#samuel Hodgkins

[flowerbloom-arts]

Decisions, decisions.

[aster-ish]

My favorite thing about the Moomin universe, specifically in the 90s anime English dub adaptation is that most characters have these whimsical names like "Snufkin" or "The Snork" or "The Mymble" and then there's just this guy named "Samuel Fredrikson" who happens to be good buddies with this universe's equivalent to god.

...Is what I WOULD HAVE SAID if I hadn't just looked him up to fact check myself and double check spelling and found out his BOSS, the KING of the island he lives on is called DADDY JONES

[writers-in-moominvalley]

Moominpappa's Memoirs vs Adventures of Moominpappa part 1

In which I compare the episode to its source material.

Warning: this essay is a 13.3k word long deranged rambling written by someone who is obsessed with Moominpappa's Memoirs and its characters. Continue at your own discretion.

Background and clarification

The Exploits of Moominpappa was a book written and illustrated by Tove Jansson and originally published in Swedish in 1950. It is the 4th story in the Moomin book series and follows Moominpappa, Moomintroll's father, as he writes his Memoir which has been mentioned in the past 2 books and reads it to the child main characters. The Memoir itself recounts his life story from childhood, his adventures with the other children's parents and up to his rescue and first meeting of his wife, Moominmamma.

Later in 1968, Tove made a revised version titled "Moominpappa's Memoirs" which followed the same outline but with changed scenes and extended sequences, adding much more compelling characterization and character-driven moments to move the story along.

Moominpappa's Memoirs was then adapted in May to August of 1991 for the hit Moomin adaptation series, Moomin (1990), as a series of 3 episodes interspersed between other episodes under the encompassing title "Adventures of Moominpappa".

Despite what Wikipedia tells you, it is not in fact an adaptation of the original The Exploits of Moominpappa (although the title might mislead you to believe that) as much of the content in this trilogy adaptation takes from Moominpappa's Memoirs, such as the frozen sea scene or the Joxter's introduction. However, much of its content has been cut, spliced or changed altogether to fit the 60 minute runtime allowed for these three 20 minute episodes.

What this post aims to be is a critical look at these episodes as pieces of television entertainment and as adaptations of the book, starting with the first part.

For clarity, I did not grow up on this show and this show's writing has never been perfect to begin with, even when we take adaptation out of the equation. I don't dislike the show as a whole by any means, but I can tell very clearly that it has managed to dodge criticism for so long (well, at least for fans who aren't personally connected to the previous incarnations of the franchise and therefore their major criticism would've been "this isn't like the thing that came before!") because of the sheer Vibes that the show exudes and its weirdness in its substance was only seen as amusing rather than a problem or as the same thing as the weirdness that's inherent to the whole franchise (which is a subject I may touch upon in a later date.)

The long and short of it is; it's not perfect in either avenue of how you view these episodes. However, I do not fault anyone for liking any of them and much of this is my own opinion and simply observations on how well it's handled as an adaptation. I'm doing this out of a love and passion for this franchise and this isn't a niche that's been covered before as far as I'm aware (also, Tumblr user @helshdy has requested me to do this and that's my excuse for getting me going on this)

And for clarity, the adaptation has changed the names of the characters in the English dub for some strange reason, and here's the list (book names - show names):

Hodgkins - Samuel Fredriksson (fun fact, it seems to my knowledge that the English translation of the book is the only one that doesn't use a variation of the original Fredriksson. The reason is totally unknown to me. Also, he never had a first name in any previous material he appears in, so I don't know where in Moominland they came up with adding Samuel there)

The Muddler - Fuddler (Fuddler is actually the name of his child who is not Sniff in the comics)

The Mymble - Mumaline (is that how it's supposed to be spelled?)

The Mymble's Daughter - Mumaline's Daughter

The Fuzzy - Muddle (yes, without the r)

Edward - Eduardo

For the sake of simplicity I'll be using the book names, except I'll be abbreviating the Mymble's Daughter to MD and refer to the King/Autocrat as King Jones like in The Exploits of Moominpappa (because I am majorly upset at Tove removed his name in Memoirs). And I'll be referring to young Moominpappa as Moomin while his son will be referred to as Moomintroll.

In this post, I'll only be covering the first episode and do the other 2 episodes in seperate posts, as well as an extra post evaluating this trilogy as a whole and diagnosing what it did to the story to end up the way it did.

So with all that out of the way, let's begin with the

Recap

The episode starts with Moominmamma preparing something in the kitchen and going upstairs, Moominpappa is sick in bed and Moominmamma gives him a warm glass of milk and onion juice. Moominpappa muses about how if he was gone then Moomintroll and Moominmamma wouldn't know about his childhood, Moominmamma asks about the memoir he's been writing throughout the show and he says it only starts from after he saved Moominmamma. Moominmamma is confused but flattered that the memoirs start with the beginning of their relationship, even if she thinks they usually start at the beginning of one's life. Moominpappa says rather vaguely that he has his reasons for not starting from the beginning (we'll get to this in the review portion).

We then get treated to Little My gathering Sniff and Snufkin to meet up with Moominpappa and using lies to make sure they don't skip out on listening to Moominpappa telling everyone about his Epic Backstory, and then when after the misunderstanding is cleared up, Moominpappa lays the foundation of what he's going to tell them, mostly about the people who "kinda looked and sounded like them".

Finally, Moominpappa recounts the dreary August where he was found in a shopping bag at the doorstep of an old orphanage run by a principal who was very reminiscent of Mrs. Fillyjonk. We see a montage of how his childhood went; he gets marked in marker with the number 13, he wets the bed and gets washed in the sink, he fails to bow down with his tail in a 45 degree angle, all the while he questions everything and his principal complains about him being more troublesome than the rest.

Then, one late winter, he decides to head to the forbidden seaside on a whim and skates on the ice. He admires himself in the lake reflection and describes himself fondly, his only complaint being his legs being "too short for perfection", although he hopes they might grow longer if he skates and walks more. He continues on skating and breaks the ice, causing him to fall into the water and narrowly escaping with his life. This, Moominpappa considers, is his first adventure, and the thrill is much too enticing to let it be his last. That night, he decides to escape the orphanage through the window while everyone is asleep, all the while a voice over narrates the letter he left for his principal about his departure and that she needn't fret.

With a side bag worn, he's off to the races in his grand escape! But in his way is an increasingly terrifying unknown forest which he imagines is out to get him as he runs with all the speed his small legs could carry him, afterwards, in the windy night, he cries himself to sleep in a hollow log.

He wakes up to a bright and beautiful morning where he meets with a brook and spots a strange spinning wheel turning in it, he muses about it and then a man in a purple onesie appears in front of him explaining that it's an experiment for his ship that'll launch that day. The two become fast friends and Moomin learns that the man's name is Samuel Fredriksson (but we'll call him Hodgkins) and he takes him to the boat.

Hodgkins calls for his nephew, Fuddler (Muddler), as he seems nowhere to be seen, but then he pops out of his giant coffee tin with a can of red paint and apologises. Hodgkins introduces him to Moomin and tells him to hurry up with the painting, to which Muddler ensures that he'll do it as fast as possible.

Hodgkins and Moomin enter the pilot-house where we are introduced to Joxter sleeping on the couch. Hodgkins gets upset and asks if he read the "No Admittance" sign on the door (there's literally no sign, visually?) and says it means he shouldn't go in, Joxter lifts up his hat and proclaims that he doesn't understand signs (cue audience cheering).

The 3 of them step on the deck and Moomin asks what the ship's name is, Hodgkins says that of the names he's thought of, he named it the Ocean Orchestra (the Oshun Oxtra) since it sounded poetic. Moomin asks how they'll set sail and Muddler realises they haven't thought about that, Hodgkins reassures everyone and says that they'll employ the help of Eduardo (Edward) the Booble. Hodgkins explains who and what Edward is and Moomin asks if he's dangerous, Hodgkins says he's not really but if you're not careful he can step on you, but don't worry! He always pays for the funeral!

Hodgkins proceeds to yell out into the distance calling for Edward and asks him to bathe in the river instead of sea since it's so nice that day. Edward then rises up from out of the forest in slow motion all Kaiju-style and Hodgkins and Moomin run back to the boat, Edward does a 6/10 belly flop into the river causing the water levels to rise. Moomin and Hodgkins make it to the pilot-house where Joxter is sleeping again, Hodgkins takes the wheel and yells out vaguely nautical sentences to nobody in particular and the boat finally takes off. But oh no! Edward is blocking the way! Moomin is worried they might crash into him, but also asks what's behind Edward, Hodgkins does this monologue about the sea and it being adventurous and Moomin is very dreamy about finally getting adventures at last. Hodgkins gets out of the pilot-house to yell at Edward to get out of the way, and yelling about how he's been preparing for this for years finally convinces the Booble to get out of the way.

Just as Hodgkins was saying this would be classified as a historical moment, Muddler yells out from his floating tin and Joxter suddenly wakes up, commenting on how it sounds like he might be in trouble. The crew runs to the back of the boat to see what's up, Hodgkins seems annoyed as if this is Muddler's personal doing but Joxter reassures Muddler that they'll get him out of there, Muddler gets upset about the crew being mean and leaving him behind but then Hodgkins through him a lasso which knocks him over.

Muddler ties the rope to the key-type can opener and they sail past Edward, which causes a bit of a turbulence and flooding but ultimately they cheer in victory of a successful maiden voyage.

Then it's sunset, the crew stop at some cliffs and find the Groke chasing an unknown person through them. Moomin asks about what happens if the Groke touches them and Hodgkins explains that the Groke doesn't really do anything and that she's lonely, but if she gets too close the person would freeze. Joxter also concurs that it's too late for them to do anything. Moomin isn't deterred by this and rushes to rescue the mysterious person being chased by the Groke by swimming down to the cliff with Muddler's tin as a catcher, all the while he and Hodgkins argue about this decision. As it turns out the mysterious person was his Orphanage Principal (although Moomin doesn't realise that until later) and she jumps into the tin, after which they swim back to safety with the Groke looking on and the crew cheering.

We then get Moominpappa in the present talking about how this is the third adventure he's ever had and the first of many rescues. Moomintroll gets really excited and inspired to become an adventurer like his father and Little My asks who Moominpappa saved and what happens next. Moominpappa tries being cheeky by saving the continuation for another time but Snorkmaiden insists on telling them who it was at least. He finally tells them that it was the principal of the orphanage, as she was looking for him after he made his escape.

We then cut back to his story after Moomin got the tin on deck. Moomin expresses displeasure at his rescue being that of his Orphanage Principal and says he wouldn't have saved her had he known it was her, Hodgkins assures him that what he did was brave. The Principal then becomes a demanding presence, making Moomin and Hodgkins instinctively straighten their posture and asking Moomin who everyone is, then declaring that she'll take them under her wing and teach them how to behave.

Joxter excuses himself to go below deck and Muddler follows him after, Hodgkins and Moomin also run elsewhere while she's distracted and she continues yelling demands at them.

We're back once more to Moominpappa and the family, Snorkmaiden and Moomintroll amusedly comment on the unfortunate situation, Moominpappa laments that he might've saved her anyway if he had known and that you can't just win, can you? Moominmamma expresses terrible pity for Moominpappa's childhood but he reassures her that it wasn't that bad. He then continues saying that the next part of his story is really exciting but they must wait until he recovers from his illness. The narrator then tells us to tune in for the next part where we find out what happens to the Orphanage Principal after… (*checks episode list*) 3 other unrelated episodes.

The end.

Episode review

While it is a very watchable and enjoyable episode of a kid's show there are a lot of glaring issues with pacing and writing efficiency.

The introduction does a good job at introducing our original main cast but I am very baffled at the convoluted way they decided to reconcile the memoir Moominpappa has been writing throughout the series and the backstory he's telling the kids in these series of episodes by having the show's memoir be about everything that came after his meeting with Moominmamma, in fact Moominmamma herself questions the issue because even if it's not really a full autobiography the starting place lacks a lot of important context that lead up to it, and the writers had the gall to make Moominpappa handwave this question with a vague answer that doesn't excuse anything.

A much more efficient writer would've just had him ask Moominmamma to bring his yet unfinished memoir to read to the kids after his musing and used the time from this conversation for something else but whatever that's not the biggest issue.

The biggest issue I have with the episode's writing efficiency is the very unnecessary break near the end of the episode where the kids ask who the person Moominpappa saved was, because we quite literally see the Principal hopping into the tin? She quite literally comes from the shadows and we see her very clearly which renders the subsequent scene utterly pointless? In an in-universe perspective, yeah sure it makes sense for the kids to impatiently ask who it was but we get the confirmation right after! This is a show made for an audience who can see the flashback taking place and doing something like this is redundant and it's wasted time that could've been used to, I don't know, flesh out the story's characters more? Add a bit more substance to everything between the action?

Speaking of that, there is a noticeable amount of emphasis on the action with little to do with characterization here (which is an issue throughout the trilogy but we'll get to it when we get to it). There are about 3 whole action scenes in this episode: the ice break, the escape and the launching ceremony, the latter two of which kind of overstay their welcome a few moments too long (especially the ceremony).

The ice break was fine, it accomplished itself as the Call To Adventure in Moomin's Hero's Journey and that's all it really needed to be, it's a fun and intense enough scene with good character animation on top of that.

