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canary3d-obsessed · 4 years ago

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Restless Rewatch: The Untamed Episode 08 first part

(Masterpost) (Other Canary goodness)

Warning: Spoilers for All 50 Episodes!

Rabbits

The Jiang kids have some quality time with the rabbits. Initially Jiang Cheng says it’s wrong for gentlemen to hold rabbits, which is definitely in no way related to gay-rabbit-god symbolism, but changes his mind when he discovers how fun men rabbits are to cuddle.

Jiang Yanli says, in a moment with zero foreshadowing, that if they take one rabbit away from the others, it will miss its family and be lonely. Also if a rabbit were to watch from the rooftop while a mean enemy rabbit poured wine on the corpses of its parents, that would be extra upsetting. For a rabbit. So let’s leave all the rabbits where they are. Check.

Speaking of cute fluffy creatures that are upset, we see this distressed look on Wei Wuxian’s face kinda often when he’s talking with Jiang Cheng.

There are some sibilng relationships where you will always do anything to help each other because you survived a shitty childhood together, but as adults you find you don’t actually share values, and that your interactions are kinda toxic -- for both of you. This seems like one of those.

Even though he’s younger, Jiang Cheng is in the role of the elder sibling who is being abused by the parents, and is handing the abuse on down the line to the “younger” sibling, in the form of constant criticism and casual hittings. Wei Wuxian isn’t actually younger, but he is lower ranked because he’s not a blood relation, and he gets plenty of parental abuse as well. It’s...not a healthy family.

(more after the cut!)

Lan Wangji has been lurking nearby during this conversation, and after the Jiangs leave, he looks at the rabbits and says farewell. He clearly means farewell to Wei Wuxian, or else he has a really unhealthy level of yearning being directed toward the rabbits. At least, for a vegetarian.

Uninvited Gusu Guest

Lan Xichen is meditating, and because the Director of Photography loves us, we get a bunch of nice closeups of his exquisite face. He hears a noise thing and tells Wen Chao to come in, which results in a dire bird scream and Wen Chao’s muddy feet intruding on his day. Why did Wen Chao bring the bird with him? He’s trying to be sneaky, right? So...ok whatever.

Wen Chao acts like a dirtbag and menacingly reminds Lan Xichen that his didi just hit the road all by himself. Lan Xichen gets so upset he curls his fingers slightly. His beautiful, beautiful fingers.

Is it slapping time yet?

Road Tripping

Fortunately for the Lan brothers, Lan Wangji isn’t going to be alone for long. Wei Wuxian is determined to follow him, and where friend-maker Wei Wuxian goes, an assortment of other helpful cultivators will soon follow.

Wei Wuxian leaves a note to say “I’m running away from home with the hot boy I met in summer school” and signs it with a smiley face, the dork. Jiang Cheng is angry, as usual; Yanli has confidence in Wei Wuxian, as usual, and Jiang Fengmian is autocratic and doesn’t explain what he’s thinking, as usual. JF is aware of the Yin Iron, however, so he may understand that WWX will be useful in protecting it on the road.

Lan Wangji has changed his hair, upgraded his crown, and put on the most absurdly beautiful outfit of the entire show to go on a solo road trip totally without any hot infuriating boys.

Quick, Lan Wangji, catch this callback to that time you rejected my advances back in Gusu! This time Lan Wangji catches the offered fruit and keeps it, presumably to consume furtively when he wakes in the dead of night, restless with unslaked thirst for Wei Ying. Or, you know, to have with his lunch while they’re riding on the boat.

This is a level of synchronized walking-with-shoulder-contact that would make the Guardian boys proud. Lan Wangji is all touchy feely now that he’s out from under the eyes at Cloud Recesses.

He also has upped his troll game, actually smirking after he says “boring” to Wei Wuxian’s declaration of I’m-gonna-come-along-you-can’t-stop-me.

He also...doesn’t seem angry? Like, he is still seriously on edge, but it feels like he left the boiling rage at home. Lan Xichen is right; having a friend IS good for Lan Wangji. And for whatever reason, Lan Wangji is ready, now, to accept Wei Wuxian’s friendship.

We Rate Birds

Wen Chao has the weirdest fucking pet. This bird has a resentful energy problem, obvs, but it also seems to be invisible except for resentful energy, but it leaves random feathers behind at places, and then when Wei Wuxian kills it, it’s a regular bird corpse with a little smoke. “Imbued with Yin Iron energy” seems to be the explanation. But Nie Huaisang said they see a lot of these in their neck of the woods. Did he mean “just a regular bird” and didn’t notice the billowing black visual FX? Either way I want to see a nest full of baby dire Yin birds, I bet they’re hideous cute.

Wen Qing has a new outfit and an elegant fiery golden crown. There’s probably some plot stuff happening here. Wen blah blah Yin Iron blah blah. She’s so pretty. I love her ears and her cool double hair parting. The girls’ hairlines are always nice and soft, presumably because they get to wear their own front hair instead of a lacefront like the boys are glued to stuck with.

I Call it Bondage

After the fun they had in the ice cave, it’s only fair that Wei Wuxian gets to have a turn tying up Lan Wangji.

One of the fun things in clipping The Untamed is that the show’s editors generally didn't drop any frames when they intercut the various scenes, meaning that some longer shots can be spliced back together by removing the other camera portions, as with these two string-pulling bits.

Lan Wangji totally lets Wei Wuxian put a leash on him, quickly declaring it boring and taking control of it, pulling Wei Wuxian along behind him.

