’S GOING TO LOSE THEIR FUCKING SHIT WITH THE SPOILERS NEXT WEEK AND I’M NOT EVEN MAD

sdfhk. oh my god. and so it was a photograph! but one which appears to be a segue into a flashback! and the law of escalating tragic flashbacks states that Touya’s is somehow going to be even more horrific than our last flashback, in which, let me just think back for a sec, oh yes, an entire family was massacred and torn into bloody chunks including a six-year-old girl and a dog, and the surviving child was then adopted by a psychopath who adorned him with severed hands and was all “NEVER FORGET HOW FUCKED UP YOU FEEL ABOUT ALL THIS” and then the child murdered some people to feel better about himself. so this is somehow going to be worse than that. well that’s just. ...I don’t even know. I literally can’t think of a lighthearted way to end that train of thought lmao. WE ARE FUCKING SCREWED. get ready to burn, baby

but meanwhile, parting thoughts

so they really do believe he’s dead. that’s confirmed. and he died (or, well, “died”) young, too, based on this picture and on the toys on that shelf. fffff

Endeavor kneeling at a family shrine to pay respects to his dead son and miserably wishing he was still alive is just. repeated stabbings of my already mutilated heart. thanks. thanks for that

he heard EVERYTHING and he’s saying nothing, because what can he say?? I meanwhile have already said “oh my god” about 1600 times in this recap, but I’ll go ahead and say it again anyway one last time because oh my god, the fucking Todofam AND THEIR FUCKING DRAMA!!!

what can I do for my family at this stage? the last plea of a desperate man struggling to make amends and piece together something he’s already shattered into a million pieces. he keeps dreaming of them being happy together, even if he’s not in the dream. he wants to do right by them, finally. but he doesn’t know how. anyways so people have been saying and saying that this arc so far has been death flag after death flag for this old coot, and you know what, they’re fucking right. this does not have a happy ending. this is going to be fucking devastating. and here I am, fully obsessed with it. fuck me

anyways I guess that’s finally everything I can think of to say. this recap is already a million fucking words so that’s fine lol. why though

#bnha #boku no hero academia #bnha 249 #todoroki shouto #bakugou katsuki #midoriya izuku #todoroki fuyumi #todoroki touya #dabi #endeavor #bnha spoilers #mha spoilers #makeste reads bnha #so guys #when I'm writing up the initial recap and making notes of what screencaps to use #I use the first few words of dialogue from each panel I want to crop #for example: [why though]#anyway so long story short that led to me having one set of brackets which contained the words #[you cooked/endeavor]#and yeah. and then I was looking at natsu's face #and like #I don't know why I can't stop laughing?#'sis. you cooked endeavor??'#he's not sure how he feels about this. but he's probably going to allow it #anyway so when I'm busy sobbing next week I need to try and remember this to cheer myself up #'you cooked endeavor.' classic natsu #what a knave

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puddygeeks · 4 years ago

Text

December - The 100 Bellamy Blake/Indigo Sloan AU One Shot (We Come Running AU)

Requested: No

Word Count: 2028

Warnings: None needed :)

Masterlist

A/N: This was my first ever AU, I’ve never gone out of canon before so it was really fun to imagine what The 100 characters would be like in our world. Let me know your thoughts on their jobs/attitudes and how they fit in this :)

Requests are open! I’d love to write more of your ideas <3

My writing is entirely fuelled by coffee! If you enjoy my work, feel free to donate toward my caffeine dependency: will work for coffee

-----

The thumping of the bass was almost deafening as I concentrated on reading lips over the crowded bar. Christmas Eve in New York City was the stuff of nightmares for bartenders, but here I was juggling bottles and straining to balance the work amongst the chaos. It was fortunate that I was experienced enough to manage the crowds and I had the confidence of knowing that at least one member of our security staff was keeping a close eye on me should anything get out of control. There was a cheerful, festive atmosphere filling the space and although it made for a fun shift, I couldn’t help watching the clock as I eagerly awaited going home for my own celebrations. My heart leapt in my chest as I glanced up to discover that it was finally time and I began undoing my apron as my manager rushed over with a frantic expression.

“Oh Indie, you’re not done already?! Is there any chance at all that I could convince you to stay on a little bit longer?” He gasped, seeming thoroughly frazzled by the activity and I dropped my apron under the bar with a satisfied smile.

