#one might say there's something poignant in his acknowledgements in these final scenes as well (i stole your peace etc.)

[pasdetrois]

one thing that is so fascinating about vita nostra's finale, beyond the narrative payoff of two opposing forces finally reckoning with one of the primary conflicts of the story (will sasha proceed with her apotheosis or not?), is the intimate and biblical confrontation that takes place between sasha and farit. he who “never asks for the impossible” has stated the one crucial exception when a defeated sasha remarks that it is impossible to live in a world where he—fear, death, the void of unlucky chance and lost faith—exists: “it is impossible to live in a world where i don’t exist.” when farit presents the dream escape to her once again, he has raised the stakes of their initial covenant (the forceful initiation that began this pas de deux, with only a single person as hostage) to that of the devil approaching christ in the desert, offering her a cosmic faustian deal with the entirety of humanity’s future—its mystic salvation, if we are to take sasha’s vision literally—as the ultimate bargaining chip between them. as his current incarnation’s time draws nigh, and as he believes in the world's inevitable damnation as its single absolute truth, so he approaches sasha with the certainty that she must eventually surrender. "fear the general, fear the emperor"—there can be no world, no free will, no love, without his shadow intertwined with it. her devil, who knows her better than anyone else, who knows almost every part of her, has fashioned an inevitable end that all her paths must lead to. yet sasha resists! it is the innermost heart of her that he can never occlude and take for his own. have courage, she tells herself—tells us, even—i will find a way; even the impossible can yield.

[nemo-of-house-hamartia]

Ok, now that I have finished the game and, with that, my Rookanis romance, I can finally fully express my opinion regarding it.

Lucanis is a character with a crapton of potential in regards to romance, because the crumbs we got from the devs were *PRIMO* material. PRIMO.

I was sitting there giggling like an idiot when he went to find my Ravenna in her room, and the scene overall was SO SWEET, I cannot even start to say.

BUT.

BUT.

The romance as a whole was *severely* underdeveloped AND was lacking in much much content, and I am not talking about having more cutscene.

What we got in terms of cutscene was *beautiful*, but it felt so disconnected I couldn't enjoy it 100%, and I will explain why I felt this way: there was absolutely no build up. AT ALL.

On Lucanis' side, whenever we flirted with him, there was no acknowledging or bantering that might give us even a hint that he is interested in Rook, and *that* is where the devs went absolutely wrong.

I can absolutely buy that Lucanis is closed off and has his walls up because of what happened to him in the Ossuary and because he might be afraid that Spite might overtake his consciousness and hurt the person he might start feeling attraction for.

I can absolutely buy it, 1000000000%, because that makes sense (at least to me).

But the absence of *any* indicator that this might be what's going on in his mind makes it so weird when, all of sudden, he starts reciprocating Rook's flirting, and lead to an almost kiss.

When that scene happened, while I was absolutely enthusiastic to finally see something from this romance, the way it came from absolutely out of nowhere took me out entirely.

If the dev had gone a similar route as they did with Blackwall in DA:I, at least, we could have had a hint that he *is* interested in us, and he is responsive to our flirting, but he is held back by his own torment and his own fears, and this would have made his whole personal quest of having him and Spite reach an agreement much more poignant and much more intense (among all the notes to read in his "dream ossuary", they could have put something regarding his terror of hurting rook as well. It works both for friendship or romance, because he acknowledge, subconsciously, that he doesn't want to endanger the one closest to him).

And this is without taking in consideration the general sanitazition this game went through, and how they cut some cutscenes that might have helped solidify this romance even more (I saw the storyboards, I cried in my hands, and I thanked the gods that I am an artist, so, even if I am mediocre, I still can draw those scene fml).

And this is without entering the whole wasp nest that is the whole pairing with Neve, because after hearing them banter together for a good deal of time, I could see why the devs allegedly said that they intended to make Lucanis and Neve the OTP, and I could see them being as such (honestly, they make SO MUCH SENSE together, and they are such a cute ship, fml).

So, overall, the whole romance, while sweet in what little was delivered to us, was lacking and overall underwhelming.

Which is fine, we can fill the blanks in and go with our own headcanons with much more liberty, since the canon material is little.

But for a game that was promoted as having the most romantic romance, I would say that I *was* disappointed in what they delivered us.

I reserve the right to eat my own words once I have done a playthrough with a Crow Rook, because maybe, there is more banter there, if anything in virtue of them belonging to the same organization, but I am not entirely sure.

That being said, I love Lucanis, and will have my imagination work for me lol

But the devs will forever have my scorn for what was delivered lolol

[meeko-mar]

The more I think about it, the more I might be signing on to the theory that Izuku KNOWS his trigger is Kacchan, and he just hasn't admitted/confronted it yet...At least, that we have yet seen.

Hold my non-alcoholic beverage.

Once again, let's preface with the fact that we have SEEN with our own eyes, that Kacchan has been the trigger of two specific incidents, being Monoma insulting Kacchan and Izuku becoming angry enough to manifest Black Whip.

And second, Kacchan following him into danger, and then getting impaled and nearly dying to protect him, which then triggered possibly the most RAGE we have ever seen Izuku possess, AND the manifestation of Danger Sense, AND caused him to literally throw himself at AFO/Shigaraki which put him immediately under threat of having OFA stolen. Obviously, the vestiges protected the Quirk, but the fact still stands that the rage the a Izuku felt was enough to drive him LITERALLY into Shigaraki's hands, despite how very very dangerous that was. Izuku LOST HIMSELF so badly that he could have lost the entire war right there, if The Vestiges hadn't protected him and the Quirk.

The moment when All Might and Kacchan are trying to coach him and find the connection that brought about Black Whip. The mention of an external factor, and Izuku's avoidance of saying what that factor was(Kacchan being insulted, as we ALL know and explicitly saw), and arguably his words of "It's not something I can handle right now" seem a bit suspicious.

(NOTE: I've said before, that I had slight skepticism that this line about not being able to handle it and putting a lock on something, was meant to refer to the power he unlocked, however, watching season 5 has made me remember that, after the chaotic manifestation, and talking to Lariat, and realizing that Black Whip was part of his Quirk and therefore there to HELP him, and he had successfully used it without losing control because he ACCEPTED that it was a power that was there to help, not hurt him. I am not so sure that Izuku's "lock" is referring to the power anymore, but rather, his feelings for Kacchan.

But, I have new perspective that maybe, like others were pointing out, maybe it IS referring to the actual TRIGGER. IE, his feelings for Kacchan/his anger on his behalf.

I could be wrong, of course? But stay with me because this is a part of a larger context)

So, after the War arc, after Kacchan got gravely injured on his behalf, after hospitalization, we are given one thing before Izuku suddenly leaves. But it was KACCHAN's perspective, Kacchan waking up and being desperate to get to Izuku, and getting DENIED at the door. We are shown Kacchan's desperation to make sure Izuku's ok, but so far, even well after waking up, we are NOT SHOWN Izuku's worry over Kacchan's condition. We are suddenly FLUNG into a brand new world where Izuku is a drop-out "vigilante" working on the villain activity outside of school, cleaning up villains and questing to find out how villains come to be in their own minds.

We've seen him talk to his mom before he leaves. We've seen him talk to Gran Torino.

But we haven't seen him talk to ANY of his friends yet, ESPECIALLY KACCHAN. When there has been such a fantastic amount of tension placed on that particular relationship, after not only the sacrifice Kacchan made, but also, and particularly, the FOCUS that was placed on Kacchan trying to REACH HIM and FAILING.

We've all been forced to inhale a deep breath as Kacchan charged down that hallway yelling for Deku, and we are STILL HOLDING THAT BREATH. There is a huge, poignant LOOSE END there that is hanging over our head. We are still waiting for the payoff.

So like that scene, in theory, Izuku is still avoiding how he feels so strongly about Kacchan that he can be triggered into rage over him being hurt?

Actually, no, I think this sudden change to Izuku is very much him finally acknowledging it and acting on it.

The reason we have so much unresolved tension still hanging over Kacchan and Izuku's non-reunion, the reason Hori set up this big conflict that hasn't been resolved yet, why he showed us Kacchan trying to see Deku and not an ounce of Izuku wanting to see Kacchan before he leaves,

is that Izuku is actively trying to distance himself from Kacchan.

He did say that the reason he won't be returning to UA is of course because AFO could find him at any time and he would place everyone around him in danger.

But Kacchan? I think Izuku is still very much traumatized by the fact that he witnessed Kacchan taking a would-be fatal blow for him and falling out of the sky, drenched in blood.

I think he probably realizes that if Kacchan follows him into battle again, there's a real chance it could happen again... Or worse, AFO/Shigaraki, now knowing what a touchy button that is for Izuku, could actively target Kacchan on the battlefield, kill him, and/or use him against Izuku.

And Izuku is in the literary stage where the protagonist thinks that the love they have for someone else is a weak point and a danger/liability to those he loves, and so tries to shoulder all the burden themselves an shut the other out. He doesn't want his friends involved, he doesn't want Kacchan involved.

Because he knows that his love for Kacchan is his weakness. He's finally acknowledging that when Kacchan is hurt or slighted, he tends to lose himself. He loses control of his heart, and this is not something they can afford at this point in the game. Defeating AFO is now or never. (and he just desperately doesn't want Kacchan to be hurt for him anymore.)

He is going to have to learn, however, that, like Kacchan says to him, he can't keep playing the Hero on his own. And that their love can be their greatest strength, instead of a weakness.

So he's left, probably without a conversation with Kacchan. Hori is holding out on showing us this, building onto that tension, and I feel like he has some very significant pay off coming up. We haven't been shown any such conversation because he wants us to keep holding that breath for a little longer.

And if I'm right, it's gonna be dramatic when Izuku breaks down about this to Kacchan, finally. There was also some theories that Kacchan v. Deku 3 is going to follow the progression of their relationship and have this one center around Izuku's feelings being laid bare and Kacchan "accepting his feelings" as Izuku had done for him in KvD2, I think I'm a fan of this theory.

So yeah, Izuku knows that Kacchan is his trigger and purposely left without him for that reason.

That's basically my theory. Probably not the first one to think this, but I thought I'd write about it anyway. to get it outta my head, lmao.

Alsooo, yeah this is tagged for my Bakudeku peeps, and I use the word "love" in this, but you can read that as you will, either platonic or possibly romantic, not here to say this theory calls for canon romantic feelings between BKDK because that's not really my point, but at this point denying that they love each other in SOME capacity is being blind.

Ship or don't ship, but I legitimately think this is the psychology of Izuku's decision right now.

[phoenixfeathersinfall]

The Dax Debacle: Re-Imagining S7 of “Star Trek Deep Space Nine”

*This post came about after a few discussions with Lee @creativilee on how the stories of Jadzia and Ezri could have been adapted to better serve both of those characters and respect the work of both actresses! Thanks to them for all their help, encouragement, and serving as a springboard! Anything in italics is theirs!

For all of us DS9 fans, the finale season can be rather fraught for several reasons, many of the biggest revolving around the transition from Jadzia Dax to Ezri Dax, henceforth called “The Dax Debacle.” Many folks seem to love one and hate the other, which is a huge shame because both characters brought amazing potential and storylines to the table, but the writers really fumbled in some key aspects. This sure-to-be-long-winded meta is an attempt between myself and Lee to fix some of those fumbles and give both characters the storylines they deserved. So, let’s get to it!

First, a little behind-the scenes context.

Why Two Dax-es?

To begin with, it’s important to acknowledge that the Dax Debacle was largely unplanned, and the writing often reflects the ways in which Nicole de Boer was shoehorned in as Terry Ferrell’s replacement, just as the character of Ezri was deliberately put forward as Jadzia’s replacement as the next host of Dax. What happened?

It is widely believed, based on various interviews Terry gave during the show’s run, that the set of DS9 was inhospitable to her, placing her in situations of harassment and abuse. By the time of S7, due to this as well as the sheer grueling schedule of the show, she wanted to be moved from a permanent member of the cast into a reoccurring role like that of Andrew Robinson. When it proved fruitless to negotiate this, Terry decided to leave the show, though she explicitly stated she had not wanted Jadzia’s character to be killed on her departure.

Though the writers went through with the decision to kill Jadzia, they still wanted the character of Dax to remain on the crew, and due to the way Trill physiology was designed, they decided to do this with another host, similar to how Jadzia was initially seen as the continuation of Sisko’s old friend Curzon.

Enter Nicole de Boer as Ezri Dax, a young unjoined Trill who had never intended to be a host at all, and the story of her adjustment to carrying on the Dax legacy.

The Story’s Seed

It’s definitely worth noting that the initial conception of Ezri’s story, the young suddenly-joined Trill joined under trying circumstances who has to re-discover herself has a lot of potential! It could have been extremely poignant and moving, in something of the same vein as Seven of Nine rediscovering herself on “Voyager.” Unfortunately, the choices made regarding how she became the next Dax make it hard to appreciate Ezri on her own merits. Both we as the audience and the other characters are constantly seeing Jadzia in her place. It stymied who she was able to be as a character and how the audience was able to receive her. The way she was written invites constant comparisons, often to Ezri’s detriment in her initial interactions with the crew.

Lee said some things extremely well here: “Ezri as a character was hindered a lot by being made ‘Jadzia's replacement’ instead of ‘the next Dax,’ a Dax in her own right. While Jadzia definitely had Curzon's legacy to live with, it was absolutely not all she was, and she interacted with it as such, but Ezri wasn’t written with the same care. She isn't ‘Ezri Dax’ she's ‘Ezri, the one who replaced Jadzia.’ She was entirely written as a replacement, and it shows.”

Fumbles, Fumbles, Fumbles

Let’s review some things that went sideways in Ezri’s arc, so we can see it for the purposes of our rewrite.

The “I'm the new host of your dead friends symbiont" aspect is very difficult to watch. It’s hard to say if the writers wanted to lean into this aspect deliberately, but even if they did, I don’t think they ended up hitting the emotional notes they wanted to.

Ezri doesn’t seem to get much training from what we can tell, and being joined is a huge change! We learned from Jadzia’s arc that initiates often train for years. It’s wartime, but she still really did get thrown into the deep end!

The audience can’t approach Ezri on her own merits, but quite often, the crew isn’t doing that, either. There’s the caveat that they’re grieving and it’s an odd situation to be in, but! Sisko initially tries to interact with her in the same way he would Jadzia (calling her old man, which upsets her a great deal,) Julian flirts with her with the same intensity he did Jadzia in early seasons, Worf seems to only be seeing his dead wife any time he looks at her.

Ezri is given a role as ship’s counselor when she is in no way emotionally able to handle the psychological difficulties of others when she’s going through so much herself.

Her return to Deep Space 9 (the station) seems to contradict what we know about Trill culture. Joining is meant to give the symbiont as many life experiences as possible, and re-association (to various degrees) is anything from strongly discouraged to forbidden. Ezri goes right back to living Jadzia’s life in some ways, in the same place with the same people. Jadzia wasn’t able to resume her relationship with Lenara Khan, but Ezri finds herself being intimate with Jadzia’s widower.

Our alternatives and fixes for the arcs of Jadzia and Ezri fall into three broad categories, which we’ll break down here:

1. Ezri Not-Dax? (Ezri is still joined unexpectedly, but rather than the Dax symbiont, she is host to another symbiont which needed her.)

2. Where in the World is Jadzia Dax? (If Ezri isn’t a Dax, we have to figure out what to do with the Dax we know!)

3. The Legacy Question (The age-old Trill questions of new hosts, old hosts, and interpersonal relationships.)

Ezri Who? Ezri Not-Dax!

The best solution Lee and I were able to find was the idea that Ezri was joined under similar circumstances to canon, but not to Dax itself.

This is still largely workable for the story we want to tell, because, as Lee explains: “The Dax symbiont isn't key to her character, except to affect her relationships with the crew. Her main personal conflicts are about being joined before she was ready, not about being joined to Dax. She still would have worked without the Dax symbiont.”

For the sake of convenience, let’s call this hypothetical new symbiont Nal. So, Ezri Tigan —> Ezri Nal.

Where in the World is Jadzia Dax?

Theres 3 different paths we could take with Jadzia!

If Terry was made a reoccurring member of the cast, the writers could easily have put Jadzia into the position of being given a transfer assignment. Though Jadzia might initially struggle to accept this because of her loyalty to her friends, “with things picking up in wartime, it's believable that Starfleet would want the people more familiar with what dangers are on the other side of the wormhole to be spread around and maximize the number of ships and stations that are prepared for it. Maybe Jadzia acts as a representative and goes around giving lectures/debriefings on that stuff. This situation puts us in a position to get frequent updates about Jadzia, even if we don't see her again!"

If Terry did not stay on at all, Jadzia as a character could still have died, but the Dax symbiont finds a new host back on Trill, away from the station. Maybe we get updates about this Dax because Ezri trained with them for a bit, or the new Dax reaches out to Sisko from time to time, since he was well-acquainted with two previous Dax-es.

The option I like best for purely self-indulgent reasons would be if Terry stayed on for one more season and was present on the station when Ezri arrived, serving as a mentor to her.

The Legacy Question

Since the “TNG” days, Star Trek likes to experiment with Trill, and what happens in relationships between joined Trill and non-Trill, particularly in the case of a symbiont with a new host. We might assume this was part of the writer’s intent with the Dax Debacle, but it went over much better in the move from Curzon to Jadzia then it did in the move from Jadzia to Ezri.