Incidentally, at this stage about half of Wei Wuxian’s talisman’s are blue. After he loses his core, they are 100% red, but nobody notices that. Well, maybe Nie Huaisang does because he notices a LOT, but nobody says anything.

After they play around in the field for a bit, Lan Wangji’s magic bag of plot advancement goes off, sending them to Flower Town.

He’s Leaving Home Bye Bye

Meanwhile, at Lotus Pier, we get a nice view of the rooftops. I’d hate to be the guy whose job it is to hang up bells and tassels at any of these places.

Jiang Cheng sneaks out to go join his brother’s road trip. He gets caught, because his idea of sneaking is to walk out the front door in broad daylight and leave the door open behind him.

Jiang Yanli tells him to go ahead, though and he scampers off to have...the last carefree fun of his entire life, actually. Sigh.

Flower Town

Wei Wuxian and Lan Wangji go to Tanzhou and immediately run into Nie Huaisang, because sure, why not. China’s not very big.

Lan Wangji’s startle response

Wei Wuxian’s startle response

Nie-Xiong and Wei-Xiong are delighted to see each other, once Wei Wuxian explains that Lan Wangji isn’t there to bust them.

While Wei Wuxian and Nie Huaisang squee over each other, Lan Wangji ...tries to deal with that. His reaction is probably a mix of jealousy and social anxiety. This town has got to be overwhelming for him after the order and quiet of Cloud Recesses; he even admits--aloud!--that it’s too crowded for him at one point. Add in his boyfriend’s travel partner’s number one enabler, and it’s not a comfortable situation.

Oh great now they’re going to want me to get high and make out with them, ugh

However, with Lan Wangji in the mix, the Nie-Wei dynamic shifts away from mischief making, and they very quickly become a friend trio sharing a serious purpose. When Wei Wuxian, in his second life, refers to NHS as “that old friend of ours” when talking to LWJ, he’s not wrong. Nie Huaisang and Lan Wangji become friends during this trip, and arguably remain friends, within the limits of Nie Huaisang’s revenge remit.

From one point of view, Nie Huaisang is grown-up Lan Wangji’s very best friend (not counting his eventual husband). Everyone in the cultivation world knows what Lan Wangji’s heart desires most, after Nightless City, and Nie Huaisang gives it to him. By, uh, manipulating a crazy guy into ritual suicide. Hey, no gift is perfect.

Continued in Next Post! Soon!

#fytheuntamed #the untamed #the untamed gifs #wangxian #nie huaisang #chen qing ling #the untamed memes #the untamed spoilers #restless rewatch the untamed #canary3d-original

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lilydalexf · 4 years ago

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Old School X is a project interviewing X-Files fanfic authors who were posting fic during the original run of the show. New interviews are posted every Tuesday.

Interview with Slippin’ Mickeys

Only 3 stories by Slippin’ Mickeys ended up at Gossamer, but she’s written many more stories than that. She’s also one of the few authors who posted numerous stories during the show’s original run and then again in the revival years. I’ve recced some of my favorites of her stories here, including Last Chance Falls and Currahee. Big thanks to Slippin’ Mickeys for doing this interview.

Does it surprise you that people are still interested in reading your X-Files fanfics and others that were posted during the original run of the show (1993-2002)?

I would say that it does and doesn't surprise me. It surprises me that anyone would want to read something I wrote all those years ago, (only in that I was an actual teenager at the time, and had no chops at all -- I've grown a lot as a writer, and honestly have trouble reading my old stuff because I would have made much different creative decisions now). But the fanfiction that came out of the original run of the show -- from almost day one -- was so rich and varied and a lot of it so well written that I am not the least bit surprised that people want to read it today. I go back and read old favorites often, and am always thrilled to find something that's new-to-me, even if it's 27 years old.

What do you think of when you think about your X-Files fandom experience? What did you take away from it?

The first thing I think about when I think about my fandom experience are the friends I made along the way. The X-Files came up with the internet, and there was a whole new way of connecting with people that liked the things that you liked. To this day, I am good friends with many people that I met through the show back in 1997-98. When the revival came about, I dove back in, and made new, more recent friendships that are just as rich. I love the show, but I also love the people I met along the way.

Social media didn't really exist during the show's original run. How were you most involved with the X-Files online (atxc, message board, email mailing list, etc.)?

I first got into the show's online community on some random message board that I think I probably found through a Yahoo search one day in a computer lab on my university's campus. I connected with one woman from Greece named Fay that day, who invited me to join a group of women that chatted about the show after it aired on Monday nights. After the first time I hooked up with them, we talked almost daily via ICQ. Later, in the early aughts, I found the forums on Mighty Big TV/Television Without Pity, where some of the most intelligent discussion was going on. The forums were heavily moderated, and so they were always on topic, and it was just a smart, funny, great place to be.

Eventually, I started working for TWoP as both a writer and moderator (surprise! A lot of people don't know this because TWoP protected the identities of their mods so well, but I was the X-Files board mod after Jessica left!). It was my first paid writing gig and opened doors for me both professionally and personally. Two TWoP recappers were in my wedding!

What did you take away from your experience with X-Files fic or with the fandom in general?

Fanfiction opened my eyes to storytelling as a medium. I'd obviously gone to school and read books, but it opened my eyes to words to could do and be. It was a heady time. There were stories of every stripe. Short, long, canon-compliant, AU, experimental, you name it. We had such gifted writers, too. To this day, I'd almost rather read a piece of well written fanfic than a good book. Fanfic made me want to be a storyteller myself.