The escape from the orphanage was a bit too unnecessarily intense to the point where it didn't well fit with the tone of the rest of the story and could've used some better editing, especially with the parts surrounding the bit where he cries inside the hollow log; it would've been preferable if we actually saw him crawl inside it and then crawl out of it in the morning, I think it would've improved the flow of the scene.

It was an odd choice to give Edward a full Kaiju moment with the slow motion and everything and even have him block the path just to extend the scene after they got Muddler tagged along, and having the boat be flooded and everything, all it really does accomplish is adding a bit more to Hodgkins' character with his dialog which is kind of meh? And it's not at all characterization that gets used later on in the episode or the whole trilogy so what the scene accomplishes is coolness for the sake of cool at best (which only applies to the first half of the scene honestly) and runtime filler at worst.

You could argue that the emphasis on action is a product of Moominpappa's way of telling his story in-universe, and I would say I completely understand that reasoning, but there's not much in the way of acknowledging that this style of storytelling is Moominpappa's doing and is an extension of the story's nature as an in-universe story, and the episode fails to properly establish that Moominpappa is prone to embellishments or wanting to make himself seem cooler than he is (this issue is somewhat rectified in the beginning of part 2 but this is what I'm talking about when it comes to efficient storytelling). So in the end it makes it feel like this is the writers simply doing their job rather than putting their writing through the filter of Moominpappa's character, which leads me to the point of characterization.

The characterization is… okay and it does a half-decent job, but it's definitely very boring in the way that it makes Moomin too similar to Moomintroll and it makes Hodgkins a little too indistinct on whether he's nice or not. Joxter and Muddler could've used some work but they aren't majorly important characters in this first part and it does establish their characters and quirks pretty fine for the little screen time they have. Edward is… a sea monster with no thoughts behind those eyes and listens to Hodgkins like a dog it seems, he's more like a plot device than anything.

Funnily enough it's the Principal who has the best characterization out of everyone, definitely not likeable by any means, but it's that obvious unlikeability and consistent, obvious character motivation that makes her the most well-established character at least in this episode. I just… really wish she wasn't treated so cruelly by the other characters honestly, like I get it, she's annoying and authoritative and didn't treat Moomin well but nobody is holding back any punches with her, who is, mind you, the only major female character in the story so far. To make Moomin say despairingly how he wouldn't have saved her if he knew it was her? To have the kids talk about it like it was a hilarious misfortune to save her life from the Groke? It's a bit… mean-spirited, far more than usual for this show.

But I'll talk about the characters more during the adaptation section of this post.

Overall I'll say that the episode is decent but doesn't have truly interesting characters that would've really elevated the episode for me.

Adaptation review

Okay so this is where my teeth are going to show because it is very, very much NOT a good adaptation.

Part 1 is an adaptation of the prologue, chapter 1, chapter 2 and the first third of chapter 3. The thing is that it skips over the whole preface Moominpappa wrote but that's whatever, all the preface accomplishes is some humorous establishment that Moominpappa is most certainly not a reliable narrator and that he hopes to be viewed as important by those who read it, it's difficult and not necessary to adapt in animated form with the format they decided to use. The rest, however? They've skipped over quite a bit and made a complete overhaul to the characterization and tone of these chapters. Which is understandable for a 20 minute episode and admittedly even just one chapter is very long even without the tangents Moominpappa goes into, buuut…

PROLOGUE (AND PREFACE)

The way the episode's version of the prologue handled Moominpappa's character is already a big indicator of this. In the book, Moominpappa feels the absolute indignance of being sick for the first time in his life and getting a very, very bad experience with the cold on top of that. The cold made him miserable and annoyed, he refused to consume anything medicinal from Moominmamma, he couldn't sleep, he had a great amount of tissues under his hammock, he had an unbearably sore throat that rendered his speech unintelligible when he asked Sniff to get the meerschaum tram for him. His family and adoptive children felt pity and tried to accommodate him as they could until he fell asleep, terribly vexed by all this.

Moominpappa awoke with a throat that felt a little better and spoke to Moominmamma about the significance of the aforementioned tram to which she doesn't really understand, which upsets Moominpappa immensely and he is resentful that she and their son wouldn't know about the great history he went through had he died from the cold. Moominmamma suggests after some deliberation, as she always had, that perhaps he should finally take the time to write and read his memoirs using an old notebook she found while cleaning the attic, Moominpappa gradually agrees to this and declares that he won't read a word of it to the others until he gets a whole chapter ready, though, she'll be the only test audience for the chapter until he moves onto reading to the children.

One thing to keep in mind for book Moominpappa (and by extension, his younger self) is that he is very… egotistical, which is a facet of his character I would love to go into excruciating detail about once I finish this series of essays but let's just say he's egotistical and over-dramatic and just LOVES writing about himself in the most melodramatic and egomaniacal way and the adaptation tries very, very hard to either downplay it or remove it entirely even though it is an essential part of his character that separates him from the likes of Moomintroll.

Moominpappa's vexation with his illness is one example, it's his first experience with the common cold and this is the situation we get introduced with to establish him and his surrounding characters; this Moominpappa is one that is stubborn, melodramatic and miserable over the helpless and undignified position he's suddenly placed in. This whole sequence wasn't a part of The Exploits of Moominpappa, either, it is added here with the purpose of showing us the kind of person we're reading this perspective from and the context he wrote this story in. It establishes his dynamic with the characters that surround him and even establishes those characters themselves in the most essential way there can be.

The scene in the episode does not establish any of Moominpappa's melodramatic and sour attitude from being undignified, it doesn't even establish him as being prone to being a generally unreliable narrator like in the preface, or that he really likes to talk about himself (he doesn't take the time to talk at length about himself in a self-aggrandizing way or even anything seemingly superfluous AT ALL within the story even though that is the whole premise of why he's writing his damned Memoirs and is one of the foundations of his character that affects his interactions with the other characters within the book). It establishes the audience characters very well, even more so than the book did, but it doesn't establish Moominpappa himself very well, and he's meant to be the point-of-view character and the most important one in this series of episodes.

It's almost fascinating how they dared to tone down such a straightforward character like Moominpappa even when they didn't seem to have an issue with the aforementioned aspects of Moominpappa in other episodes.

Moominpappa's Memoirs is, in essence, a parody of how self-important men write about themselves and the people around them in their own memoirs, this parody circles all the way back to sincerity by showing us genuine vulnerability, emotion and the outside process and reaction to Moominpappa's story. By not establishing just how self-important but also sincere Moominpappa is you're missing out on half of what the book is set out to do.

CHAPTER 1

The chapter 1-3 sections of the episode is what you get when you skim over the personal expression in narration to get to the barebones plot, and even the barebones plot gets smushed in the middle to save time. The adaptation as a whole really would have benefitted from the advantage given by the inclusion of the narration gimmick and let Moominpappa tell the audience about his thoughts and how he felt in the situations we're presented with. Show don't tell may be a rule of thumb in visual media but the book and story's whole personality hinges on expositing Moominpappa's thoughts on most, if not every matter he tells us about and even talking directly to his audience, to remove that would be to remove what made the book unique from the others in the series with its first person perspective. This is a story relaid to us by a character, it should've been treated as such. But as we're going to see, the adaptation does not concern itself with the emotional narrative of the book.

Chapter 1 gets into the nitty gritty of his life in the Orphanage, or in actuality, the Moomin Foundling Home.

Right off the bat there's a minor issue here that could be used as an example of how the adaptation prioritised the overall "Adventure" over the purpose of each detail and how it contributes to the themes of the story.

In the episode, the Orphanage is a diverse one that is run by a Fillyjonk. In the book, the Foundling Home is one made to house specifically Moomin-children and is run by a Hemulen.

Now, from a character design perspective I can kinda get it, I would've liked to see how creative they could've gotten with designing the 12 other Moomins but alright, fine. But from a thematic perspective it cements Moomin (number 13) as a strange individual even within his own species rather than being inherently strange for being the only Moomin. Moominpappa goes on and on about how special he is juxtaposed to a regular Moomin, how talented he is, how imaginative and curious he is compared to his vapid peers who just obey the Principal and don't talk to him. He's special because he specifically was born special, not because he was born a Moomin, and that is a difference that is greatly cemented within the book that it's practically part of his personal definition of himself, and that difference gets lost in translation when you make him the only Moomin in that orphanage.

The Principal being a Hemulen was also a pretty important point in the book. In the book series as a whole Hemulens generally represented authority or even just a parody of Adults, they're the antithesis of Moominpappa's imaginative spirit and he dunks on them in many ways throughout the whole book.

Hemulens are antagonists who want to take away some aspect of his life that he cherishes, people don't like to talk about Hemulens, Hemulens have no taste in fashion, Hemulens love duty and unfulfilling routines, Hemulens love sticking their noses in business that doesn't pertain to them, Hemulens are annoying and bossy, Hemulen orphans are seldom found and therefore a foundling home for them would've been useless, everyone born 20 minutes after Moomin would've been in a Hemulic Voluntary Brass Band (so be very careful of when your children will be born and plan/calculate accordingly!)

Hemulens have always been the subject of judgement and misfortune throughout the book series despite not doing anything morally reprehensible and still nowhere is the judgement more intense than in a book where an in-universe character gets to tell his story.

The Principal being a Fillyjonk in this adaptation does little more than to tie Mrs. Fillyjonk in all of this somehow (although I will admit her design is very pretty *cough*) and make all the criticism into mean-spirited bullying that's almost unfairly concentrated on her. I am aware that Moominpappa implied he switched the species of at least one Fillyjonk to a Hemulen character in his preface;

“In consideration of the feelings of many persons still alive, I have sometimes exchanged Fillyjonks for Hemulens or Gaffsies for hedgehogs, and so forth, but the talented reader will have no difficulties in understanding what was actually what.”

Alas, it's not a particularly convincing argument in favour of changing her species, especially given the context of the book.

The 90s series very notably tends to disregard the social commentary posited by the source material and in effect it either perpetuates the things the source material critiques/avoids (the sexism) or nullifies the original message by either not following through on the message of the story or contradicting it entirely (most of the adaptation episodes, really). There seems to be a fundamental misunderstanding of why the story is written that way, or they do in fact understand but deliberately try to circumvent addressing the themes of the story in the name of making them uncontroversial and removing them from modernity. But in doing so they don't replace it with anything that's of substance, they don't let the characters be themselves with their original warts and oddities either.

For the sake of brevity I'll save most of the minutiae of Moomin's characterization within the memoir for a later post, but I'll summarise that in the book he is characterised as a pitiable egomaniac after an early childhood of asking questions about the fundamentals of reality and being met with hostility or avoidance by everyone around him:

“So passed my early childhood in quiet and constant wonderment. I was permanently astonished, always repeating my questions of "What, when?" and "Who, how?" The Hemulen and her obedient foundlings avoided me as best they could; the word "why" seemed to make them uneasy.”

(...)

“But by and by a change came: I started to muse about the shape of my nose. I put my trivial surroundings aside and mused more and more about myself, and I found this to be a bewitching occupation. I stopped asking and longed instead to speak of my thoughts and feelings. Alas, there was no one besides myself who found me interesting.”

Much of the first half of the chapter is exercising what these 2 paragraphs summarise. The Principal seems more preoccupied with order and cleanliness than actually raising these children, she says dreams are trash right to Moomin's face.

However, the origin of why Moomin describes himself as talented rather than strange or some other word is because of her and her interest in astrology.

“However, the Hemulen who had built the Foundling Home was interested in astrology (somewhat), and wisely enough she observed the dominant stars at the time of my coming into the world. They indicated the birth of a very unusual and talented Moomin, and the Hemulen accordingly worried about the trouble awaiting her (...)”

Assuming that the Principal told him of this when he had the capacity for memory formed (or that any of this is true), she is the cause of why Moomin seems to act the way he did (presumptuous genetic disposition and inherent neurodivergency aside)

Moominpappa has latched onto this adjective ("talented") as if it were a lifesaver. He defines himself so immensely from this one word that it makes a hypothetical visit to a therapist a rather concerning prospect. But, again, I won't go too far into detail about it.

And here we come to face the original Call To Adventure. The early spring (yes, spring, not late winter like in the episode) in which he almost fell into the frozen sea. This is the one scene I wanted to talk about greatly, since it is the perfect microcosm of the difference between 90s Moomin and Book Moomin.

Moominpappa talks about this visit as a mere, vague whim. It was the first time he saw such a bright and full reflection of himself. Before, he had only looked at himself in the hall mirror back in the Foundling Home, and he'd look into his own eyes and wail sad phrases describing his misery until he felt better, but now… now there's a whole new light to see himself in, and he sees himself as a creature to compliment.

Here's the major difference between the source material and adaptation;

You may recall that in the episode his only complaint were his legs and he hopes to himself optimistically that they'd grow longer if he worked towards it. In the book, on the other hand…

“The paws were really my only disappointment: they had a look of helplessness and childishness that bewildered me.

"However," I thought, "perhaps it will pass with time. Doubtless my strength is in my head. Whatever I do, I will never bore people. I'll never give them time to look as far down as my paws." ”

He was offended by the mark of helplessness and indignity, just like in the prologue. He thinks about compensating, to make himself so grand and exciting that people won't have the time to notice his faults.

