#like i thought that was the whole appeal? having weird relationship drama and also murder.

[dick-chugger]

One thing I've noticed about the IWTV fandom recently is how unwilling people seem to be to engage with opinions they don't agree with. Like I've seen posts from at least a dozen blogs saying that they don't want to see anyone else's opinions on the ships if they don't exactly agree with OP. Like maybe I've just been too much in fandoms that are really chill (and mostly have adults) but I feel like I'm going insane.

[heartlurch]

if u had to define it, what is it that u try most to bring out or represent in what u make, both aesthetically and narratively? I get a lot of the feeling if weird childhood feelings intersecting with like, adult feelings we don't quite understand yet- a kind of innocent puppy love that leads to a very sado-masochistic but equally innocent frame of mind. the idea that you want someone to be completely part of you, in every sense, in the most innocent- but not necessarily nice- way possible. like, when you're little, anything makes sense because nothing makes sense. (and also something something the inherent closeness of siblings...)

A real thinker. Hmm, how do I word this...

Aesthetically, I've always been drawn to 'cute' things. Little anime mascots, pretty creatures with bright eyes and long flowing hair. I'm inspired by things like Hamtaro, early Pokemon/Neopets design sense, a couple aspects of Digimon... My Little Pony! All things that have been dear to me since I was a lil kid. :3

I was also an edgy kid, though, so the kind of narratives I was inclined towards making were full of, er, murder, kidnapping, rape, slavery, cannibalism, torture... debauchery. Le weird age gap relationships, le interspecies, le forbidden love. (Funnily enough, I was late to the game with incest, it didn't really 'click' until I was about 17...) But yes, sado-maso, that was the core fixation. I wanted to see raw emotions! Misery! Scary situations! Dire romances!! And, I wanted all of these things to be inflicted to the pokemon, the my little ponies. I wanted to see those designs, that I was so attracted to, be put through this. Being honest, I don't think it was about contrasting something from my 'childhood' with something 'adult'... Well ah, real animals experience violence, death, rape, subjugation... *taps chin* I'm not sure if it feels like an 'adult' concept, because it's not as if it's exclusive to adults... Anything can experience intense circumstance, right? At that point, it's a matter of wanting to apply a sense of 'reality' to these creatures... Beyond that, it's also as simple as mashing up my favorite things together in a big pile. At that point, it's just incidental I wasn't like, idk, into detective dramas and putting the pokemon in that. (Not to nitpick too much... I'm just reflecting on my perspective. I'll circle back to this.)

Anyhoo... His little pea was thinking of such things at age like, 8, or something. Though I think I was closer to 11-13 when I was trying to actually write and draw these thoughts. None of this is so unique really; you can find tons of dA galleries from kids who want to see pikachu be fucked up and evil. As a result, I didn't feel like I was weird for what was doing, tbh. If anything, discovering fanfic dot net and dA made me feel validated — lots of people want to see this stuff! It was euphoric for a moment. Ah, so lots of people think like me... Cool!

I was mostly self-conscious at my own feeble skills. I'd have in my mind all these complex, winding narratives... Envisioning demon rituals where a kid needs to crush a live mouse between his teeth, swallow it whole, to complete it — but I couldn't remotely illustrate my thoughts. I'd barely be able to make some chicken scratch scribble of the design, and it'd be some feeble chibi lol. I felt a dissonance between my art and my desires. And it felt incompetent of me...

(You wouldn't know this girlie is a despondent sex slave, would you-??)

How do I improve drawing things that are pretty, cute, and appealing to me... but also, how do I create atmosphere? How do I convey all they are going through? This is where it's difficult, because there's not much to teach you how to... draw your cutesy little critter, writhing in agony. Expressive faces and posing are such a hill to conquer. And then beyond that, I have to realize there's other art that inspires me... I really love moeblob anime girls! Frilly shoujo styles! Expressive toons and furries... The simplicity of something like Adventure Time. What do I take away from these things? How do I integrate them-? I was honestly so clueless about it for years. Kind of at a loss of how to convey everything.

By now, I realize I want things to be mm... fluid, fantastical, a bit boneless... But not TOO boneless, it needs to be! Grounded! It needs volume, weight, I don't want things to get too loose, too flat, too 'shapes'. There's a lot of beauty to organic form... Grit to the living body. I want to imbue my favorite designs with that! A mascot is often designed with no intention to see it twist, flex, roll around, writhe... I want to look at a design like pichu and give it muscle and organs. It has a skeletal structure! It breathes! It exists. With all the dreamy, unreal smoothness of a real mouse. :3

Beyond that, I had much to hone about what I value in narratives. Getting it down to a science... What do I really want? At first, I think I over-emphasized wanting 'bad things' to happen. Harm happened, but too much for the sake of it. There was not enough meaning behind it. What imbues it with meaning...? I've found that the answer is: characters being obsessively, madly in love. A love that consumes everything, a love that drives you to act in a way you can't understand. This is where you get into the 'want to be completely intertwined, want all of you, no matter what '. That mentality. The kidnapping should happen because of love! The cannibalism should happen because of love! The rape should happen because of love! Love, love, love. It's always out of love! Love is the only thing that matters.

As for your bit about "adult feelings we don't quite understand yet", I do ponder this sort of thing quite a lot. I feel like... a lot of your experience as a child is that people underestimate what you are capable of. It's kind of frustrating! You see how children are depicted in things... and it makes you feel microaggressed, almost, haha. I'm not so gormless... I have an inner world, I have desires. One can develop an arrogance about this even... I think kids are pretty arrogant, often. Since they know they're being underestimated?

But... you... don't know everything yet! You can be in over your head. That's the tricky thing; there's a lot you haven't experienced before and cannot put to words yet. There are feelings that you have, that you chase, but you don't even know why. Sometimes it's fully unconscious... or sometimes, you're half-aware of it, but you struggle to confront it. Maybe you'll let yourself 'get away' with what you're doing, by not looking at it head on... Ah, and then, I think about all the memories I have of being pointlessly scared or confused about something that was so simple in reality. There are so many anecdotes people share from childhood that I really dwell on. An innocuous post like this really sums up how you can have a very inexplicable but real fear, that gets overturned by something very arbitrary. DON'T YOU HAVE A 100 MEMORIES LIKE THIS...?? It's the comical aspect of it all.

I really like the respective 'flavors' of specific ages as well. So it's fun to get into the head of a 15 yo, a 13 yo, a 12 yo, a 9yo, a 6yo... And the intersection of different personalities and ages! What about a distinctly 'slow' or immature kid, paired with someone younger yet more mature? Or perfectly on their level? Or... [goes on and on...] How do they encourage one another, who instigates what, what do they incidentally stumble into? I love accidents. I love not planning to do something... not intending to do anything more than an innocuous game. Or a mish-mash of, one of you is more clueless, the other knows they're doing something underhanded... Indeed, it's not always nice. It's often selfish. Love makes you selfish, love makes you impulsive and reckless. But it also makes you covet, find things precious. You end up feeling protective, as much as you feel destructive. How contradictory it all is!! Hehe. As you can probably tell, by now, I could spend all day thinking about this stuff...

Now that I have my ultimate best friend forever and ever, my wifey, it's all I want to think about. :3 I feel like being with her specifically, is what helped me fully understand the appeal of sibling characters. I've kind of dabbled in it before but, it's really being with Avvy that makes me crave the fantasy of wanting to be born together, grow up together... Never be apart. We're inseparable and spend every second with one another, so it's very natural to translate our dynamic into something like the Yugi twins. How warm and cozy! Let's play forever!

Bit of a tangent, but it's all relevant, I promise.

So hm... going over my art journey and all... As an adult, I've reached a point where I can reflect on everything I've been drawn to, and why, and I can understand what I want to make of it all. I felt more aimless before, and helpless about how to make everything harmonize. It all kind of felt like a big soup of disparate things I was trying to mash together, with mixed results. Now I feel more exact. And I can reflect on my own experiences and memories and use that to connect and explore characters. I like this... it's like my entire life becomes a reference point, something to pull from. A moment, a feeling, a tactile experience... It can be plucked and made into art. Which is lovely. At this point, it makes me a little excited when I experience stressful things, because it can be something I use later. Physical illness is fodder for a sickly character. When I'm bedridden and my wife is bringing me water, it's like some weird kinnie euphoria lol. My twin is here for meeee... kaff kaff

I keep trying to think of how to succinctly summarize this all... Maybe I can't. The last thing I want to say is I put a lot of reverence in my personal art, now. And I'm pretty severe about this, I don't want to draw something out of any other reason than adoration. It needs to matter to me. I have to love it. A lot of my old art is embarrassing, but as long as I was trying my best, it's not so bad. The stuff I truly hate was when I faffed off and drew some meaningless meme, just cuz my friends were doing it. And drawing things purposefully ugly. Making fun of my interests, out of shame, or something... I resent this. I won't ever do this again! If I draw Tsukasa... I need to make sure I'm conveying how I love him and how he is beautiful! At most, if I'm drawing something silly, it still needs to be cute. Appealing. A silly little comic. It's no fun of me, I know, but I hate meme-y art as a result. Useless to me. It's easy to be irreverent. Try praying to something next time you draw, if you want a challenge... *insane person voice*

Something something... oh, the reason I feel 'weird' and 'crazy' nowadays, is because I think a lot of people outgrow the edgelord, drawing pikachu crying blood phase. Or, it developed into something more... *squints* 'respectable'...? But I feel as though my raw desires haven't changed. If anything, I'm leaning into it allharder into it than I ever did when I was young.

I hope any of this was interesting. 🙇‍♀️

[arcane-ish]

The appeal of Vander x Silco for me

I have some complex feelings on what I think is appealing about Vander X Silco and there is a lot of cheesy, surface level stuff and I might make a post on this eventually and those are all fun and that. 

But I think the main reason why it really sticks with me is a very particular one. 

I have mused before that I really like Jinx x Ekko as well and how there are lot of similarities with the whole almost trying to kill each other and the intensity of emotions and the falling apart over morals. But despite the similarities they actually have very different positions in my brain. I like Timebomb of the big drama, high octane angst. 

While in a weird way, Zaundads is a comfort ship for me. Which, you know, kind of insane with the whole tried to kill each other/probably genuinely thought that they succeeded in killing the other/scarred each other for life/betrayed the joined dream etc. 

But the thing is, I really love Arcane. I just really love all the characters, even the villainous ones like Silco (naturally), Sevika and Singed. 

And Vander and Silco (still) loving each other feels like the best, the most natural way to get a real feeling “One Big Happy Weasley Family” ending. 

It’s not that having Vander in his life is like the only way I could ever picture Silco being happy. Like, I could picture like an AU where it’s just him and Jinx and her and the environment is just slightly more healthy and he gets genuine joy from her achievements. 

But at the same time, in my head, Vander loves Vi, Silco loves Jinx and Jinx and Vi love each other. Silco and Jinx against the world, I could picture making Silco happy. But it would leave Vi sad. Because I don’t think that Silco wants to share, he would hate sharing and if I could maybe with a lot of twisting around picture a version where he makes peace with sharing Jinx with Vi it would 1) likely be a compromised happiness 2.) it would still leave Vander out in the cold. 

Like, if I really force it like maybe I can picture a version where Silco is like with some OC who mellows him out and he has both kids and I dunno, Vander is dating Benzo and they are raising Ekko together so he is happy too? And Vander and Silco are at least cordial together? 

But to me Vander X Silco loving each other, whether platonically or more is just the easiest and most natural way I can imagine that would resolve the Gordian knot of relationships. And even though it is befitting of the kind of show it is that it is intentional that this knot cannot be resolved, that not everybody can be happy, that’s kind of what makes it a comfort ship. And even though the vast majority of Vander x Silco fic is appropriately tragic and flawed, what makes it special to me is that that taste of just how much better things could be if they got their shit together or if they had never had a falling out is still there, underneath it all. 

And it’s just fascinating to me to imagine in what ways the world of Arcane and/or their lives would be better off if they loved each other (again romantically or platonically) and how fascinating it would be for them to find a compromise between their positions on morality vs. action against Piltover. 

When I compare it to Timebomb, one thing that is different about Zaundads is that we know that they used to be “happy” together at some time in the past. And it’s also that in a lot of ways, both Vander and Silco are a lot more flexible characters. We know that The Drowning deeply changed Silco, we know fathering Jinx changed his outlook. With Vander we know that he changed from more violent to less violent and we know that as Warwick he will change fundamentally yet again. So trying to imagine a way how they could compromise feels like less of a betrayal. 

Like, I could imagine an older, hardened Ekko, who has a rougher, more cynical opinion on murder, but it feels like betrayal of a character who is so neatly positioned as being all about hope. So when I imagine happy timebomb to me it’s often easiest as an AU, where certain things just didn’t happen rather than the problem being more how they have to change their point of view. 

Another big thing about Zaundads to me is that Silco feels ... stuck. He’s hung up on that night. He cannot stop talking about Vander. He keeps going back to that night. 

And I perceive that trauma to be absolutely fundamentally essential to Silco’s character. 

Don’t get me wrong, I don’t think that that night is the reason why Silco is “evil”. He clearly had pre-existing traumas that made him hate Piltover. 

But to me the Vander trauma is so essential because I think it is what keeps him from trusting others, from making genuine connection with others. And as such it’s imo the biggest obstacle that keeps him from changing and becoming better (whether as a “better person” or as being less miserable). Because in the end this is how we change, by connecting to others, learning from others, accepting others. 

And that is what Silco’s paranoia closes him off from, why he is hyperfocused on Jinx, why he doesn’t want to share Jinx even though that might be good for Jinx. 

Don’t get me wrong, I think it is entirely possible that Silco was paranoid and had trust issues before meeting Vander (just like it’s possible that he had less of it when he talks about brothers and sisters), but he was clearly willing to open up to Vander and it was traumatizing to him when didn’t work out. 

And no, in real life you don’t resolve your trauma by hooking up with the person who tried to kill you and caused that trauma. But this is fiction and in fiction sex and romance and shipping are ways to resolve dramatic tension and lead it into different paths. For a way to have climax and release in a way that isn’t through violence and with love as a way to make it feel more lasting. 

But even outside of shipping I genuinely think that if Silco wanted to change as a person, he would have to properly, more healthily deal with his Vander trauma before he could ever move forward. (again no shade on the “Silco did nothing wrong, you go heavily amoral crime boss revolutionary” crowd, those are cool too) 

So the focus is more on imagining how a situation could ever arise where Silco would be willing to be open enough about his trauma and where Vander would be open enough to properly receive that openness so actual catharsis can happen. (again with shipping or without) Something that likely both of them are too stubborn and paranoid about, but that’s why it’s kind of the tantalizing, impossible dream. 