Other options for exploring “the legacy question:”

“If they wanted to explore the whole ‘new host when the previous host was close to you’ thing, they could have had an episode that went into detail about Sisko meeting Jadzia for the first time after the death of Curzon.” Or, just having Sisko reflect more on the changes and developments in their relationship as time passes. They did this quite well initially when Jadzia first came aboard, but dropped it soon after the first season for the most part and left it to our amazing fic writers to pick it back up.

The character of Curzon is often used as a vehicle for explaining Jadzia’s connection to Klingon culture, but he also gives us access to a wealth of relationships which could be used to explore the legacy question. “Curzon had so many friends, and we see a variety of reactions from them, particularly with his Klingon friends. Some of them immediately fall back into that friendship, some of them struggle to recognize that Jadzia may not be Curzon, but she is still Dax, and has a lot of Curzon in her.” Keeping that thread going would have been intriguing also.

The Life of Ezri Nal

Here’s how some elements of Ezri’s story might look with the “Nal” symbiont.

Ezri is joined rather unprepared when a medical emergency puts the life of a symbiont at risk and the host is unable to be saved. For convenience, let’s call this symbiont Nal.

Ezri was always interested in Starfleet Service, especially in working as a counselor (which she studied on her own rather than gaining the knowledge through the memories of past hosts.) She assigned to the station by the Trill Symbiosis Commission largely because there are people there who will know how to help a newly-joined Trill; namely Sisko, Julian, and Jadzia.

Jadzia+ Ezri

Being the only other Trill on the station that we know about, Jadzia puts herself in a mentor role to Ezri, helping her adjust to her new life and consciousness. Her personality and experiences make her perfect for the job!

As a bonus, we get to see how the mentor and mentee relarionships between joined Trill and initiates work.

We also set up some fun parallels! Take Jadzia, who had to try so hard to be joined, and it was a huge goal in her life (to the point where she applied again to the Symbiosis Comission after being rejected once, which is played as something that basically never happens,) versus Ezri who was perfectly happy to be just herself and ended up taking on this responsibility without being ready and without feeling like she had much choice because of how Trill culture regards symbionts.

From the little we know about Jadzia before she was joined, she was somewhat like Ezri-bookish, shy, anxious-and she initially struggled to adjust to the likes of Curzon. But now, she’s gown so confident in who she is, for the most part, and she’d be the perfect person to guide Ezri and help her find joy in her new life.

But, she also understands having difficulties with aspects of being joined, for example, her conflict in whether she should rejoin with Lenara Khan, or how she struggled in the aftermath of the discovery of the cover-up regarding Joran.

In short, Jadzia helps keep Ezri as mentally and emotionally healthy as she can be.

Julian+Ezri

Being CMO, Julian helps look after Ezri and ensure she’s physically well; after all, it’s what he does best! “Having Julian as the Chief Medical Officer on board would be a big draw for the Trill. He's even performed a symbiont joining and removal procedure. He had to be very familiar with Trill biology, meaning a newly joined host would be relatively safe and well-cared-for on board. And, I’m sure that there's a big chemical change in Trill when the get joined, and adjusting to that would be hard!”

Julian can also sympathize having something done you didn’t want or weren’t ready for, and can help her process those feelings. “ They both have complicated relationships with their parents regarding their parents’ expectations and their own desires and feelings, which would be interesting!”

In some ways, Julian can serve as another mentor to Ezri. It would be an interesting shift to watch Julian, who is often portrayed as the the youngest or most “green” be able to mentor and guide someone else. “This is also a good way to show Julian has grown and matured, without having to have other characters just say it.”

If we still followed their romance route, having Ezri as Ezri Nal rather than Dax could have make the relationship between her and Julian sit a lot better with audiences. With a rewrite, Julian is not chasing the “ghost” of Jadzia; rather he’s meeting Ezri for the person she is, on her own terms. This also prevents a regression of his character back to the way he chased Jadzia in the early seasons, and instead honors the relationship of treasured friendship that Julian and Jadzia built.

Sisko+Ezri

As he is with many of his younger crew, Sisko takes naturally to the role of a mentor and father figure with Ezri, again meeting her for the person she is, on her own terms. He serves as a valuable guide to ship life and helps her get acquainted with station staff and residents.

Like with Jake, Sisko encourages Ezri to find herself by being her own person.

Ezri tries to take up cooking as a hobby with Sisko, but the experiences of past hosts mean her skills vary wildly depending on what they are making.

Other Relationships

Garak helps Ezri figure out how she wants to dress, often integrating different styles from past hosts. (He rather jumps at the chance.) Ezri still has her difficulties helping him as a counselor, but her additional training and the lack of complications from the Dax symbiont make things easier. They also get to know each other through Julian.

In this Ideal Timeline, Ziyal survives and meets Ezri. They relate well to each other, both of them not really knowing where they fit and grappling with someone else’s legacy, but they have each other for support. Ziyal has given her portraits as gifts.

She has a similar dynamic with Jake, who is trying to figure out how to honor his parents while being his own man. Ezri starts writing memoirs of sorts about her past lives on his suggestion.

Surprisingly, she gets on with Nog, too. They’re both doing things unexpected and feeling like they’re going to be the first in something big.

She isn’t especially close to Worf, but he assures her that the sacrifices she made for Nal are ones to be honored, and becomes rather fond of Ezri due to Jadzia’s influence.

Thanks for reading this super-long meta! Please tell Lee and I your thoughts on this rewrite!

[nellie-elizabeth]

The Falcon and the Winter Soldier: One World, One People (1x06)

Oof, okay, so I obviously enjoyed watching this, but I do have some things I would like to discuss.

Cons:

The biggest one is honestly about Isaiah. I understand that this is a superhero show, and there's some cheesiness baked into the very concept of it. I like the idea of a triumphant ending for our heroes, where amends are made and everyone is brought some measure of peace. BUT, I feel like a more nuanced, more true to reality ending here with Isaiah might have been different. Maybe he gives a tip of the hat to Sam, says he's happy he's found his peace, but he still doesn't agree with his choices. See, the thing is, some people who have been hurt by systems want that system to acknowledge its mistake, to apologize, to make amends. That's what Sam is pushing for. He believes we can do better, and all that. And that's a wonderful perspective. But other people who have been hurt by systems might not want anything to do with that system ever again. At the end, when Sam sets up the part of the museum for Isaiah, he says "now everyone will know what you did for this country," and Isaiah seemed pleased and touched by this. But I couldn't help but think... he was forced into doing those things, and then punished for doing them. If he'd decided he didn't want acknowledgment, didn't want to be linked to the idea of American heroism... I couldn't blame him for that. It might have added more nuance to the ending. Sam could have even said that it's okay if he and Isaiah don't agree on the best way forward, they still have mutual respect, or whatever.

As a white lady, maybe I'm off base. I'm just really curious at what the reaction is going to be. All through watching this show I kept saying to myself that an ending where Sam takes up the shield and becomes Captain America can't stand on its own. There's got to be nuance. There's got to be some good justification for it. And as I'll talk about in a moment, I think they've done an okay job... but I also wouldn't be surprised to find some people enormously dissatisfied with this conclusion. Steve Rogers handed the shield to Sam, yes. But should we forget what he did before handing it over? Well, he walked away from the government and was on the run because he didn't respect their choices. Just some food for thought.

I also just want to say: ????? to that ending for John Walker? It was so bizarre to see the light banter moment between him and Bucky after Walker had quoted Lincoln. Like... that felt so out of place. And now he's being made into an American agent? I don't understand that random lady's role in events. I don't know if I'm supposed to think it's sinister and creepy as fuck that John still has a uniform, and even the suggestion of authority (I do think it's creepy as fuck, for the record), or if I'm supposed to be... pleased that he got a new job? Just, tonally, the stuff with Walker in this finale was all over the place. He didn't seem to really matter, and yet he was still there, and the episode didn't seem able to reckon with his presence.

Oh, also, I can totally respect a bit of ham-fisted politic in a show like this. It's really the only way to do it. But Karli saying that Lamar didn't matter, and John saying "you think Lemar's life didn't matter?" was, perhaps, a little on the nose. I'm not sure I like the BLM mouthpiece being blond haired blue eyed John Walker, especially when Lemar's death, at least as a narrative function, only happened to allow John to get sad and angry about it. Where's his wing in the museum, huh?

Also Sharon Carter, she's my girl or whatever, but I gotta admit she was kind of boring to me in this whole series. I wanted more from her. The reveal that she was the Power Broker had me shrugging. I wanted to be more shocked, but she was so clearly telegraphed as being fishy from minute one. The fact is, we haven't had enough time with this character to figure out who she actually is as a person, yet. I don't understand her, and that's a shame.

Pros:

That was a long "cons" section, especially for an episode that kept me riveted the whole way through!

First off, the action was exciting and different and had so many classic "superhero moments" while not totally abandoning a more grounded feel. Sam holding the car up was such a Moment. Also the "that's Black Falcon!" "No, that's Captain America" moment was so cheesy but exactly the right kind of cheesy, you know? We got to see everyone being a bad-ass, crowds applauding, Sam's fantastic entrance with the new suit, the wings, the shield... damn. It was all cool in the way the best Marvel products need to be.

So, Sam taking the shield. I think it works because of his speech to the politicians. Specifically calling out the power they have, and the people they have in the room with them when they make the decisions that will affect so many people. There's this wonderful moment when one of the politicians asks a legitimate question: what about people who came back after the snap to find someone else living in their house? It's so complicated. And as the show ends, we're not given a simple answer. Sam merely points out the miracle of having everyone fighting the same fight for once. These rich and powerful people have had no idea how impossible it can be, and now they're getting a taste of that. There might just be the power of equalizing in all of this.

And most important to me? The government didn't hand Sam the shield. Sam took it and took ownership of it on his own terms. Think back to the legacy of Steve and the shield, honestly. Yes, he was given it by the government, but then he stole it when he ran away, then he gave it up, then Tony gave it back to him... it's a lot more complicated than it might first appear. Nobody's going to argue that the shield was Steve's to give, and he gave it to Sam, and Sam took it for his own. That made it work for me, as a direct contrast to the way in which John Walker got his hands on it.

Karli's death was inevitable and tragic. While I never cared all that much for her character as an individual, she worked quite well as a symbol. Sam points this out in his speech as well. Hasn't anyone stopped to wonder why people believed in this cause so much they were willing to die for it? That matters. It means something. And more will follow. I appreciate that the show ends on an ambiguous note. The people in power are still the people in power. And yes, their decision has been postponed. They've decided not to relocate people and replace the borders immediately. But what is the long-term solution? How does the world begin to heal? Well, we don't know. We don't get to see that.

If anyone got short shrift in this finale it was Bucky, but I'm honestly okay with that for a couple of reasons. One, this is Sam's show and I'm happy that it stayed that way. And two, we saw Bucky's emotional arc come to a head in last week's episode. The work isn't done, but he knows what the work is that he has to do, and we see him start to do that. He gives the journal up to his therapist. A way of letting go of his guilt, but also of saying goodbye to Steve in a way that can give him some actual closure. He confesses to his friend Yuri what really happened to his son.

And more than all of that, he shows up to hang out with Sam and his family. He brings cake. He goofs off with the kids. He hugs his friend, his partner, Sam Wilson. I can see Bucky coming to peace with some things. Coming into his own. It breaks my heart that we don't get to see more of that play out on screen. The show had to make a choice about whose story to prioritize, and in my opinion it made the right choice. This was a show about Sam's journey and Sam's decision here at the end was the capstone of that.

That scene at the end, though... the kids hanging off of Bucky's metal arm was such a poignant image for me, because this man is a killing machine, was designed to be so, but has remade himself into something else, and this moment really showcased that. Also, that gay-ass ending of Sam and Bucky looking out over the water together and then strolling away, Sam's arm around Bucky? Thank you for my life, Disney, I guess. And we got Bucky calling Sam "Cap," and his obvious admiration and pride in him for his speech... I just love them, y'all. I really do.

I wouldn't say anything about this show broke the mold or made me really excited about Marvel again. I enjoyed it, because I already liked Sam and Bucky, and I got to spend more time with them. I was nervous about how they were going to navigate certain political stickiness, and honestly I think they did... an okayish job. I could have wished for them to go even further, but they didn't take the easy way out, in my opinion.

I hope they make more of this someday. Regardless, I'm not ready to say goodbye to Sam Wilson or Bucky Barnes, so I hope we get to see Captain America and the White Wolf grace our screens again in some project or other!

8.5/10

[demytasse]

Which sin do you think Izaya would be? I was thinking Envy or Pride, but I can't decide which :/

Ohohoho~ you've come to the right person! One who shakes off their drowsy, morning fog upon reading a prompt such as this and speaks to the void in absence of the opinion seeker, "ah yes, this aligns with my interest—to feverishly research what will back or deny my instinct, and humour my guilty pleasure to gain or refine my knowledge, that of a topic that I'm no guru." To whom will immediately dash to the keys, gulp down their coffee, and pay no mind to the outside world in order to fulfil the request and voice the following (as well the preceding to the priorly proffered following, and seemingly the proceeding to the original intent of the initial following)...

*ahem* Let's disregard my caffeine-induced wordplay.

     Envy—would be the quickest assessment of Izaya as he has a proclivity to be envious of others. Specifically, he’s coloured green by what Shinra had at a young age, a life-defining and adamantly sought after goal while he was aimless; of what Shizuo gained over time, the world’s acceptance of his dirty soul, and furthermore he’s jealous of the sentimental bonds that other acquaintances have. Greedily, without cognisance, he wants what others have: acceptance and a connection to humankind even though he wants to believe that he doesn’t desire to have it.

Though all in all, Pride covers his entire character.

Pride is the most serious of the seven sins and with it brings the highest punishment; it’s believed that the devil himself was wrapped so tightly with pride that it transformed him into his namesake. It’s the definition of selfishness and egocentric ideals—a perversion from seeing oneself as part of humanity, one of a community, at level with thy neighbour and equal to one’s peers. Simply, sinners of Pride don’t consider themselves average but superior to others as a god. Right out of the gate, those aspects can be connected to Izaya, and to set a keen visual to his prideful air is the ever-so-poignant scene—of him looming above his chessboard while he’s setting the stage and circumstances for the Raira trio and defining the roles of other people in his game. I would stick a screenshot here, but I’ve already used it for a long-ago analysis, and with the internet’s prevalent use of it, if you don’t know exactly what I’m talking about, assuredly you can type ‘Izaya’ into Google and it would show up on the first page...I didn’t check that claim, I’m not going to check...so let’s not quote my joke... Anyhoo! Back to the point of Pride: those who are defined by the sin tend to put themselves and their desires above all others, therefore anything they do in pursuit of whatever they want is paramount; any sacrifice is warranted and easily brushed aside as justifiable.

And Izaya acts all according to his will. He steps on others and sacrifices people in order to reach his achievement—or enlightenment as he would say. Perhaps it’s his claim that human observation is an innocent hobby, but it’s not simply as such. Ultimately his playful deeds are what other people might define as acts of evil and with that, he’s their villain. Rather explicitly he doesn’t see himself as a sinner for his hobby, just an indulgent, admittedly narrow-minded and focused. Though that matters little in this case, as he tends to ignore the immoral aspect of what he does, and it’s not even a thought in his mind that he should atone for how he negatively affects others—individually or as a whole—and that isn’t exactly something admirable, more so narcissistic.

Even so, it’s an echoed fandom assessment that Izaya is mentally weak, in spite of that he’s intelligently strong, unrelentingly foolish, and stupidly purposes his cunning and wit—he’s his own foil that destroys himself; it’s a sinner of Pride whom constantly puts themselves on the chopping block as a slave of their will just as outside parties are.

(I nod at Wikipedia ingratitude of the following quotes, not to say I only referenced the site, ahaha...seriously.)

“What the weak head with strongest bias rules, Is pride, the never-failing vice of fools.”

"(The proud man) is like a partridge in its cage acting as a decoy; like a spy,he watches for your weaknesses. He changes good things into evil, he lays his traps. Just as a spark sets coals on fire, the wicked man prepares his snares in order to draw blood. Beware of the wicked man for he is planning evil."

     Now, it’s a common defence of Izaya that he’s not evil, and overall that’s true of his character. However, to properly pin him a sin it’s important to consider how others perceive him as vanity is innately tied to society and he very much cares of his image—it’s that intense focus of how one is positively or negatively viewed that’s a direct attribute of Pride. So while Izaya’s intent and furthermore actions are self-indulgent and not specifically to toy with others, it’s how others feel themselves to be victims, tangled in intricately set up traps that make his deeds seem ill-conceived and make him evil to the public eye. Really, who’s to blame them? Izaya’s not exactly innocent, I’m sorry (not sorry) to say. And finally, in acknowledgement of hubris; overconfidence and arrogance—prideful behaviours that are driven by ego are foolish challenges to the gods, acts committed in order to be seen as worthy beings of prestige and high regard. To which this should go without saying: that pomp and circumstance, that flamboyant charade and dance is exactly Izaya’s purpose of his trials, it’s inexplicably what rules his character arc, as he desperately flounders to gain worthy attention of a certain valkyrie to seek admittance into Valhalla. What a fool he was to head in that direction. It’s alright to say that I overuse that pun.

     So yeah, to sum it up, Izaya’s a greedy little ball of envy, but he shades himself with an umbrella of Pride.