He won't give them the time. Not that they wouldn't dare, not that they'd never notice and not even that they'd ignore those faults, he'd be the one with agency to strip them of that possibility. And I believe that's very telling.

He lays down to get a better look at himself and sees not his reflection but the deep, dark vastness of the sea. He was initially giddy but soon falls into terror as he contemplates the depth of the waters he's sitting over until he feels upset. He stands back up and stomps on the ice to see if it would hold, he goes further out and stomps on the ice again, it breaks.

One of the major compromises of the adaptation that does an injustice to the book is that we don't get to take a proper look at his thought process. What was a brief and imaginative introspection in his supposed final moments (that really ought to cause some alarm about his priorities) that ends anticlimactically turns into an action scene.

“Perhaps one of the threatening shadows would devour me! It was not impossible that he would take one of my ears along to his children and tell them, "Now, eat up before it goes cold! This is genuine Moomin and not to be had every day!" Or I would float ashore with a tragical clump of seaweed behind one ear, and the Hemulen would weep regretfully and tell everyone she knew, "Oh, he was such a singular Moomin! What a pity I didn't understand it in time . . ."

I was just starting on my funeral when I felt something very cautiously nipping my tail.”

Moominpappa calls these thoughts "enticing dreams", which- erm, okay sir (the full implications of this is another pin I'll address in a future post). But anyway this establishes very clearly what Moomin's first thoughts will be when faced with certain situations, and that is the prospect of being given attention and acknowledgement, to be considered special and worth people's time. That even in the face of potential death he finds some way for his death to Mean Something for him and those who stumble upon him.

He also wants his Principal to be Wrong about him and realise that, and this will come into play in chapter 3.

The adaptation really fails to establish his priorities and desires, it even contradicts them outright later in the episode, but we'll get to that.

After crawling back on shore Moomin comes to the epiphany of wanting to experience the real world and taking his fate into his own paws, he can't possibly stay in the same living situation after such a matter.

He was cold all day after the incident but nobody asked why, which cemented his decision as nobody seemed to care about his well being in the slightest. He tore his bed sheets to use as a rope and his peers looked on without a word, which hurt his feelings, and finally in the evening he wrote his farewell letter and made his escape.

The escape itself had a lot of emphasis on how terrified he was, the bushes and stones turned into formless monsters because of his terror and imagination but it wasn't quite as sensational or emphasised as the episode portrays it. Moominpappa just describes how… scared and in need of comfort he felt, that even the Principal would've given him some comfort, but he just couldn't retreat after such an imposing letter announcing his leave.

Then we get our first intermission with Moominpappa in the process of writing these events, I will say that I won't be describing these mid-chapter intermissions in this essay unless they mention anything particularly important to the plot as they aren't necessary for this analysis.

And then sunrise came and it was the most glorious relief, it was his own private morning, he claims. And he tore the tail tag that marked him as number 13 and celebrated.

… Ah right I forgot to mention it was a tail tag and not a number written in black marker on his back, which is just… an extremely silly creative decision which strips away the symbolic victory he had in his escape, it didn't even stay on his back consistently even before the escape. It would've been really neat symbolism if he washed it off himself in the river the morning after his escape, a sort of renewal and cleansing of himself rather than the break from chains, but I suppose that's just plain missed opportunity. It's also a bit odd to not have him celebrate the escape, like, at all? Why is there no catharsis and victory after this big plot point?

After this, he celebrates, eats the pumpkin mash he took from the orphanage, celebrates some more until the sun set, then when he gets tired and ready to go sleep he decides that becoming a famous adventurer (yet another pin of discussion about Moominpappa's egotism) is what he'll do with his life and goes to sleep.

After waking up and admiring the great green world he finds himself in, Moomin comes across a Hedgehog lady (supposedly originally a Gaffsie as the preface implies?) who is cleaning a bowl made out of a walnut shell. The Hedgehog actually does a cameo in the episode but I understand why her character was removed from the story. Their conversation about who owns the forest and what Hemulens are isn't particularly important aside from establishing Moomin's naivety and lack of experience both with the world and interactions with other people, and that perhaps it wasn't only the Foundling Home who finds Moomin a bit of an unpleasant child to have to interact with.

(Side note: I say child but it's difficult to gauge how old he is, I'm assuming he's a teenager at this point because he distinguishes between "childhood" and "youth" and had to actively escape the foundling home, whereas such institutes tend to let their children go on their 18th birthday)

Continuing this removed section of the chapter is Moomin's imaginary house-building and showing it to the Hedgehog. This is an instance of Moominpappa's extended tangents throughout the book, here he goes into very, very vivid detail about drawing a Moominhouse (as he calls it) in the dirt and he's so proud of "building one" that he goes to show it off to the one person he's met this far only to realise he didn't actually build it, he receives a very cold and disgruntled reaction from the Hedgehog and they both walk away, she to her dishes and he to the brook. Then he goes on yet another tangent trying to reason that actually, building the house would've been a bad decision for Many Reasons, therefore he walks away from the interaction with his dignity intact.

I personally really enjoyed this section with the Hedgehog because it establishes how inexperienced Moomin is and just how stunted in his social capabilities it has made him. It gives us a lot of characterization and that Moominpappa is Totally Normal about houses, just… super, normal about them, guys. It sets a clear precedent on how his interactions with regular people would go, and clearly demonstrates how his childhood friendship has affected him. However I'm not quite so angry about the removal of it in the adaptation, as it doesn't really progress the plot or give us pertinent information that is essential to understanding the setting or characters, the Hedgehog doesn't even make a comeback for the rest of the book, her character is very much confined to this specific scene and doesn't quite elevate the story by that much besides the characterization and rather humorous scene it helps to provide. Very ironically, Moominpappa calls this sequence the first "real Event" in his life and "of the greatest importance" to his development. (I swear I love the way he talks about this so much in the narration.)

And here comes the real important first event of his life; his discovery of the water-wheel and first meeting with Hodgkins.

The way this interaction goes is a bit different than in the episode, Moomin only inspects and doesn't talk aloud about the water-wheel and Hodgkins' voice explaining what it and its purpose is comes out of blueberry bushes until he reveals himself. (the experiment was for counting the revolutions rather than the episode's explanation of it being him figuring out the propeller[?? Why change it to that??])

Moomin looks up at him and asks to whom he has the honour of speaking to, the stranger replies with a very brief "Hodgkins. And who are you?", Moomin then proceeds to introduce himself as a Moomin and a refugee born under special stars and Hodgkins asks "What stars?".

Moomin becomes very eager to answer this "first intelligent question put to him" (excuse to talk about himself at length) and proceeds to sit beside Hodgkins and backstory dump with some obvious embellishments and more importantly without interruption. Moomin loves that Hodgkins is clearly invested and after graciously finishing his backstory Hodgkins could only sit there in thoughts and say;

"Strange. Rather strange."

Moomin agrees, Hodgkins then makes a comment about Hemulens being unpleasant and gives Moomin half a ham sandwich. The two of them sit together until sunset, Moominpappa talks about the way Hodgkins talks, then goes on a tangent about how to make a water-wheel before finally describing how the two of them slept in Moomin's imaginary house built on the meadow, finally ending the chapter with this:

“The only thing of importance was that I had found my first friend and consequently begun my life in earnest.”

…

(*Clears throat to perform an impression of a voice over for an animal documentary*) And here we observe the lost, orphan Moomin imprinting on the first creature to show him patience and decency. How disastrous it'll be for his mental health and future interpersonal interactions, we'll just have to wait and see.

Okay but in all seriousness this interaction is very much the most important post-foundling home event as it changes the whole course of his life and maybe possibly his entire brain wiring. Hodgkins here is the first person to let Moomin talk about himself and offer kindness and patience with him. Hodgkins is the first person Moominpappa mentions in his special thanks for the preface, Hodgkins is the only person he'll show any semblance of sympathy towards, the only person that could convince him to take responsibility for anything, Hodgkins' absence is what causes Moomin to spiral into a depression, Hodgkins is the only person besides any kingly figure that he admires and is the golden standard everyone fails to live up to.

Hodgkins is IMPORTANT. He is the most important and awesome figure in Moomin's life until he meets Moominmamma at the very end. Hodgkins is by no means written as flawless (probably because Tove didn't want to get too into the exaggerations Moominpappa would've actually made and it wouldn't be as interesting or entertaining) but I cannot overstate just how much he means to Moominpappa.

This is Moomin finally Meeting The Mentor before he Crosses The Threshold in his Hero's Journey, and that Mentor will be the cause of his Abyss/Death & Rebirth. Hodgkins is the creator of the literal vehicle on which the middle part of the story takes place in, the creator of the other vehicle the first climax of the story takes place in, and he, quite possibly, has the most agency in the story, either as much or more so than Moomin depending on how you look at it.

You can remove the other characters but Hodgkins is the only character besides Moominpappa, Moominmamma and the Principal that you cannot remove in an essential retelling of the story (which is why the stage play in the Golden Tail episode of Moominvalley 2019 bothered me immensely but I digress.)

The way the adaptation portrays this relationship as a casual acquaintance to sort of friendship with no emotional or interpersonal ramifications for Moomin's character is an insult to the very foundation of the book's emotional story-telling, but then again, as I've mentioned in the beginning and demonstrated in this whole analysis of the chapter: the adaptation does not concern itself with the emotional narrative. Just the barebones plot.

CHAPTER 2

Chapter 2 is where we meet our companion characters, the Muddler and the Joxter, meet our antagonistic Chekhov's Gun, Edward the Booble, and finally Cross our Threshold.

This section won't be as in depth as chapter 1 because its focus is mostly on other characters rather than Moominpappa's feelings or establishing themes and it's not their turn to be the subject of my derangement because, as Moomintroll stresses in the intermission for chapter 3, this is Moominpappa's story (although they might have their turn in the future), and also the episode pretty much reconfigures the entire chapter to be as simple as possible for the sake of time so there isn't much to compare the book's version of events to.

What the chapter aims to do is establish the dynamics between the characters, do a little bit of act 1 setup and get the plot really going. Some may not notice this at first, but Moomin is very much not a part of any of these dynamics besides a continuation of the one he has with Hodgkins. In fact, one could argue that his lack of dynamic with the other characters right from the introductions is a dynamic in itself, as it highlights Moomin's pattern of not giving or receiving substantial acknowledgment by or for everyone but Hodgkins. However, this isn't to diminish these new introductions and dynamic establishments, as it contributes to highlighting Moomin's Issue as well as giving us characters that would be much needed to progress the plot, expand on the themes and give us new avenues to be entertained.

How the adaptation fails at this is due to both time constraints and a disinterest in the emotional and interpersonal narrative of the book, focusing instead on the action and adventure elements.

The chapter starts with Moomin waking up to Hodgkins using a fishing net on the brook. Moomin asks if there's any fish in that brook and Hodgkins, in very brief, disjointed terms, explains that there aren't any fish in the brook, but since the net is a birthday gift from his nephew, he couldn't let it go to waste lest he feels sad at its uselessness. Moominpappa then gives us a second-hand explanation on who Hodgkins' nephew is: he is a chap by the name of the Muddler who had his parents disappear during spring cleaning, lives in an old blue coffee tin and is a collector who is particularly fond of buttons. Moominpappa then explains that Hodgkins' speech pattern does not allow for even this brief of an explanation to be given at once, though he fails to mention the singular exception to this which we'll find out very soon.

After all this Hodgkins wiggles one of his ears at…

Okay let me digress a bit because I didn't know where else to put it, but Moominpappa's Memoirs places a lot of strange emphasis on ears and I can't for the life of me figure out how much importance to give this and whether or not this is some thematic symbolism, or even what it could mean thematically if it were the case. The first thing Moomin compliments about himself in the frozen sea scene is his ears, the morbid near-death imagination puts emphasis on his ears in both scenarios, Moomin does a lot of ear things, Hodgkins' defining physical trait is his ears to the point where we are quite literally introduced to him via his ears and they are one of his main modes of expression/communication, Muddler flapped his ears in his helplessness and Edward was concerned about children crawling up his ear and Snufkin covered his ears in shame and Moominpappa covers his ears with his hat, and he wiggles his ears in satisfaction at the end. There's just so much… ear stuff, so much more than any of the other books, and I have no idea what to make of it.

Now with that digression aside, Hodgkins wiggles one of his ears at Moomin and then goes into the woods, Moomin follows him. And then we arrive at the Muddler's coffee tin, Hodgkins blows a whistle (I swear to you guys that Muddler is actually dog-coded believe me I've had too much time for this thought to sizzle) and Muddler pops out of the tin bright as day and energetic as a kid on Christmas. Muddler talks very erratically without much room for reply but is stopped by Hodgkins who replies to 2 of his sentences; nevermind tidying the tin, and this new person is a Moomin (but with bare minimum words, of course). Muddler welcomes Moomin and retrieves a box of miscellaneous items tied with string.

Hodgkins asks Muddler if he can paint, Muddler confirms and then proceeds to ask what kind of paint job he needs and if it has to do with the surprise Hodgkins has apparently been keeping from him until this day. Hodgkins says it's a secret which causes Muddler to get over-excited and break his box's string which spills all the (somewhat strange and alarming selection of) items, Hodgkins calmly helps him pick it all up and re-ties it with a rope from his own pocket, all the while Muddler explains that he lost a splendid piece of string and needlessly apologises. The three of them walk on until they arrive at a hazel thicket, Hodgkins gives the two of them a serious look and Muddler asks if the surprise is behind the thicket, Hodgkins nods and they crawl through the bushes.