Which in my head looks kind of like them meeting on neutral ground and Silco being in essence: “I loved you so much and what you did really hurt me and it really fucked me up” and Vander just pulling him into the world’s biggest bearhug and going “I get it and I’m sorry” and then they both cry like babies and vow try better and to never hurt each other again. 

Art Source

Art Source

Which again, would never happen, wouldn’t work for the show, it’s debatable whether it would be even deserved. But at the same time I can’t help but feel like it would just be *better* if it were possible, pretty much like I feel like “wow, wouldn’t it just be better if there were a world where Jinx and Ekko didn’t have to fight each other”. 

[nervousladytraveler]

I’m curious as to what you think of the 12th book—Bella Poldark? When I first read it, I was disappointed, but loved the whole series so much, I didn’t want to dwell on the one tarnished spot. I’m always interested in hearing others’ impressions of the final book. Thanks!

Thanks @sely38 for the ask! I haven’t been ignoring this--just thinking about that book! Yes, I too found it somewhat disappointing and don't think I reread it as I did the others. So from memory (I read it 4 years ago?) I’ve been trying to put my finger on what irked me. 

First, it features a whole lotta Valentine and I don't like his character--and I know we weren’t supposed to like him--so Ross’s change of heart towards him was difficult to read. Oh, I get why Ross was like that and understand that he was really struggling to face a lifetime of demons when Valentine died. So maybe WG did a good job of accurately portraying how messy that inner struggle was--and perhaps that’s precisely why it was so unsettling? 

Then there is our titular Bella. Because she is a Poldark, I loved her but I’m not sure how much I liked her? Maybe just all that drama was less interesting to me--her character in the other books, when she is younger, seemed more compelling. I would like to read it again just to see if I have a different take now. I did like the honest conversation Ross has with her about her sexual relationship and whether there might be a baby as a result. 

Next there is the whole murder mystery aspect. I do love a mystery and I appreciate WG was trying something new with this series that he'd been at for a long time, but the hunt for the killer gives the novel a different feeling overall. Maybe WG wanted to freshen up the story, appeal to a new crop of readers? I rather like the long passages about mining and fishing and politics and all the historical details that are threaded through the whole series, and don’t really need a knife-wielding psychopath to keep my attention.

Lastly there is the odd tension between Ross and Demelza, after V dies and also his weird flirty thing with Harriet (that last one made me feel awkward and uncomfortable like when your uncle flirts with your college friends in front of your aunt). I suspect WG was trying to create some narrative frisson but after all we’d been through with these two? Come on! That’s a bit of a sensitive area for us, Mr. Graham. 

BUT I will recommend that if you haven't read “Christmas at Nampara,” a 24 page unpublished story by WG set in 1820, you really should. It’s a lovely coda to Bella, and has some internal thoughts of both Ross and Demelza that I found went a long way to right the wrongs in the final book. It lives in a museum in Truro but I think there are some PDFs floating around, if you know where to look and who to ask.

Thanks again for asking. Maybe I’ll do a proper re-read of Bella and see if I change my mind on any of the above!

[canary3d-obsessed]

Restless Rewatch: The Untamed Ep 17 part one

(Masterpost of all the rewatches) (Canary’s pinboard of original content)

Warning: Spoilers for All 50 Episodes!

Inaccessible

Wei Wuxian hides in a boat among the lotuses next to a pier in Lotus Pier, the second-most-literally-named home in the show, after The Burial Mounds. This pier has a railing that goes all the way around it, without any ladders or anything. Not to be ADA on main but this means if you can't Jedi jump, you're fucked.  

Hefeng Liquor

While Wei Wuxian waits and tries, not very successfully, to keep his shit together, he hears the guards talking about the local booze that they're going to drink at their murder victory party. We learn, in a desaturated flashback (that OP has done her best to resaturate), that this is lotus-infused wine invented by Wei Wuxian during happier days. 

He kicks the flashback off with his favorite activity, Unnecessarily Erotic Beverage Drinking. (gifset) I’ve slowed this gif down so we can all appreciate the unnecessariness. The way his hand caresses that leaf OMG

Hopefully he is not drinking lake water out of that leaf. Side note: How is it possible that Xiao Zhan doesn't have a drinking water endorsement deal? I had to resort to Zhu Yilong's brand of water for this gag. I figure if it's good enough to pour directly onto a lightning burn like they do in The Lost Tomb Reboot, it's good enough for a leaf hummer chastely drinking out of a leaf

(more behind the cut!)

In his memory, Jiang Cheng tells him to stop fucking around and come help with the basket of lotus pods. Wei Wuxian responds by grabbing one for himself and then sitting his ass down and not helping. Cause he’s a motherfucking P.I.M.P.

Emotional Rescue

Wen Ning arrives on the pier with Jiang Chang, to Wei Wuxian's extreme relief. Look how much emotion Xiao Zhan is able to convey even with half of his face hidden, my lord.

Wen Ning carries Jiang Cheng on his back, in an echo of other significant piggyback rides in Wei Wuxian's life.  

Wei Wuxian's relief is at war with his fear, seeing his brother in such bad shape. Remember, these are cultivators, who heal quickly and mostly don't get their asses beat this hard. The only time Wei Wuxian has been comatose was after the Xuanwu cave, and that was probably because of his prolonged contact with resentful energy/Yin iron.

Hibernating Zidian

Wen Ning gets ready for his first, but not his last, boat ride with an unconscious Yunmeng brother in it. He tells Wei Wuxian that Jiang Cheng is pretty fucked up but isn't dead.

Then he gives Zidian to him. Before we talk about Zidian, let's talk about BAMF Wen Ning.  Wen Ning is an awkward goofball. He’s also insanely competent at just about everything--wine-drugging, dude-smuggling, corpse retrieval, dog acupuncture, drug pushing. As well as shooting rocks out of the air and, later, beating zombie ass, and resisting mind control. . 

This is the foundation of their friendship; it’s not actually about Wei Wuxian being nice to the weird kid. He initially sought Wen Ning out for the same reason he sought out weird kid Lan Wangji--his martial skill. He accepts his weirdness and is protective of him because of his missing-spirit problem, but he did not befriend him out of altruism.

Wei Wuxian is so forgiving that he can smile fondly when looking at the weapon that whipped the shit out of him a couple of days ago.

Wei Wuxian puts Zidian down right next to Jiang Cheng's hand and...nothing happens. It doesn't recognize him or spark to life. This didn't seem meaningful when I watched it the first time, but rewatching...yikes. It KNOWS.

Wei Wuxian admits, with tears in his eyes, that there is nowhere safe for him to go with Jiang Cheng, and Wen Ning immediately offers care and shelter. Even though that is putting his own life at serious risk.

Life obligation is a common theme in CDramas. It’s often something a person chooses as a way of showing love. Guardian builds an eternal romance out of two people saving each other’s lives over and over.  But accepting the obligation is a choice (in fantasy dramas, if not in real life). Love and Redemption has a gloriously harsh sequence where a life is saved, and the save-ee cooly rejects the saver.

Every time Wen Ning saves Wei Wuxian, he cites that one time that Wei Wuxian saved him from the water demon. And Wei Wuxian cites this rescue right here when he throws everything away to save Wen Ning. Meanwhile, Jiang Cheng doesn't acknowledge any debt to Wen Ning at all, only--grudgingly--to Wen Qing. And people are ok with that.

Basically all this is to say that I think Wen Ning leans into this life debt because he loves Wei Wuxian, and Wei Wuxian leans into it because he loves him back. Non-romantically, I think...at least on Wei Wuxian’s part. YMMV.

They go to pick up Yanli from their Granny, telling her to go into hiding. She starts to cry, not knowing how she'll manage on her own. Wei Wuxian tells her that they will come back, as Wen Ning looks super unsure about that.

Of course Wei Wuxian can't know, at this point, whether they will come back. Wei Wuxian always wants to make everybody feel better, and sometimes you really can't make someone feel better except by lying. He compulsively says shit that he thinks people want to hear, almost as if he was beaten frequently and arbitrarily as a child.

Wen Ning is doing his best for the recreational boat ride industry, as he rows the Yunmeng trio through some amazingly beautiful scenery.

Core Melting Time

Meanwhile, back at Lotus Pier The Yunmeng Supervisory Office, Wen Chao is hung over, Wen Chao is angry, Yawn

For some reason, Wang Lingjiao has suddenly decided to talk to Wen Chao in the most cloying and annoying way possible. 

Also, the fact that she still addresses him as Gongzi when she is totally fucking him is kind of great. This is like those fics where Elizabeth Bennet calls Mr. Darcy "Mr. Darcy" even when they're married and hitting it. 

Wen Zhuliu demonstrates why he's called Core-Melting Hand, by punishing the wine guard. He's able to melt a guy's core by grabbing him by the throat, and also picks him up, Darth Vader style, for extra meltyness.

All that stuff I said last time about Wen Zhuliu feeling ambivalent about being a villian...yeah, he seems to have gotten that right out of his system. 

Chilling in Yiling

Wen Ning is doing his best for the recreational carriage ride industry.  Wei Wuxian, after presumably several hours in the cart, decides that now is a good time to get curious about where they are going. 

Here we start to see a new side of Wei Wuxian.  Before this he was carefree, other than specific worries about his friends. He confronted danger with lightness and humor, or with temporary fear, that he let go of once the danger passed. Now, after all the deaths and seeing Jiang Cheng so injured, he's twitchy, anxious, and angry.

Very, very angry.

When he realizes that Wen Ning has brought them to the Yiling supervisory office, he goes off, demanding to know whose home this was before the Wens took it and grabbing Wen Ning and shoving him into a decorative...decoration.  He thinks Wen Ning brought them here to harm them. 

I wouldn't have thought such a pretty dude could be so menacing, but holy crap.

The way he's confronting Wen Ning here is not his normal style. He's not trying to provoke a bigger fight like he usually does; he's not trying to create distance, the way Jiang Cheng does. He's very intimate, getting right in his face and maintaining eye contact. He trusted Wen Ning and feels personally betrayed.  

Shy little Wen Ning is remarkably calm when confronted like this. Wen Ning really isn’t afraid of anything, despite his general air of nervousness. (Full gifset of Angry WWX over here.) 

He calmly and kindly explains the situation. He doesn't appeal to Wei Wuxian's trust, saying "oh I would never;" he appeals to his logic, which gets through to him. 

Wen Qing comes out and the guards start banging on the door and Wei Wuxian flips out again, grabbing a sword and pointing it at Wen Qing as she decides what to do.  Wen Qing seems unruffled by Wei Wuxian's sword pointing, and we see her weighing up the situation.

She makes her decision, sending the guards away and deciding to help the fugitives, officially joining the Clear Conscience Club. She could probably get Wen Ning out of trouble by turning them in, but she opts to put personal loyalty and her belief in her own ideals ahead of her family's safety.

Wei Wuxian is not ok. He’s just not ok. He tries to act like it after they get settled in with Wen Qing, but he's not, and I think that plays into his next several choices. 

Next comes a whole sequence of Jiang Cheng being unconscious with pins in his head--ow--while Wei Wuxian twitchily tends to him. 

This sequence is kind of unfair to Jiang Yanli. What matters to the story here is Jiang Cheng and Wei Wuxian's relationship, so that’s the focus of these scenes. But really, there is no way Jiang Yanli would not be at Jiang Cheng's side unless she was literally unconscious herself. Let's assume Wen Qing stuck a needle in her to make her rest while she has a fever. Shippers should also feel free to assume that Wen Qing spent hours at her bedside, tenderly wiping her forehead and holding her hand as she recovered. In his sleep, while Wei Wuxian sits by his side, Jiang Cheng calls for his sister, mother, and father, but not for his brother. Ouch.  

Let's pause to appreciate Wei Wuxian's new outfit, which is the sort of getup most people in this society probably imagine Yiling Laozu wearing, rather than the low-key homespun stuff he actually spends his Yiling year in. This robe has fancy shoulders, shiny material, touches of Jiang purple, strange red hoody strings, and a fuckin' CAPE. He didn't bring any luggage with him from Lotus Pier, although he's still got his Yin Turtle Sword hidden in a bag of holding. So the most likely explanation is that Wen Ning hooked him up with this lewk. "Wei Wuxian is a nice person. He should have a magnificent cape."

Wen Wing and Wei Wuxian take a breather to stand on the porch and work out what their status is with each other, like a couple of fucking adults, which is amazing. Basically Wei Wuxian is ready to forget earlier Wen shenanigans, but is going to avenge Lotus Pier. 

Wen Qing isn't enthusiastic about that but doesn't argue, just asking, mostly rhetorically, if he plans to kill her too. He's uncomfortable considering that; the role of avenger isn't one that's comfortable for him, although he turns out to be extremely good at it. He does not, of course, plan to kill her too. In a few months, imprisoned in a Wen dungeon, she will be the only Wen left alive after Wei Wuxian 1.5(No-Gold Edition) and Chenqing come to visit.

Jiang Cheng finally wakes up, and the first thing he does is to test out his spiritual power by hitting Wei Wuxian as hard as he can. 

DUDE.

Look at Wei Wuxian's face, as he goes from happy, to shocked and hurt, to laughing it off. It's exactly like when Jiang Cheng shoved him in the Rock Lady temple. Has Wei Wuxian spent all of his years with Jiang Cheng going from affection, to hurt feelings, to pretending it's fine? God, I think he probably has.

This episode raises a question that will come up again later, but never be answered. That question is, what the fuck are these weird footies and why the fuck does Jiang Cheng wear them to bed?

Jiang Cheng reveals that his golden core is gone, that he can't cultivate any more, which means he can't avenge his parents or achieve any ambitions in life. Nobody has apparently given any thought to why Wen Zhuliu is called "Core-Melting Hand" before this, which is hilarious, frankly. If I fought with a guy called, for example, Brain-Eating Mouth, I think I would make certain assumptions about him and what he planned to do with my brain.

Something interesting is happening in this moment, because as he comes fully back to consciousness, Jiang Cheng pours out all of his trauma and horror to his brother, telling him about the core melting and practically wailing about his feelings over it all. And his brother understands, and ultimately finds a way to help him. What does Wei Wuxian do after his own trauma? Keeps it secret, so nobody finds a way to help him, although many people try to. So Jiang Cheng is, in this way at least...emotionally healthier than Wei Wuxian? That's unexpected.