[nzvalley]

Rewatching some Star Trek: Enterprise (”E2” & “Zero Hour”)

The last section of the season becomes very procedural, very perfunctory. It’s well-crafted and well-executed, but it’s plot-heavy and militaristic. The scenes of MACOs preparing, of soldiers discussion tactics and training, feels like what some of the writers really wanted from the show. The one exception, which seems out of place, is E2     

3x21 – E2

I usually like time travel episodes, but this episode is hard to get through for me. For the obvious shipping reasons, definitely, but also because this idea could have been great. As it stands, the writers attempt to pack too much into too short of time.

The scenes where Archer and T’Pol in the “past” are poignant. Very ambitious effect to distinguish it in the timeline. 

T’Pol seems a little too aged for roughly 180 right? We’ve seen Vulcans well over 200 be spry and steady. T’Pol seems elderly and frail. Maybe it has something to do with her Pa’nar Syndrome or the effects of her addiction.

Elderly!T’Pol comes close to hugging Archer when they meet, but stops at grasping him by the upper arms/shoulders. Similar to the manner that he frequently does to her when he is trying to comfort or steady her. 

Looking at the story through (heavy) shipper goggles, T’Pol stayed very dedicated to Archer’s mission. She met with Archer first, before anyone else. And eldery!T’Pol remains as loyal to Archer as ever, even going against Lorian’s wishes. 

3x24 – Zero Hour (Finale)

Lots of plot, and more plot. This is a well-crafted finale, a well-crafted last act of the season, but very mechanical too.

Love the Archer/Hoshi scenes, even though she is distressed. Their connection seemed so strong in the pilot, and I always hated that their relationship receded into the background. Hoshi’s guilt about giving up the third code really comes through.

Archer is ruthless and selfless, always willing to sacrifice himself most of all.

Daniels spoils the finale for Archer! The bastard! Seriously, this last-ditch effort by Daniels is pretty epic. Daniels again seems like he’s a voice of some of the writers who don’t like the changes in S3. It almost sounds like the fate of the character of Archer is being argued about, whether or not he can really be killed off.

DANIELS: It's too great a risk. If you're killed, none of this will happen. At least, not the way it's supposed to happen. ARCHER: Then it'll happen some other way. Who's to say whether it'll be better or worse? DANIELS: It's essential you be a part of this. ARCHER: Where are we? What planet? DANIELS: Earth. ARCHER: Seems to me it's just as essential that Earth be around for this too. DANIELS: Lieutenant Reed can work with Sato. They are not crucial to the future of mankind. You are. ARCHER: My mission is to save Earth, not your Federation.

Interesting scene between T’Pol and Phlox about death. She acknowledges she finds death distracting, and tries to put it out of her mind. Putting her reaction to Archer’s believed death in Azati Prime  in a new light. 

T'POL: I have always found it distracting to think of death, especially when entering a dangerous situation. PHLOX: Hope for the best, prepare for the worst. I don't know about Vulcans, but Denobulans take great pleasure in bequeathing their belongings to far-flung relatives. T'POL: We're not dead yet.

Hoshi should save the day more often. It really is a tragedy they didn’t focus more on her. With humans venturing into the wider galaxy for the first time, encountering many new alien species, it would have made sense for the communications officer and linguist to be particularly highlighted.

T’Pol acquits herself well when in command of Enterprise. Hard to believe how out of control she was half-dozen episodes ago.

Shran! Bringing the Xindi arc back into the Federation arc, and eventually the Temporal Cold War arc is woven in as well. This episode does a fairly good job of reintegrating the show back into what they’d established in the first two seasons. Shran once again saves Archer and humanity, for little reason other than the trust and respect that has grown between the two.

SHRAN: And tell Archer we're not even any more. He owes me!

There’s a theme of cooperation in this finale and season. Humanity would not have been saved without alien allies. Shran and T’Pol, of course. But Phlox is also essential to the Entreprise crew’s survival. And the Xindi species that allied themselves with humans. This season often gets mischaracterized as being xenophobic and jingoistic, but it ultimately has a very kumbaya message.

T’Pol thinks Archer is dead again. She is visibly distraught. She doesn’t cry this time, but the camera focuses on her gutted reaction. It also cuts to her alone in the ready room, at the window of despair. This is where she came to cry for Archer when she thought he was dead last time. Archer has angsted about T’Pol there too, so there’s a lot of meaning. 

T’Pol’s meeting with the Xindi representative continues the preview of T’Pol in command, showing what the ship (and show) might be like if Archer was killed off for real. In that scene, which immediately follows her learning about Archer’s “death,” she is still anguished. The way she holds her book defensively to her chest and to her mouth. She freezes and closes her eyes when the Xindi mentions Archer’s sacrifice.

T’Pol’s scene with Phlox is touching. Their interactions with Porthos especially, and their elision of the fact that they’re talking about T’Pol’s loss.  

PHLOX: Only time. How's morale? T'POL: It isn't easy for a crew to lose it's Captain. PHLOX: I suppose we'll all need time to heal. T'POL: Will he be all right? PHLOX: After a while. He's lost his best friend, but it's just a matter of time. He'll be fine again. T'POL: Did you hear that? The Doctor say's you'll be fine. It's just a matter of time.

The way her voice breaks on that last sentence! T’Pol believes she has lost a close friend, a trusted partner, and perhaps more. And is this the first time T’Pol has touched Porthos willingly?

Timey wimey stuff! Returing to the notion, which as far as I know I made up, that some producer or network exec wanted Archer/Bakula off the show: imagine this episode without the capper scene revealing Archer is alive. Where the season ends with Mayweather, Trip, and the fighter planes. Seems pretty natural. Maybe that was an option that was discussed or set up. Just speculating. But thankfully that didn’t happen, because we get some awesome costuming, set design, and character beats in the premiere episodes of Season 4!

Final Thoughts on S3

A major flaw in this season is its weak villains. The Reptilians end up seeming misguided, too quick to believe their Guardians and too stubborn to change course. The Guardians/Sphere-builders literally aren’t there. They are a phantom villain. The biggest antagonists are the weapon and the spheres, technology.

Such a flawed season, but still with strong episodes and high points. The season-long narrative was mostly well-done, but the militaristic tone and content they were going for didn’t match the ethos of the show. The season is over plotted. The Xindi were awesome as new species, but not great as antagonists. And of course the Trip/T’Pol neuropressure blight! 

I’ve said several times this season that certain episodes should have been expanded, and each one had to do with time travel. With as important as time travel ultimately turns out to be in this season, they should have played that up from the beginning. That would be the simplest way to fix the season. Cut out some of the extraneous plot and overbearing romance, and expand the time travel episodes. 

The Xindi arc never should have presented as different from the Temporal Cold War, but as that war going hot and putting everything we know about Star Trek history in jeopardy. The time travel stories they had, like Twilight, Carpenter Street, and E2 should have been expanded and/or played up as essential arcs. The presence of Lorian and elderly!T’Pol should have been revealed early into the season, at least to the audience. Although his paternity could still be a reveal later on in the season.

With whatever time is left after expanding the time travel stuff, dedicate that to fleshing out T’Pol’s addiction arc and making her romantic experimentation more natural. The writers actually set up a good way for Trip and T’Pol’s romance to start, with them working on Trellium- they just never followed up on it. I would continue their work on Trellium (high stakes, high pressure, and often alone,) while also revealing to the audience that T’Pol’s experience in Impulse caused her to start ingesting Trellium as a drug.

The season wouldn’t be perfect, but it would be greatly improved by 1. improving the villains, 2. expanding the time travel stories and making them a central thematic arc, and 3. expanding T’Pol’s addiction arc by revealing her “drug use” early in the season to the audience.

Transcripts: http://www.chakoteya.net/Enterprise/episodes.htm

Screencaps: https://ent.trekcore.com/gallery/index.php?cat=4

[unexpectedreylo]

Here It Is:  My Spoilerific Review/Post Mortem of TROS

When I saw The Last Jedi two years ago, the movie haunted me for days, for weeks, for months.  It inspired the imagination, dragging me into the world of Reylo and reassuring whatever reservations I had about the post-Lucas sequel trilogy.

The Rise of Skywalker haunts me too but more in a “Demon House” kind of way.  It fires up the imagination, but more in the sense that it keeps you up at night thinking of all of the ways it could’ve been better.

This isn’t to say I hate the movie.  I don’t.  It’s not even entirely or mostly bad which is what makes it extra frustrating.  You can laugh your way through a total disaster like “Cats” or “The Room” but a movie with plenty of promise and of talent behind it that makes some bad decisions is tragic.  Especially since this is the closing chapter to a trilogy and the saga itself.

You can see there are bones for what could’ve been a really good, maybe even great movie.  One of my favorite parts was the opener where Kylo Ren literally descends into hell/the underworld to confront the devil for no other reason than he didn’t even want Satan above him, a man who serves no gods or devils.   (That right there is a classic Byronic hero.)  Exogol is a great haunted house/spooky setting.  The revelation that it was Palpatine manipulating him all along was a shocker and makes Ben’s story that much more poignant.  I also really liked the contrast with Rey’s introduction, a beautiful shot of her in the verdant forest floating among rocks as she’s meditating.  She is Persephone in her element (which makes the ending all that more baffling but don’t worry, I’m getting to that).

This sets the stage for the revelation that the two are part of an intriguing concept, a Force dyad, kind of a Star Wars version of soulmates maybe even twin flames.  The two just had to acknowledge the feelings between them, reunite, and take out the Sith trash while Rey finally confronts her own dark side.   I don’t mind the latter concept at all because with the trilogy’s thickest plot armor, I think it’s valuable to put her in some peril and to have her better understand Kylo/Ben.

Abrams also wanted to recapture the feel of 1980s blockbusters like the Indiana Jones films or The Goonies, both made by his old mentor Steven Spielberg.  That’s most palpable when the Space Scoops Troop, er “trio,” falls into quicksand and pokes around an underground cave looking for one of the film’s many MacGuffins.  Abrams does good set pieces and powers them along with snappy dialogue.  Like TFA, it’s peppered with some genuinely funny scenes.

If nothing else, you can’t blame the cast for any of the film’s problems.  Everyone does the best they can with what they’re given and the long-standing chemistry between various pairs (Adam and Daisy, John and Oscar, Adam and Harrison Ford for example) do a lot to serve their scenes.  I think Oscar’s best scene was when he confesses to Leia lying in state that he doesn’t know if he can be the leader the Resistance needs.  It’s an honest, human moment.  Daisy continues to infuse Rey with her natural luminance.  I particularly liked the few quiet moments she has, such as meeting the children on Pasaana or healing the snake.  It shows her compassion and foreshadows healing Ben.

Daisy does pretty well with what she is given about struggling with her dark side.  (Remember, she didn’t write her own screenplay.)  Maybe it’s unpopular to say this but I kind of liked her brief turn as “Dark Rey.”  I have no doubt had she turned dark she would be pretty scary.  Her desire for revenge and fear of her own nature--driven by genetics or not--were intriguing concepts and I thought she tried to make the most of it in her performance.

Ah Adam Driver.  God bless that man.  He brings his considerable A-game 100% of the time no matter what and it shows.  He could sell sand on Tatooine.  I have no idea why they put the mask back on him other than a marketing department decision as I suspected, but taking it off when he’s making his appeal to Rey before she leaps out to the Falcon carries a gravity few people can pull off.  His reconciliation with Han was one of the film’s highlights.  For once the repetitive nature of the script actually worked in TROS’s favor, as Kylo retraces his steps in that fateful scene from TFA and finds a way to clear his conscience.  I also think this was originally meant to help the audience forgive him, especially since right after this he renounces the dark side.  Which makes later choices baffling, which I’ll get to.  Driver’s shiniest shining moment though is when he is once again Ben Solo.  Deprived of dialogue for the rest of the film other than “ow,” he nevertheless manages to convey a different personality that is very much Han Solo’s son.  His fight scene is right out of a 1970s martial arts movie, imbued with determination and sass.  I want to see a trilogy about THAT guy.

The Reylo scenes are, well, until it goes south, wonderful.  Some of us would’ve  preferred a lot less fighting but I see it as mostly Rey trying to deny herself and Kylo not being sure if he really wants Rey to turn to the dark side.  (On that note, I wish we’d seen Rey’s vision of sharing a throne with Kylo rather than just hear her talk about it.)   As I predicted, the turning point of the relationship came after the lightsaber battle on the Death Star wreckage.  I find it interesting that Kylo hesitates to kill Rey--partially because of his mother’s influence--and it’s she who could’ve killed him.  She immediately recognizes the dark side was turning her into something she didn’t want to be and nearly costs her the man that deep down she loves.  She heals him completely and along with her confession that she would’ve taken Ben’s hand, his soul is nearly healed by the power of love alone.  Which makes the film’s later choices baffling.  If you think about it, Ben’s turn is even more dramatic than Vader’s.  Vader chose his son over the Emperor at the last minute, some inkling of his light still there shining through at the right moment under duress.  Ben flat out rejects the dark side of his own volition.  That is pretty powerful.  Which makes the ending far more painful.

Rey and Ben’s one big romantic moment was tender and sweet and that was a pretty good kiss.  We finally get to see Ben’s big toothy grin.  Even though we all hate it, Driver did an amazing job conveying first his sorrow over Rey, then his relief, his joy, his love, and finally his strength leaving him.

Visually, the film looks great.  I think J.J. did an even better job shooting this film than TFA.  Adding to the visuals is the fabulous art direction.  They hired supervising art director Paul Inglis immediately after his previous flick Blade Runner 2049 came out, and that decision paid off.  This leaves the film with a number of beautifully-rendered scenes, whether it’s the haunted house scary underworld beneath Exogol, Kylo Ren’s starkly white quarters, the landscapes of Pasaana, the stormy seas around the Death Star II’s wreckage, the shot of Rey hesitating in the Star Destroyer’s hangar before leaping out to the Falcon, or Rey meditating among the floating rocks during her introduction.

I liked D-O and Babu Frick.  I even liked the lady who complimented Kylo’s helmet.  

Where do I start having problems?  The first time I saw the movie the scenes with Leia didn’t bother me but the second time I saw it, it was far more apparent they wrote around the bits of footage they had left.  It was a valiant effort to make Carrie Fisher part of the last film she never had the chance to perform in but it didn’t feel organic.  Since Leia dies during the movie anyway, I don’t know why having her pass away offscreen in between TLJ and TROS is less merciful to the audience than having her body lie beneath a sheet for half the film.  No wonder Billie Lourd skipped the premiere of this flick.  I couldn’t take it if it were my mother either.

On my second viewing, the Resistance base scenes started to get on my nerves.  Maybe it’s because I got tired of looking at the same group of like 10 people over and over.  Maybe I was annoyed that the only purpose of those scenes was to earnestly spout exposition.  Now, exposition is important.  I’m surprised Abrams, notorious for not bothering with it even if it’s necessary, even did this much.  But there was something about George Lucas’s Rebel base scenes that made these people look and act like guerrilla soldiers.  Maybe it was Lucas’s experience shooting films with Navy guys as a student, or his documentary style.  Abrams’s Resistance behave more like college students and activists than soldiers.  

But TROS’s biggest problems lie in its breakneck pacing and its writing.  Parts that should’ve had greater emotional resonance don’t because it moves along too fast.  I would’ve sacrificed one of the set pieces/action scenes or chuck one of the pointless new characters for the sake of deepening the relationship between Kylo and Rey or showing us more Ben Solo.

Some of the characterizations seemed off.  I know a lot of fans are deeply unhappy Rose Tico didn’t get to do much but I was surprised to see her in it even to the degree she was there.  What gets me about the whole Rose thing was her relationship with Finn is totally forgotten FOR NO REASON.  Really, why drop it?  There was no narrative purpose for doing so!  

General Hux is totally wasted in this film, reduced to little more than a cameo.  Sure it might be a surprising twist that “I am the spy!!!” (LOL) but his reasons for it are totally OOC.  He might despise Kylo Ren but to the point of helping the Resistance?  This is the guy who cheerfully blew up the Hosnian Prime system and wanted to blow up more.  He’s evil, a psychopath, a true believer in the First Order.  He might give the Resistance a tip that would result in embarrassing Kylo Rey and use that to start a coup against him but just helping the Resistance out of petulance and spite?  Nah.

Poe tries in this film to be a combination of rogue and deadly earnest idealist, but you generally don’t find those two qualities in the same person.  One second he’s talking about smuggling space dope, the next second he’s saying stuff like “Good people will fight if we lead them!”

Finn, God love him, is reduced to largely running around yelling, “Reeeey!” and eagerly trying to tell Rey something but the film never really got around to what it was.  It wasn’t until a Q&A session that Abrams revealed Finn was trying to tell Rey he was Force sensitive (something that should’ve been developed over the course of the trilogy).  Abrams had time to show us a random lesbian kiss for representation points, but no time for Finn to tell Rey he was Force sensitive?  Huh?

The story not only contradicts the previous films--I wonder if Abrams even saw his own movie TFA much less anything else besides the OT--it contradicts itself throughout.  Palpatine’s return is never really explained and his motives with Rey keep changing.  MacGuffins are added on top of MacGuffins with side missions thrown in.  Chewbacca is blown up then he’s miraculously alive on another transport we didn’t see.  Abrams and Chris Terrio didn’t just add to Rey’s origins, they blatantly spackled over it and TLJ’s overall message.  Discovering one is of evil origins is a gothic storytelling trope but really, it should’ve been developed since the first film so it doesn’t feel like whiplash from something else.  Everyone keeps telling Rey don’t be afraid of who you really are, but Rey ultimately does nothing but run from who she really is.  With each reversal, retcon, or contradiction in the film, it leaves a mess.  We’re supposed to believe Rey was better off sold to Unkar Plutt than be with her not-so-bad parents?   Who the bloody hell had sex with Darth Sidious?  You mean to tell me Luke and Leia knew all along Rey was a Palpatine but they never bothered to say anything and somehow they had more confidence in her than in their own flesh and blood?  Oh while we’re at it, I noticed the second time I saw the movie they straight up gave away Ben’s death before it happened!  WTF?  “Leia saw her son’s death at the end of her Jedi path.”  It seems like Luke and Leia were resigned to Ben’s fate as some horrible destiny that couldn’t be changed but Rey was still an open book to them.  That’s so stupid and really fellow OT fans, how does this respect our childhood faves?  Han comes off as the only decent person in this thing.