What I really like about this sequence is that it characterises Hodgkins and Muddler very thoroughly and establishes that they already have much of a close history far before Moomin entered the picture. Hodgkins is generally a very good dude who is gentle about his nephew's feelings and Muddler is a very eccentric and excitable but polite person, the two of them seem to have a very close relationship with one another and we don't even have much backstory besides Muddler's orphanhood and independent living condition.

Strangely enough Moominpappa doesn't take an aside to express his thoughts on Muddler and the most Muddler ever says to him is "Hello! Welcome! Certainly!". These two are devoid of interaction and it almost definitely feels deliberate on the author's part, especially compared to Muddler and Hodgkins.

Our trio crawl out of the bushes into a clearing and it turns out the surprise is a boat, nay, a ship. Moominpappa describes the ship as so:

“It was squat and strong, like Hodgkins himself; it looked just as secure and trustworthy. I knew nothing about ships, but I experienced at once a strong feeling of the concept of a ship, so to speak.”

(Really helpful at visualising the ship, Pappa, I almost can't tell how much you take a liking to Hodgkins himself)

He then describes how excited he got about it but then he imagines Hodgkins' process for building this boat, how he must've come here every morning to work on the ship on his own every morning for who knows how long and not have anybody know about it, which made him feel sad. Moomin asks what the ship's name is and Hodgkins proceeds to call it the Ocean Orchestra, named after his long-lost brother's poetry anthology and he says that the name should be painted in ultramarine blue.

… I really really dislike how they changed this in the adaptation by making it Hodgkins' own original name because it really takes out the sentimentality of the name. It's such a simple change too, he could've just said "Her name's the Ocean Orchestra, named after the book my poet brother wrote" in the adaptation but it didn't and it frustrates me because it takes out so much of Hodgkins' character in one fell swoop and makes him seem a bit pretentious especially given how he treats Joxter and Muddler within the episode.

That aside, Muddler gets immediately excited and basically asks if he can paint the ship in red, Hodgkins nods and tells him to be careful with the waterline. After Muddler leaves for his tin Moomin tells Hodgkins that he's quite the carpenter, to which Hodgkins replies with an unprompted ramble about the construction of the ship which Moominpappa (disappointingly) doesn't relay to us at all. Hodgkins even takes out a pen and paper to describe the paddle wheels, Moomin wasn't quite able to understand any of it besides Hodgkins seeming troubled about the paddle-wheel, and Moominpappa admits he couldn't be of much help as his talents do not extend to the field of engineering.

This is the exception to Hodgkins' speech pattern that I mentioned earlier.

You must understand that Hodgkins is very, very, very fixated on engineering, like he gets so excited about it, I can't stress it enough.

Anyway, Moomin's attention gets drawn to the little house in the middle of the boat and asks Hodgkins if he lives in that little thing he describes as a "Moomin sunmer-house", Hodgkins corrects him by calling it the pilot-house in a disapproving tone (please, he's even fastidious about his creations, it's great). Moominpappa starts critiquing the boat's aesthetic (he's very normal about house-building, remember) and Moomin enters the pilot-house to see someone sleeping on the floor with a hat covering his face.

Moomin asks Hodgkins if it's someone he knows, "The Joxter," says Hodgkins after checking the interior. Moominpappa proceeds to describe the Joxter in a way that can be summed up as: "doesn't take care of himself". Muddler announces breakfast, Joxter wakes up and stretches and Muddler proceeds to scold Joxter a bit about not following the No Admittance sign on the door, Joxter concedes that the sign is exactly why he came inside.

We are then treated to a description of the Joxter's behaviour, which boils down to him being a very anti-authoritarian punk but otherwise pretty much your average overfed housecat. Afterwards, our now 4 main characters head to Muddler's tin to eat cold tin lids of omelette served on a checkerboard.

Now… the Joxter is pretty weird as a character within the narrative. He doesn't accomplish much in the ways of contributing to the larger plot besides knocking the idea of fixing the Ghost problem into Moomin's head way later which could have easily been done by someone else, he is a very useless character narratively and mostly serves to add to the book's humour and dialog. What the Joxter contributes to the theme and emotional arc, however, is being an ideological opposite to Moomin. Where Moomin is an ambitious monarchist with a goal in life, Joxter is a lazy anarchist who only lives for life's sake, and that serves as an interesting foil to highlight Moomin's character despite the lack of interactions they have otherwise. Another weird thing about Joxter is despite his unimportance to the plot, he is much more discussed in Moominpappa's narration of the story than Muddler, usually to muse about his own philosophy and need to be a part of great opportunities as opposed to Joxter's laid back attitude towards the majority of matters.

What we learn about Joxter's relationships to the other two in this scene is that Hodgkins doesn't seem to particularly mind Joxter's presence and Muddler doesn't approve of his rule-breaking, further characterising Hodgkins as still a pretty patient cool dude and Muddler as a goody-two-shoes.

The crew eat their breakfast and Hodgkins, after a while of silent chewing, notifies Muddler that there's something hard in his mouth, to this, Muddler freaks out and tells him to spit it out. Hodgkins spits out a few cogwheels and Muddler apologises for the mishap, Hodgkins simply frowns and stares at his dish and Muddler proceeds to cry.

Interestingly, the Joxter is quick to plead for forgiveness on Muddler's behalf. Hodgkins says there's no need and draws up an inspired diagram on how Muddler's cogwheels would fix his aforementioned propeller and paddle-wheel issue (Moominpappa even redraws this for the audience for some reason which brings up the question if every other illustration is also Moominpappa's artistry in-universe but it's not important) and after they finished the meal Muddler gets so inspired by the fact he somewhat helped Hodgkins with something that he starts painting the ship with all his might. Once he was done, he painted a lot of things other than the boat red as collateral, including himself (though he didn't forget to paint the name in ultramarine, of course).

Hodgkins inspects the paint job, which unfortunately did not heed his previous warning about the waterline and the name was misspelt as "the Oshun Oxtra", Muddler eagerly awaits his assessment and begs him to say something about it, Hodgkins takes a moment to think and says "Take it easy, it'll do". Muddler is relieved at this positive-adjacent review and goes to paint his own tin with the leftover paint.

In the evening Hodgkins fishes out a binnacle and aneroid barometer out of the brook using his birthday net and Moominpappa comments on how strange of a find it was before we get to our second intermission with Moominpappa and his beta audience.

The characterization of Hodgkins and Muddler's relationship here is really astounding, here we can understand that Hodgkins seems to care deeply about Muddler's feelings and stops himself from saying anything hurtful towards his nephew. Hodgkins here is characterised as very tender-hearted and prefers to spare others' (or at least his nephew's) feelings when he can and is incredibly patient, which is compatible with Muddler's extremely polite and emotionally intense nature as he's prone to crying when he thinks he's slighted Hodgkins in some way. This stands in stark contrast to Moomin's relationship with his Principal, as she was depicted as very critical and impatient with Moomin while Moomin is seemingly unempathetic about making her upset and continued with his irritating behaviour in spite of it.

Hodgkins' patience and consideration is exactly what made Moomin gravitate towards him in the first place, and I find it very ironic that the adaptation has Hodgkins assuming that Muddler flaked out of painting the boat and the first thing we see him tell Muddler is introducing Moomin and then to hurry up with painting because of the new kid he met and invited to this important launching ceremony a mere minute ago.

After the intermission Moominpappa describes his first bit of wood carving and his creation of a scaled onion-shaped ornament that would adorn the roof of the pilot-house; he was proud of it, but Hodgkins had other concerns at the time. Hodgkins is unusually talkative as he is extremely worried about the boat being stuck and unable to be launched, Joxter sees this, gets a bit didactic about the unending cycle of work and recounts a story of his cousin who studied trigonometry and got eaten by the Groke. Moominpappa describes that he's quite reminiscent of Snufkin and how he never cared to worry about worthy matters, he also backhandedly says that the only thing Joxter would be remembered by is his inclusion in Moominpappa's memoirs (we get quite a few of these odd insults at Joxter and Muddler from Pappa's narration, unfortunately).

Joxter asks when they'll start launching, Moomin asks if he's coming along, Joxter answers "of course" in an astonished tone. Muddler comes in saying he's been asking the same thing as he can't live in his tin anymore and continues to explain that the red paint he used on the tin never dried and thus got into everything including his food and bed, which is driving him insane. Hodgkins tells Muddler to go and pack and Muddler rushes off while musing about the future, and we get this rather blunt line from Moominpappa's narration:

“In my opinion, our crew wasn't too reliable.”

After some attempts to get the boat unstuck with no success, Hodgkins sat down and buried his face in his paws to ponder a solution. Moomin thinks Hodgkins is grieving and (this is literally the only instance of Moomin doing this in the book) tries to comfort him, Hodgkins corrects him and starts thinking out loud, coming to the conclusion that, rather than bring the boat to the water, he needs to bring the water TO the boat; he needs Edward the Booble to sit in the river and raise the water levels.

Moomin asks if this Edward creature's butt is really that big, Hodgkins says it's bigger, then he asks if Moomin has a calendar. Hodgkins didn't really need it as he seemingly memorised Edward's schedule and finds that his bathing day is today, perfect. He tells Moomin to follow him. Moomin asks if Boobles are savages and Hodgkins explains that they are but they don't step on people on purpose, they cry about it for a week and even pay for the funeral. Moomin mumbles about how that stuff isn't really helpful once you're stepped on, feeling a bit brave, and they arrive at Edward's leg which Moomin mistakes for a tower. Hodgkins, after correcting Moomin, tells him to keep quiet and proceeds to shout at Edward asking where he plans to bathe that day.

Edward answers (oh yeah Edward actually talks in the book, I'll get to that) that he'll bathe in the sea like always, and calls Hodgkins a sand-flea (Edward insults the other characters by calling them small things very often). Hodgkins tells him to try the river as it has a sandy bottom, Edward calls out his bullcrap but Hodgkins insists, Edward grumbles and relents but threatens to not pay for their funeral if this is a trick, as Edward has very sensitive feet and behind. Hodgkins whispers at Moomin to run and they rush back to the boat as Edward sits down and roars in pain. They make it to the boat and it was flooded in foam, but then it finally floated and Hodgkins lead the way through the woods and over the sandbanks using the boat's wheels; the launching of the Oshun Oxtra was a success! Except for one small thing…

A red tin floated over the river, which reminded everyone that OH CRAP THEY FORGOT THE MUDDLER! And the Muddler was in danger of almost strangling himself in his scarf as he flapped about helplessly, covered in red paint. Moomin and Joxter hoist the tin up on deck, Hodgkins asks his nephew how he feels and Muddler basically tells Hodgkins how everything's become a mess, even his mind, though Muddler then proceeds to happily reorganise his buttons. The boat continues paddling down the river and Moomin sits beside Hodgkins and asks if he thinks Edward is angry with them, and the chapter ends with one of his usual short answers:

“"Very," replied Hodgkins.”

I said in the beginning of this section that Edward is a Chekhov's Gun, and by that I mean that he's established in "act 1" of the book and will then be used to resolve an issue in "act 3", albeit not intentionally by the characters. Here we have the set up, and it very clearly illustrates just how massive Edward is which will come into play, we get the reminder which we'll get to in the part 2 analysis, and then we finally get the payoff in part 3.

What I will say about the reminder is that the adaptation fails to give it to us because it decided that Edward's personality is completely unneeded for the story, so his sense of vengeance which lead up to the reminder step is left out and it makes the (anti)climax in part 3 feel out of left-field. Edward in the book is not only a plot device but also the angry comic relief, he is his own character who has a history with Hodgkins (at least) and clearly a less than good one at that. Edward's personality is what drove Edward's actions and role in the story later on and that makes him an interesting character, but then again, the adaptation doesn't care for that.

He is the first character we see Hodgkins being unkind to in this book, using him as a means to an end and disregarding the consequences that come from it. What's different with Edward for Hodgkins to do this to him? To be so uncaring about his sensitive bottom? Well, Edward is the solution to his boat problem.

Hodgkins will go to any length for his precious inanimate daughter to the point of looking past other people if it means fixing a problem or focusing on his creation, you think I'm exaggerating but this is actually another set up which leads to a big point in the plot. Hodgkins is a good, kind fellow but he is still humanly selfish and fixated engineering, in fact this is hinted at in the way he treated Moomin when the boat is in conversation, correcting Moomin about the pilot-house in a disapproving tone and cutting him off when brainstorming a way to fix the boat being stuck, or even forgetting that his nephew wasn't on the boat.

THIS. WILL BE. IMPORTANT. FOR LATER.

This is also an important turning point in Muddler's character as we don't see him being as hyperactive and excitable as he is in this chapter for the rest of the book, him describing himself as going crazy from the red paint probably has something to do with it. Although he doesn't go actually insane, or at the very least doesn't act like it, it's still noteworthy how his overexcited demeanour shifts into something a little more reserved later on, especially considering how Moominpappa describes Muddler as having his fur tainted pink for the rest of the time he knew him. Or it could just be that he's going to be stuck in an unfamiliar environment for the rest of the story.