Jiang Cheng is super upset and is mad at eternal scapegoat Wei Wuxian for saving him. Jiang Cheng would rather be dead than be a regular person. Whereas Wei Wuxian, faced with the same problem, is like, *shrug* I’ll adapt. These are both valid emotional responses to suddenly becoming disabled. Losing a golden core is definitely a disability, in this environment; it's not just about magic sword fights. Jiang Cheng's home is designed for people who can fly; Lan Wangji's home is designed for people who don't feel cold, and Wen Central is made of actual lava, for example. 

Jiang Cheng is already struggling with a lot of difficulties. He was raised by shitty parents, he's got anger management issues, he has a crushing weight of responsibility. And now he's also lived through the deaths of most of the people who matter to him. If sword cultivation is the one thing that gives him joy in life (ok one of two things, obviously fashion also gives him joy because he WORKS it), he can't reasonably be expected to rally when it's taken away.  

Oh, honey. Oh, baby boy. 

Wen Qing picks the worst moment to come in and tries to tend to Jiang Cheng, who starts off being devastated that the girl he likes is seeing the wreck he's become, and then moves along to helpless rage when he remembers that she's a Wen, and he screams at her to get out.  

Jiang Cheng is not able to put personal loyalty ahead of clan loyalty like Wei Wuxian is. Partly this is his nature, and partly it's his role as the lineal descendant of the clan leader. As a firstborn son of a gentry family, his destiny as clan leader is in his blood, and so is his responsibility to the clan. When Wei Wuxian praises Song Lan and Xiao Xingchen for caring less about bloodlines than about shared ambition, he is speaking from the position of someone who's bloodline ain't shit. Jiang Cheng will never be able to share that perspective.

Next: More of this excruciating episode!

Writing prompt: The Day I Discovered I Could Melt Your Fucking Core, by Wen Zhuliu Drabble prompt: Why I Wear Socks to Bed, by Jiang Cheng

[liunaticfringe]

(via Lucy Liu's Independent Woman - Interview Magazine)

There have been many great sidekick pairings in the history of modern literature. Huckleberry Finn and Tom Sawyer, Phileas Fogg and Jean Passepartout, Winnie-the-Pooh and Piglet…the list goes on. Yet, it seems there has never been a delightfully tumultuous relationship that comes close to echoing the one embodied by rogue detective Sherlock Holmes and his faithful friend and assistant Dr. John Watson. Written in the form of short stories by Arthur Conan Doyle between the late 19th and early 20th centuries, the opium-den loving Holmes would terrorize London with his intellectual, astute, and stubborn prowess, with Dr. Watson providing medical expertise and chronicling their entertaining exploits along the way.

Doyle’s works have now long been entered into the public domain, with many film and television adaptions cropping up every few years. Still, when CBS announced in 2012 that it would be turning Doyle’s works into an hour-long crime-drama series titled Elementary, it elicited an unusually high response—this was mostly due to the news that a woman would, in fact, be portraying Watson. Her name would be Joan, not John. And she’s now a fallen from grace surgeon-turned-sober companion and private detective, forfeiting her “Dr.” title in the process. The woman chosen to take on this exciting, contemporary role of Joan Watson was none other than seasoned actress Lucy Liu.

Liu, who’s best known for her roles as a fierce and ill-mannered lawyer in Ally McBeal, an ass-kicking “angel” in the rebooted Charlie’s Angels, and an equally ass-kicking bad girl in the Kill Bill series, certainly provides the yin to the yang of Jonny Lee Miller’s gritty portrayal of Holmes. Elementary chronicles the duo’s relationship as they consult for the NYPD on various criminal cases while living in a shared brownstone in Brooklyn Heights. Initially starting off in Season One as a substance-free friend to the fresh-out-of-rehab Holmes with a keen interest in solving crimes, Watson quickly transformed into a sharp and observant right-hand woman who now clearly has the aptitude to work on her own. And it appears she’ll be doing just that—the end of Season Two left viewers witnessing Watson’s decision to move out of the brownstone and start a new career as a solo private detective, seemingly fed-up with Holmes’ erratic behavior.

The warm and delightful Liu recently called up Interview from her home in New York City to discuss Elementary’s upcoming third season.

DEVON IVIE: Were you on set today?

LUCY LIU: I was running around like a maniac, yeah. It’s beautiful today, it started getting a little bit cooler again. But of course I’ve been bitten by the two mosquitos that are still alive in New York City.

IVIE: I know you were recently at New York Comic Con. How was it?

LIU: It was amazing. It’s such a spectator place. Not only do you get super fans, but you also get people who are curious and inventive and imaginative. It’s fun.

IVIE: Did you run into any cosplayers dressed as Joan Watson?

LIU: Oh, no, I don’t know about that. That’s funny! We did a panel with a huge audience so I couldn’t really see if anyone was wearing anything specific, but it’s an excuse for kids and adults to get dressed up and just be crazy. You know you’ve made it when you have super-fans out there.

IVIE: When you first read the scripts for Elementary, what was it that attracted you to the role of Joan?

LIU: I liked the fact that it was going to be about [Joan and Sherlock’s] relationship and their friendship, and bringing that into modern times. And I thought it was wonderful to change up the gender.

IVIE: Did you immerse yourself in Arthur Conan Doyle’s work as preparation at all?

LIU: I did, I did! I started reading the short stories. I never read them before so it was a really great excuse to read them. I can’t believe it was written so long ago, because it’s so current. The characters are so colorful, which is why I think there are so many incarnations of Watson and Holmes.

IVIE: Do you have a favorite story? I love “A Scandal in Bohemia.”

LIU: There were some pretty amazing stories. The one that stood out to me, which was a Watson story that I got to know him a little more through, was “The Hound of the Baskervilles.” He really is on his own in that. Of course it turns out that Holmes has been there all along, but it’s interesting looking into his interior.

IVIE: Yeah, the entirety of “The Hound of the Baskervilles” is narrated just by Watson. And his diary and letters, too.

LIU: Yeah, I think it’s really cool. We started incorporating that into the show, too, the letters and journals.

IVIE: Has this detective genre always appealed to you? Did you grow up watching or reading detective whodunits?

LIU: I remember more of the old school Nancy Drew and Hardy Boys sort of thing. I also grew up with the Scooby-Doo mysteries. Remember when the villain would go, “I would’ve gotten away with it if it weren’t for you rascal-y kids!” Those were the kind of the things I immersed myself in. I have to say that my mother has always been a huge fan of Columbo and Murder, She Wrote, so this show was her dream come true. I don’t think she totally understood what was going on with Ally McBeal. [laughs]

IVIE: I’ve enjoyed witnessing Joan’s evolution throughout the course of the show, starting off as a sober companion and eventually ending up as a trusty sidekick and confidant to Sherlock. What can we expect from Joan in Season Three?

LIU: When you see them in the third season, you see some friction between the two characters. Joan is now on her own, she has her own detective agency, has a boyfriend, and has been without Sherlock for eight months. She’s got her own apartment, she’s settled, and he shows back up. I think she’s a little bit hurt by what happened and how their relationship and partnership ended, which was basically his decision and his choice, and he left it all in one little note for her. I think she felt that their relationship was much deeper than that, and that he was dismissive in the way that he handled that.

IVIE: How would you define the relationship between Joan and Sherlock?

LIU: I think that it’s a really positive and good relationship, overall. They really have a good chemistry together, work really hard together, and understand each other. They acknowledge each other and respect each other, which is a really important way to have a friendship. And they can learn from each other, you know? She’s very curious about him and I think he sees that she’s a very smart person—that’s vital for him in having respect for someone, having them be intelligent and thinking for themselves.

IVIE: Do you see any of Joan in yourself?

LIU: I do to a certain degree. She’s a lot more measured and patient, for sure. She’s a very curious person, which I think I am, and I think she isn’t afraid of change. She was a doctor, and then became a sober companion, and then jumped off and became a detective. I think sometimes it’s good to make big leaps.

IVIE: You’ve probably been asked this question many times, but do you think a romance between Joan and Sherlock could ever fittingly happen?

LIU: It’s a question that’s often asked and I think it’s really up to the executives. Rob Doherty, the creator [of Elementary] really feels incredibly strongly about keeping their relationship platonic. He has already taken great strides to keep the relationship as clean as possible according to the literature, but he has also changed so much of it by changing the gender of Watson. To have them have a romantic involvement would turn the whole thing upside-down in a way that might really jump the line. [Doherty] felt really strongly about it and I think that’s the one thing he really wants to stay true to.

IVIE: I totally agree. Even on the BBC’s Sherlock, there are campaigns to get Benedict Cumberbatch’s Sherlock and Martin Freeman’s Watson to become romantically involved. It’s like, enough already, no!

LIU: No way, that’s so weird! People do have that level of friendship oftentimes, but it doesn’t mean it’s physical. I think that everyone just assumes because there’s chemistry the next thing should be happening. I would vote “no” for a romance. I think for sure the creator would vote no on that, too.

IVIE: I’ve talked to both women and men who watch Elementary, and they all consistently mention how well dressed and fashionable Joan is. Do you collaborate with the wardrobe department on styling decisions at all?

LIU: That’s awesome. Yes, I collaborate with Rebecca [Hofherr], who’s the costume designer, who’s wonderful. She’s very easy to work with. One thing we try to maintain about Joan and her style is that she’s a bit wrinkled, you know what I mean? Sometimes it looks like things are really put together, but we always want to make sure things aren’t too tight and are comfortable, kind of like she throws things together. We don’t want it to seem so business-y, so we go away from suits. Chic, but not corporate. Also just to make her seem like her outfits aren’t so put-together all the time. But I’m glad that people really seem to like it, it’s a relief! We don’t splurge a lot on the show, we try to do cheaper things, like things Joan would wear a lot. She wears the same white jacket and shoes frequently.

IVIE: Will we be seeing more of the infamous Clyde the Turtle in the upcoming season?

LIU: Clyde will indeed be in it again. We have to share custody of Clyde.

IVIE: Is it true that Clyde is actually two tortoises? Pulling a Mary Kate and Ashley in Full House on us?

LIU: Yes. It’s just like having twins on a show. Just in case one is crying and screaming and passed out or something.

IVIE: You made your directorial debut for an episode of Elementary last season [“Paint It Black”]. Do you have plans to direct an episode again soon?

LIU: That was so exciting. I’ll be directing another episode again very shortly in December, so you’ll be seeing it in a month and a half.

IVIE: Where did your interest in directing come from?

LIU: I guess I was curious about it. Having been in this business for a while, you kind of see and get a glimpse of everything doing film and television. I think it seemed like a natural progression to go into directing, and I hope to explore more of it, because it’s very exciting and a really good way to collide all the things that you’ve known and experienced in the business and put them all into one.

IVIE: Is there an ideal guest star that you’d like to see on the show in the upcoming season?

LIU: I would love to see Mycroft come back. I really think there was a wonderful tension for Mycroft and Sherlock as well as the triangle that occurred when Joan became involved with him. There’s something very deep about that relationship, and I also think that Rhys Ifans is a fantastic actor. He commands the screen, but off-screen he’s incredibly lovely. A real treat to have on the show.

IVIE: I remember the first few episodes that I saw Rhys in, I was like, where have I seen this guy before? So I looked at his Wikipedia page and it became obvious: he was the crazy guy from Notting Hill!

LIU: Yes, the roommate! So good! Everything he does, he just kills it, no matter the role.

IVIE: And it’s always good to have some MI6 action on the show, which Mycroft provided. Some international flair.

LIU: [laughs] International flair, exactly, some added spice. Just throw some spy stuff in there to throw people off their game. You just don’t expect it, you know? It came out of nowhere.

IVIE: That whole three-episode arc at the end of the second season…

LIU: That was awesome. I was lucky enough to direct one of those episodes, which is more narrative in tone. It’s more fun in some ways, too.

IVIE: You’ve done a range of acting work for both television and film. Do you now find yourself preferring one to the other?

LIU: I love both of them equally. The lack of predictability with television is something that’s constantly changing what your perception of who you think your character is. Suddenly I have a father that’s schizophrenic, or I discovered something else, or I have a relationship with Mycroft. The things that pop up and change the game for you and always keep you on your toes. The wonderful thing about film is that you have something that has a beginning, middle, and end, and you have a concrete amount of time to shoot it. And the process of that can be longer, like editing and advertising and testing the movie, so it’s very different. Television you just continue going, no matter what’s happening outside of your world. You get lost in that vortex a little bit.

IVIE: It’s interesting that America is now embracing the “mini-series” format that has already been so heavily utilized overseas, where there are a set amount of short episodes, and that’s it. In a way, it’s kind of like a cinematic experience.

LIU: I like that, too. It allows you to have a freedom of creativity and at the same time you don’t feel like you have to be contracted to something for that long; you’re really working on a piece of art. And then you’re done and you move on, or it comes back, like Downton Abbey. You don’t know. Those things become little masterpieces. The thing about television is that you see a range of actors now that you may not have seen five years ago even, 10 years ago absolutely not, and I think now there’s no wrong about doing television. There’s no definitive category for what kind of department you fall into anymore.

IVIE: What’s a fun, secret fact about your costar Jonny Lee Miller?

LIU: A fun fact about Jonny Lee Miller is that he oftentimes does handstands on a wall before he does a take, sometimes with pushups, to get blood to his brain and get him geared up for a long monologue that he may have. He stays there, hangs a little bit, and then turns around and does the scene. Most of the time in the brownstone more than anywhere else. He’s in full costume and everything. That’s trivia!

IVIE: I wish I could do wall-handstands by myself.

LIU: Oh my god, I need someone to push my legs up and then hold me there. I’m a cheat!

ELEMENTARY PREMIERES THURSDAY, OCTOBER 30 ON CBS.

[crowdvscritic]

round up // MARCH + APRIL 21

March and April were a whirlwind of vaccines and awards shows! A full year after we starting staying at home, the end of this weird chapter in recent history seems like it might finally be coming to a close, and this pop culture awards season—typically a time full of fun and glamour—captured our moment weirdly well. (Emphasis on the weird.) This month’s recommendations is filled with more Critic Picks than usual, so without further delay, let’s dive right in...

March + April Crowd-Pleasers

Double Feature — 2018 Action Thrillers: Bad Times at the El Royale + Den of Thieves

In Bad Times at the El Royale (Crowd: 9/10, // Critic: 8/10), Jeff Bridges, Cynthia Erivo, Jon Hamm, Chris Hemsworth, and Dakota Johnson are staying at a motel on the California-Nevada state line full of money, murder, and mystery. In Den of Thieves (Crowd: 9/10 // Critic: 6.5/10), Gerard Butler takes on some of the best bank robbers in the world. Whether you like your action with a dose of mystery or the thrills of plot twists, these will fit the bill.