Rey and Ben taking on the Emperor was a great applause moment, the dyad unified against the ultimate evil.  For the most part it was fantastic...until The Yeetening.  Two things annoy me about the remainder of the conflict against Palpatine.  One, Rey and Ben should have destroyed Palpatine together.  If Rey could do it on her own then what the hell did she need Ben for?  He could’ve sat out the rest of the movie at Starbucks and remained alive while Rey killed Palps on her own.  There’s no point to their combined power because it wasn't necessary.  Two, while poor redeemed I-turned-back-to-the-light Ben was crawling up the pit with no help from anyone, every good guy we ever knew of in Star Wars, even from the cartoons, is giving a voice over pep talk to Rey.  (It seems cheap too since we don’t see the characters.  Avengers Endgame did this kind of thing far better.)  How about if the pep talk was given to the BOTH of them?  That Anakin Skywalker, the man Ben had idolized, had time to say “wakey-wakey” to his tormentor’s granddaughter and not his own grandson is appalling.  The third thing is while Darth Vader defeated Palpatine with the love for his son and his long-gone wife, Rey defeats Palpatine simply with power.  Rey and Ben’s love for each other could’ve been the force that defeats the Sith once and for all but for some reason it doesn’t occur to Abrams and Terrio.

I could’ve forgiven most of this--the jar of Snickles and all--had they got the resolution right.  But they didn’t.

ROTJ and ROTS’s endings were masterful.  ROTJ gives you an idea of what trajectory our heroes were likely to follow:  Han and Leia were going to end up together, Luke was going to bring forth the next generation of Jedi.  ROTS sets up Obi-Wan on Tatooine, Yoda on Dagobah, Leia on Alderaan, Luke on Tatooine, Darth Vader on a Star Destroyer, and poor Padmé on her way to Star Wars Heaven.  I have no idea what happens to Finn.  Maybe he’ll train with Rey.  Maybe he’ll go to college.  Maybe he’ll backpack through Europe.  I have no idea.  His story just stops.  Same deal with Poe.  Aside from getting shot down by Zorii, what’s he going to do?  The film gives zero indication.  It goes from the Free Hugs session to Rey squatting at the old Lars homestead.

The biggest crimes though occur to Ben and Rey.  Ben’s death sucked all of the air out of the film.  Yes, it’s beautiful that Ben loved Rey so much and so selflessly he was willing to surrender his life for hers.     It’s beautiful that it never mattered to Ben who Rey was, whether it was “nobody” in the last movie or the granddaughter of his tormentor/enemy in this one.  Had the Palpatine concept been there all along, there would’ve been something sweet about healing the rift originating in the prequels.  But I wanted Ben to live.  I wanted for once for someone to address the issue of atonement but Terrio and Abrams were too lazy to bother.   If The Grinch could be redeemed AND find atonement with those he wronged in a 30 minute Christmas special with commercials, then why not Ben Solo in a 150-minute movie?  

I could have lived with a sacrifice arc though had it been handled correctly.  But they flubbed it big time.  The sacrifice isn’t honored at all.  He just dies, he vanishes as Leia’s body vanishes, and he’s “never to be seen again.” Or mentioned.  Rey barely reacts on camera.  It’s as though reviving Ben from certain death, choosing good over evil, making a valiant attempt to save his girlfriend armed only with a blaster, and giving his life for hers weren’t valued by anyone.  The movie didn’t give a damn.  When Vader died in ROTJ, he at least had final words with Luke who then burns Vader’s remains on a pyre.  We see Anakin restored to his true self join the Force Ghost crew at the end of the movie.  We got none of this with Ben.

It’s also the most frustrating and disappointing disruption of a romantic arc since 1980′s “Somewhere In Time.”  In that film, Christopher Reeve travels back to 1912 and finds true love with Jane Seymour.  Everything is going great and Reeve’s character has made the choice to stay in that time and marry Seymour.  Then he pulls out a 1979 penny and is sent “back to the future” as Seymour screams.  At least that film though had the decency to reunite the love birds in the afterlife.  Which might explain why the movie still has a cult following to this day.  Tragic love stories always make sure there’s some kind of catharsis for the audience.  Rose takes Jack’s name, lives her life as he asked her to do for him, tells his story, and reunites with him when she dies.  Romeo and Juliet are united in death and the healing of their respective houses begins.  Even Padmé got a state funeral and had the legacy of her children.  There was no such catharsis for Rey and Ben.

Rey ends up right where she started:  alone and in the desert.  She got the Dorothy ending, there’s no place like home.  But the difference is Dorothy is a child not yet ready for the big scary world and the answers to her problems weren’t out there but right where she was.  Rey is a grown woman.  She should’ve been treated like one.  Instead she is deprived of her lover/soulmate and while such a separation should have been painful, it doesn’t even register.  She has a “found family” but they’re not there with her.  She’s in a home others tried to escape from, haunted by ghosts instead of being among those she loves.  Taking the Skywalker name seems tacked on, as though they realized if the name is to live on somebody needed to take it.  Why not then just have made her Han and Leia’s or Luke’s daughter in the first place?  It’s worse when you remember it’s a Palpatine who’s usurping the name.  Or when you realize she’s still hiding who she is.  

Here’s what would’ve been better.  Rey tells the Resistance about the pure selflessness of the Skywalkers and she wants that to be the core value of the new Jedi going forward, where every new student was going to learn their story.  Then we see her anywhere but Tatooine, happy and surrounded by students of all ages.  Maybe Finn training too.  She sees the approving Force ghosts of Leia, Luke, and Anakin.  Then Ben, clearly a different entity, materializes beside her.

Or something, anything other than what we got.

It’s as though they kept making story decisions without giving any thought at all to their implications.  They tried to do too much while being lazy about it.  They went for expedience--copy pasting ROTJ when convenient--over meaning.

The ending accomplishes what no other Star Wars film has done to me in 42 years of being a fan...it broke my heart and fulfilled my worst suspicions about where the ST was going to end up, largely due to its deflating ending and terrible denouement.  It leaves for me and many other fans a big gaping open wound, not closure.  

Ultimately the sequel trilogy’s biggest flaw is that there clearly was no plan.  What we got was a billion dollar game of exquisite cadaver with no real design for characters, their arcs, the story, or even what message these films are supposed to have.  Every decision was based on the director’s own ideas along with corporate meddling.  So we get conflicting ideas and blatant spackling over what the last director didn’t like. Was Kylo Ren meant to be a guy we love to hate or a lost boy we want to come home?   Was Rey a heroine we can all aspire to be or a lost princess of darkness?  What the hell was the point of Finn or Poe?  What does this add to the saga overall aside from more stuff?  Who are these films even for, old OT fans or young fans?  I believe it’s this lack of a plan that has generated so much confusion and bitter internet wars among fandom.  

[fmdtaeyongarchive]

headcanon #043: interest in performance art

word count: 1,688 words.

triggers: mentions of violence (including gun violence), assault.

ash is notoriously talented in the musical arts and terribly untalented in traditional visual art like drawing or painting, but performance art is something ash has developed a unique interest in over the years. he’s a dancer, a performer by nature, but it’s situation art pieces, so-called “happenings” that step outside the bounds of a simple enjoyable story performance that intrigue him the most. 

ash hasn’t gotten the opportunity to experience much situation art in person, as it’s generally meant to be experienced, but he loves reading about it and watching videos of it or on it. since the beginning of the year, he’s made a point to read more, and in addition to topics like philosophy, he’s delved deeper into research on performance art as well.

he’s most interested in art the explores topics of human relationships, the dynamic between audience and artist, the nature of art, and the human experience as a whole. that’s part of why he’s so drawn to situational performance art. though he’s one of many, he’s in particular a fan of marina abramović‘s works.

two of marina abramović‘s works he’s most interested in are breathing in, breathing out (which marina abramović did with ulay) and rhythm 0.

in breathing in, breathing out, the two blocked their nostrils and pressed their mouths to one another so that they could only breathe the air the other breathed out until eventually, they were each only breathing in carbon dioxide and deprived of oxygen up to the point of passing out. ash views it as a commentary on human connection and relationships and the danger of dependence in relationships — to rely too much on another is to deprive and ultimately poison oneself. while ash considers this to be a commentary on all relationships, be they romantic, friendly, or familial, it resonates with him in particular because of his own tendency to depend too much on romantic partners in the past.

violence tw, assault tw, gun tw // his other favorite abramović piece, and possibly his favorite performance art piece, is the famous rhythm 0 where abramović stood in a room with seventy-two objects, varying from feathers and food to a scalpel and a loaded gun, laid out on a table. she left instructions on the table stating that the others in the room could do whatever they wanted to her for six hours and she would take responsibility for whatever they did, absolving them of any responsibility of their own for their actions. by the end of the six hours, she’d had her clothes cut off of her body, had been cut with various sharp objects, someone had attempted to suck blood from one of her cuts, and someone had pressed the gun to her head and put her own finger on the trigger before someone had torn it away. when she moved after the six hour mark had passed, the audience had all scattered and the observers-turned-participants left at the closure of the piece, not wanting to talk to her. abramović stated she realized in the midst of the piece that the participants might very well kill her if given the right time and circumstances. there are obvious feminist implications to this piece that ash acknowledges, but wouldn’t feel qualified to talk on himself as a man, but the part that resonates with him the most is how it speaks to the relationship between artist and audience. art builds a fourth wall, even despite all attempts to tear it down, that makes an audience feel ownership and emotional detachment from the artist. the pedestal a performer is put on grants the audience the ability to do or say anything they’d like, even if it’s demeaning, violent, or sexual, without the fear of consequences — things they’d never do or say if faced with the face-to-face humanity of the artist. the piece really struck ash the first time he read about it and saw pictures of it, and he’d like to do a song based on the piece one day, or even an entire album inspired by marina abramović‘s works and his own interpretations of them in the context of human relationships and the relationship between artist and audience.

gun tw // the death of the artist by abel azcona is another piece that stuck with ash for similar reasons as rhythm 0. the artist had previously done performance art pieces on topics like religious institutions, politics, and sexuality that angered several organizations and groups that had caused controversy and caused him to receive death threats, and for this piece, he wrote letters to all of the organizations and people who had threatened him inviting them to a gallery where he stood on a raised platform facing a loaded gun on open display nearby on a platform. this is more of a commentary on persecution and attempted censorships of artists by powerful entities, something ash can’t really relate to since he doesn’t do anything provocative enough to earn him death threats from anyone other than edgy teenagers on twitter. nevertheless, it’s a piece he thinks about a lot in relation to the nature of art and an artist’s place in society.

other pieces ash likes to ponder are:

tehching hsieh thirteen year plan, where he declared that he would make art in private without showing it publicly for a span of thirteen years. at the end of the thirteen years, he concluded the project with the statement “i kept myself alive. i passed the december 31st, 1999.” it makes ash consider his relationship to his own art and whether he’s doing it for others or doing it to keep himself alive.

marina abramović and ulay’s lovers (another piece he’d like to use as inspiration for a song), where the pair embarked on a dramatic spiritual journey to end their romance. they started walking from opposite ends of the great wall of china and met in the middle to officially end their relationship with an embrace, a final farewell, and the promise to never meet again afterward. it’s the sort of poignant closure ash thinks every relationship could have in an ideal world, and it speaks to the depth of bond romance can root in two people.

marina abramović and ulay’s rest energy, where the pair balanced a drawn bow and arrow between them for four minutes, with the arrow aimed directly at marina abramović’s heart. this is again a piece with feminist implications of the societal power men hold over women, but it also speaks to the vulnerability of love to ash and the kind of unwavering trust he’s not sure he’s ever had with anyone.

yoko ono’s cut piece, where she invited audience members to cut pieces of  clothing and remove it. ash likes this one for similar reasons to why he likes rhythm 0.

roi vaara’s artist’s dilemma, a video piece where a sign saying “art” points in one direction, while another stating “life” points the other in a frozen, barren landscape. vaara deliberates between the two for the duration of the video before it ends with him standing in the middle, still not having chose one direction or the other. to ash, it’s unclear whether it’s saying one must choose between one or the other, that an artist exists between two different worlds, or that performance art lays in between the balance of life and art, and he likes that he can interpret it in so many ways without any explanations feeling hollow.

tino sehgal’s kiss, a choreographed piece involving two dancers slowly acting out a passionate embrace on the floor of a museum or gallery. among original choreography and poses, they reenact famous kissing scenes from other artworks such as rodin’s kiss and brancusi’s kiss. the piece to society’s simultaneous discomfort with publicized intimacy and fascination with other’s love lives, both historically through art and socially through gossip and rumors. it also speaks to the difficulty of recreating intimacy through art. as someone who spends a lot of his time trying to recreate love and intimacy through music, and has had plenty of people both obsessed with and shaming him for their own perception of his love life, this piece stands out to him on a personal level as well.

ash’s interest in performance art comes mostly from how directly it can invite the audience of the art into the work. it’s part of why he’s come to love performing (solo) concerts over spending every day of his life in front of a camera. (jay z himself has argued concerts can be akin to performance art in an alternative venue, and ash would like it if one day he could hold a concert that plays with that idea more.) performance art allows for statements to be made that can’t be made as resoundingly through musical art or the fine arts. in performance art, the artists themselves are the art, and oftentimes the audience becomes a part of the art, too, and it can be outside of the commodification and greediness of other forms of art because of that if the artist so chooses. videos, pictures, and books on performance art can be sold, but often the piece itself cannot be and lives within the minds and memories of the artist and the audience. situational art can’t as easily be censored, controlled, or shaped by rich collectors or executives at labels, and that’s a part of the appeal to ash, who has often felt his music has been compromised by the business processes of the music industry. it reminds him of why he used to love dance so much, how a live performance lives in the moment.

ash himself doesn’t think he could ever be a performance artist, though he’d one day like to have the chance to sit down and talk to performance artists about art through their eyes. he believes performance artists are greatly underrated and too often written off as fake deep try hards when the legends of the form have just as much to say about the human experience as the greatest artists of any other art form.

[randomestfandoms-ocs]

What usually helps me with motivation is asking myself "what is making me excited about this chapter." So I'm turning that to you. What is making you excited about the chapter to Wayward Daughter you're working on? -Riley

Thank you so much for this!!!  I have a lot of things that I’m really excited for so I broke it down to a top 10 haha!

1. Kevin and Amy friendship

Kevin and Amy have been friends since the very first chapter, and Amy has always had a soft spot for Kevin for being “Joaquin’s boy”, but a lot of their friendship has been superficial up until now, mostly because of Amy’s reluctance to ever risk being perceived as vulnerable.  In this chapter though, Kevin is the first person to really notice how not okay Amy is and is the one who goes out of his way to help.  It took a long detour from my chapter outline but I think it really developed their friendship, and I finally got to explore some elements that have been building behind the scenes for Amy but that no one has addressed until now!  It also introduces their ship tag, which is “he asked if I was okay”, which comes from the scene I’m currently writing – Amy is bitching a bit about Jughead and Toni and “their northsiders” and when she’s asked why her being friends with Kevin is different she explains that a) she’s not dating him, b) he hasn’t historically treated them like shit, and c) when she was completely falling apart, it wasn’t her partners or even her brother who noticed, but Kevin

2. After several chapters of people letting Amy brush off major trauma, they’re finally acknowledging it!  

This actually ties in the most with her scene with Kevin – Amy says some stuff while having a panic attack and Kevin has a moment of confusion before realizing that “oh hey, she’s actually mentioned this stuff before but she says it so casually that I assumed it wasn’t a big deal but clearly it is”.  The problem with Amy is that she keeps the important stuff to herself and when she’s forced to acknowledge it she’s always extremely dismissive of it, so everyone else assumes that she’s not bothered (hell, she mentions that she was raped and then just goes back to watching Glee, and everyone is like “well I guess she’s moved on let’s not upset her by talking about it”), but really she’s just internalizing it and not coping at all, but since no one ever really pushes her to talk, it also leads her to feeling like it’s not important – but finally we’re starting to lay out the groundwork for when Amy is finally forced to start talking about things and has to acknowledge that she’s not nearly as okay as she pretends to be 

3. After 75k of just not really talking about it, we finally get some actual definition on the Serpents’ relationship!

From the beginning, the narration has always used the term “partner” and the phrase “ride or die” to describe the relationship between the teen serpents, but they’ve never really talked much about what they are!  In this chapter we finally get a bit of that, which starts with Amy finding out that everyone at Riverdale High thinks that she and Sweet Pea are dating.  After that, Amy finally explains (one again in that scene with Kevin, that could really be a chapter in and of itself with how much goes on in it lmao) what exactly their relationship is, what Jughead’s involvement is, and even what Joaquin’s involvement was before he left town (finally going back to chapters 1 & 3 where Amy mentions having had some sort of relationship with him but never explaining what that relationship was).  I’ve wanted to start to explain this for a while, and while I’ve talked about it a bit here on tumblr and in depth with some friends, it’s never really fit into the story

4. Honestly just the actual writing!

It’s been a while since I’ve worked on Wayward and the last couple of chapters felt (to me) very rushed and definitely not my best writing.  The episodes that they followed weren’t ones with a whole lot going on for Amy (I’ve plotted out all of season 2 and basically every scene I could think of adding would have thrown off bigger arcs) so they were just... short and rushed and felt very forced.  This chapter on the other hand has gotten way too long just because there’s so much going on, but it’s given me an opportunity to really delve into things again and I think that the actual writing (technically and in terms of content) is a lot better than what I’ve gotten to do in a while and I’m really excited to share that!  Also, clearly, there are a lot of scenes that I’m really proud of and really excited to share with readers (hopefully they like it as much as I do!) 