It's a miracle he hasn't died from lead poisoning due to the red paint, though.

CHAPTER 3 (⅓)

Chapter 3 is where we finally get our Road of Trials after Crossing the Threshold. There's no turning back to the familiar world for Moomin and there will be many problems that will await him down the river. In this chapter our crew will be meeting with allies and enemies who will be the dominoes that lead them to their… admittedly unplanned destination. However for this part of the analysis we'll just be meeting with our first nuisance; not the Principal, but her aunt. Let me explain:

Moominpappa starts the chapter describing how the boat continued along the river and generally describing the situation with everyone, mainly that he and Hodgkins were the only responsible members of the crew while Joxter and Muddler minded their own businesses. They left the tin on the deck and they never succeeded in cleaning Muddler of the red paint. Moomin would spend most of his time sitting in the pilot house, checking the barometer and thinking to himself. Namely, Moominpappa describes, he most enjoyed thinking about how impressed the Principal would be with him:

“I especially liked to think about the Hemulen. How impressed she would have been to see me an adventurous part-owner of a river-boat. As a matter of fact, it would have served her right!”

(This is what we call foreshadowing, my friends [you are my friend if you've made it this far in the essay, no takesies backsies])

One evening, they come by a bay, which gives Joxter a foreboding feeling that Hodgkins heeds as warning right away, ordering Muddler to let go of the anchor. Muddler, in his excitement, throws their kettle of Irish stew instead of the anchor by accident, Muddler apologises and hopes to make up for it by finding some jelly, after which Moominpappa makes an unnecessary jab at his whole species saying that mistakes like this are common with them.

Joxter stands over the railing on look-out, Moomin asks him about the foreboding and Joxter tells him to hush because he hears something. Moomin himself doesn't hear anything and promptly dismisses him, and tells him to come inside. Muddler announces that he's found the jelly but right then all of them hear the sound of wailing, which scares Muddler into dropping his food. Joxter identifies it as the Groke's hunting song.

Moomin asks if the Groke can swim and Hodgkins says that nobody knows, and then Moominpappa describes the thoughts that came from her sound.

The crew notice someone running around on the bank of the river bay, and Hodgkins glumly assumes that person will get eaten alive by the Groke. Moomin heroically declares that he'll save them (Moomin/pappa uses "gender-neutral he" here but I'll just use they/them), to which Hodgkins says he won't have the time, but Moomin's already on the rail having made his decision.

“"An unknown adventurer doesn't ask for wreaths on his grave. But I'd appreciate a granite monument with two weeping Hemulens!"”

Moomin dives into the river, bonks his head on the kettle Muddler dropped and scoops out the stew continuing to swim towards the soon-to-be victim.

“"Courage!" I cried. "The Moomins are coming! There's something rotten in a country that allows its Grokes to eat anybody they like!"”

(The Groke is a metaphor for the police? /joke)

The Groke's singing ceased and now Moomin can only hear the panting of the mystery person. Moomin yells at them to hop into the kettle and they do, making the kettle sink down to its handles from their weight. Moomin swims back with the person while the Groke howled disappointedly (Moominpappa describes this in a very long and self-congratulatory way). They get the person on deck and Hodgkins lights a lamp to see who it is.

I think it was a clever creative decision in how the way they changed Muddler's rescue in the adaptation ties into how they changed this scene, by making the tin tied to the boat via rope and thus making it readily available for Moomin to use as a container to save this person. I dunno, I think it's one of the few decisions I actually agreed with in this adaptation.

This, Moominpappa describes, is one of the worst moments of his youth, as he had saved his Principal. Out of instinct and fright he raises his tail at 45°, but then he snaps out of it and acts all nonchalant and cocky, saying he'd never believe it. The Hemulen asks "Believe what?", Moomin answers that he'd rescued her- he means that he'd saved her life- he means… Did she get his farewell letter?

The Principal seems strangely confused, she says she'd never seen him before and got no such letter and speculates that he must've forgotten to do the proper procedures for sending mail, but then graciously compliments him on his swimming.

Joxter asks if Moomin and the Principal knew each other and as it turns out… uhm... She's actually the Principal's aunt. The Hemulen Aunt, Moominpappa calls her. Quite embarrassing.

She then asks Hodgkins to bring a rag for her to clean the floor for them, Hodgkins gives her Joxter's pyjamas in a rush. As she's cleaning, she explains that she's mad and tidying up is the one thing that helps her with that feeling. A silence falls as the crew watch her, Joxter finally exasperatedly mumbles about his aforementioned foreboding, then the Hemulen Aunt snaps at him and tells him how bad it is for someone as small as him to smoke, and that the crew are lucky that she's on board now and they're going to keep things in order. Hodgkins excuses himself and locks himself in the pilot-house.

Moominpappa describes how the barometer fell 40 notches from fright and didn't rise back up until the incident with the niblings. We are then treated to an intermission with Moominpappa and his audience.

And that's where we're going to end the description of the book for this post.

Now, the way the episode adapted this irks me.

In the book, the Principal and the Foundling Home is one of the few things we don't get any closure on, and likely intentionally so. One of the first things Moomin really wanted to get out of this is to prove his previous guardian wrong, or at least how she should've seen his supposed specialness in a good light, to realise even if too late that he was singular and good and worthy of praise. Here he almost seems afraid of what he thought was her, he toned down his righteousness just to basically ask if she came for him, only to be embarrassed (although he doesn't describe his embarrassment here). He instinctively fixed his posture for her and even in trying to seem nonchalant he LOWERED himself for her, he wanted to know if, at minimum, she was worried and came looking for him. But it's not her, it's her aunt. A person he's never met before and already presented herself a roadblock to the personal freedom he and the crew were supposed to have on this boat.

His old life never gets closure, he never finds out what his principal felt or what she did when she found the letter. That prospect of closure gets shot down by this new character and we are to never hear of it again.

This isn't to say I'm opposed to the idea of the person he rescued actually being the Principal herself, I find it a really interesting venture, actually. Can you imagine if we've had Moomin's ego and desires established in the episode and the dire devastation she'd bring upon him by not realising her wrongness but instead chastising him for taking his life into his own hands (as he sees it)? The bitterness and grief and probably depression/guilt he'd feel from this? It would've been such a great avenue for his character to be explored in this nightmare scenario and the adaptation just throws it away by making him just… disinterested in her and saying that he wouldn't have saved her if he knew. It's such a blow to his potential to be an interesting character.

We don't get any ounce of her being her own person like we do with the Hemulen Aunt, either. The Hemulen Aunt in her introduction already seems bossy and talks to people derogatorily but she isn't above complimenting Moomin or actively trying to stay calm in the face of her humiliating circumstances because she's polite and trying to make the most of the situation, she sees this group of irresponsible men and she wants to help them, even if her demeanour seems rash. In the adaptation the Principal had supposedly gone to search for Moomin but she doesn't show an ounce of relief or personal concern for his safety with these strangers, there is no dimension to her, there is no shred of politeness or decency or trait that doesn't pertain to being annoyed at Moomin for everything he does here. This is the most mean-spirited the show has ever gotten and it comes from not only how the Principal acts but how the other characters treat her as well. There's such a lack of sympathy from both ends.

Final Thoughts

Moominpappa's Memoirs is a character-driven story yet the adaptation fails to frame it as such. Where the book gave us an emphasis on characterization and feelings for this part of the story, the episode takes its time with the overextended action scenes and unnecessary interruption near the end. Moomin isn't given a drive or personality in the adaptation aside from a back-seat desire for adventure that came out of a near-death experience, Moominpappa's narration is underutilised and isn't given its characteristic pzazz, Hodgkins is too talkative but somehow much more vague of a character than in the book (and what little we can understand of him is entirely inaccurate to the book), and Muddler, Joxter, and Edward the Booble fall by the wayside because of the writing's priorities.

As someone who is deeply passionate for the book (if you can't tell already), it's really upsetting to see such a fun story with dramatic elements be so poorly representative of its characters and lacking in thematic writing or exploration.

With all that said, I thank you for reading this egregiously long essay and hope to write the next 2 parts a little more quickly now that I've set up the foundations of this book. I also hope you find this a useful essay for both writing and your understanding of the characters, the Oshun Oxtra has been a painfully misrepresented group of characters for the whole fandom and there just isn't a lot of in-depth analysis of the book that fully captures the entirety of what it depicts in these characters. I'll see you next time.

- Yours truly.

[nathanmprince-blog]

Welcome to the Idealist, a cultural review centered around books, music and film. It seems that all of my interests revolve around these three subjects. I guess I imagine the Idealist to be something akin to Samuel Johnson's Rambler or Idler essays. Speaking of Johnson, I just found a wonderful edition of his Selected Works from Half Price Books in Hodgkins for a fair price. I now have 800 pages of Johnson to page through this weekend!

So far, the only two entities I follow here are the Silver Compass Journal, which inspired me to do this, and Anthony Bourdain, who I miss.

The featured book today is How to Talk About Books You Haven't Read by Pierre Bayard. For better or worse, this book explains the situation better than any other. Alas, reading only leads to more reading, and conversations about reading only leads to other books, books we probably haven't read, so how does the conversationalist keep up? Bayard's approach is a survival strategy that allows us to follow and discuss things without the intimacy of Das Kapital or Moby Dick (a painful admission on my part, though I adore Melville). Bayard helps modern folk navigate the waters without embarrassment, so thank you friend!

Today's song is a deep cut from Jimmy Buffett's Take the Weather with You, "Wheel Inside the Wheel," written by Mary Gauthier. It's a perfect Sunday song that brings me back to the Crescent City, an important locale for the Idealist.

Happy Sunday and hopeful happenings. Cheers!

[shibumi-tanuki]

From the stream! Have Mamma, a kinda blursed Hodgkins, and Snork :D

Hmm

Am I forgetting something that happened there? :)

[sirlucina]

moominpappa meeting his crew for the first time

[mysticalhearth]

W

Waiting for Godot - Broadway - November 24, 2013 (Opening Night) (Lanelle's master) FORMAT:  MP4 (HD) CAST: Aidan Gemme (The Boy), Billy Crudup (Lucky), Ian McKellen (Estragon), Patrick Stewart (Vladimir), Shuler Hensley (Pozzo)

War Horse - West End - February 27, 2014 (Pro-Shot's master) FORMAT:  MKV (HD) CAST: Sion Daniel Young (Albert Narracott), Josie Walker (Rose Narracott), Alistair Brammer (Billy Narracott), Alex Avery (Captain Nicholls), Steve North (Ted Narracott), Tom Hodgkins (Arthur Narracott) NOTES: Multi-cam pro-shot broadcast live to cinemas as part of National Theatre Live, Includes interval interview and documentary. 