What was it that got you hooked on the X-Files as a show?

It was the 'ship. God bless the ship. My first episode was Never Again, but I didn't watch again until I was sitting with my college roommate freshman year and she was like "sorry, but I have to watch The X-Files on Sunday nights." That first episode was Redux. The next week was Redux II, and by then it was all over for me. The lengths Mulder and Scully would go to for each other? And the relationship wasn't even sexual? Here were two people who loved each other. Really loved each other. Selflessly. I was SO IN.

What got you involved with X-Files fanfic?

At first, I started reading it. This was back when you could only watch the show in reruns or on those VHS tapes that were sold in three packs that had two eps on each tape (I still have the trading cards that came with them), so after I burned through the VHS options (of which there were few), and set my VCR to tape the weekly reruns on FX, I needed MORE. I found fanfic. And in fanfic, Mulder and Scully actually like, kissed and maybe even had sex! I read everything I could get my hands on. Pretty soon, I wanted to write it myself.

What is your relationship like now to X-Files fandom?

Things are tough these days. It's a hard world to live in, and politics aside, it just feels like everything is falling apart around us. When I first found the show, my life was in a bit of upheaval and I dove into the fandom to distract myself. I'm doing the same thing these days. When the show ended, I left the fandom and lived without it for about 15 years. But when the revival came (and really only after finishing season 11 -- season 10 didn't do much for me), I dove back in. I have quite a few more responsibilities these days, but when I can't watch the news anymore, I log on to XF Twitter (I use my fandom account far more than my IRL account) or Tumblr and get lost for a while. And most nights find me reading or writing fanfic before bed. When the world gets better (I'm cautiously optimistic) and the show has been off the air for years and years, will I leave again? Maybe. But for now, it's once again my happy place.

Were you involved with any fandoms after the X-Files? If so, what was it like compared to X-Files?

Nothing hardcore. The X-Files is my ride or die.

Do you ever still watch The X-Files or think about Mulder and Scully?

I do an occasional episode or movie rewatch. Not too often, but when I'm jonesing and have 45 free minutes, I'll put one on. But I'm writing fanfic again, and I get hit with inspiration at random and odd intervals, so it's safe to say I find myself thinking about Mulder and Scully probably more than is healthy.

Do you ever still read X-Files fic? Fic in another fandom?

All the time. The old stuff, the new stuff, the good stuff. If I have five minutes and my kid is entertaining himself? I'll happy pull out an old favorite.

Do you have any favorite X-Files fanfic stories or authors?

I'm reluctantly abstaining from this question, as I'm still active in the fandom and I know that naming favorites will hurt some feelings.

What is your favorite of your own fics, X-Files and/or otherwise?

Of The Eight Winds is probably my favorite. I've had a lot of fun writing AU's lately. It's a nice creative outlet, taking our favorite agents and plunking them in a totally different world.

Do you think you'll ever write another X-Files story? Or dust off and post an oldie that for whatever reason never made it online?

Do I! I have a whole ass queue. It's frankly irresponsible.

Do you still write fic now? Or other creative work?

I was writing professionally before I had a baby, and I took years off to be a stay at home mom. Once my kiddo was finally in school full time, I started writing again. With the pandemic, that's for the most part on hold, as I just don't have the bandwidth to dedicate to professional work. Fanfic is easier to play with when you only have five minutes here or there, and it's also great exercise when it comes to plotting and prose, so I'm sticking with fic for now. When the kiddos are all back in school, maybe I can start getting paid again.

Where do you get ideas for stories?

I get a lot of prompts that I just adore. And honestly, a lot of times, I'll post a stupid picture or ridiculous prompt of my own on Twitter and get dared to write it. If the idea gets stuck in my craw, I generally have to exorcise the demon.

What's the story behind your pen name?

Bad Blood had just aired and I was obsessed with it. I wanted to pay homage to it, so took Mulder's "who slipped him the mickey?" quote and ran with it. Do I regret that? Sometimes.

Do your friends and family know about your fic and, if so, what have been their reactions?

My husband knows and is supportive. He's a working writer, so he supports my endeavors, though I know he wishes I were doing something I could monetize. But it makes me happy, and ultimately: happy wife, happy life and all that jazz.

The friends of mine that I've made through the fandom all know and are super supportive.

As for the rest, well... I have a nom de plume on purpose!

Is there a place online (tumblr, twitter, AO3, etc.) where people can find you and/or your stories now?

All my newest work is on AO3. My old stuff can be found on various archives. Like the truth... it's out there.

Is there anything else you'd like to share with fans of X-Files fic?

I'd leave it with: we're a blessed fandom. The show we stan (even with the real stinkers, there's always something to love) keeps giving, the fellow fans are all some of the smartest, sweetest, and most dedicated people out there... we've been blessed for 25 years, and I don't see that stopping any time soon.

(Posted by Lilydale on August 11, 2020)

#new post #old school x #xfiles fanfic #xf fanfic #slippinmickeys #xf fanfic author interviews

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docholligay · 5 years ago

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Fx’s A Christmas Carol

This review/ramble was sponsored by @amberlilly, and has taken me quite awhile to do. It clocks in at being 6,400 words long, and oh my loving God. If you want to watch the Miniseries itself, you can find it on Hulu! PLEASE TELL ME IF YOU ENJOY

I love A Christmas Carol. This may seem strange to you, given that I am a Jew who pretty virulently hates Christmas, but it isn’t REALLY a Christmas story, it’s a moral fable about selfishness and greed and the inability to appreciate and see the softer and brighter things that bring no profit. It’s a fucking story that every asshole hoarding toilet paper needs to hear right now. It’s a favorite for always, I read it every year, and I have seen many, many versions of it, and I bring you all that “wisdom” in this lengthy review of FX’s effort this past Christmas.