5. Just, angst

So I’ve definitely never been nice to Amy, but the angst in this chapter makes me really happy (and very sad).  It’s not all big showy angst, or even as extreme as other parts of the story, but it feels extremely poignant.  There definitely are some bigger pieces of angst in this chapter (Amy falls asleep in tears multiple times, for example), but I think that my absolute favourite angsty pieces are actually two of the most subtle ones.  What I love about them being subtle (aside from just how much I love the scenes) is that Amy is a character who we see repeatedly go headfirst into danger and go through very painful situations, but she always gets through them and maintains her illusion of being completely okay all the time (even though she is so not okay someone please get her a therapist) because she can absolutely handle physical pain and she’s gotten used to psychological trauma, but the one thing that Amy cannot handle which is prominent in both of my favourite scenes is being rejected/feeling unwanted, and while she hasn’t had a lot of that yet, we finally get to see something actually break through her walls 

6. We finally start to actually acknowledge Amy’s unhealthy coping mechanisms

This sort of goes with #2 and #6.  Ever since chapter one, we’ve seen Amy having extremely unhealthy coping mechanisms (namely alcohol and sex and trying to ignore her problems) and in this chapter we see that she actually can’t ignore her problems forever, and we finally see people actually looking at Amy and going “hey this is definitely not a good way to deal with shit” instead of the usual “oh yeah that’s just Amy being Amy”, and it’s very satisfying!  Archie has called her out on it once before, but he’s the only one – her partners are so used to it that most of the time they don’t even realize what she’s doing because to them it’s just part of her personality and Jughead has generally hesitated to comment on it because he worries about pushing her away.  As a writer it’s been a bit frustrating to see how much no one seems to realize how self destructive Amy is, so it’s very satisfying to finally get to address it! 

7. Amy & Fangs relationship

So much of the story so far has been very focused on Amy & Sweet Pea, Amy & Jughead, and the poly squad, with a moderate amount of Amy & Toni, but Amy & Fangs hasn’t gotten a lot of exploration so far.  Amy and Toni also explored a lot in this chapter but it’s very much for the worse as Toni begins to prioritize Cheryl over the other Serpents.  Amy and Fangs, on the other hand, have much more positive development and we really get to see them being best friends in one-on-one situations, as well as Fangs being the one who can actually handle Amy’s extreme emotions.  I’ve always had it in my head that they’re sort of two sides of the same traumatized coin, and that Fangs understands Amy better than the others (in part due to his own trauma and in part because Amy, Toni, and Sweet Pea are all just very strong and very stubborn personalities and it tends to be a bit of a 50/50 on whether they’ll actually help each other or just set each other off) and I’m really glad that I finally get to start putting that into the story

8. Amy & Fred!!

I stan one father-daughter duo and that is it.  Granted, Amy has only called Fred her dad as a political move (usually against Hiram) and once in the immediate aftermath of being arrested and severely injured, and is just emotionally not prepared to call him “dad”, but Fred is absolutely his father and absolutely adores his chaotic mess of a daughter!  They’ve had some good scenes throughout the fic but Amy is reluctant to spend too much time around Fred because she’s terrified that one day he’s going to reach his limit and decide that he doesn’t want her anymore, so I haven’t gotten to write them nearly as often as I’d like.  But finally we get to see them interact again, and Amy finally gets the love and support that she deserves and we get a bit of backstory on Amy’s childhood post adoption!  

9. Malachai is finally back

Look, I know that I say this about every dynamic, but Amy & Malachai is very genuinely my favourite dynamic in the entire Wayward universe!  I’m super proud of my personal Malachai in general (as @lorettastwilight and I like to put it, Wayward daughter has “Mal” and Riverdale has “Malachai”) but his relationship with Amy is my absolute favourite thing.  It’s really hard to work him into the story sometimes, in part because talking to Malachai would solve all of Amy’s problems in like 20 seconds, but now there’s finally a chance to do it!  I haven’t actually written it yet, it comes right after the scene I’m currently working on, but Amy is a lot more open with Malachai than she is with anyone else, and I love it!  It’s also a lot of fun to write because it combines vulnerable!Amy, who looks at Mal and sees safety and sees the man who had a completely blackout drunk teenager proposition him and not only turned her down but protected her from anyone who might have tried to take advantage of her, with Serpent Queen!Amy who is political and cutthroat and sees Malachai as as the Ghoulie King and as possibly the only person in town as calculating as she is, and it creates a dichotomy that I really love to explore!  And even though only one other person actually knows their backstory, I’m extremely proud of it and it’s really fun to explore how to build that into their dynamic without ever actually acknowledging it 

10. FIFI THE GIRAFFE

No offence to literally any other character, but Fifi The Giraffe is the absolute best part of the entire Wayward Universe, and I finally get to introduce her to the story!  Not only does introducing Fifi make me happy because Fifi is just like, the best, but it also gives me a chance to really focus on the fact that Amy is fifteen and still a child even though she never shows it around other people, and to get to explore a bit more of nine year old Amy immediately post adoption, and her relationship with Fred and Archie!  Both of those are things that I’ve wanted to explore for a long time but that have never really worked with individual chapter arcs or with the pacing of the larger season arc, so now that I can finally write that, I’m really excited to share it with everyone!

I know this turned into a really long essay and I’m so sorry about that, but thank you again so much for sending me this ask!!! (and you’re totally right, this got me super hyped to get back into the chapter!!)

PS: please enjoy this gif of Amy, Archie, and Fifi!

[jeremys-blogs]

My 10 Comfort Films

Movies have been a big part of my life for as far back as I can remember. And like any movie-lover, there are some I'll be more inclined to watch than others. Not my absolute favourites or the ones I think of as "the best movies ever" necessarily, but ones I'll always come back to when I have a free afternoon to watch them. And those are the ones I want to list out here. Films that might not be the objective best of their respective fields and franchises, but ones that I just always enjoy watching whenever they're on my screen.

The Isle of Dogs (2018) - Now, I realise that the visual style championed by Wes Anderson (lots of symmetrical shots, characters looking directly into the camera, and so on) can be a bit of an acquired taste, but it definitely works for an animated outing like this one. A story of a bunch of dogs living and trying to survive on an island covered in trash doesn't admittedly sound like the most appealing of movies, but let it never be said that Wes can't make film look good. Voice talent like Brian Cranston and Bill Murray help provide a deadpan style of humour that, while certainly not to everyone's liking, had me hooked from moment one. And of course, as someone who grew up with stop-motion animation, it's always nice to see someone try to keep that style alive, and yes kudos also has to be given to Laika for that. Anderson has only done one other animated work, Fantastic Mr Fox, and between them this is definitely my favourite. I have no idea if he'll ever return to animation, but I have a good feeling it'll be great when he does, because as unpolished as this might sometimes appear, it's nevertheless a great watch.

Porco Rosso (1992) - I may have watched a good number of other anime films in my day, but few have ever managed to match the enjoyment given to me by the movies of Studio Ghibli, and especially not against those of Hayao Miyazaki himself. In fact, I'll even go on record now and say that he might be my all-time favourite filmmaker, since he's never made a movie I didn't like, which I've never been able to say about anyone else. Porco Rosso might not have the kind of deep characters and story of Princess Mononoke, and it might not be anywhere near the sheer visual brilliance of Spirited Away, but it nevertheless engages me deeply whenever I watch it. Of all Miyazaki's films, this might have the fewest fantastical elements to it, with the only real bit of other-worldliness being that the main character is under a curse that turns him into a pig, but never let that lead you to think this doesn't have Miyazaki's signature whimsy all over it. Porco is often an overlooked and under-appreciated movie when compared to Miyazaki's other films, but as far as I'm concerned it deserves to stand alongside even the best of them.

Hercules (1997) - The Disney Renaissance is often lauded for its critically and commercially successful films, and rightfully so. From classics like Little Mermaid to Aladdin, this ten-year stretch of Disney's history has a lot to be pleased about. So it might seem odd that my personal pick from this era is the film often regarded as one of its lesser entries. And I'll grant you, compared to revolutionary films like Little Mermaid, this might not seem particularly special. But it still has a lot to enjoy, especially by me. Yes, the mythology buff in me does indeed wince whenever I see some inaccuracy, but the sheer joy I feel at watching Hercules always negates that. And of course, who could forget one of the most enjoyable villains ever to grace a Disney production, courtesy of the great James Woods. But don't think the movie is carried by him alone, as plenty of the other cast, including Susan Egan and Danny DeVito in particular, do great and making this a fun ride. Between the animation, the voice work, the often-catchy musical numbers and the simple pleasure this film offers, Disney's Hercules proves that it is indeed a hero, and not a zero.

Toy Story 4 (2019) - Toy Story was a groundbreaking movie that kicked down the door for the success of all future computer-animated films. Toy Story 2 was a more-than-worthy addition to the ultra-exclusive club of sequels that were better than the original. Toy Story 3 was a poignant and heartfelt goodbye to a franchise and cast of characters that we had come to know and love over the years. Let's not mince words here, people. Being tasked with creating another sequel in a franchise that had been capped off almost a decade earlier in a way that led many to calling it one of the greatest trilogies of all time must have been an exceptionally daunting prospect. But let it never be said that Pixar can't rise to the challenge when one is presented to them, as Toy Story 4 is a hugely engaging and entertaining flick. Is it as good as those that came before? Well, it's certainly not pushing any boundaries like they did, with the exception of the clear advances in animation that have been made, but even wit that taken into account, it's just a nice film to watch. The farewell given to us here might not have brought a tear to my eye the way the third movie did, but I'd still be happy to have this be the final word on the Toy Story theatrical releases.

The Avengers (2012) - Like everyone, I had been watching and enjoying many of the MCU movies that had been coming up in the years leading up to this big crossover, and like those other people I too had been learning about the eventual team-up through all the various end-credits scenes Marvel had become so famous for. But whether the eventual film would be good was still up in the air. I certainly hoped it'd be entertaining, but I also didn't want to get too hopeful, just in case. Thankfully, Marvel met my expectations and smashed through them, delivering what is, quite possibly, my all-time favourite superhero film. The idea of comic book continuity and crossovers working in a live-action movie had been thought of as almost a laughable notion, but Marvel proved those naysayers wrong in the biggest way possible, showing that not only were these movies capable of being good when all these disparate characters got together, but that they thrived while doing so. Avengers was the first of these big team-ups, and in my eyes it has remained the gold standard. Other entries like Age of Ultron or Infinity War all had their value, but to me nothing will ever quite measure up to this first meeting of such iconic and wonderful characters.

Star Trek Beyond (2016) - I'll be upfront, I wasn't a big fan of the 2009 reboot of the Star Trek franchise, nor was I particularly fond of its 2013 sequel, Into Darkness. For me the movies were just trying too hard to be serious and heavy, and while I fully acknowledge that the Trek fandom has a lot of people who enjoy the more gritty directions the franchise has gone in, I cannot count myself among them. Beyond, by contrast, actually seems like it wants to just be a fun ride, which is something I appreciate a great deal. This is not, in any way, a deep or complicated movie. In fact, when you get right down to it, what we have here is just an episode of the original Trek show just blown up to feature length with some modern-day visuals and cast. But you know, that's okay by me, as the end result was hugely enjoyable. Pine and the rest of the cast, in terms of their acting, seem far more comfortable here than they were with the other films of the trilogy, and special mention has to go to Zachary Quinto as Spock, who was able to perfectly balance not only the character's famous stoicism, but also the moments of drama and humour the role called for. This is not the greatest Star Trek movie ever made, but it's one I enjoy more than anything else in the franchise.

Star Wars: The Force Awakens (2015) - A common trend with me as far as Star Wars trilogies are concerned is that the first movie in that grouping will always be the one I enjoy watching most, and it seems that pattern continued with the release of Disney's foray into the franchise. Force Awakens is often maligned as being too similar to the original 1977 film, and while I can certainly see those similarities, that isn't anywhere near enough of a reason for me to dislike it. New characters like Rey, Finn and BB-8 were instantly endearing to me and I always enjoyed seeing the three of them together and working off one another. Harrison Ford's return was welcome and he definitely gave it his all, though Carrie Fisher was no slouch either. There's nothing especially revolutionary about this movie, and really the only thing that gets it on this list is just pure likeability. But as far as I'm concerned, that's all a movie needs. Abrams has a noted talent when it comes to recreating the look of sci-fi movies of past decades, and that talent is on full display here, as the movie looks right at home with every other Star Wars story out there. Disney's other films in this trilogy might not have brought me as much joy, but I'll always have this one to pick me up again.

Shin Godzilla (2016) - Okay, given that this is a list of movies I like to just watch while chilling, Shin Godzilla probably seems like an odd pick. I've talked about it before and mentioned repeatedly how it's probably the most serious and unhappy Godzilla film to date. So why go for this instead of something more exciting like King of the Monsters? Well, it's hard to put into words, but there's just something about this movie that draws me to it. It's one I respect certainly, owing largely to its goal of recreating everything that made the original Gojira movie great but putting it in a modern setting, but besides that there's just a quality that I can't put my finger on. Maybe it's the fact that, despite my previously-mentioned dislike of movies trying to be serious, this is one of the rare examples of that seriousness actually fitting the kind of film I'm watching. It's a movie of Godzilla at his most dangerous, horrific and nightmarish, and whose great terror is thwarted only by the collective efforts of a group of political, scientific and military misfits, yet I'm on the edge of my seat unable to look away throughout the whole thing. No idea if that rumoured sequel will ever come to pass, but I can only hope it's as engrossing as this one was.

Legend (1985) - By far the oldest movie you'll find on this list, this gem of a story by famed director Ridley Scott is a fairy tale of a young woodland boy hoping to rescue his fair love from a wicked demon. Now that sounds about as generic a fantasy story as you can make, and in truth the movie is more interested in creating as unique visual portrayal of that classic setup than it is in revolutionizing or pushing it in any way. But what a visual spectacle it is. It's really hard to put into words just what it's like to watch this movie, and most of the time it feel like you're watching some feature-length dream sequence. That certainly makes it an oddity among other fantasy flicks of its era, but "classic fairy tale executed perfectly" is a pretty good reason to love it. Thankfully, it also has some great performances to help bring that whole thing to life, with the star-making turn of course being that of the great Tim Curry as the movie's central antagonist. If there's a list of great movie fantasy villains out there, Curry's character absolutely deserves to be on it, and chances are he'll be the thing you end up remembering most if you ever decide to watch this yourselves.

Demolition Man (1993) - I'm admittedly not a big watcher of the big, muscly action flicks that dominated the 80s and 90s, but this one actually caught my interest a few years back. A film that, while certainly showing off some pretty intense fight scenes, also had a lot of smart things to say. Ideas that you didn't normally see in beefcake action titles, like the importance of the balance between personal freedom and the collective good. A society where murder has been eradicated, but at the cost of many of the things we know and love today. It might not be the best at that particular discussion, but it's certainly something to note given that I don't normally consider this particular genre to be the place to think about it. But of course the big draw is the two leads, Stallone and Snipes, and yeah they are definitely having fun in their roles. Stallone is a far better actor than most people give him credit for, and this is definitely a role I enjoyed watching him in, especially since they actually allow him to be occasionally funny. Any action movie that remembers that you need to tell a joke every once in a while has my respect, and it's just one more thing about this fine move to like.

So yeah, those are my regular comfort movies. Some odd choices maybe, but hey, I like what I like 🥰

[joeys-piano]

odazai :3c or if you've already been asked for it, then dazatsu!

I only have enough energy to do the Odazai one, Luka~ Since this ask is pretty long (nearly 4k!), here’s the gist if you’re unable to read the full version at this time:

Far from being a perfect couple, what’s emotionally intimate and personal about Dazai and Oda’s relationship is that despite their differences and their faults, they make strides in understanding each other and in recognizing each other’s boundaries. It’s not always perfect, there are mishaps and mistakes along the way, and certain things are a rather sore subject to them both. But something admirable and important to take away from this is that Dazai and Oda make an effort to listen to each other, to understand the undercurrent of tension and stress that lapses between them at times, and they’re both gradually moving forward with what they have learned and that adds vitality and strength to their relationship.

Send Me A Ship, And I’ll Tell You…

who is more likely to hurt the other?While it would seem contrary and even OOC for me to say this, I believe that Oda would be more likely to hurt Dazai. Before you stab me for my hearsay, let me explain.  The term “hurt” can be used as an umbrella term for different types of pain: physical, emotional, mental, etc… Oda wouldn’t physically or mentally hurt Dazai. He has no reason to, and it’s not in his nature to lash out in those ways. The only pain that Oda ever dealt to Dazai was emotional.