War Paint - Broadway - March 11, 2017 (Preview) (SunsetBlvd79's master) FORMAT:  MP4 (SD) CAST: Patti LuPone (Helena Rubinstein), Christine Ebersole (Elizabeth Arden), John Dossett (Tommy Lewis), Douglas Sills (Harry Fleming) NOTES: Beautiful HD capture of the Broadway transfer. Some changes for Broadway from the previous Goodman Theater production. Excellent performances from the entire cast with clear picture and great sound throughout; very good video. 2 DVDs. A War Paint - Broadway - April 29, 2017 (Matinee) (NYCG8R's master) FORMAT:  VOB (with smalls) (SD) CAST: Patti LuPone (Helena Rubinstein), Christine Ebersole (Elizabeth Arden), John Dossett (Tommy Lewis), Douglas Sills (Harry Fleming) NOTES: The master gets caught during Face to Face. You can hear someone say “TURN IT OFF”. Blackout during that part. Wasted - Southwark Playhouse - 2018 (Pro-Shot's master) FORMAT:  MP4 (HD) CAST: Matthew Jacobs Morgan (Branwell Brontë), Molly Lynch (Anne Brontë), Natasha Barnes (Charlotte Brontë), Siobhan Athwal (Emily Brontë) We Are The Tigers - Off-Broadway - March, 2019 (StarCuffedJeans's master) FORMAT:  MP4 (HD) CAST: Lauren Zakrin (Riley Williams), Wonu Ogunfowora (Cairo), Jenny Rose Baker (Kate Dalton), MiMi Scardulla (Reese), Kaitlyn Frank (Annleigh), Cathy Ang (Mattie Wheeler), Celeste Rose (Chess), Zoe Jensen (Farrah), Sydney Parra (Eva Sanchez), Louis Griffin (Clark) NOTES: Starts at the beginning of "I Just Wanna" and missing part of "Mattie's Lament." The theater was really full tonight so there are a good number of heads in this video, but they are worked around to the best of my ability. This is a super small theater (less than 160 seats) and at times the cast members were definitely singing to the camera and honestly giving their best performances because of it. All of the things on the upper level (the bathroom, the pathway, and the kitchen) are captured perfectly, and the zooms on the lower level (the living room and bench) look good as well. Obviously because this is a murder mystery kind of show the lighting can get a little bit dark, but my camera handles low lighting incredibly well. This is honestly the best video you could expect from this venue We Will Rock You - Germany (Cologne) - August, 2005 (Pro-Shot's master) FORMAT:  VOB (with smalls) (SD) CAST: Alex Melcher (Galileo), Vera Bolten (Scaramouche), Brigitte Oelke (Killer Queen), Martin Berger (Khashoggi), Michaela Kovarikova (Meat/Oz), DMJ (Brit/J.B.), James Sbano (Pop/Buddy/Bap), Harald Tauber (Teacher), Willemijn Verkaik NOTES: Multicam proshot We Will Rock You - Utrecht (The Netherlands) - October, 2010 FORMAT:  VOB (with smalls) (SD) CAST: John Vooijs (Galileo), Marjolein Teepen (Scaramouche), Pia Douwes (Killer Queen), Paul Donkers (Khashoggi), Floortje Smit (Meat/Oz), Ruud van Overdijk (Brit/J.B.), Rutger le Poole (Pop/Buddy/Bap) NOTES: Good capture. Heads in the way, but also a lot of good close-ups. Dubble DVD! We Will Rock You - West End - February 11, 2003 (Pro-Shot's master) FORMAT:  VOB (with smalls) (SD) CAST: Tony Vincent (Galileo), Hannah Jane Fox (Scaramouche), Sharon D Clarke (Killer Queen), Alexander Hanson (Khashoggi), Kerry Ellis (Meat/Oz), Nigel Clauzner (Brit/J.B.), Nigel Planer (Pop/Buddy/Bap) The Wedding Singer - Broadway - April 1, 2006 (Preview) FORMAT:  VOB (with smalls) (SD) CAST: Stephen Lynch (Robbie Hart), Laura Benanti (Julia), Matthew Saldivar (Sammy), Kevin Cahoon (George), Rita Gardner (Rosie), Amy Spanger (Holly), Richard H Blake (Glen), Felicia Finley (Linda) NOTES: Includes pictures of outside of the theatre and playbill. This was before the changes were made to the production. Blackouts throughout the show. The Wedding Singer - Off-West End - March 1, 2020 (Matinee) (Closing Night) (Highlights) (queenofthedead's master) FORMAT:  VOB (with smalls) (SD) CAST: Kevin Clifton (Robbie Hart), Rhiannon Chesterman (Julia), Ashley Emmerson (Sammy), Andrew Carthy (George), Sandra Dickinson (Rosie), Tara Verloop (Holly), Jonny Fines (Glen), Erin Bell (Linda), Lori Haley Fox (Angie), Andy Brady (David Fonda), Nathan Ryles (Harold Fonda), Jordan Crouch (Donnie), Aimee Moore (Tiffany), Simon Anthony (Shane McDonough), Paris Green (Donatella), Vanessa Grace Lee (Donatella’s Mother), Morgan Jackson (Mookie), Ellie Seaton (Crystal) NOTES: 38 minutes of act 1 of the closing performance, unobstructed. Welcome To The Club - Broadway - April 8, 1989 FORMAT:  VOB (with smalls) (SD) CAST: Avery Schreiber (Milton), Bill Buell (Gus), Jodi Benson (Betty), Marcia Mitzman (Carol), Marilyn Sokol (Arlene), Sally Mayes (Winona), Samuel E Wright (Bruce), Scott Waara (Kevin), Scott Wentworth (Aaron), Terri White (Eve) NOTES: Filmed during previews. Well filmed from the balcony. Mostly a full stage shot. Some generational loss. Wenn Rosenblätter Fallen - Oberhausen - June 13, 2016 (Rumpel's master) FORMAT:  VOB (with smalls) (SD) CAST: Pia Douwes (Rose), Anton Zetterholm (Till), Annemieke van Dam (Iris)  

West Side Story - Hollywood Bowl - July 19, 2016 (SJ Bernly's master) FORMAT:  VOB (with smalls) (SD) CAST: Jeremy Jordan (Tony), Solea Pfeiffer (Maria), Karen Olivo (Anita), Matthew James Thomas (Riff), George Akram (Bernardo), Drew Foster (Action), Jose Moreno Brooks (Chino), Anthony C Chatmon II (A-Rab), Kyle Selig (Baby John), Mike Schwitter (Big Deal), Jeff Smith (Diesel), Kevin Chamberlin (Krupke), Jennifer Sanchez (Rosalia), Erica Dorfler (Consuela) NOTES: This concert version of the show is abridged with shortened scenes, simple costumes, and no sets or choreography, but Jeremy, Solea, and Karen are absolutely phenomenal with soaring vocals and emotional performances. Very well captured with no dropouts, no obstruction, and no washout. The stage is filmed directly most of the time; the screens are occasionally filmed, usually when the actors are not onstage. It’s filmed in 16:9, with a mix of wides, mediums, and close-ups. The sound is excellent. Includes curtain call and playbill scans. West Side Story - Leicester Curve - December, 2019 (queenofthedead's master) FORMAT:  MP4 (HD) CAST: Jamie Muscato (Tony), Adriana Ivelisse (Maria), Carly Mercedes Dyer (Anita), Ronan Burns (Riff), Jonathan Hermosa-Lopez (Bernardo), Isaac Gryn (Action), Damian Buhagiar (Chino), Ryan Anderson (A-Rab), Alex Christian (Baby John), Dale White (Big Deal), Michael O’Reilly (Diesel), Beth Hinton-Lever (Anybodys), Darren Bennett (Lt. Schrank), Christopher Wright (Krupke), Christopher Wright (Doc), Darren Bennett (Glad Hand), Mireia Mambo (Rosalia), Abigail Climer (Consuela), Thea Bunting (Graziella), Katie Lee (Velma), Richard Appiah-Sarpong (Pepe), Dominic Sibanda (Indio) NOTES: Missing 7 minutes at the beginning. No dropouts and no obstruction. West Side Story - Second Broadway Revival - February 23, 2009 (Preview) (SunsetBlvd79's master) FORMAT:  VOB (no smalls) (SD) CAST: Matt Cavenaugh (Tony), Josefina Scaglione (Maria), Karen Olivo (Anita), Cody Green (Riff), George Akram (Bernardo), Curtis Holbrook (Action), Joey Haro (Chino), Kyle Coffman (A-Rab), Ryan Steele (Baby John), Tro Shaw (Anybodys), Steve Bassett (Lt. Schrank), Lee Sellars (Krupke), Greg Vinkler (Doc) NOTES: Stunning production of this revival. Josefina and Karen still steal the show. The cast was on fire and there was a lot of energy in the audience as it was the first performance on Broadway. There are some changes from the DC run, which work better. Beautiful production and capture with no obstructions. West Side Story - Second Broadway Revival - November 16, 2009 FORMAT:  VOB (with smalls) (SD) CAST: Matt Cavenaugh (Tony), Josefina Scaglione (Maria), Karen Olivo (Anita), Wes Hart (u/s Riff), George Akram (Bernardo), Eric Hatch (u/s Action), Joey Haro (Chino), Kyle Coffman (A-Rab), Brendon Stimson (u/s Baby John), Joshua Buscher (Diesel), Mike Cannon (Snowboy), Kaitlin Mesh (Anybodys), Steve Bassett (Lt. Schrank), Lee Sellars (Krupke), Mark Zimmerman (s/b Doc), Lindsay Estelle Dunn (Velma), Michael Williams (u/s Pepe), Kaitlin Mesh (Zaza) West Side Story - Third Broadway Revival - January 6, 2020 (Preview) FORMAT:  MKV (HD) CAST: Jordan Dobson (u/s Tony), Mia Pinero (u/s Maria), Yesenia Ayala (Anita), Corey John Snide (u/s Riff), Amar Ramasar (Bernardo), Dharon E Jones (Action), Jacob Guzman (Chino), Kevin Csolak (A-Rab), Matthew Johnson (Baby John), Tyler Eisenreich (Big Deal), Ahmad Simmons (Diesel), Daniel Ching (Snowboy), Zuri Noelle Ford (Anybodys), Thomas Jay Ryan (Lt. Schrank), Danny Wolohan (Krupke), Daniel Oreskes (Doc), Pippa Pearthree (Glad Hand), Lorna Courtney (Rosalia), Gabi Campo (Consuela), Marissa Brown (Francisca), Alexa de Barr (Graziella), Madison Vomastek (Velma), Gus Reed (Gee-tar), John Snide (Tiger), Carlos Gonzales (Pepe), Ricky Ubeda (Indio), Roman Cruz (Luis), Israel del Rosario (Anxious), Michaela Marfori (Nibbles), Marc Crousillat (Juano), Sheldon True (Toro), Stephanie Crousillat (Teresita), Marlon Geliz (Estella), Satori Folkes-Stone (Margarita), Uni-Seng Francois (Minnie), Jennifer Gruener (Pauline) NOTES: Wideshot. Stage right is slightly obstructed due to where the master was sitting. Good audio. SD M4V (567.0 MB) West Side Story - UK Tour - May 23, 2009 FORMAT:  MP4 (HD) CAST: Daniel Koek (Tony), Hazel Gardner (u/s Maria), Jayde Westaby (Anita), Edd Post (u/s Riff), Dan Burton (Bernardo), Aki Omoshaybi (Chino), Ged Simmons (Lt. Schrank), Martin Chaimberain (Krupke) When We're Gone - Joe's Pub (2014) - March 12, 2014 FORMAT:  MP4 (HD) CAST: Gerard Canonico (Todd), Jeremy Kushnier (John), Luke Wygodny (Ashton), Hannah Whitney (Rosie), Eric William Morris (Colin), Bradley Dean (William) NOTES: Concert performance.   

The Wild Party (Lippa) - Encores! Off-Center - July 17, 2015 (SunsetBlvd79's master) FORMAT:  VOB (with smalls) (SD) CAST: Sutton Foster (Queenie), Steven Pasquale (Burrs), Brandon Victor Dixon (Black), Joaquina Kalukango (Kate), Miriam Shor (Madeline True), Talene Monahon (Mae), Ryan Andes (Eddie) NOTES: Excellent HD capture from the Encores Summer Series! The cast was terrific and full of energy giving everything they had. Great to see these songs performed again by this caliber of talent! A The Wild Party (Lippa) - Off-Broadway - 2000 (Highlights) (Press Reel's master) FORMAT:  VOB (with smalls) (SD) CAST: Julia Murney (Queenie), Brian d'Arcy James (Burrs), Taye Diggs (Black), Idina Menzel (Kate), Alix Korey (Madeline True), Charles Dillon (Oscar d'Armano), Kevin Cahoon (Phil d'Armano), James Delisco Beeks (Max), Todd Anderson (Reno), Jennifer Cody (Mae), Kena Tangi Dorsey (Dolores), Felicia Finley (Rose Himmelsteen), Peter Kapetan (Sam Himmelsteen), Lawrence Keigwin (Jackie), Charlie Marcus (The Neighbor), Kristin McDonald (Nadine), Raymond Jaramillo McLeod (Eddie), Steven Pasquale (Cop), Megan Sikora (Peggy), Ron Todorowski (Kegs), Amanda Watkins (Ellie) The Winter's Tale - West End - November 26, 2015 (Pro-Shot's master) FORMAT:  MP4 (SD) CAST: Kenneth Branagh (Leontes), Dame Judi Dench (Paulina), Miranda Raison (Hermione), Jessie Buckley (Perdita), Hadley Fraser (Polixenes), Tom Bateman (Florizel), John Dagleish (Autolycus) The Winter's Tale - West End - November 26, 2015 (Pro-Shot's master) FORMAT:  MP4 (HD) CAST: Kenneth Branagh (Leontes), Dame Judi Dench (Paulina), Miranda Raison (Hermione), Jessie Buckley (Perdita), Hadley Fraser (Polixenes), Tom Bateman (Florizel), John Dagleish (Autolycus) The Witches of Eastwick - UK Tour - April 4, 2009 FORMAT:  VOB (with smalls) (SD) CAST: James Graeme (Clyde), Marti Pellow (Darryl), Poppy Tierney (Jane), Rachel Izen (Felicia), Rebecca Thornhill (Sukie), Ria Jones (Alex) NOTES: Beautifully filmed from the balcony, with a great mix of close-ups and full stage shots. Crystal clear. Widescreen. The Wiz - NBC Live! - December 3, 2015 (Pro-Shot's master) FORMAT:  MP4 (4K) CAST: Shanice Williams (Dorothy), David Alan Grier (Lion), Ne-Yo (Tinman), Elijah Kelley (Scarecrow), Uzo Aduba (Glinda), Queen Latifah (The Wiz), Mary J Blige (Evillene), Stephanie Mills (Aunt Em), Amber Riley (Addaperle) NOTES: A live production of the 1975 musical The Wiz produced for television; excellent video. A+ The Wizard of Oz (Webber) - First National Tour - September 28, 2013 FORMAT:  VOB (no smalls) (SD) CAST: Danielle Wade (Dorothy Gale), Jamie McKnight (Scarecrow/Hunk), Mike Jackson (Tin Man/Hickory), Lee MacDougall (Cowardly Lion/Zeke), Jacquelyn Piro Donovan (The Wicked Witch of the West/Miss Gulch), Cedric Smith (The Wizard of Oz/Professor Marvel), Robin Evan Willis (Glinda the Good Witch), Charlotte Moore (Aunt Em/Munchkin Barrister), Larry Mannell (Uncle Henry/Philippe/Head Guard) NOTES: Nice capture of Andrew Lloyd Webber's re-imagined classic; no obstruction and very little washout; a few quick dropouts in act one and a couple in act two, only last about three minutes all together; filmed in 16:9 with a mix of wides, mediums,and close-ups. The Woman in Black - West End - July 8, 2001 FORMAT:  VOB (with smalls) (SD) CAST: Christopher Ravenscroft (Arthur Kipps), Sebastian Harcombe (The Actor) The Woman in White - Broadway - November 30, 2005 FORMAT:  VOB (with smalls) (SD) CAST: Adam Brazier (Walter Hartwright), Angela Christian (Anne Catherick), Jill Paice (Laura Fairlie), Lisa Brescia (Marian Halcombe), Michael Ball (Count Fosco), Ron Bohmer (Sir Percival Glyde)  