Spoiler alert: I BASICALLY PICK APART THE ENTIRE MINISERIES.

The shortest possible version of this entire loping review: I really quite enjoyed FX’s A Christmas Carol, and that seems to be an unpopular opinion.

In the longer form:

“A gift is just a debt, unwritten but implied”

I have always felt that the finest form of recorded visual media is the miniseries. We, of course, do not call them miniseries any more, but, instead, ‘limited series’ or ‘a special event’ or somet stupid thing like that, for much the same reason I imagine we are now calling a station wagon a ‘full length hatchback’ because people are idiots, and you can’t sell something to someone if they don’t it is novel.

The miniseries allows the story time to breathe, allows for lingering thoughts and ideas in the way a two hour movie does not. And it avoids the worst of the TV show problem, where a show is punished for its own success by being forced to be mined like its fucking coal shale until there is absolutely nothing left, just some ugly polluted ground where a good idea used to be.

And so I was very delighted at the idea of a Christmas Carol miniseries.

Tonally, in broad strokes, it is much darker than the Christmas Carol you’re used to. This is a new Christmas Carol for a new period in time, and it tries to bring a lot of the genuine problems of the Scrooges of our modern day and transport them back to Victorian England. It does not in any way try to shield you from the fact that Scrooge is a man who thinks of nothing but profit, not of any human cost, and it does not rest upon anyone’s previous affections for A Christmas Carol. In fact, it would prefer that you deposit them at the door: This is a moral ghost story, this is not some warm Christmas good time for the family.

And I would prefer it this way! Many of my most hated versions of this story become that way by making too much light of what is meant to be a moral fable. Or centers the story too much around Christmas itself, which it is not meant to REALLY be about. Of course, the very wealthy and those who prefer to be blind to their role in the suffering of others prefer the version of the story where the main problem is “Scrooge doesn’t like Christmas” and so I can see why they would consider this version a negative. I, however, am going to immediately find a copy of this one to keep. This is the way businessmen are. This is the way the very wealthy are.

The “thesis statement” of this show, which sets it apart from many other adaptations, is something Scrooge says early on in the movie, I think it happens within the first ten or fifteen minutes (bolding, obviously, is mine):

“Behold. One day of the year. They all grin and greet each other when every other day they walk by with their faces in their collars.

You know, it makes me very sad to see all the lies that comes as surely as the snow this time of year. How many Merry Christmases are meant, and how many are lies? To pretend on one day of the year that the human beast is not a human beast. That it is possible we can all be transformed.

But if it were so--if it were possible for so many mortals to look at the calendar and transform from wolf to lamb--then why not every day?

Instead of one day good, and the rest bad, why not have everyone grinning at each other all year, and have one day of the year where we are all beasts, and pass each other by? Why not turn it around?”

I mean, I heard this and was like, “Why are you booing him, he’s right,” because he is right. I have often found that one of my frustrations with the ways people engage with a Christmas Carol is they forget the “try to keep it all the year” part of it, and it has nothing to do with fucking trees and parties, it has to do with generosity and kindness.

And this show goes in on that! SO LITTLE of what the show engages with is about Christmas at all, it’s a narrative setup, a collective mythology used to enact a moral tale, and I absolutely love that they actually went on what I feel is the core of A Christmas Carol.

I’ve broken this down in NOT broad strokes but categories, to try and make the most sense of my thoughts on the show and why and how I think they work.

On the subject of the ghosts:

I absolutely love and adore the way they handle the ghost of Christmas Past. I am never sure what I’m getting into when I’m watching a version of this story because the ghosts are handled so many different ways, and I love MANY of them, but it’s one of the most tweaked with ideas in any version. And I see why! There’s so much you can do with them.

Christmas Past they handle by having him change depending on where Scrooge is in his life, and the implication throughout is that he changes into whatever it was that scrooge needed in that time of his life, whatever he was seeking. With Ali Baba, it was escape, with the businessman, it was business, and they did all this with great actual care, up to an including having different actors play the different versions of the ghost of Christmas past. I’ve seen something like this done a few times (and have always been very fond of it) but if I recall correctly this may be the first time I’ve actually seen them go to the length of hiring different actors.

The sheer mockery Christmas Past makes of him is worth the adaptation in and of itself--Christmas Past feels little for him, and I’m brought to mind the scene where his father comes home drunk, and Scrooge begs, in a moment of weakness, oh please not this night, and the Ghost simply says, ‘Why not this night?” I really quite like the less nostalgic tone they took with Christmas Past versus other versions.

Christmas Present I thought was a bit of a letdown at first, just having his dead sister be the ghost, but when I was rewatching it, I realized that I liked it quite a bit more than I had in my first watching. Present is often the “easy” ghost, generally the one that is given the most positive sort of framing, and it’s not that they remove the positive framing here with Lottie, but they do tone it down a bit, and make it quite a bit more somber to be with her because we cannot remove what Scrooge has done to these lives. There is much less of the “cheerful, noble poor” rhetoric so common in the older novels (and at the time far more revolutionary) and far more of the reckoning that Scrooge has caused so much misery, but people have found a way around it, because they understand the value of other human beings.