We see this towards the end of the Dark Era arc when Oda bids his final farewell to his children before confronting Gide. In the silence of that moment, with desperation rising in his throat, we watch and listen as Dazai asks – no, pleads – for Oda to think this over and find something else to live for. For the first time, the demonic mask of the Port Mafia Executive falls. Left behind and hardly unscathed is the face of a child, of a young man who had nothing to live for but is desperately clinging onto the one person that his world wouldn’t be the same without. Despite all of this, despite this probably being the first time Dazai has ever broken from his usual composure, Oda tells him that he can’t do that.

To Oda, if he was to go back on this, his children would’ve died for nothing. Their deaths would forever haunt him if he couldn’t avenge for them, himself. What’s even more emotionally painful about this scene is that this is one of the few, poignant moments where Oda doesn’t yield to Dazai’s words. It’s hard to put up a nonchalant front and casually go along with what your friend is saying when you’ve lost some of the most important people in your world. With that established and mutually understood, Oda leaves behind a gaping hole within Dazai’s heart before departing from the scene.

But even if we forget that canon exists and we’re lawlessly frolicking through the land of AU, I still stand by the idea that Oda is more likely to emotionally hurt Dazai. Not in a sense where there’s a lack of respect or trust in the relationship, not in a sense where everything’s on the rocks and hearts are on edge, but in the sense of honesty. Of the duo, Oda is more of an honest man and Dazai knows this. So when Oda says something, the weight behind his words is even heavier because there’s no hidden agenda to obscure anything. Oda means what he says. So sometimes, whether intentional or not, what he says hurts.

Dazai isn’t someone who’d flourish his heart at his sleeve. Or in other words, he’d rarely admit if he was hurt by something Oda had said. I’d imagine that Dazai would take Oda’s words into consideration and resolve to do better if disappointment is what’s lingering in the air. Having known him for a considerable amount of time, Oda would notice the slight shift in Dazai’s words and body language and realize that he had hurt him.

who is emotionally stronger?At a first glance, it seems 50/50. Oda and Dazai both possess an incredible amount of resilience and resolve, so I have no idea who would be emotionally stronger than the other! I’d say that they’re both equals when it comes to this^^

who is physically stronger?At first glance, you’d think it’s Oda. Former-assassin, former glorified handyman of the Port Mafia, and probably dragged a very drunk-off-his-ass Dazai from the Bar Lupin after a long Friday night…

This question ultimately depends on what you mean by physical strength. If we’re talking about endurance and physical prowess, I’d say that Oda has the upperhand in that department. If we’re talking about endurance in regards to physical pain and taking into account the body’s rate of healing after being afflicted by a series of injuries, Dazai wins in that department. They’re both physically stronger than the other in different ways.

who is more likely to break a bone? Dazai has probably broken as many bones in his body as there are stars in the sky.

who knows best what to say to upset the other?Dazai. Sometimes, whether he means well or not, he knows exactly what to say to garner a rise from Oda. Sometimes it’s through a careless phrase or a careless set of words, sometimes it’s through an overly elaborate explanation when only a word or two would suffice or sometimes, Dazai drifts a little too far and Oda is reeling him back. Oda is a writer, after all. He can decipher many of the nuances behind Dazai’s words.

who is most likely to apologise first after an argument?Dazai is aware when he takes an argument too far, so I could see him being the first to apologize. There are moments where he’ll fixate on a little thing and an argument escalates as a result of that fixation. Oda would’ve grown tired of it and would try to move on, but Dazai would reel the topic back into the foreground of the conversation until A] Oda tells Dazai that he needs some time to himself or B] Oda may have to raise his voice so Dazai would know that he doesn’t want to continue the conversation anymore.

Dazai never realized he had a habit of fixating on certain things in conversations until he saw how upset Oda was during one of its first occurrences. Before Oda could apologize for raising his voice, an air of exasperation at his tongue, Dazai apologized first. He’d apologize for not paying attention to Oda’s boundaries, for pushing Oda beyond his comfort zone, and for ignoring his repeated asks/requests to change the topic of conversation. Dazai initially ignored these things because this is the same tactic he’d used to whittle information out from traitors, criminals, and hostages that had found their way into one of the Port Mafia’s interrogation rooms. He didn’t think that old tactic would emerge in his and Oda’s relationship, but now he knows.

who treats who’s wounds more often? Oda is one of the very few people that Dazai trusts enough for this job. Dazai is intimately aware of how vulnerable he is while his wounds are getting treated, and he trusts Oda enough to know that the man won’t stab him while he’s getting stitches or rubbing ointment over his bruises.

who is in constant need of comfort? Having forsaken his humanity while living under the Port Mafia’s name, there are moments where Dazai reaches out for Oda and cuddles into the man’s arms. Because within that moment, while surrounded by Oda’s warm and tight embrace, Dazai feels a little more human. He feels like he’s able to continue on this path of being a good person, a person striving towards the light. He feels a little safer, able to let down his guard and simply be himself. He feels whole, even though he’s a few cracks away from falling apart. Oda is the embodiment of Dazai’s strength, so Dazai snuggles against him to regain that strength.

who gets more jealous? I can see slight shades of this from both of them. Where for Oda, the jealousy manifests as a want to protect Dazai from others that might be using him for their own good or for worse. And for Dazai, the jealousy manifests like a calm before a storm when he quietly confronts someone on what their intentions are with Oda. Jealousy, especially when in regards to love, isn’t an emotion that I write about often so I’m not sure how to answer this^^

who’s most likely to walk out on the other? Dazai. Not because he wants to, but because it’ll protect Oda and the world that Oda believes in. 

who will propose? It is a truth universally acknowledged, that a man with everything to live for would want to share that everything with the man he has longed for. For someone as exquisite and as eccentric as Dazai, marrying him in a church was one of the last things on Oda’s mind. But to marry him like this, with Life and Death as their sole witnesses, perhaps it wasn’t a strange idea after all. In a beautiful yet peculiar way, it made sense to die together in order to live together.

So after an unsuccessful attempt at leaping from a bridge and falling into a river, while Dazai fished him from the edge of the embankment and congratulated him for surviving his first suicide attempt, Oda proposed right then and there. When Dazai reached out his hand, Oda clasped a wet engagement ring against his palm and asked if Dazai would marry him. The only sound that registers to Oda’s ears are the quick, short breaths that unfurl from Dazai when he realizes what the latter has just asked. He mumbles quietly, more to himself than to anyone else, that he’d only bring Oda trouble. Without missing a beat, Oda replies that in loving someone for who they are, to know their flaws and love them too, was an honest kind of love. That’s how Oda described his love for Dazai, and Dazai just stares at him before a smile threatens to break his expression.

who has the most difficult parents?Considering I know nothing about their family history, I can’t answer this question with confidence! If I were to guess, I’d say Dazai.

who initiates hand-holding when they’re out in public? During the soft lulls where they’re walking together, occasionally brushing hands because they’re walking so closely to one another, Oda reaches out for Dazai and Dazai intertwines their fingers together. They fit so naturally, hand in hand, as if there’s nowhere else that their hands could be.

who comes up for the other all the time? I don’t know what this question means.

who hogs the blankets? Occasionally, but more often than Oda could count, he’d sleepily climb into bed and discover that all the blankets are gone. The fleece, the cotton, the synthetic wool, the heater-blanket that Dazai has cherished during the past four years of their relationship, and the thin sheet that Oda often drapes under because his body overheats at night are gone. Disappeared. Vanished, like they were never here. Patting his hands around the bed, eyes still closed and heavy with sleep, Oda tries to figure out where everything had gone. Eventually, his hands meander from his side to the bed to Dazai’s. Where his fingers thread through Dazai’s hair, where his palm lightly taps Dazai’s snuggled cheek, and….where Oda’s hands discover a large and fluffy blanket cocoon where Dazai’s body should be.

It takes about fifteen seconds before Oda feels like he has enough energy to open his eyes, and what he sees makes him wonder if he’s dreaming. Dazai had wrapped all of the blankets around himself, and he’s currently snugged like a burrito on his side of the bed. If the light snoring is of any indication, Dazai is fast-asleep and has already drifted off to La La Land. Sinking into the bed slowly, Oda carefully rolls onto this side and tries to peel the cocoon off from his husband. He knows that Dazai gets cold at night, but this is rather extreme. Especially since the heater-blanket is so closely snugged to Dazai, Oda fears that his beloved will be dead by the next morning because of overheating.

One measly inch at a time, pausing every now and then when Dazai moves or wiggles around, Oda takes his time as he slowly unravels the cocoon. With each layer that he manages to peel off, Oda can discern a sweet smell. It’s faint, almost like the vanilla body wash that’s in the shower right now, and Oda can find the smell on the sheets and it’s even stronger with every blanket-layer he manages to pull off from Dazai. Ah, Dazai must’ve fallen asleep as soon when he got out from the shower. Probably cold from the lack of steam around him, it would’ve prompted him to fashion this blanket cocoon. It all made sense now. The last blanket-layer, the heated-blanket, remained untouched as Oda gathered the rest of the cocoon and lazily dispersed the layers around the bed. Draped under his thin sheet, now secure and slightly protected from the cold, Oda can finally sleep.

But oh, he’s roused from his slumber and it’s barely been five minutes! As he opens his eyes, Oda realizes that he’s slowly being turned. Somewhere in the midst of sleep, Dazai had instinctively reached out for Oda and is currently tangled yet snuggled under the man’s arms and legs. It was as if Dazai could sense that his blanket cocoon had been destroyed, so he carefully crafted another. Where instead of reaching out for the sheets, Dazai reached out for the warmest thing in the vicinity. So that’s how a very toasty Dazai and a very sleepy Oda would fall asleep on most nights. Where Dazai is secured, warm, and affectionately cuddled while Oda tenderly embraces him and feels a little colder when Dazai steals his thin blanket and is too tired to fish for it again.

who gets more sad? Sadness isn’t the only thing that lingers when Dazai is upset, but frustration crackles like a fire if he’s left to his own devices. Maybe sadness and frustration aren’t the only feelings, caged within his heart. Perhaps, there’s a note of exhaustion that unfurls as a whisper because Dazai keeps it to himself.

Sometimes, there are moments where he doesn’t have the energy to be a good person. Sometimes, he feels less inclined to help others and wishes for them to figure out what they need to do instead. Sometimes, it really bothers him how others have a much easier time of being a good person while this is something that Dazai still struggles with. Two, four, six years down the line. He’s tired, emotionally and mentally drained. Unable to put up his usual antics at the office and is aware of Kunikida and Atsushi are staring at him, brows knitted with concern. Dazai leaves the agency early that day and when he gets home, he’s writhed with shame and disappointment with how he’s been acting.

When he left the Port Mafia with Oda, he knew it’d be hard. He knew he’d struggle with being a good person, he knew he’d have to persevere and push through whatever he was dealing with, and…Dazai’s thoughts are interrupted when the front door opens and Oda is watching him with a peculiar glint in his eyes.

The door had been unlocked, but no one was coming inside. That was why Oda opened the door, concerned that something must’ve happened. And he looks at Dazai and sees the weariness in his eyes, Oda takes Dazai by the hand and slowly leads him to the kitchen where he can sit down. Dazai is so stiff that he’s unable to ease into his seat, even with the helpful coax of Oda’s hands at his shoulders. A series of tight, worrying knots are hitched at Dazai’s back so Oda massages the aches with a delicate touch.

During moments like this, Oda knows better than to ask Dazai of what’s bothering him. During moments like this, Oda’s first priority is for Dazai to feel comfortable. And then after that, they can work through and talk about whatever is on Dazai’s mind. Oda gives Dazai a choice on when he wants to talk about these things and tries his best not to urge Dazai to speak if the latter doesn’t feel like speaking. By taking things at a slower, more flexible pace, Oda knows that Dazai will be more honest with him when they’re finally speaking. He knows that Dazai won’t be hiding anything from him, and he knows that Dazai won’t be putting up a front to seem strong in Oda’s eyes.

After about an hour, after an early dinner, after a warm and lazy bath where Dazai messed with a rubber duck while Oda shampooed his hair, and after spending nearly the entire evening snuggled at Oda’s side while the latter is reading a book of poetry, Dazai finally speaks. His voice is quiet, his words are murmured into Oda’s skin, but Oda listens to him. He closes the book of poetry and gives Dazai his full, undivided attention as Dazai whispers what’s been bothering him. He confesses his fears, his worries, and everything in between while Oda rubs small circles along his back.

After hearing Dazai’s concerns, Oda talks to him. This is one of those rare and few moments where Oda speaks a lot more than he usually does while Dazai is quietly listening. Giving advice isn’t one of Oda’s strongest points, so he talks from his own experience and how he kind of figured out that being a good person is more than just being good. You can still be a good person, even if you have bad thoughts or impulses at times. You can still be and become a good person, even if your past wasn’t grounded in a good place. Oda tells Dazai that sometimes being a good person involves struggling through, working against, or even despite these things. That Dazai isn’t any less of a good person because he has to work a lot harder than others, but that he’s grown into a stronger and more self-aware person that recognizes where pitfalls are and consciously makes the choice to do more good rather than harm.

Despite being a writer, sometimes words aren’t Oda’s strongest points. He hopes that what he said helped Dazai, even if it was a little bit. Because in truth, Oda’s still trying to figure this out for himself. He’s been through whatever Dazai’s feeling right now, he’s thought the same thoughts, and felt the same frustrations that would leave him out of it for weeks. During those times, what helped Oda the most was having Dazai with him and having someone to talk to. During moments like this, Oda wants to be there for Dazai even if he isn’t quite sure of what to do. But the effort and company sure helps.

who is better at cheering the other up? Considering the above, I think it’s Oda.

who’s the one that playfully slaps the other all the time after they make silly jokes?A glass or two of whisky has been dropped on multiple occasions because Dazai doesn’t know his own strength when he playfully slaps Oda on the shoulder. The two would be joking about something and Dazai would tell the corniest, worst joke in the history of all jokes. And while he’s laughing his butt off, his hand starts flying and makes an impact with Oda’s shoulder. After a few times, the couple has agreed to an unspoken rule that jokes should be reserved at home. Where the cups are made of plastic, where the alcohol is much cheaper, and where there isn’t a bartender to apologize to whenever a portion of whisky goes flying across the bar.

who is more streetwise?Dazai without a doubt. He knows where all the local gangs are and used to antagonize them when he was younger, more brash, and more trigger-happy with a gun. Since joining the ADA, he has mellowed out and has used his street knowledge to aid the agency when they’re busting arson loots and drug trades.

who is more wise?Dazai has more wisdom when it comes to life, death, and the role of violence when the opportunity is in one’s hands. Oda has more wisdom when it comes to experience, philosophy, and the role a person takes if they’re wanting to reform their life. It really depends on what kind of wisdom you’re talking about.

who’s the shyest? People would say that Oda’s the shyest out of the couple because he’s quiet, he doesn’t speak very much, and he isn’t one for rowdy environments. They would say he’s shy because most of his activities are very introverted (writing, reading, preferring home rather than going outside, etc…) People would often say that if it wasn’t for Dazai, it’d be a wonder if anyone would notice Oda at all. While these assumptions have some truth to their foundations, anyone that knows Oda knows that he isn’t shy.

Oda’s quiet because he’s observing the world, the people, and the environment around him and acts accordingly depending on that observation. He doesn’t speak very much because often, he doesn’t need to speak at all. Or if he does want to speak, he’s carefully choosing his words and deliberates if what he wants to say makes sense, if what he says is polite, and if what he says is meaningful/necessary to the discussion. His activities are rather introverted because he’s a writer. He spends his days at home, working on his manuscript or reading a good book to entice his imagination, and it’s pretty hard to write on the go when you can’t control the weather or the people around you. Oda’s quiet and stoic nature is one of the first things that distinguishes him from a crowd, and people are often drawn to him because there’s this mysterious allure and atmosphere surrounding him. Were it not for Dazai, it’d be a wonder if anyone would talk to Oda at all.

But when the world sees that this dashing young fellow, tackling Oda into a surprise hug, all of the people can breathe a little sigh for Oda’s not as intimidating as he looks.

who boasts about the other more? If Kunikida had a notebook for every moment Dazai talked about Oda, he’d be drowning in a lot of notebooks. Without fail, Dazai would boast about a lot of Oda’s accomplishments. No matter if they’re big or small. Since Oda rarely goes out because he’s working on his manuscript, Dazai takes it as his duty to remind the world of what a good, sweet, caring, and hardworking person his husband is. In which Kunikida will argue how such a good husband married a slacker like Dazai. And in turn, Dazai will have a hand at his chest and dramatically accuse Kunikida of such slander! They would be at each other’s throats were it not for Oda, calling in at the right moment to calm Dazai down and to apologize to Kunikida on behalf of his husband’s behavior.

who sits on whose lap?The simple answer is that they take turns. Dazai sits on Oda’s lap during soft, calm moments where they’re both reading or watching the TV. Oda sits on Dazai’s lap when the latter wants a good cuddle session and claims that he has an easier time when Oda’s on his lap.

[cdyssey]

Hadestown (7/14/19), Act II

The second half of my thoughts and incoherent rambling from Hadestown! Act I is here.

“Our Lady of the Underground” —

A.K.A. Again, and I cannot stress this enough, but Amber Gray is the love of my life.

She comes out with a flask in her hand, which she surreptitiously sticks into her bra, so she can dance, lololol.

Her energy and vitality are just so infectious. When she smiles, you can't help but smile. When she start giving shout-outs to the musicians, the rumble of pride in her voice echoes throughout Walter Kerr. 

Hermes escorts her at the beginning of the song and then stands off to the side as she sings. He eventually gives her her bouquet of flowers, and she gives him her flask.