The Woman in White - West End - February 25, 2005 FORMAT:  VOB (with smalls) (SD) CAST: Maria Friedman, Michael Ball, Adrian der Gregorian (u/s), Oliver Darley, Jill Paice, Elinor Collett (u/s) NOTES: Nice video with good closeups and zooms and great sound. Woman of the Year - Broadway - March 27, 1982 FORMAT:  VOB (with smalls) (SD) CAST: Lauren Bacall (Tess Harding), Harry Guardino (Sam Craig), Eivind Harum (Alexi Petrikov), Roderick Cook (Gerald), Grace Keagy (Helga), Jamie Ross (Larry Donovan), Marilyn Cooper (Jan Donovan), Rex Everhart (Maury) NOTES: Good color video with clear sound with some generation loss, but a nice video. B+ Women on the Verge of a Nervous Breakdown - Broadway - December 29, 2010 FORMAT:  VOB (with smalls) (SD) CAST: Sherie Rene Scott (Pepa), Laura Benanti (Candela), Patti LuPone (Lucia), Brian Stokes Mitchell (Ivan), Justin Guarini (Carlos), de’Adre Aziza (Paulina), Danny Burstein (Taxi Driver), Nikka Graff Lanzarone (Marisa), Mary Beth Peil (Pepa's Concierge/TV and Radio Announcer), Samantha Shafer (u/s Woman at Train/Ana) NOTES: Also includes press reels, cast/creative interviews and video of David Yazbek singing songs from the show.

  Women on the Verge of a Nervous Breakdown - Broadway - January 2, 2011 (Matinee) FORMAT:  MP3 (tracked) CAST: Sherie Rene Scott (Pepa), Laura Benanti (Candela), Patti LuPone (Lucia), Brian Stokes Mitchell (Ivan), Justin Guarini (Carlos), de’Adre Aziza (Paulina), Danny Burstein (Taxi Driver), Nikka Graff Lanzarone (Marisa), Mary Beth Peil (Pepa's Concierge/TV and Radio Announcer), Samantha Shafer (u/s Woman at Train/Ana) NOTES: Also includes press reels, cast/creative interviews and video of David Yazbek singing songs from the show. Wonderful Town - Television Production - November 30, 1958 (Pro-Shot's master) FORMAT:  VOB (with smalls) (SD) CAST: Rosalind Russell (Ruth Sherwood), Sydney Chaplin (Robert Baker), Jacquelyn McKeever (Eileen Sherwood), Joseph Buloff (Mr. Appopolous), Dort Clark (Chick Clark), Jordan Bentley (Wreck), Cris Alexander (Frank Lippencott), Jack Fletcher (Night Club Patron), Michele Burke (Helen Wade), Ted Beniades (“Speedy” Valenti), Isabella Hoopes (Mrs. Wade), Ray Weaver (Shore Patrolman), Gene Carrons (Violet), John Wheeler (Officer Lonigan), Don Grusso (Fireman) Wonderland - Broadway - March 23, 2011 (Preview) FORMAT:  VOB (with smalls) (SD) CAST: Janet Dacal (Alice), Kate Shindle (Mad Hatter), Carly Rose Sonenclar (Chloe/Ellie), Edward Staudenmayer (The White Rabbit), Karen Mason (Queen of Hearts), Darren Ritchie (Jack the White Knight), E Clayton Cornelious (Caterpillar), Jose Llana (El Gato/Chesire Cat), Danny Stiles (Morris the March Hare), Darren Ritchie (The Victorian Gentleman), Karen Mason (Edwina) NOTES: Very limited trade 3:1 at the master's request. Wonderland - Broadway - April 2, 2011 (Preview) (SunsetBlvd79's master) FORMAT:  MP4 (SD) CAST: Janet Dacal (Alice), Kate Shindle (Mad Hatter), Carly Rose Sonenclar (Chloe/Ellie), Edward Staudenmayer (The White Rabbit), Karen Mason (Queen of Hearts), Darren Ritchie (Jack the White Knight), E Clayton Cornelious (Caterpillar), Jose Llana (El Gato/Chesire Cat), Danny Stiles (Morris the March Hare), Darren Ritchie (The Victorian Gentleman), Karen Mason (Edwina) NOTES: Beautiful bright capture of this short lived show that only played 31 previews and 33 performances. I thought this show was very enjoyable and fun with great music. Great performances and voices from the cast! A+ Wonderland - Broadway - May 12, 2011 (juniper47's master) FORMAT:  VOB (with smalls) (SD) CAST: Janet Dacal (Alice), Kate Shindle (Mad Hatter), Carly Rose Sonenclar (Chloe/Ellie), Edward Staudenmayer (The White Rabbit), Karen Mason (Queen of Hearts), Darren Ritchie (Jack the White Knight), E Clayton Cornelious (Caterpillar), Jose Llana (El Gato/Chesire Cat), Danny Stiles (Morris the March Hare) NOTES: Filmed in widescreen with very few obstructions except for a head blocking the farthest corners of downstage stage left and right, but very little is missed there. Very good video and excellent picture and sound. Wonderland - Broadway - May 12, 2011 (juniper47's master) FORMAT:  VOB (with smalls) (SD) CAST: Janet Dacal (Alice), Kate Shindle (Mad Hatter), Carly Rose Sonenclar (Chloe/Ellie), Edward Staudenmayer (The White Rabbit), Karen Mason (Queen of Hearts), Darren Ritchie (Jack the White Knight), E Clayton Cornelious (Caterpillar), Jose Llana (El Gato/Chesire Cat), Danny Stiles (Morris the March Hare) NOTES: Filmed in widescreen with very few obstructions except for a head blocking the farthest corners of downstage stage left and right, but very little is missed there. Very good video and excellent picture and sound. Wonderland - UK Tour - June 10, 2017 (Matinee) (bestworstcase's master) FORMAT:  VOB (with smalls) (SD) CAST: Rachael Wooding (Alice), Francesca Lara Gordon (u/s Mad Hatter), Naomi Morris (Chloe/Ellie), Dave Willetts (The White Rabbit), Wendi Peters (Queen of Hearts), Stephen Webb (Jack the White Knight), Kayi Ushe (Caterpillar), Dominic Owen (El Gato/Chesire Cat), Ben Kerr (Morris the March Hare) NOTES: DVD menu states June 6 2017 matinee, but all other evidence, even the master's weebly claim it's June 10 2017. Good video! Wonderland (Beth Steel Play) - Hampstead Theatre - July 14, 2014 (Pro-Shot's master) FORMAT:  MP4 (SD) CAST: Unknown NOTES: Livestreamed April 2020. The Worst Witch - West End - August 22, 2019 (Matinee) (wheredidtherockgo's master) FORMAT:  MTS CAST: Danielle Bird (Mildred Hubble), Rosie Abraham (Ethel Hallow), Molly-Grace Cutler (Miss Bat/Piano/Guitar/Cello/Dulcimer), Meg Forgan (Fenella Feverfew/Bass Guitar), Rachel Heaton (Miss Hardbroom), Rebecca Killick (Maud Spellbody), Emma Lau (Drusilla Paddock), Megan Leigh Mason (Miss Drill/Guitar/Drums/Percussion/Clarinet/Bass Guitar), Polly Lister (Agatha/Miss Cackle), Consuela Rolle (Enid Nightshade), Lauryn Redding (Griselda Blackwood/Sax) NOTES: A very good show! It’s a show aimed more toward kids so there was a lot of kids in the audience. An amazing performance by Polly Lister as Agatha/Miss Cackle in particular. The Wrong Man - Off-Broadway - November, 2019 (StarCuffedJeans's master) FORMAT:  MP3 (untracked) CAST: Joshua Henry (Duran), Ciara Renée (Mariana), Ryan Vasquez (Man in Black), Amber Pickens, Anoop Desai, Debbie Christine Tjong, Julius Williams, Libby Lloyd, Malik Shabazz Kitchen, Tilly Evans-Krueger NOTES: Near perfect HD capture of this new Off-Broadway show with fabulous performances by the whole cast. There is some wandering throughout but overall a very centered orchestra video with extremely vivid colors. Please do not post screenshots of this video on Twitter ever. Gifs on Tumblr are okay after the NFT date, but don't go linking things to actors and shows. Das Wunder von Bern - Hamburg - July 6, 2015 FORMAT:  VOB (with smalls) (SD) CAST: Ruben (Matthias Lubanski), Vera Bolten (Christa Lubanski), Patrick Imhof (alt. Richard Lubanski), Marie Lumpp (Ingrid Lubanski), Patrick A. Stamme (alt. Bruno Lubanski), Elisabeth Hübert (Anette Ackermann), Florian Soyka (alt. Paul Ackermann), Robin Brosch (Sepp Herberger(Bohse), Jogi Kaiser (Tiburski/Putzfrau/Adi Dassler), Tetje Mierendorf (Pfarrer Keuchel), Alexandra Farkic/Franziska Trunte/Esther Mink (Wunderfräulein), Dominik Hees (Helmut Rahn), Mark Weigel (Fritz Walter), Dennis Henschel (Berni Klodt), Robin Koger (Horst Eckel), Matteo Vigna (Max Morlock), Hendrik Schall (Toni Turek), Matt Cox (Werner Kohlmeyer), Daniel Therrien (Ottmar Walter), Giuliano Mercoli (Josef Posipal), Fabian Kaiser (u/s Karl mai/Fußballartist), Dominik Kaiser (Hans Schäfer/Fußballartist) NOTES: This video was recorded right after some changes on the show were made (doesn't include the new song which will be published on 11th July, 2015). Full show; beautiful picture quality and nice close-ups but rather shaky in the beginning/end of both acts Das Wunder von Bern - Hamburg - July 23, 2015 FORMAT:  VOB (with smalls) (SD) CAST: Tanja Schön (u/s Christa Lubanski), Patrick Imhof (alt Richard Lubanski), Marie Lumpp (Ingrid Lubanski), David Jakobs (Bruno Lubanski), Shari Lynn Stewen (alt Anette Ackermann), Patrick A Stamme (alt Paul Ackermann), Mark Weigel (Sepp Herberger/Bohse), Michael Ophelders (alt Tiburski/Putzfrau im Hotel/Adi Dassler), Tetje Mierendorf (Pfarrer Keuchel), Alexandra Farkic (Wunderfräulein), Amaya Keller (Wunderfräulein), Franziska Trunte (Wunderfräulein), Dominik Hees (Helmut Rahn), Florian Soyka (alt Fritz Walter), Hendrik Schall (alt Berni Klodt), Robin Koger (Horst Eckel), Matteo Vigna (Max Morlock), Fabian Kaiser (Toni Turek), James Cook (Werner Kohlmeyer), Daniel Therrien (Ottmar Walter), Pasha Antonov (Josef Posipal), Adrian Fogel (Kar Mai/Fußballartist), Dominik Kaiser (Hans Schäfer/Fußballartist) NOTES: "Julius" as Matthias Lubanski. Full show. Great picture quality and beautiful close-ups, though some little obstruction due a railing. The last few minutes of both acts are shot blind without zooms but still capturing the action on stage

[wholemleko]

How about a breakdown of Samuel Fredrickson/Hodgkins? Dear old Hodgepodge? The big blue boat dad?

How I feel about this character:

He is such an underrated character hdjfkdhf and he's great. Wholesome vibes. The thought of him being like a father figure to the oshun oxtra trio has me 🥺 and just!!!! God I'm having trouble articulating lol I guess like. I feel like there's so much to explore with his character other than him just being boat man

All the people I ship romantically with this character:

I'm all for aro/ace hodgkins :3

My non-romantic OTP for this character:

Going off of canon I really love the sort of. Surrogate father vibes he has regarding muddler but oh boy in terms of fandom things. Your comics about him and his brother always get me in the Feelings

My unpopular opinion about this character:

I don't even know what opinions count as popular or unpopular for him but ig?? I imagine he gives off the energy of being really stern and serious but in reality he's actually a sweet guy, a big softy

One thing I wish would happen / had happened with this character in canon:

I really wish he just appeared more in general, and in more of the books than just Memoirs ;^; I also wish there were any canon interactions between him and his brother

GIVE ME A CHARACTER

[deric1310]

the heartbreakers book review

This story is narrated by Stella Samuel, one of a set of 17-year-old triplets also including brother Drew and sister Cara. Cara has Non-Hodgkin Lymphoma, a cancer of the lymph system that can have a good prognosis, depending on the stage of the disease and response to therapy. The three siblings stay pretty positive, and Drew and Stella look forward to “out-gifting” Cara on their upcoming 18th birthdays. They live in Minneapolis, so it would be just a “road trip” to Chicago for Drew and Stella to go the autograph signing being held by Cara’s favorite band, “The Heartbreakers.” Drew convinces Stella it will also be a good trip to take since the signing will be near a gallery of her favorite photographer; Stella is an aspiring photographer herself.