I particularly love the way she takes what he’s learned from Christmas Past, the way he’s seen how he is constantly aiming to discover what the currency of everything is with his horrid and cruel behavior, what things COST people, and dismantles it, shows him wha t a fucking fool he is, and when he says she’s mocking him, she simply tells him “You mock yourself, putting a value to things that have no price” and for the fiurst time ever, it seems like he’s really getting it.

To those who miss the over-the-top cheer of Christmas Present, I might ask: “Do you miss the fucking THRASHING he gives Scrooge in the novel when it is removed? (as it is often?) Or does that just sort of...fritter away for you?”

Christmas Future is basically often/always the one note ghost for me and that’s to be expected given that the character has no lines and is of an amorphous shape, which writing wise is a genius move because the future itself is amorphous and can always be changed. That is, in fact, one of the lessons of a Christmas Carol, is it never too late. But of course, in media driven by the dialogue, without much chance for internal patter, it can falter a bit, and I think this is about the same here.I have no trouble with how the ghost was done, in any way, but it does not, for example, twist the spirit into something terribly interesting in the way the otherwise forgettable “A Diva's Christmas Carol” does by making it into a “behind the music” episode.

On the subject of Ebenezer Scrooge:

Some people seem to be really rather upset that Ebenezer isn’t played as some bumbling old curmudgeon, but is instead a callously cruel businessman who thinks of nothing but the pursuit of money. One review I read while writing this, looking for things to respond to, described him as an ‘anti-hero’ which made me extremely concerned for the human being writing the review, as I don’t think the show in any way makes Scrooge into any kind of a hero. There are certainly versions that do that by way of making him “the cleverest person in the room” (even my beloved Scrooged is guilty of this, and Mickey’s a Christmas Carol is almost inexcusably so.) but this isn’t what the show is doing here. He is a miserable man, and he delights in making others miserable, he is a man so desperate to prove that every person in this world is as miserable as he is that he orders about the world to make it so.

If you see an anti-hero in him, I am far, far, more concerned about you than I am about anything else.

He is more like actual billionaires than any version I’ve seen. His cost cutting, his destruction. He is perversely cruel and sees human beings as playtoys. He echoes far more than any version I have seen, the true appetites of the rich, and maybe this is why this version shines so much for me, and why so many others dislike it. It cuts to the bone, this Scrooge.

This show goes harder than other versions in many respects, and one of those respects is in Ebenezer’s childhood. His father is cruel in the novella, but really only glancing so, we hear little of his childhood at all, other than his father sent him away, and his sister had to wait for years to ask for him back. We must remember something: Dickens was writing on a tight timeline compared to his other works. I have no idea if he would have expanded on Scrooge’s past himself or not, but I certainly know he did not have the time and space to do so in his normal fashion.

The show does a really interesting thing with Ebenezer, in that it does not allow a monster to grow from nothing. Most monsters do not. This is by no way an excuse--I think the show makes that fairly clear--but it is an explanation. His sister gives him a mouse, a stray mouse, for Christmas, dressed up with a little bell and ribbon from one of her toys, and Ebenezer loves it, and his father, drunk and impoverished, kills it. It’s an intense and horrifying scene, and as with many of the things in this show, in accomplishes this while showing nearly nothing. The entire scene happens in shadow, but you feel the fear of Ebenezer as a child, how it affects him to this day, how he begs for it not to be this night. The show makes even more clear how central this was to his willful callousness, his desire to never be hurt, by explaining that his father did this to “Warn me against unprofitable affections”

I am now, and have always been, a sucker for a bit of writing that can allow for a character to be a monster, and also give a seed to plant that monstrosity, without forgiving them. It can be a delicate thread to weave, even more so with the way that people take characters, that sort of knee-jerk desire for a character to be either monstrous or abused, when, it can be both. Having cruelty enacted upon you does not forgive cruelty to others. I feel like show does a fairly decent job with this, reminding Ebenezer that his hated father affected him far more than the love of his sister, Lottie, or any promise of love in the future. He has shut himself off from love, and while he cannot be blamed for the cruelties of his father or the way he essentially sold him to a pedophile for free schooling, it was Scrooge who decided that all this meant his only way forward was counting. Numbers as wealth as his only true love.

Scrooge even tries to pull a tumblr in this way, looking at the abuse and telling the Ghost, ‘This excuses me” as if he should be let entirely off the hook, AS A GROWN ASS ADULT, for what happened to him as a child. Non non! And the Ghost sides with me in this, telling him, “You only see what was done to you, and not what was done for you” and may I please frame that? I love that they looked at this out in the script and went, “Oh, I’m gonna close that up”

They do this a second time, but not in a tumblr way, more in a reddit way, when Scrooge protests that whatever else he did to Mary Crachit, the money he gave to mary saved Tim’s life, and so, “if you view virtue purely through the consequence of an action rather than the motivation for said action we have just witnessed my former self doing a good thing.” (Me, watching this: I’m Jewish, I don’t do that even slightly.) and as the Ghost of Christmas Past goes to leave, Scrooge asks if he is forgiven, and Christmas Past yells, “It’s not about your forgiveness!” I love that in so many ways, they tie up what a person might argue in Scrooge’s favor, but Scrooge can’t see that forgiveness is nothing and change is everything.