Double Feature — ‘80s Comedies: Caddyshack (1980) + Splash (1984)

In the mood for pure silliness? Take your pick between a mermaid and a gopher! Five years before The Little Mermaid, Tom Hanks fell for Daryl Hannah’s blonde hair and scaly tail, and John Candy was his goofy brother in Splash (Crowd: 8.5/10 // Critic: 7/10). And four years before Ghostbusters, Bill Murray was the goof on a golf course full of funny people like Chevy Chase, Rodney Dangerfield, and Ted Knight in Caddyshack (Crowd: 8.5/10 // Critic: 6.5/10).

Double Feature — 1980s Coming-of-Age Films Starring Corey Feldman, Kiefer Sutherland, and Challenging Brother Relationships That Influenced Stranger Things: Stand by Me (1986) + The Lost Boys (1987)

Believe it or not, I had no idea these two ‘80s classics had so much in common when I chose to watch them back-to-back. In Rob Reiner’s adaptation of Stephen King’s Stand by Me (Crowd: 9/10 // Critic: 9/10), four kids (Feldman, Jerry O’Connell, River Phoenix, and Wil Wheaton) are following train tracks to find a missing body. In The Lost Boys (Crowd: 8.5/10 // Critic: 7/10), Corey Haim and Jason Patric move to a small California town and discover it’s full of ‘80s movie star cameos and…vampires? One is a thoughtful coming-of-age story and one is just bonkers, but both are a great time.

Spaceman by Nick Jonas (2021)

My love for the Jonas Brothers is well-documented, so instead of going down the rabbit hole I started digging at 15, I’ll talk about how Nick Jonas’s latest solo album will likely appeal to a wider audience than just the fans of the brothers’ bombastic pop records. It’s full of catchy tunes you’ll play on repeat and an R&B-influenced album experience about the loneliness we’ve experienced in the last year and how we try to make long-term relationships work.

Ted Lasso (2020- )

I love stories about nice people crushing cruelty and cynicism with relentless kindness, and Ted Lasso (Jason Sudeikis) is the warmest, most dedicated leader this side of Leslie Knope. Be sure to catch up on these witty and sweet 10 episodes before season 2 drops later this summer.

Double Feature — Tony Scott Action Flicks: Enemy of the State (1998) + The Taking of Pelham 123 (2009)

Tony Scott’s movies have got explosions and excitement in spades. I love a good man-on-the-run movie, and in Enemy of the State (Crowd: 9/10 // Critic: 8/10), Will Smith is running through the streets of D.C. after getting evidence of a politician’s (Jon Voight) part in a murder. I also love a tense story set in a confined space, which is what Denzel Washington is dealing with in The Taking of Pelham 123 (Crowd: 9.5/10 // Critic: 7/10) after a hammy John Travolta takes a New York subway train hostage.

Double Feature — Baseball Movies: The Natural (1984) + Trouble With the Curve (2012)

Sue me—I love baseball movies. Robert Redford plays a fictional all-time great in the early days of the MLB in The Natural (Crowd: 8.5/10 // Critic: 9/10), and Clint Eastwood plays a fictional all-time great scout in his late career in Trouble With the Curve (Crowd: 8/10 // Critic: 7.5/10). If you love baseball or actors like Amy Adams, Glenn Close, Robert Duvall, and Justin Timberlake, these movies are just right here waiting for you.

Nate Bargatze: The Greatest Average American (2021)

Sue me—I enjoy Netflix standup comedy specials that are safe enough to watch with your whole family. That’s exactly the crowd I laughed with over Easter weekend, and while the trailer captures Bargatze’s relaxed vibe, it doesn’t capture how funny he really is.

The Mighty Ducks (1992)

I thought somewhere in my childhood I’d seen at least one of The Mighty Ducks movies, but after watching all three, I think my memories must’ve come from previews on the VHS tapes for other Disney movies I watched over and over again. The original still holds up as an grown-ups, which is why even my parents got sucked in to this family movie while just passing through the living room. Bonus for ‘80s movies lovers: Emilio Estevez is basically continuing Andrew Clark’s story from The Breakfast Club as an adult. Crowd: 8.5/10 // Critic: 6.5/10

Double Feature — New, Dumb Action on Streaming: Godzilla vs. Kong + Thunder Force (2021)

If you want something intelligent, go ahead and skip to the next recommendation, but if you’re looking for something stupid fun, these are ready for you on HBO Max and Netflix. Thunder Force (Crowd: 8.5/10 // Critic: 6/10) follows Melissa McCarthy and Octavia Spencer as they train to become superheroes who take on superhuman sociopaths wreaking havoc on Chicago, and alongside Jason Bateman, they do it with a lot of laughs. Godzilla vs. Kong (Crowd: 9.5/10 // Critic: 5/10) is, um, exactly what it sounds like, so I’ll skip a plot summary and just say it’s exactly what you want from this kind of movie. #TeamKong

3:10 to Yuma (2007)

All you need to know is Russell Crowe is an outlaw, and Christian Bale is the guy who’s got to get him on the train to prison. I also watched the 1957 version, which is also a solid watch if you love classic Westerns. Crowd: 9/10 // Critic: 8/10

Falcon and the Winter Soldier (2021)

Marvel’s newest series isn’t nearly as inventive as WandaVision, and it may not land every beat, but it’s worth a watch for the fun new gadgets, Sebastian Stan’s dry joke delivery, and its exploration into themes of what makes a hero and what governments owe their citizens. It’s a pretty satisfying entry in the MCU canon, but I’d also recommend re-watching Captain America: Winter Soldier and Civil War—the canon is getting expansive, and it’s getting trickier every year to keep up with all the backstory.

March + April Critic Picks

Best of 2020 Picks

As per usual, the months leading up to the Oscars becomes a binge period for potential Oscar nominees. In March and April, I watched many of the films that made my Top 20 of 2020, including Boys State, The Father, Judas and the Black Messiah, Let Them All Talk, Minari, Nomadland, On the Rocks, One Night in Miami…, Promising Young Woman, Soul, and Sound of Metal. You can read how I ranked them on my list for ZekeFilm, plus reviews of The Father, Minari, Promising Young Woman, and Soul.

Bonus: If you loved On the Rocks, don’t miss this feature and beautiful photography starring Sofia Coppola, Kirsten Dunst, Elle Fanning, and Rashida Jones for W Magazine. 

Stranger Than Fiction (2006)

What would you do if you started hearing a voice who narrated your every thought and move? If you’re Will Ferrell, you’ll seek out a literary professor (Dustin Hoffman), fall in love (with Maggie Gyllenhaal), and track down the voice (Emma Thompson) who’s making ominous predictions about your future. Stranger Than Fiction is funny thought-provoking, and an unusual but welcome role for Ferrell. Crowd: 9.5/10 // Critic: 9/10

All the Royal Family News

Speaking of stranger than fiction, it’s been a busy few months for the Royal Family. We’ve celebrated 95th birthday of Queen Elizabeth, the 3rd birthday of Prince Louis, and the 10th anniversary of Will and Kate’s marriage. We also lost Prince Philip, and we watched the drama of Harry and Meaghan’s interview with Oprah. No matter what happens to their Crown, I don’t think we’ll ever get over our fascination with the Windsor family. A few pieces worth reading from the last few months:

“In Meghan and Harry’s Interview, Two TV Worlds Collided,” Vulture.com

“The Queen’s Man: Philip, Duke of Edinburgh, Dies,” TIME.com

“Obituary: HRH The Prince Philip, Duke of Edinburgh,” BBC.com

Goodfellas (1990)

One of my film opinions that makes me feel like a phony is that Martin Scorsese just isn’t my cup of tea. He’s brilliant, but his films tend to be long and dark, two qualities that are never my first choice…and somehow Goodfellas still worked for me? Maybe it was the TV edit graciously toning down the violence or maybe it was that Ray Liotta and Joe Pesci were firing on all cylinders, but for some reason this ‘90s classic didn’t suck the joy out of my evening like Scorsese often does. (Bonus: For a Martin Scorsese/Robert De Niro I don’t really recommend, head to the last section of this Round Up.)

Fearless (Taylor’s Version) (2021)

Her voice has only matured, so Taylor Swift revisiting her old albums is like upgrading a blast to the past. Plus, the six new tracks make me feel like 15 crushing on that boy in Spanish class again, and her Grammys performance (just before her third Album of the Year win) was magical and folklore-tastic.

Double Feature — ‘60s Action Classics: The Guns of Navarone (1961) + Planet of the Apes (1968)

The Guns of Navarone (Crowd: 8/10 // Critic: 8.5/10) follows Gregory Peck and David Niven as they destroy Nazi weapons in the Mediterranean. Planet of the Apes (Crowd: 8/10 // Critic: 8.5/10) follows Charlton Heston as he attempts to escape from, well, a planet full of apes. The pacing of ‘60s films doesn’t always hold up, but that’s not the case with this pair. Both are still full of suspense, and you can’t go wrong hanging with casts like these.

Let Him Go (2020)

Kevin Costner and Diane Lane play a farming couple who unexpectedly help raise a boy who lost his biological father—sound familiar? But instead of a superhero origin story, they’re part of a thrilling Western with performances nuanced (Costner and Lane) and showy (Lesley Manville). If I’d watched this before completing my Best of 2020 piece, it likely would’ve been on my list. Crowd: 8/10 // Critic: 8.5/10

The Oscars

I’m a ride-or-die fan of the Academy Awards, but I’ll admit even I found this year’s ceremony odd. Instead of focusing on what wasn’t so hot, I’ll recommend a few moments you don’t want to miss:

Emerald Fennell giving a shout-out to Saved by the Bell

Daniel Kaluuya acknowledging his parents’ sex life during his acceptance speech (??)

Yuh-Jung Yoon flirting with Brad Pitt and acknowledging she’s just “luckier” than her fellow nominees

Glenn Close dancing to…”Da Butt”?

You can also read about the historic wins and nominations from this year’s Oscar class and why the Golden Globes were an even stranger production weeks earlier.

Trailer-palooza!

Movies are on their way back, y’all! I’m counting down the days until I can get back to a theatre, and even if some of these movies are duds, I’m planning to see all of them on a big screen if possible:

Those Who Wish Me Dead (May 14)

Cruella (May 28)

In the Heights (June 11)

Space Jam 2 (July 16)

Shang-Chi and the Legend of the Ten Rings (September 3)

West Side Story (December 10)

Also in March + April…

To add to the Oscars love, you can listen to a conversation about what we learn about family, community, and society in some of the year’s biggest nominees on the Uncommon Voices podcast. I join regular hosts Michael and Kenneth in this episode, and I recommend all of their thoughtful discussions on their “What’s Streaming” episodes.

I’ve previously recommended the Do You Like Apples weekly newsletter, so I’m proud to share I contributed twice in March! I wrote about Love and Basketball, directed by Gina Prince-Bythewood, and one of my all-time favorite Julia Roberts rom-coms, Notting Hill. (I also tied to win their Oscars pool, but I suppose that’s less exciting for you than me.)

It was a busy couple of months on SO IT’S A SHOW! New logo, new email list, new Instagram, and a host of new episodes about a flop of a Madonna flick, a Swedish children’s TV show, an urban legend turned into a horror movie, one of the best films about journalism ever, and a Martin Scorsese movie about a real boxer.

Most of what I wrote for ZekeFilm in March and April was mentioned in Best of 2020 recommendations…except for The Nest, a film that couldn’t figure out what genre it wanted to be.

Photo credits: Nick Jonas, Royal Family. All others IMDb.com.

[clamydomona]

Veronica Mars Season 4 (Spoilers)

I had zero expectations going into this season, didn’t watch any interviews or trailers or look up spoilers because I didn’t want to get my hopes up. Most revivals I watched in the last years were ony so-so and most of the time when I was looking forward to something I ended up disappointed. Wth that in mind, I enjoyed a lot of what I saw.

Positive stuff:

- I loved that Veronica had a new dog that she named Pony, but I’m disappointed that he didn’t get to go on any of her snooping adventures with her like Backup in the old days.

- I’m glad that Wallace ended up married and with a cute baby and a good job and that he seems genuinely happy, that guy deserves it.

- I could listen to Cliff for hours and still enjoy his relationship with Keith and Veronica immensely. I like that he seems ridiculous but good at his job at the same time.

- Same goes for Vinnie. I can understand why the police chief is reluctant to trust PIs if most of her interactions are with Vinnie. Less so with Keith and Veronica. But at least she seems more qualified for her jobs than the Lambs ever were.

- I enjoyed what we’ve seen of Dick, but I’m glad that it wasnt more than that.

- Big Dick’s right hand man reminded me so much of Mike from Breaking Bad I sometimes confused those guys.

- The thing I enjoyed most of all was Veronica and Keith’s relationship, their teamwork and their banter. That was one aspect of the show I liked the most and I’m glad this season had so much of that.

- Logan’s character development was great as well. I loved that he ha help working through his issues to move beyond his anger and resentment that drove him so much of his life, while still being enjoyable and recognizable as a character. I also absolutely loved the scene where Logan came home with blood on his shirt, acting like nothing happened. And that Logan seemed to have very positive relationships with Keith and Wallace, after their earlier animosities.

- I also liked that scene where the murder heads were all arguing about who really killed Lily. Seems very reflective of all the True Crime culture nowadays.

- The mystery was interesting enough and not as convoluted as some of the previous mysteries.

- I also enjoyed many of the Leo-scenes, there was some pretty good banter and I liked how they snapped out of their drunkenness to draw their guns withing two seconds. Could have done without the sex dream, though I never for one second thought that thing was real.

- Nicole was a very fun character and I’m sad that her storyline ended the way it did.

So-So stuff:

- While pizza guy Penn was an interesting character, after a while he became very annoying being featured so heavily.

- Matty was interesting as a mirror of Veronica’s teenage self, though I’m not sure I would have let her be unsupervised in the office after some of the stuff she pulled beforehand.

- While earlier seasons were certainly violent enough, I could have done without so much casual beheading. Seemed way over the top for me.

- After watching Jason Dohring in iZombie, I was relieved that his head didn’t look as tiny in comparison to his very defined torso as it did in that show. For some reason that was extremely off-putting to me last year.