“I’m sorry but I can’t, I have plans and a certain someone will be waiting for me.” I answered with my hands held up as I squeezed past him in the tight space and although he looked disappointed, he was also understanding. “I only agreed to work tonight for you, you know I wouldn’t do it for anyone else, Sinclair.” I added with a wink and he chuckled as he settled into managing the flow of staff to cover me.

“And you know that I appreciate you for it! Have a great time you lovebirds.” He cheered behind me as I waved over my shoulder and wandered through the old wooden doors to step out into the street. I turned to find a group of bouncers chattering near the entrance and strolled over with a smirk. It was easy to spot my target, he stuck out with his long, curly hair and large stature.

“Come on Mr Workaholic, aren’t you done yet?” I crooned as I tapped Bellamy on the shoulder and he spun around to fix me with a dazzling smile.

“Hey, you’re out on time! It is possible!” He teased and I jabbed at him playfully. We jointly gave our colleagues Christmas wishes before falling into step together through the city. There was a strong breeze and I shivered, shocked by the bitter temperature. I had been dressed plenty warm enough for the bar in my red leather-look leggings, white blouse and black parental advisory jumper but as per usual I had forgotten a coat for the walk home. Without a second thought, Bellamy slid off his heavy work jacket and wrapped it around me, enveloping me in it’s second hand warmth. I glanced over at him gratefully, only to notice that he actually wore a denim jacket underneath and sniggered under my breath.

“Am I that predictable that you need a second jacket nowadays?” I commented and his silent smirk was plenty of an answer.

In truth, I liked wearing Bellamy’s clothes, as they were so huge that I could get lost in them and it gave me a strange sense of comfort. My heeled boots clicked on the pavement as we strolled through the familiar streets hand in hand and occasional pockets of festive music greeted us as we passed the buzzing nightlife. Above our heads, the sparkling lights and decorations lit our way home and I basked in the magical feeling of the date. I peeked over at Bellamy, who seemed equally content and smiled to myself. He wore black skinny jeans with a chain on the side and a deep grey jumper under his jacket, and I was consistently surprised by his ability to make even the simplest of outfits look charmingly stylish.

We neared our apartment building and I followed Bellamy up the cold staircase with relief. I was immediately flooded with warmth as he unlocked the door and we stepped into our small but homely space. I rushed inside and made a beeline for the bathroom as Bellamy chuckled at me from behind. It was my least favourite part of my job that I had to get glamorous for every shift and it had become a running joke between us that the first thing I did when we got home was always to scrub away any trace of makeup. Behind me, he switched on the tree lights and various other strings of fairy lights that I’d spaced around in an effort to be festive, whilst I made myself comfortable. I felt immediately better with a clean face, and tied my hair up in two scruffy little space buns before changing into an old jumper and fuzzy socks. I stepped out of the bathroom to a snort of laughter from Bellamy, who was studying me in disbelief.

“Is that my jumper, Trouble?” He drawled and I looked down at myself with a smile. It was admittedly ridiculous on me, more closely resembling a dress as it hung down by my knees and I returned my attention to him with a gleeful smile. “I wondered where it had gone. Looks better on you anyway.” he conceded as I padded over to him and realised that he had also taken the opportunity to change into his well loved joggers that always made his butt look fantastic.

“I’ve been a terrible influence on you. Remember when you used to go out and party?” I crooned as I indicated toward the trackies and he shrugged carelessly at me.

“And now I’m stuck in with the most beautiful girl in the city, making hot chocolate. Poor me.” He remarked with a genuine smile that made my stomach fizz with excitement.

“Ooh, we’re making hot chocolate?!” I gasped and he shook his head with amusement as he strolled into the kitchen. The truth was, I had once worried that he might grow bored of our simple existence, when I only knew him as Octavia’s playboy older brother, but in the time that I’d come to know him better, I realised that we shared a love for the little things in life and we’d grown comfortable in our blissful little bubble. Sure, we had our disagreements and at times those would get quite heated, but on the whole we worked as a team and supported each other, and I was thankful for Octavia’s meddling to force us together.