Making Scrooge a venture capitalist was, to me, an absolute banner move. A new villain for a new age. Don’t get me wrong, moneylender is now and always will be a fantastic villain, but venture capitalists have ruined many things you’ve loved TO THIS DAY. They buy troubled businesses, that could be saved, and instead of trying to turn them around, they sell them for parts, get the last scrap of meat off them, and then crush them. I can think of three businesses this has happened to that I know of, off the top of my head, in my lifetime: Toys R Us, Cabelas, and Lucky’s. All could have been saved, some of them (Lucky’s) fairly easily. But that isn’t what people like Scrooge do.

The way they have him taken into the mine, to see what the cost cutting does to people, or the factory, burning and killing so many people, it allows us to really dwell in the HUMAN cost in a way that many versions shy away from outside of the Crachits. I think it’s very easy to go “Cutting costs hurt workers” but we often don’t really dwell in that, especially considering SHIT LIKE THIS IS STILL HAPPENING IN THE WORLD TODAY. Go look up conditions in Bangladeshi factories, how much do we really deserve H&M, you know?

A personal touch I very much loved: Scrooge cares about animals far more than people. I LOVE this is a fucking villainy trait. I think we all know that person! I hate that person! And I adore so much when Scrooge says, down in the mine that is about to kill workers, some of whom are children, that he tried not to think about the ponies, and the Ghost of Christmas Past basically goes: “Are you SHITTING ME? Did you never care about the MEN down here?” while also allowing for the fact that his covering up a cold horse in London is the only reason the ghosts believed there was something good in him at all.

On the Crachits:

Bob:

The first time I watched this, I was like, “Man, do I even like Bob in this?” because he’s so different from the usual portrayal of Bob Crachit as meek and mild. But upon my second watching I realized I was really only reacting to the difference in tone for Bob, and that I very much like that he is a simmering pot of resentment and hatred, serving under a terrible fucking boss who makes money hand over fist while he busts ass with no benefits or help for very little pay. WOW DOESN’T THAT SEEM RELEVANT TO OUR TIMES?

So yes, I very much changed my mind (this is why rewatching things is sometimes helpful for me) on the subject of Bob, and I think in this case he makes such a better standin for the average worker, for the way the system chews us up and spits us out and oh my god I want to give every rich boss I ever had Covid right now.

Mary:

Mary Crachit becomes a main character in this version of the story and I am absolutely taken with it. The way she does whatever it is she has to for her family, the way she is willing to lie and degrade herself in order to do so, up to and including being willing have sex with Scrooge (it does not actually happen, but the scene plays out) in order to save and protect her family, and never tell them where she got the money to save Tim’s life.

She lies to Bob about this! Forever! I struggled with where I wanted to put this because I talk more about it in relation to the storyline and the scene itself below, but I decided just to leave it with Mary herself, and the way that she really does make massive sacrifices in order to protect everyone in her family. She bears the shame and the indignity of what was done to her, what she chose to do to save Tim, without any regard for herself. Mary is the rock of the family so much more than Bob is in this telling.

She’s also inadvertently the one who saves Scrooge, wishing for and calling upon the spirits to show him what a piece of shit he is.

Tim:

Tiny Tim is no less a narrative device here than he is in other versions--that’s simply the function of TIny Tim. He’s the “puppy” of the story and we kill him off in order to tweak heartstrings and encourage changed behavior. They do make his disability more clearly defined in this one, and so things make a little bit more sense than they tend to in the original framing.

I also really quite loved the effect with him breaking through the ice, and how Scrooge has to see it from below, and watch it, and see TIm’s spirit and beg him himself not to die, but to stay with his parents, to no avail, I thought it was a clever take on something we’ve seen done over and over again.

Broader story changes:

The genuine spookiness.

This is not the only version of Christmas Carol I’ve seen that attempts to create a genuine sense of fear and creepiness out of the subject material, and it’s not even the one that I think is the scariest, but I do think it does a really excellent job of reminding you that this is a ghost story. There are good little details here and there, particularly in the lead up to Jacob’s visit, that allow for a genuine sense of fear, or at the very least the understanding of Ebenezer’s fear.

Outside of the doorknob incident, we also have the two coins, the exact same years as the ones Scrooge put over Marley’s eyes, drop down from the fireplace. This not only a good moment of spookiness that is difficult for Scrooge to explain away later, but it also gives us an early introduction to his obsession with numbers.

But my favorite comes after Bob leaves for the day, and on Scrooge’s ledger he sees scrawled, by no one or nothing that he knows, “PREPARE YE,” that would be enough in itself, ut then we have a lovely moment that really encapsulates the capacity for self-delusion. Scrooge looks at the clock, and asks the clock to make it four, because he refuses to leave his office early, but he desperately wants to leave. He changes the watch he carries, and then the world goes into shadow, and all of a sudden the clock chimes four. DId time move? WHo can know, but it unsettles Scrooge enough. It isn’t only creepy, either, but is a moment to show that Scrooge will not bend himself by leaving early, but instead he will remake the world as he sees it. He will change the watch and make it lie, and thus change the world.

The human cost of industry.

One of the greatest things I think this adaptation does, and I’m not going to go too far into here because I go into it all over the place in this look at the series, is taking into account the human cost of industry. I don’t even mean the scenes in the mines, or the scene with the factory on fire, although of course those too. I mean even scenes like where a man has just died, and they are pressing him to sell the factory at half of what it’s worth, only to immediately fire all the workers and sell off the factory for parts not but a day later. To flip it into immediate profit.

And we’re shown that he remembers nothing but the money he made off of all of it--the Ghost of Christmas Past has little effect on him, except as stage setting--and he runs off the numbers, remembering the profit he made of every single year, forgetting the workers, forgetting the people, forgetting what that money COST him, cost everyone.