Negative Stuff:

- Why so little Wallace? They could have found something for him to do, it can’t be that hard. Also I’m disappointed that he was treated as so disposable by Veronica. She treated spending time with him more as an obligation than anything else. Was that the same in the show, it’s been a few years since I saw that.

- No Mac. She was missing so much.

- Why they felt the need to rob Weevil of every positive thing in his life and regress him to the character he was in season 1 I will never understand. I understand that the falling out between him and Veronica was described in the books, but without knowledge of those, their relationship this season just seemed very weird.

- Why the hell did we spend so much time in the first episode with the spring break kids before the bombing, when nothing of that seemed to matter, the scenes could have been cut out and the story would have been just as easy to follow?

- Why did none of these people, except the brother of the congressman and Matty, seem in any way trauamtized or sad that they lost their friends/family in a bombing when they instead expected to have fun partying?

- Why was Veronica belitleing Logan’s therapy so much? Didn’t their relationship fall apart numerous times because of his destructive tendencies? Shouldn’t she be happy that he sought help, even if she is incapable of getting it herself (when she, let’s face it, probably needs it more than any other character apart from Logan)? After a while I honestly didn’t understand why Logan wanted to be with her, when in earlier seasons it was mostly the other way around.

- Is Logan an addict of any kind or not? I thought he was, since he was a sponsor in the movie, but he drank (and did drugs, did I understand that “E” correctly?) with Nicole, Veronica and Dick in one episode, so I guess not?

- If for some reason the show gets another season, it’s reasonable to expect that they will drag out Duncan again, right? He’s the only ex-boyfriend they haven’t used in any of the newer incarnations of the show.

 And then the ending:

I wasn’t spoiled, but it did not exactly come as a surprise to me, because Rob Thomas so fas has been incapable of writing a relationship that survived a whole season intact (at least on Veronica Mars and iZombie, I don’t know about any other products of his. I learned not to get attached to any of Liv’s reationships, because why bother when he kils all of them off anyway?). I honestly thought there was a bomb in her car when Logan reminded her on Skype to move it and expected the bomb to detonate when she went to move it while the cartell guys were watching her apartment. I expected the other shoe to drop the whole episode, so I couldn’t even get into the wedding because it was so obvious to me that the whole thing was far from over without any explosion in the finale.

I wasn’t surprised that the bomb went off, though I am surprised that the show seriously went there and appearantly killed off one of the main reasons people still want to watch the show. After watching so many supernatural shows (and a few soaps), I remain highly sceptical that he’s actually dead without showing the explosion itself, the body, the funeral or anyone mourning at all. Especially after they did something similar in season 2 but didn’t kill off Keith.

But after catching glimpses of interviews going around, I am stunned that the death at least seems to be intended to be permanent and I don’t get that argument at all. Why the hell is it necessary to kill of one of the main attractions of the show in order to “save” it? Who wants to tune into a show that killed off one half of a couple that became an essential part of that show? Seemed to me more like he wanted to make sure he would absolutely not get another season, and providing extremely shitty closure in the process. It just didn’t seem like the show to me. In previous finales, while Veronica went through harrowing experiences, the show still managed to end on a somewhat positive note (which might arguably be the case with Keith getting healthier and Veronica willing to see Logan’s therapist, but all of that seemed extremely hollow to me). Plus, the death was so tagged onto the case storyline, not intrinsic to it at all, but just added after the resolution. Random deaths might be true to real life, here it just seems to be shock for shock’s sake, but not necessarily good storytelling. Furthermore it’s just depressing to pile on more and more trauma onto Veronica without any of the relief of healing.

Also, I completely disagree that the show would not be interesting anymore with a married Veronica. Why couldn’t the conflict and drama come from the cases itself, while her private life was stable for once? I’ve really grown to hate this notion that couples are not interesting once they are in committed relationships, so they have to do will they/won’t they, cheating and love triangles. I’ve read tons of fanfiction that somehow managed it, why are so many showrunners incapable of seeing any appeal in that at all? Honestly, the show would have been more innovative if it had let Veronica be married and at least a little attempting to overcome her trauma. But I guess a happy Veronica is not an inspiring Veronica to the showrunner.

I honestly think Rob Thomas overestimates Veronca’s appeal as a character without any of the other elements. No Neptune, not Keith, no friends, no Logan, just Veronica going around solving cases does not sound appealing at all to me. If he wants something like that, it would probably be better to create a whole new show based on that kind of premise, or write this season like that to begin with. Just kill off Logan off screen in a war and start Veronica as a lonely and depressed PI somewhere other than Neptune if that’s what Rob Thomas wants to write so much.

I really have to thank the absolutely terrible finale of HIMYM. After completely screwing over my favorite couple, I just stopped being invested in any couple to the degree I was before. I never assume anymore that the story will go in the direction I expect it to go, no matter how obvious that outcome seems to me, because who knows how differently the showrunner envisions their work and what they see as “good storytelling” (which somehow often means killing someone off right before the end, how fun!). I am kind of surprised by how angry I am about Logan’s death despite my low expectations and diminished investment in the couple since I first saw the show. At least here I can ignore the ending much more easily than in HIMYM.

[comicteaparty]

December 18th-December 24th, 2019 Reader Favorites Archive

The archive for the Reader Favorites chat that occurred from December 18th, 2019 to December 24th, 2019.  The chat focused on the following question:

What tropes and/or clichés are you perfectly fine with seeing in the webcomics you read?

Deo101

Like all of the cutesy cheesy relationship tropes. I love them all and I always will! Plenty more, but I find myself getting caught up in the relationship tropes the most. Specifically friends to lovers, but I also really like the found family trope. I know there are more tropes that I love but I can't think of them off the top of my head, so I'll probably just agree with others as the week goes on

indogswetrust

pass me the slow burn romance please thaaaanks

Deo101

that one too. Also hurt/comfort. Pump those into my VEINS they are my lifeblood... I shamelessly put every trope I want into my work so I can't judge other people for doing the same

indogswetrust

i’m trash

I’ve become more sssssophisticated as I’ve gotten older but I know what I like in a webcomic.

And it’s Adorable Behavior (tm)

Deo101

I've gotten less sophosticated. I thought I got more sophisticated but turns out I just got less shameful about the things i like

indogswetrust

Haha

I mean I used to really be fixated on comedy and now I’m more okay with things being ambiguous and complex? Ingress is a good example. I might have put it down two years ago but now I wanna see where Spicer and Toivo’s journey takes them

Fixated isn’t the exact word. whatever

Deo101

No I get you! Realizing you like more than just one thing and expanding your horizons is really important!

Cap’n Lee (Flowerlark Studios)

I love the enemies-to-lovers trope. Any time a pair of characters goes from ‘I hate your guts’ to ‘take me now’ I’m loving it. That is, so long as one of them wasn’t being outright abusive during their ‘hate’ phase.

indogswetrust

Man that’s a delicate balance but also

Deo101

^ Fully agree. I just get a little too anxious about the "enemies" side of thing and worry they wont fully grow into lovers I guess! But if it's done well, Its an especially good one

carcarchu

i second the enemies-to-lovers thing i will never get enough of that trope

LadyLazuli (Phantomarine)

thirded

if I even smell a hint of it in a story, provided it's not overtly violent or abusive or otherwise horrible... I am hooked

kayotics

Fourthed... it’s a good trope

keii4ii

Now I feel like the odd one out for being neutral toward that trope. I definitely enjoy good examples of it, but otherwise completely neutral?

Evolving relationships is a good thing in general though, and enemies to lovers does fall in that category.

keii4ii

I have a soft spot for long lost superadvanced civilizations being unearthed. While it doesn't guarantee I'll fall in love with the story, it WILL grab my attention and at least get me to check it out.

renieplayerone

I dont really have any strong opinions on any tropes, but theres a really good channel on youtube that goes through and critiques tropes. I find it really useful for writing. https://www.youtube.com/playlist?list=PLDb22nlVXGgcljcdyDk80bBDXGyeZjZ5e

keii4ii

(Please don't let my weirdness ruin anyone's enjoyment of the trope though, lol. I'm all for celebrating what you like! was just genuinely wondering if I'm the only one who's neutral about it!)

keii4ii

Also not an overarching story trope, but more like a type of a scene... I really like this thing (if this is a trope please tell me what it's called XD) A, B, C are friends. A and B are bffs. C is not as close. B talks to C about this while A is away. This is an honest conversation, not a malicious one. B learns to see A in a way they hadn't before, and it strengthens the B-A friendship. I'm not likely to start reading a story just because I know it contains this scene. But if a story I already like has this scene, it is likely to be my favorite scene!(edited)

I guess part of the reason why I like it so much is, it shows that the relationship (the B-A one in this case) is not insular. It's a real relationship between real people, who also have relationships outside of it, and the relationships have an influence on each other.

(And that's a lot of "relationship"s in a paragraph...)

eli [a winged tale]

Positive relationships and healthy navigations between relationship and life problems are my jam The enemies to lovers trope can be gripping because you get an additional conflict on top of tension. I thought the novel Red White & Royal Blue did a good job at that. Grant Snyder did a trope bingo for murakami and I thought it was fun to do the same for my works in progress. For reference: the murakami one https://www.google.com/amp/s/news.avclub.com/here-s-how-to-play-haruki-murakami-bingo-as-you-read-hi-1798271345/amp

keii4ii

omg

I NEED TO MAKE THIS for me/ comics I read

I mean I don't have a whole lot of stories, but it would be interesting to see what kind of common items get checked off across mine + my favorite comics combined

Capitania do Azar

wow I've been thinking about it a lot and I'm having a very hard time selecting the tropes I like best... I'm more of a "I know what I don't like and taking that aside I like being surprised"

Cronaj

All I can say is... Red Oni, Blue Oni (https://tvtropes.org/pmwiki/pmwiki.php/Main/RedOniBlueOni). This trope is seriously so good. My favorite thing about this trope is that the "Red Oni," or the hot-headed one, and the "Blue Oni," the cold or level-headed one, can be either friends or enemies. So it makes for a beautiful dynamic no matter what type of story it is. Buddy cops, competitors in the workplace, brothers, enemies, the straight man and the fool, you name it. Typically these characters are foils of each other, and their differencesbalways make for exceedingly fun interactions. Another favorite trope of mine, which I don't really know the name of, is where the seemingly hot/handsome guy is actually a dork who has no idea what he's doing. Everyone in the story thinks he's done everything, but really he's just a dopey, niave possibly shy and definitely clumsy virgin. But the social awkwardness only makes him inexplicably more appealing to the other lead. Cute

Ah! Another trope I have to add because it's basically my crack: Androids Are People, Too (https://tvtropes.org/pmwiki/pmwiki.php/Main/AndroidsArePeopleToo). I have loved this trope since before Detroit: Become Human, but the game certainly rekindled my love for it. Very genre-specific, but AI fascinate me to no end, whether it's in the real world, or in Sci-Fi.

eli [a winged tale]

Haha Cronaj are you me? Contrasting characters and robots who have feelings can get me hooked straight away

indogswetrust

lemme tell y’all about a trope I’ve noticed: the crazy lesbian. Like, The Favorite and Killing Eve and that Netflix movie about the violinists. Whoof. I am so tired of that

Cronaj

Hahahaha! I dunno maybe. I also have a protagonist in one of my novels named Eli.

eli [a winged tale]

The cute nerd who is fumbling but appeared to have it all together may lean towards the Mary Sue for me but if there is a true flaw (Tm) then I’m down

indogswetrust

I feel like gay men characters have been getting humanized and happy endings and that’s awesome! But lesbians have not been getting the same treatment.

bumbling and romantically inept nerds fuel me

eli [a winged tale]

What do you mean about the lesbian part, indogswetrust? I’m curious to know of the differences as I’m currently writing both

Cronaj

@eli [a winged tale] YES. I'm not gonna lie, I have definitely used more than one of these tropes XD And one of them may or may not be the fumbling hottie...

eli [a winged tale]

I wanted to link my trope bingo but thought it went against the pinned rules I can DM it to you if you’re interested and I’d love to play everyone else’s bingos

Cronaj

Oh hell yes. Lesgooooooo!

I have never made a trope bingo, but I really should

indogswetrust

Like, Love, Simon or Call Me By Your Name show gay men as people slowly falling in love and it’s tender and kind. But The Favorite literally has animal abuse in it and women sleeping with each other for power. I walked out of the theater. Same for Killing Eve, it’s about a spy and a murderer. High intrigue and drama but it’s obviously a toxic relationship from the premise

eli [a winged tale]

Oh no! You should check out Their Story by Tan Jiu)

It’s formatted like a webcomic as well though formally called manhua. It does the slow burn romance, humanizing aspect very well. I’m not well versed in the mainstream portrayal but certainly on the indie side, people are stepping up and writing very positive and healthy lesbian stories

indogswetrust

The indie side is great. Even “The Sea In You” (a webcomic) is frickin adorable

It just grinds my beans about mainstream portrayal

eli [a winged tale]

Loving the sea in you!

RebelVampire

A trope I will never get sick of is https://tvtropes.org/pmwiki/pmwiki.php/Main/EverythingsBetterWithPrincesses , especially if https://tvtropes.org/pmwiki/pmwiki.php/Main/ReallyRoyaltyReveal this is what happens in the story. I just...I really love royalty. I can't help it. I love the pointless traditions, the fancy dresses, the palaces, etc.. And even if that's not part of it, I still like it when some rando girl realizes that she's a princess and now has to deal with that idea that she has subjects she has to protect or something. Bonus points if she's a magical girl. I even like it when it's a reverse situation where it's an evil princess. I will never tire of princesses ever because the concept is always fascinating to me no matter which way its spun.

eli [a winged tale]

I love the fanciness of it all. All those lovely eye candy designs

Cronaj

Same... I have also used the Really Royalty Reveal, like..... Several times

eli [a winged tale]

The royal reveal when done well can be so powerful and validating

Kelsey (Kurio)

I have a queen ant character but no princesses yet

Eightfish

ooh are we talking about tropes we like? I really like mind reading/ mind control. But consensual. It's feels like the theme of trust taken to the extreme, where a character has such belief in someone they'd trust their mind / body to them. But I've only really seen it in some kid's books I liked (Young Wizards, Animorphs), and the only webcomic I've seen with this idea is my own, and I haven't even gotten to that part yet. Anyone have any recommendations? Ooh or a tvtropes link?

Erin Ptah (BICP 🎄 Leif & Thorn)

It comes up in the Murderbot Diaries -- the main character is a construct, basically a really-advanced android, and there are times when it lets a more-powerful AI pilot its body to handle an emergency that's unfolding too fast for it to keep up with on its own.