“There’s a crack in the WALLLLLLLLLLLLL.” She lifts her flowers into the air as bright [sun]light shines down upon her. It’s an amazing, joyous moment.

“She’s right here waiting in my pay-per-view.” Smirking, Persephone taps her noggin.

“What the boss don’t know, the boss won’t mind.” Having retrieved her flask again, she takes a sip. I got major Prohibition vibes from this line, which is to say that as far as Persephone’s character development goes, you get the sense that she’s ready to rebel against her husband to help our heroes. It’s a big leap from Orpheus’s line about how Persephone is drowning in wine and oblivion.

“Way Down Hadestown (Reprise)” —

OH, this song. THIS SONG MADE ME WEEPY.

So in this one, Eurydice comes out of Hades’s office dressed in worker clothes. She watches in horror as the company workers toil around her, repeating the refrain, “Keep your head low.”

The dichotomy between Persephone looking up at the “crack in the wall,” and the workers keeping their heads low in order to avoid trouble is incredible. Their spirits have been entirely broken, and Eurydice is up next.

She tries to get the workers to acknowledge her, but the Fates mock her for the futility of the action. They’re obviously taking glee at Eurydice’s situation.

Another incredible dichotomy: the jauntiness of “Way Down Hadestown,” which Eurydice once smiled at, and the sinister spin the reprise puts on the chorus. Hermes and Persephone did try to warn her after all.

“Hades laid his hands on you and gave you everlasting life.” HOO BOY—this subversion of religious language was INCREDIBLE.

“Flowers” —

;-;

In “Flowers,” all of the workers except for Eurydice are collapsed on the ground, exhausted and dead to the world. She’s on floor as well, the lone figure lit by light.

“I remember someone / Someone by my side / Turned his face to mine / And then I turned away.” Okay, after I stopped tearing up over these lines, I immediately started tearing up again when I realized that Eurydice doesn’t remember Orpheus’s name.

She doesn’t even know her own.

“Papers” / “Nothing Changes” / “If It’s True”

“Papers” is Hades confronting Orpheus about sneaking into Hadestown. 

When Persephone tries to vouch for Orpheus and Hades tell her, “You stay out of this,” Patrick doesn’t say it as softly as he does on the OBC—he practically yells it at her, and she flinches into silence.

ALSO, GOD, Patrick’s EVIL ENERGY is wiiiiiiild in this one. I love him????

In the “Papers (Instrumental), Hades directs the workers to attack Orpheus, and they, like, beat him up. This is the scene where Timothy lifts him!!

At the end of “Papers,” Orpheus is collapsed on the ground holding his side. He stays like this through “Nothing Changes.”

“Nothing Changes” reminds me of how much the Fates sound like a choir. I love them.

Plot wise, it’s them sowing the first seeds of doubt and defeat into Orpheus’s head. While he initially overcomes their temptations, I think he’s never fully able to shake them away after this, a struggle which carries into “If It’s True.”

Ugh, another song I wish I had the OBC track to listen to for reference, but this one is largely Orpheus’s doubt and idealism warring against each other. If it’s true what the Fates and Hades are saying, he wants to leave, but he’s also not entirely ready to give up. I think this is also the one where he and Eurydice start to rouse the workers’ spirits, showing them that there is hope.

“How Long” —

I love “How Long” so, so much. It might be a contender for my favorite. 

Incredible and moving and vulnerable and tragic. Hades is. Persephone is. They are.

For large parts of the song, they stand on opposite sides of the elevator, which has been lowered so it looks like a pit, a chasm—obviously symbolic of the breach that divides them.

Again, for almost the entire song, Hades never takes his eyes off Persephone, while Persephone turns her head away from him after she’s done singing her verses. I’m so tender for them.

When Hades sings, the lighting changes into a fiery amber, while when Persephone sings, the lighting dulls to a cool blue. It’s an interesting dichotomy. Hades’s makes sense because of his anger and general association with the color red, but I took the blue to symbolize Persephone’s deep sadness. It seeps from her; it pervades the stage.

Lively and joyful she may be most of the time, but deep down on the inside, Persephone is sad.

At one point, they both make it to front stage and stand side by side. Watch their shadows on the floor at this point. It’s a marvelous effect. (Also, watch the shadows on the walls and floor in general! The workers circling the platform in “Chant” especially comes to mind. The lighting in this show is INSANE.)

When they share their final verse, half of the stage is orange, and the other half is blue.

I was emo, y’all.

“Chant” (Reprise) —

In “Chant II,” Hades realizes that Orpheus is rallying his workers. He pulls a lever or something, which signals that they should get back to work, and they do for a couple of “Keep your head lows” until they go into the new refrain of asking why people turn their backs on each other. 

GOD, what a joyous change. Orpheus and Eurydice’s light has given them the courage to question the system for themselves. “Why do we build a wall and then call it freedom?”

Hades grows increasingly angry throughout the reprise. You get the feeling that he’s losing control of his kingdom, and he not only knows it but fears it. He’s frantically trying to grasp onto whatever some semblance of authority he has left.

The thesis of this song is just powerful. If we raise our voices and raise our heads, we can effect change.

“I CONDUCT THE ELECTRIC CITY.” First of all, I LOVE PATRICK PAGE, AND HE ABSOLUTELY DID NOT HAVE TO GO THIS HARD, BUT HE DID BECAUSE HE’S AMAZING, AND DID I MENTION THAT I LOVE HIM??? Secondly, when he sings this line, the lights flash bright before flickering out for a couple of seconds.

While he’s counting down (1... 2... 3...), he angrily stomps down the staircase and crosses over to the side of the stage where Hermes gives him a barstool. He takes it and slams it on the ground to wait for “Epic III.”

“Epic III” —

Not 2 belabor the point, but this entire damn musical made me an emotional wreck, and “Epic III” was no exception. It was a religious experience, at once both simple and sublime.

Right before it starts, Hades slowly snaps his fingers twice in expectation.

Hades doesn't really react to the song until the moment Orpheus sings his first “la, la, las.” At those, he immediately gets up and crosses over to Orpheus, shocked and enraged, fully intending to interrupt him: “Where did you get(?) that melody?” Persephone stops him before he can do anything and implores him to let Orpheus finish.

Of course, he recognizes the melody because it used to be his and Persephone’s once upon a time.

(Hgjkahgjkskjnksjfkjhkashfkj—I was tender.)

Orpheus falters after the interruption, but Hermes, placing a hand on his shoulder, encourages him to keep going.

Anyway, REEVE CARNEY DESERVED A DAMN TONY, PART TWO.

If Hades was spellbound, then the entire theater was, too. A boy and a lyre and a song—it doesn’t seem like much, but it was quite literally everything.

Right before Hades echoes Orpheus, there’s a poignant pause in which Persephone turns to fully face him—she hadn’t quite been looking at him before.

Very softly, very gently, she extends her hands to him... and as soon as they touch, Hades finds his song again: “La la la la la la la.” 

My God, I cried.

At the end of Epic III, the carnation “appears” in Hades’s hand. (Holy hell—I don’t know how he did it; it was really quite like it magically appeared.) 

Persephone wipes tears from her eyes as she holds on to her husband, as they hold on to each other.

Also, this isn’t on the soundtrack, but there’s a brief instrumental between “Epic III” and “Promises” where Hades and Persephone dance. They hold each other so tenderly. Their eyes never leave each other’s faces. The flower is in Hades’s lapel.

It honest to God made me believe in love again. 

“Promises” / “Word to the Wise” / “His Kiss, The Riot”  —

This is awful, but unfortunately, I don’t remember that much of how “Promises” was staged. ;-; I was still being emo over Hades and Persephone because “Epic III” ruined me.

While Eurydice and Orpheus sing, they stand still on the corner of the stage holding each other, her head buried in his shoulder, and his head tucked against her neck. They don’t move. They never let each other go.

Towards the end of “Promises,” Orpheus or Eurydice one convince  the other that the king will let them go now that he’s rediscovered his love again, which takes us into “Word to the Wise.”

As soon as Hades admits that he doesn’t know whether he’ll let them go, Persephone violently parts from him, repulsed that he still hasn’t made up his mind in the right direction.

Just as the Fates had teased and mocked Eurydice during “When the Chips Are Down,” they do the same to Hades here. Their impartial wickedness is so good.

“Give him a rope, and he’ll hang himself.” This advice is definitely the seed for the compromise Hades ends up giving Orpheus. Also, ooooh, fun fact: in Greek mythology, death by hanging has metaphoric resonances of extinguishing one’s voice, which, of course, is a tragedy for a poet, a singer, an artist.

And in the end, he does just as the Fates predicted, doesn’t he?

Ugh, the dark orchestration for “His Kiss, The Riot” is chilling. That accordion??? Incredible.

After the brief instrumental section, he addresses Hermes and conveys his plan to him. This is why Hermes is the one who tells Orpheus, Eurydice, and the workers what’s up in “Wait For Me (Reprise)”.

“Nothing makes a man so bold as a woman’s smile and a hand to hold.” He glances over Persephone as he sings this. 

For the most part, Hades sits on his barstool for this one; it really reminded me of a Shakespearean soliloquy!

“Wait For Me (Reprise)” / “Doubt Comes In” — 

The intro to the reprise is so heavy. Hermes is just weary. He knows what Hades is up to. “Divide and conquer is what it’s called.”

“It’s a trap.” / “It’s a trial.” Orpheus’s newfound skepticism really makes itself apparent in this one. He thinks the world’s out to get him, he doesn’t particularly trust himself or Eurydice anymore. The writing’s on the wall, and Hermes knows it better than anyone: “The dog you really gotta dread is the one that howls inside your head.”

Eurydice and Orpheus singing the “Wait For Me” chorus together is so unbelievably powerful. God, I don’t think there was a dry eye in the house through these last few songs.

“Show the way so we can see. Show the way the world could be.” The company repeats this refrain because they’re literally following Orpheus and Eurydice, too. ;-; I didn’t realize this until I saw it staged.

“Wait for me.” / “I will.” Hades and Persephone stare at each other and grasp hands. He gives her the carnation, and for the rest of the reprise, she holds it up—a small beacon of hope, a vivid pop of color against a woman clothed in black. Bye. I’m crying again.

And then, when Eurydice ends “Wait For Me”—JESSIE SLAYED THESE VERSES—you can see the hope and belief in her face as she begins to follow Orpheus. She has no doubt that he’ll lead her home.

The light shines bright on Eurydice one last time before the entire stage is plunged into darkness for “Doubt Comes In.”

The staging for “Doubt Comes In” is absolutely incredible. Wow. So there are rings on the stage that rotate—various characters utilize them for walking during songs, and they’re used to brilliant effect here.

Orpheus walks along the outer ring in the darkness; it’s so dark that you can’t see Eurydice and the workers behind him, which adds to the notion that he’s alone, entirely alone. When Eurydice or the workers sing, they’re briefly illuminated only to be plunged into the darkness once again.

Orpheus tries to comfort himself by singing his song, but the doubt and the darkness are too much, too overwhelming. He makes it to the final staircase, and the light signifying the outside is the most vivid location onstage.

When the final note rings out, he turns around, and there Eurydice is. She was there all along.

The elevator takes her back to Hadestown as Orpheus collapses to his knees.

“Road to Hell (Reprise)” / Ovation / “We Raise Our Cups” —

You know how I mentioned that Hermes’s footsteps were the only sounds audible at the beginning of “Road to Hell”? The same holds true here as he walks back onto stage, slowly and wearily. He’s sung this song before, but by the gods, as this song tells us, he’ll sing it again and again.

I never realized that they did this until I saw it live, but as the music ascends into a more hopeful mood, the cast members reset the stage, so that it’s almost exactly as it was at the beginning of the musical. They even go through the same scene of Eurydice entering from the cold and lighting her candle. (OH, and I meant to mention this in my Act I write up, but right after Eurydice descends to Hadestown in “Gone, I’m Gone,” Hermes blows her candle out. 😭)

When the cast lined up on the stage for the bows, the whole theater stood up and clapped for at least ten minutes. I was so overwhelmed with pride and love for every single performer on that stage, that I couldn’t help but tear up.

And then, Persephone and Eurydice sing “We Raise Our Cups.” Orpheus is the only one who doesn’t join in, watching silently as the entirety of Hadestown raises their cups to him.

To the world we dream about and the world we live in... this musical was a life-changing experience, and I’m so thankful that I could inhabit Orpheus’s world, even if just for a brief fraction of this eternity.

Stagedoor: —

This was my first stagedoor, and it was so much fun!! The cast was so lovely and nice and obliging.

My friend and I got a picture with Reeve; he’s really good at stagedoor. He took his time with everyone and made sure everyone who wanted a signature or a picture got one!

I didn’t quite know what to say to anyone because I was just so in awe of them, but I had an amazing interaction with Kay! I told her that it was really important to me to see Asian representation on Broadway, and her face lit up! I love her.

[aglayalilich]

on some horror movies

a few months ago i got to see midsommar and though it didn’t quite do to me what hereditary did i thought it was a very compelling movie...shortly after, though, i was able to see the 2018 version of suspiria and wowwww did i feel some ways about that movie. i felt at the time that the two went very well together. so my friend invited me to see the director’s cut version of midsommar this weekend (still very interesting, though i felt the final cut was the right choice) and i decided i would also watch suspiria again and take notes on both. because i

wanted to articulate more why these movies work so well as a double feature for me, beyond ‘ah yeah there’s some girls dancing in it’ though certainly the role of dance and the climactic dance scenes are a part of it. there’s this structural similarity too in the final ritual acts. but like i was saying, it’s more than just a similar aesthetic. in fact the aesthetics are really in contrast, with suspiria’s bright red on desaturated colors versus midsommar’s blue and white on very lush, saturated backdrops. though they also do something similar with how color begins creeping into the character’s clothing in midsommar and of course many people have already talked about how the iconic red begins to creep into suspiria culminating at the end. really drastically different cinematography style also, midsommar is full of these long empty lingering shorts, all this wideness and slowness while suspiria is fast cuts, sudden zooms, races fromt he point of view of one character to the next. (sidenote: both have this GREAT visual language of mirrors, suspiria has the mirror room and dance studios and characters refracted a hundredfold, great for questions and multiplicity of identity. midsommar has a couple of really great scenes where one character is talking to another character but the second character is standing out of the shot and only visible in a mirror. ahhh so good. in general i wouldn’t say the effect of either movie is fear so much as disorientation--reflections, refractions, inversions. physical spaces impossible for the audience to navigate. images that the audience cannot arrange chronologically. i love it) anyway. this isn’t an essay so it is unstructured. i took about 10 pages of notes during my second viewing of midsommar and i can only understand about half of that because it was dark as fuck in the theater but i would like to at least ATTEMPT to give form to what i was feeling. comes down to 3 core similarities.

1. i read both of these movies as about abuse in communities that are supposed to be ‘safe.’ the community is a relief from trauma/abuse/horror of the outside world. there’s also a strong emphasis on the familial nature of this community. important to note that the community is genuine, it is not wholly a falsehood. it has a motivation beyond doing evil for evil’s sake, it may even believe the evil is necessary for the care of the community. this is a close and poignant topic for me, and i assume for other people as well, so it’s compelling to see it addressed in horror. it can be a great relief to see something as the subject of horror--that is an acknowledgement that it is horrific. a confirmation, an understanding, and sometimes through the resolution of the movie we can find stories that help us work through this.

2. both mostly focus on the horror of endurance rather than the horror of ending (death) which is a big thing for me in terms of my horror preferences. while i love some iconic monsters and killers ultimately the idea of ‘what if a fucked up thing killed you’ is just not actually that scary for me. what is scary for me is, yknow living in a state of unspeakable agony.

the olga scene in suspiria (you know the one) is a perfect example of this. every time you think that scene is about to be over it keeps going. and keeps going. the character is hurt but never killed, contorted impossibly, injured beyond the realm of what the human body should be able to endure but she is still alive. even when the scene finally comes to an end she is still alive! hard for me to articulate this scene if you haven’t seen it--i am very pleased and excitable about body horror and it was still rough for me purely because of how long it feels. in a sense this scene doesn’t even really end because much later during the climactic scene of the movie she is still fucking alive and has been in this state for the entire duration of the movie.

with midsommar it’s less of a body horror angle and more...dani living with all her pain and grief. but it’s done physically as well--being killed suddenly is not so horrible as being kept alive, the climactic horror is about a very prolonged, painful death. the dance scene doesn’t take it to suspiria levels but there is still a sense of the participants having no choice of when to stop, but simply must keep going in exhaustion until they cannot.