When we see Scrooge as moneylender in a lot of other adaptations, it’s easy to forget that making a lot of money usually has a lot of human cost. People of good character often say, ‘If I were a billionaire” but if you are a person of good character, you never become a billionaire. What it takes to become a billionaire is the coldness, the selfishness, to not allow your rising tide to lift other boats, but to hoard, and to keep. There are no good billionaires.

Women are given shit to do in this version.

For all I love the original novella, and I do, it is a product of its time, and because it is a product of its time, the women are mostly accessories to the story. Not so with this version, which has really tried to course correct that little problem from the original.

With Lottie, not only to they have her save her brother, but then we have her become the ghost of Christmas Present, which I thik works really well as she seems to be the one person in his life Scrooge actually cared for and valued. He, a man who believed in nothing but money, paid for her funeral, and it’s a bit implied that with her death the last light of humanity went out of him. She saves Scrooge not once, but twice, when her sole job in the novella is essentially to show up at the school.

I talk about Mary Crachit in her own section, so I’m not going to go into it too much here, but this version made her a goddamn main character, and I love it. I think that opens up this story for so many things and ideas that I didn’t even know I wanted but clearly did, all the different expressions of love, some of which are not nice or warm. Mary is a driver of the story far more than Bob is in this version, and I absolutely love it.

The love inherent in sacrifice, and Scrooge’s blindness to it.

One major SWERVE this story takes is with the subject of Mary Crachit. Where, in the novella, she hates Ebenezer because he’s a fucking dick and that’s about the beginning and the end of it, in this miniseries, she hates him because he was so unbelieveably callously cruel. He used her for his own disgusting appetites, he used her to prove that all human decency has a cost.

It, like the mouse scene, is horrifying and uncomfortable, and I am very fond of it. It could have gone full rape no stars, but it doesn’t do that. It has Scrooge humiliate her, make it known that she was ready to do this, have her removed her clothes and stand before him, clutching the stays to herself. He doesn’t have sex with her, doesn’t sexually assualt her, tells her he isn’t even interested in that. Instead he picks apart, moment by moment, that she is a good Christian woman, that she loves her husband, that she considers herself faithful, and she is willing to sell herself for the thirty pounds (That’s around 4,700 USD today). It doesn’t matter that she’s doing it because her son needs immediate medical care, and Scrooge refused her offer of a loan as a “poor investment.” It’s terrifying, it’s humiliating, and it’s sadder yet because people with money are LIKE THIS. I could see this happening now, with little trouble. And the scene makes us sit with that cruelty without making it graphic, and in some ways I think that makes it worse, as it should be.

But, tying this to the scene where Lottie, without his knowledge, comes to get him and threatens to kill the man who is sexually abusing Ebenezer if he so much as tries to come after them, for all he sees, he does not see the love in this act. He does not see what it must have taken Lottie, after their father finally left them, to take up and come to get him, to break him out of that horrible place. He only sees that he was the victim here. In the same way, he cannot see the love inherent in Mary’s act. What it must take for her to lay down every single thing that she believes in, because above all else, she wants to save her son.

Which goes back to what I quoted at the beginning, a line I really loved for the sheer selfish cruelty of it: “ A gift is a debt, unwritten but implied.” So much of Scrooge’s ‘redemption’ in this version comes out his ability to learn that what his father says is in no way true. Lottie gave him the gift of freedom without asking anything of him, ever, so long as he lived, never even told him what she’d done. Mary never looks upon Tim with even the slightest bit of resentment for what she had to do to save his life.

Which sort of leads me to my next bit, which is not so much a different section as a corollary to this one: Destruction as a form of love. I could write a 2,000 word essay on this in and of itself, but this is already more than 5,000 words long, so I am not going to do that.

Leading off from the fact that Mary breaks her marriage vows and her vows to herself in order to save Tim, she also chooses to lie about it for the rest of her given life. She has no idea that a situation is going to come down where she’s going to have to tell Bob, she simply chooses, instead to bear her shame and hurt and terror alone, on some hand I’m sure because she thinks Bob will hate her but also because she knows that it will make Bob feel all the more preyed upon, that nothing in his life can be without the evil touch of Scrooge.

And so, she chooses this tearing, this negative thing, but she chooses it out of love, and much like when we see Lottie “like a highwayman” threaten to kill the man that hurt Scrooge, we learn that not all love is a beautiful and warm thing, and sometimes love is difficult and unlikeable and hard. Sometimes there is love to be had in the things of shadow, as well.

And in the end, when Scrooge destroys the ice sating rink so that Tim can’t fall through, that’s the idea that he can finally encompass this, that his love is total now, and it’s not just “scrooge gave everyone money” but SCROOGE LEARNED TO DESTROY THAT WHICH WAS TERRIBLE.

Which leads me to:

THE ENDING:

Let’s talk about all the things they change in the ending because there are a lot of them and I fully expected to hate that but it was very much that snake comic where it goes “I don’t like that thing”...”Oh no I love it.”

Scrooge’s ‘redemption’ doesn’t come out of him wishing that he wasn’t the one to die, or wish that everyone would not hate him so much and immediately forget him, but out of the ida that it doesn’t matter what happens to him so long as Tim is allowed to live. He finally lets go of that massive selfishness which allowed him to profit so very much, and to give himself over to whatever it is, to be tortured, to not be forgiven.