Eightfish

I looked it up and I do like the themes of androids' humanity. And it's a series of novellae, which, wow, that's very rare. Not sure I've ever seen that before. Do you recommend the book as a whole?(edited)

Erin Ptah (BICP 🎄 Leif & Thorn)

I recommend the whole series, yes!

[itsswimmingtragedycollection]

The Dumpster Fire that is ‘The Order’

First of all, why is his show labeled as a horror? My humble guess is that it was intended for younger audiences?? I genuinely wanna know. Because, even if it was for teens, some blood and a few dead bodies does not a horror make.  Secondly, what the fuck? And I truly mean that.  I mean, the idea itself doesn’t sound bad at all. A college student joins a secret society and finds out his supposedly evil dad is the head of it? He’s also in a werewolf club that fights that same secret society? Sign me tf up. But the execution just takes a really weird turn.  From the get go, you kinda aren’t sure if the show wants to be takes seriously or not. And that question is never answered. Literally in the opening scene the letter changes from ‘we regret to inform you’ to ‘congratulations’ in front of Jack’s eyes and he has absolutely no reaction whatsoever to that peculiar development, which kind of screams ‘not to be taken seriously’ similarly to the whole ‘My evil dad killed my mom so naturally I’m gonna join a secret society, become someone important and powerful and eventually use that power to fight him.’ Who on earth plots a revenge along those lines? But then a second later, the plot falls back in the supernatural drama category.  To top it all off there’s a whole lot of ‘woke humor’ which most of the time comes across as cringe worthy edginess we’re all happy we outgrew after HS.  But, even if you could somehow get pas the not-so-subtle jumps from complete absurdity to realism, there’s nothing else to hold on to. No character, no relationship, no plot line we’re offered is strong enough to pull us in.  In fact. one of the most annoying things about The Order is that basically no character has a personality. I am 8 episodes deep (and I don’t intend to finish it because that’s how boring it is) and I still don’t know anything substantial about anyone. And can we take a second to just look at Jake’s relationship with Alyssa? What even is that? Are they flirting are they not, does he really like her or is she a means to an end, is she into him or his dad, why are they kissing and why does it look so uncomfortable, did they just cast two people with the least chemistry on purpose or is bad writing/directing? So many questions. If we draw a parallel between Jack’s progress with her and him being on board with the wolves, it makes even less sense. He needs how many episodes to decide to try and kiss her, but when it comes to dedicating your whole life to fighting bad magic, you go from ‘no way, you’re all insane, you made me kill an innocent man’ to ‘I pledge my life to the cause’ within two seconds.   Speaking of things that make no sense, I have to mention Jack’s ‘friendship’ with Amir. Don’t get me wrong, I get that we meet people and think to ourselves how that could grow into a beautiful friendship, but acting as if someone you just met is really your friend, and that odd flashback to like one beer they shared, when Amir was found dead, is just... I don’t even know what to say.  The Order as an organization is equally puzzling. Who are they? Why are they? What’s the purpose, what’s the goal, the mission? I can’t settle for just a group of magic users who follow strict hierarchies but kinda all look out for themselves and don’t really like each other that much. And occasionally sacrifice goats. And change people’s memories.(And they can revive a golem and ask it who made it, but the fact that Jack, who found out about magic like yesterday, sabotaged their spell somehow goes right over their magical heads. ) But essentially it’s for the good of the whole wide world.????????????? And the masks are what makes me think an 8yo came up with the whole concept.  If you thought the werewolf knights are any less confusing, think again. They hear noises when ‘bad magic’ happens and solve it by killing anything that moves. Heroes. Also, how do they know what they are supposed to do if they refuse to read anything? I mean, that’s not how a secret society, since that’s more or less what they are, works. Someone has to tell you, show you, teach you. Sure, you have the wolves inside you, but if you don’t know they speak a certain language, it’s fairly certain you don’t know a whole lot. And why is there only four of you? How can four knights take down an organization as big as The Order? Especially since their preferred method is violent murder, something that is not very subtle and does not go unnoticed for long, which basically ensures the rage of the entire Order falling on their heads before they even begin their so called mission. Once again: ????????????????? And what even does ‘bad magic’ mean? The term is so vague and abstract that I have a hard time understanding how can you form an organization that fights something barely defined. All magic can potentially be bad magic. What are the guidelines here? Help me comprehend.  The show also has a very odd relationship towards death. One can sort of ‘forgive’ the wizards and the wolves for being chill about it, but if someone was targeting and butchering people on your campus, wouldn’t you be at least a bit worried? We don’t see any students panicking, we saw one police officer, there were no measures taken by the college, unless you count turning Amir’s death into a bike accident. And just when you start getting used to being casual about it, Jack has a whole meltdown over killing someone the first time he turned. And then also his professor. But even that meltdown is not very convincing, since most of what he does is just screaming ‘I KILLED AN INNOCENT MAN!!!’ into the void, without a much deeper attempt to deal with that. Which is why I don’t get why the show even made an issue out of it.  I also don’t get Jack’s grandpa. Like not even a little bit. Because if you think about it, it’s not * that * unimaginable that a little boy would come up with the idea of joining a secret society to avenge his mother’s death, but it is * very * odd to imagine an old ass grown up who not only thinks it’s a good idea to direct your whole young life towards revenge, but encourages it to a point of making a detailed plan on how to do that, and basically spends your entire childhood grooming you to become a little rage fueled bundle of psychological damage. All of this is only scratching the surface of the mess that is The fucking Order, because the show is a giant entangled coil of nonsense and I barely knew where to start. It’s fair to say that the biggest buzzkill is failure to pick a direction and stick with it. You don’t have to look that close to see some of the influences. The biggest one being, obviously, The Magicians, followed by some Teen Wolf, there’s even elements from Scream Queens, a bit of Buffy, a pinch of the Craft, etc. Almost like someone decided to look up successful shows in the supernatural/fantasy/horror genre and just smash them all up together in hopes of making something appealing to the largest audience possible. Personally, as a * very big * fan of before mentioned The Magicians, I get the feeling that Netflix wanted to make something that could rival it, but better. Because TM is, dare I say so, one of the best, if not the best, shows of the decade. I honestly have not seen anything like it, that has the same platform, in literally a decade. If you have, please let me know. 

Whit the BDE, edgy, but in a good way, humor, strong political views, strong female characters, fun twist and turns that actually do manage to mix absurd with normal life in a magical, no pun intended, way, sexuality representation, but not in a ‘we just want to please the gays so they give us the views’ way, great male characters we wish we saw more of, compelling character development and so on. Tho the most likable aspect of the series is probably the take on overdone story lines, where they twist the narrative just enough for it to become actually relatable. We all are tired of super special chosen ones who save the world because they are soo special and specially chosen by gods to save the world and all the dumb boring unspecial people with their pure hearts and strong characters. And also find true love.  You see attempts at this within The Order on every turn, except that it doesn’t work nearly as well for them, precisely because they went for that AND MORE. More wouldn’t even be a bad thing if it was’t so all over the place that it just comes off as ‘WE WANT EVERYONE TO LIKE THIS, GIVE US ALL THE VIEWS, ALL OF THEM.’ I am very much inclined to think this is what happened, considering other stuff Netflix has put out there. (Mostly referring to endlessly stupid shit like YOU, which only has the intention of being controversial and attention grabbing, for the views. Tho they do have some fun shit too, don’t get me wrong.) So I guess what I’m trying to say is,  the though of making something like TM, is not a bad one,  I’m all for it, but you actually have to put a shit ton more imagination into it if you want it to work out. But that’s just my opinion.   

[starwarsnonsense]

Top 10 Films of 2018 (So Far)

Since I quite like continuing old traditions, I wanted to do a post rounding up what I consider to be the ten best films of 2018 so far. This list includes a few films that came out in 2017 in the US, since they were only released here in the UK this year.

Have you seen any of the films I cover below? Have I piqued your interest in a title you might not have heard before? Let me know, and do share your favourites too!

1. Annihilation, dir. Alex Garland

This was my most anticipated film of the year, and my hype for it was more than rewarded. This is a marvellously rich and transporting science fiction film that isn’t afraid of taking the viewer to some very weird places. However, Annihilation doesn’t simply rely on its strangeness to succeed - it is also firmly rooted in its characters and themes, which has made it incredibly rewarding to return to. Natalie Portman is fantastic as Lena, and Annihilation is a brilliant showcase for her - Lena is a complex and frequently self-destructive character, riddled by guilt and regrets that shape the pulsating, luminescent world of the mysterious ‘Shimmer’ that she has to venture into. The Shimmer might seem like an environmental phenomenon at first, but it’s really more psychological, being a space that adapts according to the people who enter into it. This film overflows with fascinating and thought-provoking ideas, and it was entirely worth the hike I made over to Brooklyn to catch one of the final showings at the theatre (since Annihilation was denied a theatrical release in the UK, I made a point of seeing it while I was on holiday in New York). I think it will go down as one of the great science fiction films, and it belongs in the same conversations as 2001: A Space Odyssey and Solaris.

2. Beast, dir. Michael Pearce

This little British film - shot mostly on location in Jersey by a first-time director - was easily the biggest (and best) surprise I’ve had so far at the cinema this year. I literally had no idea this film existed until a day or so before I watched it, and that made the experience of viewing it even more wonderful. Moll (Jessie Buckley) is an isolated young woman who is stifled by her controlling family and quiet life on a remote island, as well as a secret sin that bubbles away underneath the surface. Her life is predictable - safe, repetitive and dull - until she meets Pascal, a mysterious local man who she finds she has an affinity with. However, there is a murderer haunting the island, taking the lives of young girls in the night. Who’s to blame, and what impact will the killings have on Moll and Pascal’s swiftly escalating romance? While that is a synopsis more than a review, I felt it necessary to explain the premise to try and compel you to seek this one out. Beast is raw, woozy and utterly absorbing - the love story between Moll and Pascal is one of the most passionate and gripping you’ll ever see on screen, and their chemistry is simply sensational. There’s a real gothic, fairy-tale edge to the story which appealed perfectly to my (admittedly rather niche) tastes. This is a real hidden treasure of a film - do yourself a favour and make it your mission to watch it.

3. Lady Bird, dir. Greta Gerwig

This film was so, so relatable, despite my not really having experienced an adolescence anything like “Lady Bird’s”. While the details of her life are very different from mine, I think anyone can relate to the sweeping brushstrokes - the tensions that can arise between parents and children, the thirst for freedom and independence that builds the closer you get to the final days of school, and the feelings of love and loyalty that are always there even when they’re unspoken. Greta Gerwig captures all of this and so much more with marvellous delicacy, balancing little moments that add colour and spark with more serious scenes so deftly that it’s amazing to think that this is her first feature. Lady Bird is a very specific and very beautiful film, and it’s special precisely because it feels universal even as it feels small and personal to its director. 

4. Eighth Grade, dir. Bo Burnham

This is the perfect double bill with Lady Bird, and the people who have dubbed this film “Lady Bird Jr” are right on the money. Elsie Fisher has a real star turn as the heroine Kayla, who is a very special child - she’s kind, sensitive and thoughtful, which basically means she’s my kind of superhero. But even as she is a good and sweet person, she is also going through all of the trials you’d expect a 13 year old to be facing in 2018, as she wrestles with acne, confusing feelings about super-dreamy boys, and the escalating anxiety that comes with a comment-free Instagram post. Like Lady Bird, this film succeeds in being both very specific and highly universal - the only social media I had to deal with as a teen were MySpace and Bebo, and I found that seeing Kayla wrestle with a whole kaleidoscope of feeds, devices and platforms made her strong grip on her integrity as a  funny and deeply warm-hearted individual all the more remarkable. Bo Burnham, as with Gerwig, made a pretty incredible film here - in particular you should watch out for the father/daughter dynamic, which is my favourite part. Eighth Grade is funny and generous, and the perfect medicine if you’re feeling demoralised by the state of the world right now.

5. The Breadwinner, dir. Nora Twomey

The Breadwinner is a really lovely animated film telling the story of Parvana, a young girl living with her family under the Taliban. When her father is taken off to prison, Parvana sees no other choice but to dress as a boy to provide for her mother and siblings. But how long will her disguise last? The story here was what really gripped me - it’s very simple, in both the telling and the themes, but it is truly beautiful in that simplicity. The emotions are very raw, and this film goes to some shockingly dark places at times - while I think it can be watched with children as long as they are mature enough for some challenging themes and upsetting moments, it’s likely to speak most strongly to adult audiences with a fuller appreciation for the context in which the film is set. It’s a great and moving alternative to more mainstream animated efforts, and is well worth your time.

6. Phantom Thread, dir. Paul Thomas Anderson

This was a delightfully twisted film with an absorbingly complicated and twisty relationship at its centre. Vicky Krieps is an absolute marvel as Alma, and it’s wonderful to see how she battles to bring the fragile and austere designer  Reynolds Woodcock (Daniel Day-Lewis) to heel. It’s also a beautiful film with rather fabulous fashions - if you love couture, particularly from the ‘50s, this will be a real treat. I also appreciated the many allusions to classic cinema - there are strong shades of Hitchcock’s Rebecca, as well as the underrated David Lean film The Passionate Friends. Check this out if you like your romantic dramas weird and entirely unpredictable.

7. Revenge, dir. Coralie Fargeat

Revenge is angry, sun-soaked and batshit insane - and it is pretty great for all of those reasons. It follows Jennifer, the teenage mistress of a sleazy married man. After a horrifying assault Jennifer returns, phoenix-like, to wreak her revenge upon her attackers. This movie was very much inspired by exploitation flicks, with their penchant for showing scantily clad (and frequently bloody) women wielding shotguns to hunt down the brutes who did them wrong. However, first-time director Coralie Fargeat takes every one of those tropes and owns them, ramping up the blood and giving the action a propulsive energy that keeps you gripped even as you know exactly where things are going. The soundtrack here is also one to look out for - it’s all pulsating synths that do a great job of building the suspense and tension from the get-go.

8. Lean on Pete, dir. Andrew Haigh

This is a very painful film in many ways, but it’s only painful because it does such a great job of earning your emotional investment. The lead of this film is Charley, a sensitive and quiet teenage boy who becomes attached to an ailing race horse as he seeks to escape his troubled home-life. When he finds himself in crisis, Charley takes the horse and they head off on a journey across the American heartland. Charlie Plummer is extraordinary as the lead here - Charley is the kind of character that makes you want to reach through the screen so you can offer him a hug of reassurance and support. The photography of the American countryside is exquisite, and means this film really deserves to be seen on the big screen - the breadth of the landscape gives all of the emotional drama some (richly deserved, in my view) extra punch.