3. i really love how both of these films show pain (and other emotion) evoked through motions and breath. this one is harder to articulate. you know a lot of the time in a movie you will see an act of violence but it’s pretty...shallow, it’s just the image of violence, it has no weight to it. you don’t feel it. not so in these movies. it’s hard for me to articulate exactly how a piece of media goes about accomplishing this or not but often it makes the key distinction between things i think are just fine and things i really love.

these two have a really particular way of showing pain. in a very literal sense, there are incredible portrayals of bodies in physical pain. but there’s also dani’s raw screams of grief at the end of midsommar’s intro (and at other points throughout the film.) she is in too much pain to speak, all she can say is no, the leaked script describes it as ‘it’s so intense that it looks painful, dangerous even.’ on a slight digression i often feel  like i dont love ari aster the way a lot of people do but the thing i really truly do love and am awed by is the portrayal of this raw horrible grief pain in his films. it is so horrible it is very difficult for me to see and that is a little part of why i can never watch hereditary again. but anyway

sometimes pain robs us of thought and of language. (the movie knows this, the aforementioned prolonged painful death at the end of midsommar is one in which the character involved cannot move or speak). at a certain point it cannot be articulated through words. so these characters, the films themselves, articulate their pain (both physical and cosmic) through dreams, sighs, movement, screams.

sometimes pain seems too much for any one person to bear. this is when the movies come back around to the topic of community. both films emphasize the community as a body, made up of the individuals who serve as its cells or organs. when one part is hurt, the whole body feels the effects. more than that, the things too big for one human to possible feel are instead taken up by the community, felt by the larger body. volk is danced by one body, expressing the feeling not just of its creator but of the body. in midsommar we see the community take on in unison the feeling of one member, dancing or screaming as one (though i’ve seen different takes on whether this is to positive or negative result.) the body is formed and expresses itself through motion and breath, the dances, the sighs, the rhythmic exhalations which are all both precise and instinctive.

there is also something more i can’t say here about...not pain but the desire for someone to understand your pain, the desire for true connection.

i tried a few times to write about why this is a topic i fixate on but it didn’t feel right. to summarize ill just say that i struggle deeply with the ability to express pain.

now, on horror and the working-through of trauma...i said earlier that it is compelling to see these topics addressed in horror. horror is the main genre of any media that i enjoy and though i like other things, i don’t generally seek out anything that doesn’t have some inclination towards horror. this has always been the case but grew more true the more, uh, fucked up my life became, and i find it generally the best mechanism for thinking about (and not necessarily but sometimes coping with) grief and trauma and pain in all its forms. other people have written extensively about this, articulated it better than i could, there’s not really a need to get into it further than that.

but i’m thinking about one thing i’ve seen recently...(actually two things, firstly, some posts that seems to imply horror movies never tackled trauma before ari aster started directing which is just...quite a take, quite a take.) it was shots of ending scenes from a few horror movies, including hereditary and midsommar and also suspiria...i think the vvitch also and maybe also possession or something you know all the movies bitches with ptsd love (i’m bitches.) shots of the protagonist’s faces in the ending, a certain expression both rapturous and dissociated. there was something in the way i saw some people respond to this that made me think a lot...i think the idea that through great overwhelming trauma we can reach a point of ecstasy, or total transformation, is a very compelling story. it is something i have wished for often or even believed will happen--that there will be a certain point at which it really is too much and beyond that will be something different. some rapture that you will reach. not necessarily something positive but something that isn’t pain, that is beyond pain and horror. the idea of reaching divinity through great suffering is nothing new of course. but.

the true horror of endurance is that this is not going to happen. there is no point at which there will be absolution or ascension. the mirror does not shatter. it just keeps going. when you think this is the limit, it just keeps going.

the nice thing about movies is that they have a structure, and though they might leave you altered, they do end, the screen goes black. comfort of darkness, relief of endings. a sigh...

at least, that’s how i feel right now.

[scarbladed-archive]

Speaking of the live action movies, I there anything you are worried about in the jinchuu arc adaptation? All adaptations are adaptations and changes are abound, especially since the whole fake out kaoru death thing was lightly touched on already.

Honestly the biggest thing is that they try to utterly water down how terrifying the entire arc is. Jinchu is the most horrifying arc in Kenshin in my complete and honest opinion. I’ve elaborated on it here , but I think they will likely completely avoid having Emi Takei brutalized, which is understandable, but give a heavy implication, such as lots of blood, the scent of Tomoe and Kaoru’s hair ribbon / or clip so to speak, in the adaptations. 

Once again watering down Sanosuke’s character + his reaction is the strongest to Kenshin’s complete shut-down, ‘temporary death of himself’. 

Deleting the existence of Rakinmura for something like, him being heavily injured or unconscious instead, although they did that in the second arc of Inferno so Rakinmura may be possible. 

Katsura being a manipulative politician.

Tsubame waking Kenshin up in Rakinmura. 

Take out most of if the majority of Enishi’s henchmen.

Erase something imperative, Tomoe’s smiling flashbacks which are always a big indicator to me of Enishi’s sanity and status. 

Enishi seeing Tomoe in Kaoru when he tries to choke her, likely to be taken out.

Watering down the fight scenes to one big fight instead of multiple. 

I feel the first will cover Tsuiokuhen a great deal primarily, while the second may rush and cram as much of Jinchu accurately as possible.

Taking out Kaoru and Megumi’s decision of Tomoe. The contrast of one willing to die for Kenshin (Megumi) and Kaoru wanting to (live) for him really showed good kinship between the two women and contrast of ideals. 

The confession scene. I think this is unavoidable honestly, and should be, but they may cram that in or rush it when it’s one of the most arguably poignant scenes in the franchise both as Kenshin / Kaoru closing the distance and Kenshin finally acknowledging he has a home, only for Jinchu Arc to rip it away from him. 

The funeral, Aoshi is confirmed last I checked, but the whole finding the doll in the ‘corpse’ might also be too squicky for the audience. I think a lot of the really crucial but brutal parts are likely to be omitted, as well as the stack on fight scenes on the attack on the dojo.

Also we aren’t certain if they won’t completely omit the burning of the Akabeko.

In regards to the part of Jinchu which is ‘Reminisce’, honestly keeping Tomoe’s blunt and unafraid analysis of Kenshin’s mind-state is imperative. It builds her character and her growth with the little scenes such as their talk after the children leave and Kenshin smiling at her, or the scene with the diary, Enishi being present at her death, Tomoe dealing the fatal blow to the Yaminobu leader, and the heavy foreshadowing of someone’s death, (hers) are things I’m legitimately concerned about. 

I will be really disappointed if they don’t have the scenes where Kenshin and Tomoe build up their intimacy or newer audiences might not buy if if they rush it, it’s such a beautiful and tragic relationship and as they’ve done with Kaoru and Kenshin’s romance, should be also done accordingly. Both ships could be rushed here. 

KENSHIN ADMITTING HE CANNOT SAVE ALL BUT ONE BY ONE IF THEY TAKE THAT OUT OR PUT IT IN WITHOUT HIM ACKNOWLEDGING TOMOE HELPING HIM FIND HIS NEW PURPOSE TO NOT KILL AFTER THE BAKUMATSU I WILL BE FRUSTRATED.

The entirety of the cast coming to the island to rescue Kaoru. Yahiko’s fight, Misao crying at the well…all of that, all the emotional but little details the build on the greater ones? Need to be seen. Jinchu is meant to emotionally destroy us, not make us smile for two movies worth until the end . 

Also I’d like Tomoe’s ghost to visit Kenshin as a symbol of him taking as he says, ‘one step forward stronger than before’. That’s key. Putting the past in his heart and taking the future into account. That’s what the story is about to me and ignoring that little visit from his wife in the dream-snow will just be..too sad.

PUT IN TOMOE’S FATHER PLEASE IN RAKINMURA. 

Honestly there’s a LOT I’m worried about, and I just hope they keep the most crucial points in the present day in-tact. Really there’s a whole list in my head that’s way longer than this but at the TOP of my head this is the best I can give you, Slow! Let’s just hope they don’t mess it up since it’s the most impactful part alongside the Kyoto arc, IMO, if not the top. We’ve waited a long time, so I’d say be patient and we’ll see if they can remember what’s true to Rurouni Kenshin’s message as a whole and take hopefully intel from sources as to what defined the chapters as a whole. 

So yes I’m also anxious, but I don’t feel any pessimism but trepidation because the alternative was the nonsense of Seishouhen ( dumbest thing I’ve ever watched ) and it’s far better than it not being made in some context at all, so I’m trying to keep a positive mind!

[latetotherant]

Negotiating Remix Culture through Steve Oedekerk’s “Kung Pow” ••• By Lissa Heineman

In “Encoding and Decoding in the Television Discourse”, Stuart Hall explains the three ways we consume media texts: dominant, oppositional, and negotiated modes. The dominant model upholds society’s norms. These works don’t break barriers, and often entertain and reassert hegemonic ideas . The oppositional model, as its name suggests, identifies and critiques the dominant notions. Oliver Moore notes that these readings are often met with hostility from those supportive of the dominant framework. Finally, negotiated works lie between these extremes, allowing consumers to choose to accept or reject elements of a text. This mode employs dominant performances without subscribing to them. Negotiation twists popular notions into something new and subversive, while allowing them to be consumable by those in the dominant sphere.

Steve Oedekerk’s Kung Pow! Enter the Fist (2002) is one of many pastiches of the kung fu genre. The film follows in the footsteps of What’s Up, Tiger Lily? (1966), and the Can Dialectics Break Bricks? (1973), films famous for their own remixes (here meaning media that draws inspiration and shape from pre-existing works). Kung Pow opens with a production note: 

This motion picture contains some footage from Hu He Shuang Xing aka “Tiger & Crane Fists,” a motion picture made in Hong Kong in 1976, but the voices and soundtrack were eliminated, and new voices and soundtrack were inserted by the producers of this motion picture.

While a bit clunky, this opening does what it needed to do: the Jimmy Neutron and Barnyard creator acknowledges the work of Jimmy Wang Yu (Tiger & Crane’s director), and prefaces the remix and remediation that Tiger & Crane Fists underwent in this movie.

As described within the production note, Kung Pow is a very literal remix. Oedekerk remastered Tiger & Crane Fists: he successfully took poorly preserved footage and had it saved digitally. He then scrambled this footage, filmed himself in front of a green screen, and reshaped the film around him. The process of remastering an old film is incredibly time-consuming and expensive, and yet he did it. Why? This is emblematic of his own fanboyishness. Oedekerk replaces the hero of a film he evidently loves in a very expensive form of fanfiction. Further, as noted in the movie’s preface, the film employs gag dubbing, a controversial redubbing technique used mainly for comedy. In the film’s commentary, Oedekerk notes that when any new characters or stand-ins were inserted into the remastered Tiger and Crane Fist footage, they wouldn’t record the script’s dialogue. Instead, they’d often be filmed speaking nonsense, and then the film’s audio was post-synced once filming and editing was completed. This ultimately made the film cohesively re-dubbed, with the entire film lacking sly lip-synching. Most films look to hide any issues with editing, and it’s clear Oedekerk’s choice was an intentional part of the film’s final result. This is poignant when one recognizes that the entire process of making Kung Pow! Enter the Fist is reminiscent of the production history of Godzilla: King of the Monsters (1954).

Godzilla: King of the Monsters was a heavily re-edited American adaptation, commonly referred to as an Americanization of the 1954 Japanese film Gojira. In the West, the original Gojira had initially only been shown in America in Japanese community theatres, and the re-edited version became the known Godzilla to the Western world. Gojira was a film that was made to cope with the nuclear fallout in Hiroshima and Nagasaki, and when it was remixed for American and other Western audiences, this plotline was entirely removed. This process is reminiscent of Kung Pow’s removal of Tiger and Crane Fists’ anti-Japanese colonization narrative. Further, this exemplifies a dominant mode of remix. The hegemonic order of American politics at the time would want a film that could create positive relations to Japan through a fun spectacle, the inclusion of an anti-American dialogue was oppositional to that structure and therefore something that was censored as it was brought Westward. One can see then, in turn, how Kung Pow! Enter the Fist intentionally mimicked the style of dubbing, which could then mock Godzilla: King of the Monsters and other re-dubbed works that remove narrative elements from their stories. This American film is often recognized as the original Godzilla, but it was actually a remix of the 1954 Gojira. In this remix, like Kung Pow, a white savior is literally superimposed into the narrative, suggesting to an unknowing Western viewer that he was in Gojira all along. Oedekerk, in Kung Pow, seems to acknowledge this historical remixing of Asian cinema. The film’s apparent self-awareness and its transparency to the audience gives the film the opportunity to be negotiatory pastiche, and, with that, instead of invoking literal meaning through its more stereotypical comedy, we instead might see the more problematic nature of such performances in mainstream media. This being said, there are then two questions: does Oedekerk take advantage of his window to perform pastiche rather than parody? And, further, why would this film’s stereotyping be more excusable than other works?

On the topic of pastiche versus parody, it is most appropriate to look at scenes from Kung Pow! Enter the Fist. The film opens on an original six-minute scene by Oedekerk that sets the tone of the film: a man, known as the Chosen One, and his sentient tongue, Tonguey, seek revenge on Master Pain, the person who murdered his family and attempted to kill him. The scene uses a CGI baby that has a powerful knack for kung-fu and seeming immortality (displayed by not dying while being flung down a steep hill). This scene explicitly presents what is to be anticipated for the rest of the 81 minute movie: this film is absurd, parodic, hyper-masculine, and hyper-violent. The cartoonish exploits paint the comedy of the work, from the CGI Tonguey to the over-the-top redubbing for the main antagonist. The film is obviously ridiculous, and everything about the over-dramatic, cliched narration and equally contrived action demands the audience to recognize that the film is absurd. There’s no denying that it absolutely is an inherently dumb film—the humor is juvenile, and often much closer to straight-up mockery than thoughtful pastiche—yet the film reveals itself as more deliberate than its surface-level silliness. Across the following scene in Kung Pow, country-rock music mixes with moments of flute-playing reminiscent of traditional kung-fu scenes. This transcultural moment highlights how Eastern and Western action cinema influences the other. Looking at Jimmy Wang Yu’s work, as well as other kung fu films and anime, one can see how American rock-n-roll has become embedded as marker of “the Chosen One” archetype; he’s a badass loner. Similarly, the Western genre plays into the same markers of the solitary hero, often with a tragic backstory.

The scene ultimately continues to an abandoned dojo where the Chosen One encounters other adversaries. The actors, all Asian, are dubbed-over in ridiculous American accents, and perform dramatic Kung-fu style moves. The fighting choreography revels in the extreme. At one point, rather than attacking the main pursuer, the Chosen One speedily tears apart a man’s black robe, resulting in the garb resembling a tasseled bikini, which causes the man, mortified, to run away whimpering. Soon after, the Chosen One literally punches a circular hole through one of his attackers’ chest, the camera peering through the maimed body to see Oedekerk’s fist retract from the man-made cavity, and we see the missing-cylindrical bulge of flesh in the background. It’s impossible not to recognize the scene’s cinematic violence and hyper-masculinity. There is contrast between Oedekerk’s clothed body and how the shirtless or stripped villains are put on display. This is one example of how the film notes that many films promote Caucasian masculinity dominating Asian masculinity. 

Narratively, Kung Pow! Enter the Fist does significantly more to perpetuate problematic Asian stereotypes than many other kung fu remixes. However, the films’ genres are considerably different. Oedekerk’s work is well defined by the term “transgressive”, meaning that the film is oppositional and deliberate in its offensiveness. In the San Francisco Chronicle, Edward Guthmann wrote that “Kung Pow! is the kind of movie that's critic-proof, simply because it aims so low.” Guthmann suggests that the Oedekerk purposefully looked to disgust critics with the film’s exaggerated racism, homophobia, and misogyny. By making it “critic-proof,” Oedekerk reveals the film’s agenda, which is very different from, say, Quentin Tarantino’s art house style of taking lowbrow cinema (self-proclaimed ��B-Movies”) and making it tasteful, in his duty as tastemaker. Oedekerk, instead, uses the same kinds of movies but degrades them further, making Kung Pow offensive to the taste of critics.

Despite being reviled by many critics, however, Kung Pow is a quite popular film. Despite coming out close to two decades ago, the film is still engaged by active reviewers on Rotten Tomatoes and Amazon, and is still commented on in Reddit channels and on Youtube videos. Metacritic reviews from the film’s cult following reveal the movie to be, to some, “silly and creative” and “one of the funniest movies [ever]”. One fan even described the film as “unbelievabl[y] hilarious”, stating that Kung Pow’s absurdity:

“...is something to cherish. It takes masterful skill to create such comedic bliss with this spoofing style...it can be a bit childish, but most of the time, I'm laughing harder than I ever have at film... I can confidently say this was the funniest movie of the decade.” 

It becomes clear, from the film’s status as a new-age cult classic, that while Oedekerk doesn’t undermine racist representations of Asians in Kung Pow! Enter the Fist, he does ultimately mock genre and notions of the importance of critical acclaim. Even racist movies many win Oscars, but that was never Oedekerk’s plan. Steve Oedekerk, unlike Quentin Tarantino in Kill Bill, didn’t strive to make an art film. Rather, as he notes in film’s commentary, he sought to have fun, and, seemingly, had fulfilled making a “realization of his childhood dream to be in a martial-arts flick.” By taking over director and actor’s Jimmy Wang Yu’s role from Tiger and Crane Fist, Steve Oedekerk fulfills his own dream of being a kung-fu action hero and simultaneously embodying an Asian director. Oedekerk successfully takes over and embodies Jimmy Wang Yu, but then with that power he doesn’t replicate Asian cinema, but rather destroys it in a transgressive act of defiance against the politics of film criticism and connoisseurship. Ultimately, while Oedekerk doesn’t negotiate racist rhetoric, he does do substantial work in creating friction about what it means to be an auteur, and how his cult cinema and others’ art cinema operate deliberately and differently.

Kung Pow! Enter the Fist is a screwball cult film. Oedekerk’s film commentary offers insight into the film production, describing the joy and challenges of its creation. The movie ultimately presents itself as a fan-project, rather than an auteurist work. Yet, it is this structure, as described above, that allows for Kung Pow to mimic practices of problematic remix to then develop a subtextual commentary. This commentary doesn’t undermine racist representations of Asians, but rather reveals the immature-comedy-packed film to be intelligent and aware of the history it partakes in, and use this to critique the nature and importance of “critical acclaim”.