We settled down on the sofa with our matching mugs of hot chocolate, each generously topped with whipped cream and marshmallows, and Bellamy set the tv to a classic black and white Christmas movie. I had to move the selection of law books spread across the coffee table in order to make space for our drinks and I cursed myself for dedicating so much time to studying that I didn’t even have space to live.

“Thank god I don’t have classes for a while, this semester has been a real bitch.” I grumbled as I tucked my feet up onto the seat and snuggled in closer to my lover.

“It’ll all be worth it when you’re out there shouting: objection!” Bellamy did a dramatic impression that almost caused him to spill his drinks and I sniggered at him in satisfaction.

“Yeah, that’s exactly it. Maybe you should be the lawyer.” I teased and he rolled his eyes at me. “Did Marcus say anything else about getting you enrolled at the police academy?” I enquired with a warm smile and he seemed enthusiastic as he considered my question.

“Yeah, he’s gonna put me forward for the next exam. He thinks the security experience will really help me to stand out.” He revealed eagerly and I felt a wide grin spread across my lips.

“That’s great Bel! Oh, I’m so pleased for you.” I breathed as I placed a gentle kiss on his cheek and we snuggled up to watch the movie. It was wonderful to see things coming together so well and I couldn’t help feeling that we were starting to build our lives. I jumped as Bellamy suddenly got to his feet and strolled over to the window.

“Hey Indie, look! It’s snowing!” He called and I rushed to my feet to join him looking down at the city being showered in a flurry of thick snowdrops that seemed to have come from nowhere.

“Woah!” I gasped as my eyes widened in wonder and we stood side by side in awe, feeling as if we were inside the perfect tourist snowglobe. “I hope we can get to Clarke and Lexa’s okay tomorrow.” I thought aloud and Bellamy shot me a reassuring look.

“It’s not that far, Love. We’ll walk if we have to, we can’t let the family down.” He asserted and I nodded in response. “How do you think O is getting on with Lincoln’s family right now?” He asked with a mischievous smile and I hummed thoughtfully.

“Probably wishing she was here as normal. I’m glad they decided to spend some time there though, she should get the chance to know them.” I commented idly and he peered at me with a raised brow. “Besides, he adores Tavi more than I’ve seen anyone love someone else, I’m sure his family will love her too.” I added sternly and I chuckled.

“I hope you’re right.” He muttered, before turning fully away from the window to fix me with an inscrutable look. “Well, personally I’m glad that it’s just the two of us this year, as it means I can give you an early present.” He divulged and I examined him suspiciously.

“We’ve never done Christmas Eve presents before?” I drawled as I smiled at him coyly and he led me back to the tree with an excited bounce in his step.

“Maybe I just can’t wait any longer to give you this one.” He suggested as he rummaged around in the mountain of presents that hadn’t been packed up yet to go to our family tomorrow. I waited with a nervous anticipation until he suddenly leaned back and my mouth dropped open in shock. It took a few moments for the reality of what was happening to register in my mind as I realised that he was only leaning on one knee. He opened the delicate box that he was holding out to me to present a sparkling ring.

“Indigo Sloan.” He began and I could hardly get my breath as I took a hand to my mouth and he smiled perfectly in the twinkling lights of the Christmas tree. “Every day since we met, you’ve made my life better. I’ve never before been glad that Octavia got detention, but I’m thankful that she did that day in high school so that she could meet you. You inspire me to be the best that I can be, you hold me accountable, you support me endlessly and you make me smile like no one ever has. I can’t imagine my life without you. Would you make my life complete by marrying me?” His voice shook with nerves as he spoke and I battled to hold back a wave of tears that threatened to escape.

“Yes, of course!” I gasped in a strangled cry and he slid the ring onto my trembling hand. I could hardly believe my eyes until he jumped to his feet to pull me into a sloppy kiss. My heart swelled to the point of bursting as our lips danced against each other and I felt my cheeks getting damp. We broke apart to examine each other with matching grins and I could hardly express the excitement that pulsed through my body. “Oh my god, everyone is going to freak out tomorrow!” I exclaimed as I considered the reactions of our varied family and felt a fresh wave of anticipation.

“I don’t know about you, but I think Indigo Blake has a nice ring to it.” He crooned confidently as he leaned in for another celebratory kiss and I keenly obliged.

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