9. You Were Never Really Here, dir. Lynne Ramsay

This is a very weird film (you’re probably noticing a theme at this point) but it’s completely absorbing. It’s very much actor-led, and the film rests on the shoulders of Joaquin Phoenix’s gripping and unpredictable performance - in some scenes he’s muttering in deference to his mother like a modern-day Norman Bates, while in others he’s portrayed almost as a lost boy in an overgrown body, disorientated by his environment and engaging in acts of extreme violence as if in a sort of trance. The narrative is fuzzy and unfocused, but I didn’t find that mattered much since I was too busy following every evolution of Phoenix’s face.

10. Thoroughbreds, dir. Cory Finley

Olivia Cooke and Anya Taylor-Joy make fantastic foils to one another as two appallingly privileged teenagers whose obscene wealth is only matched by their resounding lack of morals. This is a film that plays with your loyalties, trying to wrong-foot you at every turn - it’s frequently difficult to figure out what’s genuine here, and while that did sometimes leave me feeling a bit emotionally detached that’s usually the point. This film is more of an intellectual puzzle than a lean, mean, emotion-extracting machine (see: Lean on Pete), and it succeeds brilliantly on that level. The simplicity of the story means the fun lies in picking apart lines and expressions, so go in prepared for some close viewing.

[mild-lunacy]

TFP: to squee or not to squee, that is the question

...well, here we are. I’ve watched it. More like made myself finish it, haha. If not today, then when? So.

I’ll just... be over here, then. Meanwhile, I have some feels about TFP, so here you go if you’re interested.

So yeah. The way it turned out, I ended up watching the Eurus plot on Sunday, and the rest today. Even though I’ve been avoiding fandom pretty hardcore, I haven’t been able to entirely avoid the negativity, so my initial squee has been a bit spoiled. It’s ironic, because I expected S4 to hurt, but I thought fandom would help somewhat (even if it made certain things worse). I expected that it’s likely enough I’d have to avoid fandom altogether after S4, no matter what happened with canon Johnlock, because there were no non-wanky solutions, more or less. Well... at least that prediction came true. Oh man.

Anyway, so my initial PBS watching on Roku stalled out at exactly the moment Mary was saying something about what John and Sherlock ‘could be’. Can you imagine my reaction? That was where my connection died. I was so happy. I knew (I was told) canon Johnlock didn’t happen (I was told after the leak on Saturday! gah!!), but like, I had about 20-30 seconds of disbelieving, if hysterical, bliss, all alone away from the Internet. After the leak, it’s not like I really believed the ep really sucked that much (nothing would convince me that’s possible), but my expectations had still been low. So I was amazed at how much I enjoyed it. I loved the plot of TLD, as I said, but I loved the plot of TFP even more. I always loved the surrealistic touches and stylistic elements of BBC Sherlock, and I love huge, dramatic reveals. I always wanted Mycroft to be hiding some kind of huge secret, which is what attracted me to M-Theory (in part). I love extreme drama and action, I love badass soldier!John, so I loved the whole thing (including the clown, okay). I loved the Eurus plot, really. It’s all a bit tarnished, knowing that apparently most people hated it, but it’s just so delicious. The hidden fortress prison, the forgotten Holmes sister, Victor Trevor (Jesus Christ fandom! several of us totally nailed it!), this exact kind of angst.... as far as a plot resolution, honestly, it’s everything I could’ve desired. Intense! Great acting. Action-packed! Dramatic! I was at the edge of my seat.

So, stuff I loved:

EURUS! I loved Eurus. I know it’s over-the-top (the secret evil sister!) but this is the only worthy successor to Moriarty (whom I love, but let’s face it, he’s a crazy over-the-top guy who rants about shoes). The true appeal of a worthy Big Sherlock Villain is the high drama and the intellectual equal aspect, as well as some emotional mirroring and trauma. You need someone who Sherlock can admire but will also traumatize him hardcore. That’s why Mary as Moriarty never worked for me-- she is so dull in comparison to sparkly, clever Sherlock! But Eurus, on the other hand... now that’s what I call a level up. I love the sheer ballsiness of it. Jesus, the East Wind from HLV is a person. Whoa.

The setting in general-- Sherrinford was a place! It’s a great, genre classic setting from top to bottom, and their arrival (with Mycroft in disguise! oh my god!) was priceless. You can really tell the love of genre infusing the whole thing. Baskerville 2.0, except even better.

‘TELL MY SISTER I’M HERE’ haha

Mycroft as the client! Oh my god, the whole idea is a fantasy come true. He’s much more satisfying in ‘the chair’ than Mary was, ‘cause he actually did tell them (some of) the truth. It was really great. I loved all the Mycroft, and I mean, I don’t even like Mycroft that much. 

‘There’s a place for people like you....’ Oh my god, John. I missed you, John. *sobs*

I even loved the sudden bomb thing. I just love the idea of Mycroft doing legwork and/or having to go all James Bond. Oh man.

Mycroft as the chump, though! haha. That was awesome. I was really creeped out and a bit freaked out, too. And then it just went further and further, until it was just funny. Both creepy and funny-- again, genre classic setting.

Solving the murders in minutes such a great homage to TGG and our old Sherlock, I could cry! The TGG feels were very overt and I felt so nostalgic. Ahhh.

John! John!! The old morally correct-to-the-core John Watson. Gaaaah. Light of my life, fire of my heart! Maybe I’m pathetic (I don’t care) but just seeing John be John and the two of them being partners (FINALLY!!!) made my heart beat faster.

The Dilemmas! Need I say it? Genre classic! haha. I dunno if you enjoy it as much if you’re not a fan of the 50s/60s old mystery/horror shows, but this is some prime Twilight Zone-type psychological angst stuff. And of course, seeing Sherlock emote so much, so intensely, is all I loved about the Mind Palace scene in HLV leveled up.

Mycroft vs John! And the fact that it’s just so inevitable and obvious that Sherlock would choose John, because that was the only solution! And Mycroft trying to make it easier... by mocking John, like that would make it easier for Sherlock to kill him. Aaaah. *claws at the wall* It’s a weird form of emotional intimacy. Seeing them all stripped bare, though particularly Sherlock. Gah. Yes please.

MORIARTY! Oh my god, oh my god, oh, ohhh. Even that little bit of old-school Moriarty flashback, that first glimpse of him at the beach. I nearly squealed. I cried a little. I’m sitting here with a huge doofy grin on my face. I really did miss him. And it really does explain why he’d kill himself, knowing Eurus was his back-up. It makes sense.

REDBEARD! Oh my god, it really was set up, all the way back in TSoT what with ‘remember Redbeard’, all through TAB and everything! I was like, wow. Fandom really saw the Victor thing! Amazing. I really didn’t like non-dog Redbeard, but honestly, it just made sense and so I was happy.

The Molly thing was so intense! Did I mention I love angst? Because I love angst. That was brutal. (*insert evil laugh*) On the other hand, I sort of cringe imagining how could their relationship recover in a normal way after this. Yikes. On the other other hand, I mean, certainly, Sherlock and John have recovered from things that were just as bad and worse, so... I don’t feel too bad. Hurt herrrr! Paaaainnnn. Heartbreak. Loss. DEATH! It’s all good, haha. (With the only exception of death re: John or Sherlock).

Equating John and Victor at the well was so... lovely and right. Even if John is more, I just love the symmetry and it was done so beautifully.

Oh man, Mrs Holmes going all hardass on poor Mycroft. That was great. (Though it does make me wistful that she never did find out about Mary.)

Anyway, I really loved it. It’s like the most over-the-top, deliciously painful caper. All the genre high notes, all the time. While I really enjoyed the crazy ‘cereal killer’ stuff from TLD, this levels it up and then some. I watched it thinking ‘wow, I’m apparently enjoying this way more than I’m supposed to’ at the back of my mind, but the fact is that the Sherrinford stuff is ridiculously fun. I mean, on the one hand, I don’t watch BBC Sherlock for the cases-- I watch it for Sherlock and John. But I’ve always loved the genre, and yeah-- the cases, too. A lot of it’s like, people not getting how over-the-top and pulp the cases always were, though they’ve leveled up in that sense. The very presence of Moriarty, of Baskerville, of Irene Adler the dominatrix-- all that was always pure pulp. Maybe the fact that most ‘casefic’ fanfics just had them pursuing ordinary criminals should’ve clued me in that people weren’t exactly aware of how weird this show is. Anyway, the whole drama was intensely personal, too! It was all about Sherlock’s family history, after all.

Would I prefer it was all about Sherlock and John, ala TSoT and TAB and/or fanfics? Yeah, but... I mean, it’s always about Sherlock and John. I don’t know, the fact that I feel vaguely defensive and uncomfortable after being spoiled as to the lack of canon Johnlock is why I’ve been procrastinating on this. It’s ironic, ‘cause I personally never really expected canon Johnlock in S4 (though who’s listening?) Many people in fandom whose opinion I respect and whose intelligence I admire seemed pretty sure. And there was definitely some heavily suggestive PR, as well as the existence of TAB (though I was hesitant to admit TAB was all but impossible without Johnlock, it was certainly a heavy undercurrent). I’ve definitely expected and hoped for some kind of resolution of certain things I found unclear in the first two eps, in terms of the characterization. Anyway, that’s a heavy burden to place on the last 3 minutes of the show, and there’s definitely no way to really resolve anything in a satisfactory manner in that time. My trepidation has understandably been pretty severe, but I had to know, and so, my first impressions....

Oh my god! ahahahaha. Yeah, I’m so relieved. Oh my god I was so scared I barely made myself watch this. This was terrifying. I was expecting Mary to say god knows what awful yet subtexty thing, to either create or destroy Johnlock, to put some awful stamp on them forever, somehow. I mean, Christ, I was so stressed the past few days. So stressed. I really thought the ep was somehow ruined in the last 3 minutes, though I should’ve known. I should’ve known that if I disagree with everyone on the rest of it, the last bit couldn’t possibly be not to my taste.

Still, I heard that the ending wasn’t simply bad, but also just ambiguous.

No. Yeah, okay, no canon Johnlock. But nothing happened. I mean, obviously I’m disappointed and confused about that, to say the least, but we’re no worse off than before, and better off than anytime other than the end of Series 1, though I suppose they’re not living together (but they haven’t since Series 2). Well, except for the Parentlock (*sigh*) but I’m relatively open to that the same way I was relatively open to Birdy!Mary. I just... don’t think it’s an ambiguous ending, really?

It was just a bit lame ‘cause Amanda’s narration wasn’t remotely natural-sounding (the same sort of issue I had with Mary’s death). Here, you can tell it’s not the writing-- the writing’s fine. It’s definitely Amanda’s acting. She really wasn’t pulling it off too well. She seemed to be somehow using the Narrator voice, which, okay if you’re the narrator, but otherwise... weird. A bit cringey. Not her best acting. Still, it was a narrative epilogue, through and through. Rather than leaving things genuinely open-ended, I thought the narrative (and it was ‘the narrative’, not Mary) said this is their life, and they’re about to live it, same as they always have. It wasn’t even particularly subtle about that. The summary was reductive.

Although Mary said ‘I know what you could become’, that’s not as impactful as similar things Irene and Janine have said. Mary’s definitely not pushing for Johnlock like Irene did; this is closer to being on the same level as Janine, with her knowing the ‘kind of man’ Sherlock is. When she says ‘I know who you really are’, she’s essentially summing up the show on the most surfacey level it has ever been. That’s ‘the story’, the legend of the detective in the funny hat we’ve heard about in TEH and TAB. The bit where Sherlock ‘solves crimes to get high’ is practically a calling card at this point. No revelation there. Even the part about ‘who you really are, it doesn’t matter’ is stuff that we’ve gone over before, although putting it here, at the end, certainly makes it sound like their final word on the matter. Not ambiguous so much as unimportant to the story. That’s their thesis: it doesn’t matter, because ‘it’s all about the legend: the stories, the adventures’. The bit about ‘the last refuge’ even echoes the thing John told Mycroft earlier, which makes it even less like Mary’s voice and more explicitly that of the narrator.

Is that disappointing? Of course it is. But I take it as gloss. Mary says she knows Sherlock, but she doesn’t; we know she canonically idealizes rather than really understands John, and she went along with the ‘psychopath’ thing in HLV, so there’s no reason to pay her too much attention. Of course, she’s elevated by her placement as a framing device and/or narrative voice. The heteronormative voice, even. That’s unfortunate. I don’t pretend to have processed or addressed all of the mixed feelings I have about that. Still, nothing shocking happened, on the characterization front. John’s arc is more or less unresolved, and all these things I said ‘the jury’s out’ on have not been addressed, unless you count that awkward conversation at the end of TLD. That is, he’s ‘not a saint; not a hero’ (ala Sherlock’s proclamation to Magnussen). Instead of giving John a growth arc, he’s just sort of who he is, in the end. ‘It is what it is’; in that sense, while BBC John’s clearly a sign of progress from Conan Doyle and TPLoSH, he still hasn’t had his day in the sun.

The fact is, though, I still love him, and I still love them. And, goddamnit, I can’t help myself: I still love this show.

[the-cryptographer]

Not having reliable internet, I’ve had to resort to other methods for continued procrastination. …Like writing these tumblr posts in word. And looking through the pkmn freeware games and other things floating around my desktop. Some scattered thoughts about this and other things under the cut.

While I had a whole host of freeware (and a few other) games on my laptop – the number of which I managed to play was actually much smaller. I know I’m further limited by the fact that I’m playing without a mouse – so nothing complicated or actiony – mostly menu based imput and all that. But I was reminded once again that there are many games that are beautiful and creative and full of amazing concepts and informative discussion that are /utterly/ unplayable because the controls SUCK ASS. Honestly, playability is number one in terms of what makes a good game – don’t forget~

In terms of what was actually decent…

I played the Night in the Woods supplement – Lost Constellation. Which was a decent and thoughtful little point-&-click adventure – very pretty, engaging, nice dialogue. You build snowmen as part of the story and are encouraged to take pictures of them.

It’s actually convinced me I should look into purchasing the game proper. So you can tell I liked it.

...