Because he knows he doesn’t deserve forgiveness, that he does not deserve redemption. He REFUSES redemption, he says he refuses to change because he refuses redemption, he refuses to not allow himself to be punished. “If redemption were to result in some kind of forgiveness than I do not want it” He finally owns his shit, because a large part of the point this miniseries is trying to drive home is that YOU are responsible for YOU, and no amount of excuse can let stand the horrible things we might do, or the things we let pass us by. I’m very into this, in a shock to literally no one.

The sign that he can be saved is that he does not wish to be saved at all.

And he does more, and better, than in the original, he gives Bob 500 pounds, yes, but also encourages him to take the better job he’s been offered, because Scrooge, in a true move of understanding what his greater evil is, is closing the entire company down, He is stopping the machine of destruction entirely instead of giving money to whoever he finds deserving and letting those he does not be chomped up by the machine. It’s a far greater sacrifice, a far more meaningful turnaround, than any version I’ce seen before.

Mary tells him it will not buy forgiveness, and he says, yes, good, I won’t trouble you. I didn’t know how badly I wanted an ending like this until I saw it before me, but it was everything I had ever wanted from this.

And then we, the viewing audience, all get called out at the very end, and it made a chill run down my spine and tears spring to my eyes in a way that really rarely happens to me but happens to me most when I feel “got” for lack of a better term.

Mary is looking out the window, and says “Sprits, Past, Present, and Future. There is still much to do.”

And then she looks directly at us. And the screen goes black. We are left not saying “Oh wow gee willickers, that Scrooge guy sure was nasty BUT” and instead go away with, “How have I been Scrooge in my daily life? How can I change?”and for me it was harrowing in the way I think all viewings and readings of A Christmas Carol should be, that we should always come away with the idea that we could be doing a better job, that some cruel Ebenezer waits inside all of us and we must constantly be working to root him out.

Very minor loves:

The idea that the greatst torture is to be locked in one’s coffin, and never allowed to die, and how one does not really require a hell in itself, as one has been conventiently provided to each man, women and child who requires it. Really clever. What is interesting in that, however, is that the show is somewhat harder on Marley. In the novella, he is driven to help Scrooge by way of their past friendship, by some humanity he’s found in death toward his old friend. In this, it’s essentially only to escape this hell.

Changing, “If they’re going to die, they’d better do it! And decrease the surplus population” to the very simple “then let them die” is something I didn’t expect to like--on the whole I am rather attached to the original line, but I think with the way they are trying to play Scrooge as more of a straight up villain and make this whole thing less of a ‘charming Christmas tale’ it really works.

I love the bit with Christmas past when they use the zoopraxiscope thing to project the images, and it’s his hat. There’s nothing deep about it, I just really like it as a touch.

People can be irredeemable, in their way: Lottie and Ebenezer’s father doesn’t turn kinder, the way he does in the novella, but just leaves, and so Lottie is free to bring him home. There’s no redemption for him. (I actually think this is really weakly handled in the novella despite my loving it)

I unfortunately have less talent for talking about visual stylings, but one thing I noticed within this movie is that it’s filmed ina lot of blues and greys, underscoring the whole darker tone of the story, and I really appreciated it.

Thank you for this fucking line, I cherished it and it’s place in the story so very fucking much: “Given my time again, I would not reduce the expenditure on timber. *long pause* Given the time again, I would not be myself.” It’s hard to get across in writing, when one is not turning their hand to it literarily, but it’s really this beautiful admission of guilt without being entirely some sobbing ridiculousness.

HIS THING WITH HORSES GETS EXPLAINED BY THE NARRATIVE THANK YOU OH MY GOD. I was so sure this was just going to be a sidenote thing but they remembered to follow up and I was very proud in that moment.

“Everything in life is a lesson if you care to learn” which I should have tattooed on my body as it is my exact framework of thought.

The observation of the Crachits and just that, “no matter what, nothing sinks them” was just something I enjoyed. (and am stealing)

I fucking loled when Ebenezer is excitedly gesturing to the Crachits after his new life, and looks at Martha and goes “whoever you are”

What I could have done without:

There are always MINOR nitpicks with any version, but one thing I’ll say that I considered rather major, and did not care for in the slightest, was all the dick-fucking around in the spirit realm with Marley. We could have buttoned that up right quick, and we didn’t, and there’s a huge gap in my notes where I’m just like, “Ah okay! I guess….we’re still here?” I think some of the ideas were sound but the execution was poor.

Sometimes I felt like the writing beat me over the head with the morality of what was going on but then I read reviews of it and was like, “Ah okay, I suppose these people are why that exists” so while for me I would like a bit more subtlety I suppose I understand why sometimes there cannot be.

IN CONCLUSION, AFTER MORE THAN 6,000 WORDS: I really quite liked this version of A Christmas Carol. It’s not a children’s version by any stretch of the imagination, but I don’t think a Christmas Carol is meant to be. I definitely will be coming back to this one, which makes it only one of a handful. It was a good recommendation for me, when I wasn’t sure I was going to watch it in the first place--there are so many versions of CC that I am still trying to get through--and I found that I really enjoyed it.

The focus on the morality of the situation and making great pains to decouple it from the holiday itself made this a much-needed refresher of the story for me that keeps more to what I think the original was GOING for (Source: literally all of Dickens’ writing on poverty) than the way it’s been twisted by our Capitalist Christmas Culture. I loved that the women were given more to do and an equal hand in the story, and there were a number of really lovely lines that will stick with me.

#Doc watches TV #doc watches things

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