I also played Pinkamena – which is what you should play if you’re the kind of person that likes to mix depressing murder mysteries and serial killings with My Little Pony. I know it’s based on games of a similar type – but the gist of it is – it’s a text based game where you’re running an investigation trying to piece together which among a list of townsfolk are regular folk with regular jobs and which are the murderers… before the murderers kill everybody… It took me a couple of runs to get the hang of it, but after that the regular mode becomes kind of boring. So I initiated a challenge mode where I’m not set apart from the other players in the drama, but at risk of being killed myself. Once I’d gotten the hang of this, I initiated all the challenge modes at once, at which point the game becomes less about investigating who the killers are, and more waiting for them to kill everybody else and then making 50-50 guesses trying to kill off the killers instead of the townsfolk so that, next round, there will be people left for the remaining killers to kill off that aren’t you. Either that, or it’s about being assigned to be the jailor. If you’re the jailor, you can jail yourself every night as a method of shielding yourself from attack, and thus stay alive long enough to see everyone else dead and win the game by default. …I did finally manage to win all-the-challenges-mode without being picked for jailor, but winning a guessing game isn’t as exhilarating as winning something based on skill, so at that point I kinda chucked the game out.

...

And – this isn’t really freeware – but the only way to play the second Ace Attorney Investigations game in English is to use the ROM and an unofficial patch. I had started it a long while back, and finally managed to finish it.

I think… the issues that people have with the Ace Attorney games are pretty well documented. It’s really easy to end up ahead or behind the path of the story, depending on how logical or illogical some connection in the game’s evidence folder is, or how heavy-handed and obvious the story telling is being. Also, there is so much dialogue and so much of it is spent rehashing what we already know /god/, but you also never know when the games are going to sprinkle in jokes and good character moments imbetween the dialogue, so you feel obligated to drag the game out and postpone every advancement in search of the interesting bits.

On the bright side, the characters are as amusing and captivating as always. I can complain about how the best character and the most interesting relationships (that’d be Franziska and her relationships with her father and adopted brother) are constantly shafted. But more to the point I want to say-

I love him. He’s such an insufferable idiot. And he’s just such a sweetheart, and it’s so heartbreaking, and I love him.

...

Okay, but- Pokémon fan games.

Going back in time, Pokémon Reborn is the first pkmn fan game I’ve played. It seems different fangames have different things going for them. Pkmn Reborn will probably only appeal to you if you enjoy (a) grimdark that’s highly aesthetic, hilarious, and over-the-top rather than truly horrifying, and (b) getting your ass kicked. I never knew that a pkmn game could actually be difficult, but it turns out that a pkmn game can be very, very difficult, and also there’s a whole world out there of competitive tactics. And you’re only getting a taste of them in a singleplayer campaign, but it’s crazy and also crazy fun. Without any prior knowledge, I ended up using the F.E.A.R. method trying to beat some of the bosses. When a game challenges me to independently invent last ditch tactics to proceed and the answers I come up with are well known game breakers… it’s a feeling. At some point though, I ended up with a team full of pkmn with extremely slow levelling rates, and ran out of trainers to battle against for experience, and fell out of playing in the process of waiting for trainers to respawn at the hub. I intended to pick it back up now, but I realised I’d misplaced my save files. I’m waiting to get home to see if I can track them down or something. But, you see, I was so impressed with Pkmn Reborn, it inspired me to downloaded a bunch of other pkmn fan games to try out sometime. And that time was now.

A couple of other things though – Pkmn Reborn all takes place in one city and its outskirts, and I really kind of admire that decision. Worldbuilding is one of my favourite aspects of RPGs, so it’s nice to see a city that actually /feels/ like a city with its different industrial, commercial, and residential districts – warehouses, slums, and wastelands. Also I took screenshots of the Teenage Mutant Ninja Squirtles:

The immediate problem with downloading a dozen pkmn fan games is then you actually have to decide which ones to play. Admittedly, I used very shallow and superficial reasons to decide which ones not to play. Nothing I had to patch to a ROM, because that would mean me having to download a ROM and emulator and patch it. Also one of the readmes for the patch included a disclaimer that if you were too stupid to get the patch working then you were too stupid to play the game, which made me doubly not want to play it because apparently the developer is a know-it-all douche who feels the need to get personally insulting instead of just saying something neutral like, ‘sorry, I don’t know how to explain better than this. so if you can’t get the patch working I won’t be able to help you.’ I ruled out something with an installer too, because I was feeling extra suspicious about my freeware and what I was giving it permission to do to the insides of my computer. And there was something that wouldn’t start properly, and I wasn’t going to futz around trying to coax it.

And I also ruled something out for having a disclaimer that ‘you can’t choose to play as a female character because this game is very PLOT CENTRIC’. And, lol, Pkmn Reborn was very plot heavy, and they let me play as male, female, or nonbinary, and one of my costaring NPCs is a flamboyant bisexual man that hits on me no matter which option I choose. Unless your game’s plot is heavily involved in societal deconstruction and gender politics, I can think of no reason your plot wouldn’t allow for MC being a girl. Which, frankly, would be a pretty significant tone shift from original pkmn games, which your game doesn’t actually seem to be. …It’s weird, because I don’t actually mind games flat-out not giving me a choice in who I play as. Especially for a freeware game, I don’t mind the developers going, ‘I don’t wanna take the time to program in an alternate set of player sprites and dialogue variables. You are playing as this one person who is not you, and that’s just how it is.’ But the game apologising for this choice and then trying to feed me this bullshit excuse about plot feels somehow like either (a) an insult to my intelligence, or (b) you actually think your plot is so special and unique to a male perspective that you may not realise women are human. So it’s kind of lose-lose situation I’ve been put into, wouldn’t you say? idk, I guess it’s possible the game turned into the Revolutionary Girl Utena of pkmn fangames, or a realistic investigation of isolated all-male cultural groups, like a men’s prison, in which case I’d agree the genders of the characters can be significant af to maintaining the plot. But given some of the other signals the game was telepathing to me, it seemed far more likely I’d be heading in a direction where at some point some bitch was going to hit on me so I can’t play as a girl bc that’d make things too gay or something. I apologise for being so bitter and jaded.

...

Anyhow, after throwing a good number of things into my computer’s recycling bin, I ended up with Super Pokémon Eevee Edition, and Pokémon Sage.

In Super Pokémon Eevee Edition, you’re playing as the gen2 protagonist – albeit one that talks and is full of good natured snark – in a kind of alternate version of the Johto region. Notably, all the gym leaders are the same, and Silver is your rival, although the environments and layout of the region are different. You’re immediately cued in on the fact that things are very WRONG though. Before you’ve even chosen your name, you’re getting images of old style gen1 glitches in place of the professor your screen. Anyhow, you start the game venturing into the woods into the lair of an old (and allegedly insane) hermit – that’s Professor Oak – who ends up gifting you with a glitched ‘super’ Eevee that is able to switch between the different eevolutions at will. You set off to start your Pokemon journey, but it’s all overlayed on top of a meta plot. Gen3 is set to start in the span of about a month, and the ‘hypervisors’ controlling the game and its code are all set to erase the current Gen2 and all the people in it to make Gen3 happen. It’s not functioning on the level of Undertale having its story interwoven with your save file but, even given all its superficiality, it’s a fun little way to play with the idea of a meta game world. And it’s suspenseful. It catches your attention quickly and, even having played through all six available chapters, I’m not sure who to trust regarding what’s happening in the story.

In terms of the gameplay… It honestly fixed a lot of the worst things about pkmn gameplay imo. You’re given an axe, pickaxe, and surfboard to replace Cut, Rock Smash, and Surf – so you don’t have to fill up your moveset with HMs. But the limited moveset is also gone altogether. You’re playing a type of hybrid Final Fantasy X-2 active battle system, using teams of four pkmn max. The whole thing makes battles a lot faster, especially without the tedium of switching pkmn in and out of battle. Later battles do get kind of easy as a result tho, as you build up a star team and spam high level attacks one after the other, but I think the rest of the game carries the lack of challenge well. It goes quick, like I said.

There’s a good amount of content for the game as of now – 6 gym leader battles, and a host of other stuff. Although I wish there was more as of now, I recommend the game in the shape that it’s in~ Although you may find some strange and inexplicable loose ends. Like quests in your log book that you can’t fulfill, or some rather empty environments near the end, or-

I don’t even know.

...

For Pokémon Sage… the big draw for me was the pkmn SOUTH AMERICA thing. I gotta love me some silly cultural diversity in my pkmns~ It seems like all the pkmn are fake, compared to the above games where all the pkmn (except one) are ripped directly from the source material. But they’re so adorable!! My pkmns~ Let me show them to you~

Anyhow, it really plays exactly like a pkmn game, so there aren’t any fastballs thrown at you. I think the closest thing to a subversion you get is your rival’s pkmn being stolen shortly after he (or she) has gotten it, and the Professor handing off the final pkmn so your rival won’t be without one. You see the thief run past you at one point later, but the game is really only a short demo right now – it stops after the first gym battle – so there isn’t really a significant encounter with this thief. I feel like it’s kind of a flaw in the demo actually, to leave that so significantly hanging…

I think it’s a neat composition though. It’s a colourful setting and really detailed environments, so if you want to play a couple hours of Pkmn in the Andes, it’s not as if you’ve got anything to lose~

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Other things I’ve been doing…

I watched Over the Garden Wall. And I can also really recommend it.

I like these kinds of shows that are a short set of fifteen minute episodes. With a concrete plot. That ends.

But, beyond that, I was glad to watch something that somebody obviously put a lot of passion into. Obviously the creators were neck deep in love with 1800s American Folklore, and the show is just oozing that love. It’s not even an area of particular interest for me, but the show sold it with such love and cleverness and with such colourfully human characters and a singing frog – I just adored it.

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And I’ve been reading some shoujo manga… Or no, not really.

I was thinking again of Fruits Basket, which was all the rage back when I was in secondary school. Tbh, I still can’t quite put my finger on the series. On one hand, I think it’s terribly melodramatic, and Touru does strike me as being inhumanly perfect – almost repulsively so at times. But despite all of this, I like Touru, and I find the series really touching~ It’s really so alike and so unlike everything else I’ve ever seen.

Right before I left on vacation, I was also reading Akuma to Love Song. It’s really… terrible, lol. The protagonist is super pretty, but challenged in the realm of social schmoozing. She’s straightforward, and intimidating, and seems to see right through to people’s insecurities and drag them up without realising it’s their insecurities she’s unearthing. She immediately catches the attention of the class darling/hottest guy, and also this other guy’s attention. And all the girls hate her, and also her teacher, and it’s only through her earnestness and the help of hot guys that she’s able to pull her way through her struggles~ And also there’s a strange religious bend to it where she’s ‘the devil’ but also she went to catholic school before this and is always wearing a cross and singing Amazing Grace. It’s weird.

My beef with the series is that every secondary female character is some kind of conniving bitch that’s out to get the protag. After the protag kind of… outwits(?) them, there is this kind of thing where they admit they were only insecure and you’re allowed to start to sympathising with them. It’s a defeat means friendship kind of thing. The series seems to play around with the idea of how much the protagonist is incapable and tactless and has a bad attitude. But I do kind of get the idea that it’s pushing the message that the protag is more ‘honest’ and more morally correct, and it’s really everybody else’s problem for being jealous and angry and insecure. And the whole thing in general strikes me as kind of simplistic and misogynistic. And the fact that the men in this series are willing to put themselves on the line for her as much as they do – even if they are attracted to her… even if they feel some kind of deep intrigue and connection… it’s sometimes a little hard to buy them doing all this for someone they’ve just met. Men sometimes seem less afraid of making social enemies than women… but I think it seems like that because men are allowed to cross more, or rather different, boundaries than women are before they’re ostracised. But, if anything, men are even more desperate to fit in and not lose their privileges than women.

…And, if anything has been communicated to me through manga, it’s that bullying is a crazy terrible problem in Japan. This specific manga is obviously a symptom rather than a realistic portrayal of bullying. It seems to convey a kind of emotional state brought about by the fear of ostracisation, and the desire to not only fit in but to feel superior instead of inferior. The reason it probably seems simplistic is it’s attempting to reach the kind of mental state of a middle or high schooler caught in the middle of the whirlwind and provide wish fulfilment, rather than a holistic view of the topic from outside. The facts are screwy, but the emotional impact is real.

Ugh, for what it’s worth, I want to read more. I’ve read a lot of terrible shoujo before, and this manga is a kind of paint-by-numbers guide to some of the terribleness, but I can’t help but be intrigued by the protagonist. She’s deeply flawed in a rather unusual way for shoujo manga, whether the narrative recognises it or not. I would be reading more if the internet wasn’t what it was.

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And, lastly, I’ve been reading Komura Ayumi’s newest manga, Kamisama no Ekohiiki. And, goddamn, I love Komura. The last time I made a post about her manga, I got a reblog from somebody asking if Komura would ever write a series with a likeable, sympathetic protagonist. And, different strokes for different folks, I guess, but I felt deeply confused and a little worried about what this person didn’t find likeable and sympathetic about Komura’s protags because they are honestly THE BEST. They just so unabashedly like what they like. They can be selfish and shallow, but they’re just so earnest and guileless about it – it’s so cute <3  And, in spite of themselves, they become sentimental and get touched by the smallest gestures – it’s just so cute <3  And this is all aside from the fact that she’s apparently given up on writing straight people. (I remember reading Mixed Vegetables in print and feeling the attachment to how down to earth the characters were.) Anyhow, the newest manga is about a guy who makes a prayer at a shrine for every day for a hundred days to find the courage to confess to his male best friend. His friend rejects him, softly, but rejects him, and he promptly walks out into traffic by mistake. The god of the shrine allows him to come back to life in whatever form he likes, and he rashly says he wants to be a girl, so his friend will be able to return his feelings. This turns out to be a very stupid wish, since he IDs pretty strongly as a guy. And then he meets his friend’s ex-girlfriend, is attracted to her, befriends her, and then the ex-girlfriend falls for him – who’s living as a girl. And now the male best friend is all distraught bc his best friend just died. I’m not sure where in this mess of BL and GL there’s anything even remotely shoujo-like. But it’s so, so shoujo in the best way. I just… can’t not love a silly manga that’s so sympathetic with all its characters. The more I feel like I should pick on Komura’s work - the more I just can’t. It’s just so lighthearted and dumb and sympathetic towards all of the characters, even and especially when they’re bi and stupid. I feel a strong kinship~

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Anyhow, that’s it for now. I’m also trying to read fanfic i have preloaded in my browser. And write. Between work. I’m sorry I’m so scattered. I have the fifth season of GoTs on my computer too, so maybe I’ll watch that too 3_3