Inevitably, there is a “meet cute” between Stella and Oliver Perry, the heartthrob “bad boy” of the band. Furthermore, Stella and Drew get to hang out later with the guys, and Stella takes lots of pictures. The band’s publicist thinks the pictures are great, and offers Stella a job to go on a two-month tour with the band and post pictures and comments on a new blog site. But Stella is reluctant to leave Cara; she has always felt guilty for not noticing when Cara first got sick, and the thought of chasing her own dreams while Cara struggles seems like it would be a betrayal.

I loved the Heartbreakers! The different personalities of all the boys was so well done. All the characters possessed this unique realness about them that made me want to seek them out and be friends with them. This was a instant buy for me and I fell in love with Ali Novak’s quirky characters all over again.

[hillvale]

Tonight at Hillvale Gallery, 7-9pm — Keep The Fire Burning. A celebration of five years of Hillvale with a projection based group exhibition. ⠀⠀ We had an overwhelming response with 605 entries. We truly appreciate the support over these past 5 years — it’s what makes Hillvale special to us. It was great to see so many entries from across the globe, with kind words of appreciation. ⠀⠀ Photos from Aaron Chapman, Aaron Claringbold, Abigail Varney, Adelina Onicas, Aishah Kenton, Alex Johnstone, Alex Meagher, Amber Maree, Andy Johnson, Andy MacRae, Anne Moffat, Arda Satata Fitriajie, Asia Taylor, Baris Bulut Karabulut, Bella Capezio, Ben Christensen, Ben Clement, Ben Hattingh, Ben Hermans, Blythe Kirk, Brodie Lancaster, Brynn Chadwick, Caroline Goessling, Catherine Drysdale, Chris Moses, Christopher Sutherland, Clare Steele, Coby Baker, Craig Lyons, Damien Laing, Damien Melchiori, Daniel Wilson, Darsh Seneviratne, Dylan Dimovski, Dylan Ooster, Emmaline Zanelli, Felix Atkinson, Garry Trinh, Greg Holland, Guy Heath, Hannah Nikkelson, Heide Peverelle, Jack MacKinnon, Jack Shelton, Jacky Hawkeswood, Jaclyn Paterson, Jacob Strasser, James Bugg, James Whiting, Janomes Martinez, Jason Hamilton, Joe Nigel Coleman, John Bollen, Joo Anna Oh, Joseph Liu, Judy Turner, Kae Kitzler, Karl Halliday, Kate Moffat, Klari Agar, Kosta Greig, Kres Saban, Lakshan Dharmapriya, Laurence Watts, Lekhena Porter, Leonardo Magrelli, Liam Brownlie, Louis Mitchell, Lucy Hillman, Luke Byrne, Luke Murray, Luke Pownall, Luke van Aurich, Madz Rehorek, Marc Harpur, Marcelle Bradbeer, Mathieu Mathon, Matthew Foy, Matthew Justice, Max Turner, Maximillian Williams, Michael Danischewski, Michael Garbutt, Michael Thomas, Michaela Dutkova, Nadia Mizner, Natasha Cantwell, Nic Ojae, Nusha Gurusinghe, Oliver Hodgkins, Paul Handley, Pearce Leal, Phillip Dixon, Rebecca McCauley, Robyn Daly, Rubin Utama, Ryota Hisanabe, Sam Rogers, Samuel Nolan, Sarah Pannell, Sean Barrett, Shannon Rush, Shea Kirk, Simon Peel, Sonny Witton, Stacey Zalomski, Tash McCammon, Timothy Hillier, Vanessa Howells, Walter Bakowski, Wilhelm Philipp, Will Vink, Xiao Xue Tang, Zoie Kasper. ⠀⠀ #Hillvale #KeepTheFireBurning https://ift.tt/2QmVHkH

[flowerbloom-arts]

Finished a sketch from this post because I was really proud of the composition and angle and I just love Hodgkins so much (and low-key I really wanna do an Egg and Soldier animatic this summer.. hopefully)

[annepags]

02.17.18 // the bullet points

- Anne. 28. South Philly Princess (means I was born, raised and currently residing). Mom of Melody Rose and Samuel Preston Jr.

- Samuel Preston Powell <3 since December 2010

- worked in the Restaurant industry since 2007, transitioned to Hotel/ Residential since January 2017. Currently working at AKA University City at the FMC Tower/ Cira Centre South

the Diagnosis

- December 13: (going on 34 weeks pregnant) routine check-up especially for enlarged lymph nodes in both sides of neck for 5 months. Ultrasound and CT Scan ordered immediately. sent to ER that night following results of CT Scan having found a 17cm mass in my chest. Met with Oncology, High Risk Maternal doctors, Neonatal departments. 

- December 14: more blood work, more tests, scans. Lymph node biopsy performed followed by bone marrow biopsy in my lower hip.

- December 15: results returns from biopsy- confirmed diagnosis of Hodgkins Lymphoma. first round of ABVD Chemotherapy

- December 16:. Discharged.

[writers-in-moominvalley]

🏞️Alternate Timeline🏞️

Hodgkins gets rejected as the royal inventor as the telegram he received said he wasn't "what they were looking for" and he is having the biggest crisis of his life trying to figure out why and the rest of the crew are trying to console him.

This is quite possibly the most emotional they've seen Hodgkins since he always wanted to be an inventor and seeing that he wasn't "good enough" to be one really upset him. He always presented himself as the no-nonsense leader for his younger and impressionable crew, and now that image is gone.

[jillianleeadamson]

I'm a little late to my homework this week because my stepson is visiting and as a result, I've been driven everywhere on this wee isle in under 48 hours.

Howard Hodgkin - lowecase meh

Michael Craig Martin - meh. Too flat

Mark Rothko - Once upon a time, I worked at a coffee shop... A guy I worked with who was a bit of a jerk burnt his arm very badly on boiling hot coffee. I told him that his wound looked like a Rothko. I think that might be the only Rothko I ever liked.

Peter Doig - meh

Patrick Caulfield - meh... Question: If Patrick Caulfield and Michael Craig Martin were to have a joint exhibition, would we be able to tell their work apart?

Henri Matisse - I like some of his work. I prefer his paintings. I've always found his collages amazingly meh.

Clyfford Still - Yes. Finally work on this list that I like. His paintings look like abstract nightmares. This isn't a bad thing.

Albert Irvin - I like these... A bit too much cadmium red going on in his pallette, IMO but I like the marks.

Patrick Heron - Love this work.

Gary Hume - no.

Paul Gauguin - Did he cut off Van Gogh's ear with a sword? Was he anywhere near as amazing? No. Not even close. Why was Van Gogh so infatuated with Gauguin? I think my favourite Gauguin was actually a Scott Seekins... Seekins is a well-known Minneapolis, MN artist who does things like work in the style of someone else, but paints himself into the paintings. I wish I could find an image of it, but he painted himself into a nearly perfect replica of a Gauguin... I think it was one of his Tahitian paintings, but I can't remember. I saw it at the Minneapolis Institute of Art back in the early 2000's, I think. Either way, I liked Seekins' painting more than Gauguin's original because there was a sense of humor to it.

Andy Warhol - I do rather like a lot of Warhol's work. I also really quite like his early illustrations.

Bridget Riley - Op art hurts my brain.

Chris Ofili - middling yes?

Friedensreich Hundertwasser - Love, love, love Hundertwasser

André Derain - I've never been a huge fan of Fauvism, but I do like Derain's work.

John Hoyland - I'm not too sure about the paintings he did in the 60's, but I'm liking the work he did from the 1970's onward.

Raoul Dufy - This is making me rethink my general dislike of Fauvism. Maybe it's just a dislike of Matisse?

Barbara Rae - I really like these, especially the bright colours.

John Bellany - I really like his paintings. I especially like his painting at the City Art Centre in Edinburgh. I love his people.

George Seurat - Seurat's work is just so cool. I'm not terribly keen on his subject choices most of the time, but the style is so neat. Also, the fact that he developed both pointillism and chromoluminarism is pretty goddamned awesome.

Jim Lambie - I suspect that this work might make me physically ill.

Pierre Bonnard - I have easily spent over three days (cumulatively) staring at Bonnard's 1913, "Dining Room in the Country." It was easily my most favourite work at the Minneapolis Institute of Art. It's the piece I make a beeline to. I spend time with this painting every chance I get. The last time I was at the MIA, I spent over an hour looking for it, only to discover that was not on display. My friend Sam, a security guard at the museum, says it's still not back in the gallery where it was for years. This makes me very sad.

Kees Van Dongen - Me likey.

Adrian Wisniewski - Once I sorted out the misspelled name (I was getting images of American football uniforms)... Meh

Maurice de Vlaminck - i like these.

Richard Diebenkorn - boring.

R B Kitaj - I like some, dislike others. Prefer his drawings over his paintings. I'm again reminded that I've not read a Philip Kerr book yet.

Francis Cadell - Meh. Boring.

Ken Done - not my cuppa, but I bet my sister, Rachael, would love his work.

Samuel Peploe - i like these.

Van Gogh - duh... Love Van Gogh.

[junker-town]

Patrick Mahomes is the NBA Jam-style winner of NFL Week 2 so far

Photo by Daniel Shirey/Getty Images

Mahomes needed one quarter to dismantle the Raiders. And the Bears kicker ... did something good?

Week 1 of the NFL season began with the Packers and Bears grinding their way through a swamp and ended, for East Coasters at least, with the Texans and Saints giving the world a Game of the Year contender on Monday night. Week 2 carried that momentum into a Thursday night NFC South showdown that wasn’t especially well played, but still managed to deliver a win for the Buccaneers that literally none of us at SB Nation saw coming.

That set the tone for an uneven, but occasionally exciting, second Sunday in 2019. The Packers sprinted out to a 21-0 lead against the Vikings to look like NFC North favorites, then held on for dear life as Kirk Cousins backed his way into 16 straight points before crumbling into dust. The Bills improved to 2-0 by dispatching the Giants, with Josh Allen looking more than competent in victory.

And the Dolphins gave up more yards on pick-sixes (picks-six?) than they gained in their first three quarters against the Patriots, 123-37.

But while Green Bay, Buffalo, and New England were victorious in box scores, this week’s slate of winners extends beyond the final score. So who won the week? It wasn’t:

Not considered: the Pittsburgh Steelers

The 2017 Pittsburgh Steelers offense, who made it to the AFC title game:

QB: Ben Roethlisberger RB1: Le’Veon Bell RB2: James Conner WR1: Antonio Brown WR2: JuJu Smith-Schuster

The 2019 Pittsburgh Steelers offense in the fourth quarter of Sunday’s home loss to the Seahawks:

QB: Mason Rudolph RB1: Jaylen Samuels RB2: Benny Snell WR1: JuJu Smith-Schuster WR2: James Washington

That 2017 offense gained 5.8 yards per play and 378 per game. Against the Seahawks, who were last seen allowing Andy Dalton to throw for a league-high 413 yards in Week 1, the 2019 version gained 261 yards — a 5.1 per-play average. Bell and Brown are both gone, and it’s not yet clear how much time Roethlisberger or Conner will miss. If their replacements can’t stand up soon, ‘19 could mark the second-straight season Pittsburgh watches the playoffs from home.

Here are this week’s winners so far

9. Aaron Rodgers’ wristband playlist

Rodgers’ forearms were naked in his opening night slog over the Bears, just like they’d been throughout a storied 15-year NFL career. He didn’t need to look up the plays coming in through his headset, he’d memorized Mike McCarthy’s uncomplicated playbook by heart.

But 2019, after McCarthy’s ouster, was different. Rodgers made headlines at practice leading up to Week 2 when he was caught sporting a playbook cheat sheet above his non-throwing list. This made it easy to translate first-year head coach Matt LaFleur’s calls into on-field action, and it got moved into his gameday wardrobe. Despite this being an extremely freshman football move, its impact was significant.

He marched his first two drives down the Vikings’ throats for a pair of Packer touchdowns, throwing for 119 yards and two scores in the process. This wasn’t sustainable — Minnesota’s stout defense adjusted in time to limit his impact — but for 16 minutes Sunday, Rodgers looked like the man who’d won two regular season MVPs. More importantly, that fleeting explosion and Green Bay’s upgraded defense were enough to push the Packers to 2-0 on the season with a pair of important wins over division rivals.

8. Jamie Gillan, who went from undrafted free agent to shirt haver

Gillan is already a legend for having an absolutely insane journey from Scottish Highlands rugby player to unlikely scholarship specialist at Arkansas Pine-Bluff to, now, Cleveland Browns punter. The well-traveled specialist only needed one NFL game (and a 46.6 yards-per-punt average) before getting his own official shirt.

Excited to have partnered with @scottishhammer7 for our Official Scottish Hammer T-Shirt! Even better- he will be donating proceeds to the Wounded Warriors project! #brownshttps://t.co/v5FffnVEzw pic.twitter.com/etu3hHKB8k

— Szabo Apparel (@SzaboApparel) September 14, 2019

Gillan, the son of an armed forces member, will be donating his proceeds from sales of the shirt to the Wounded Warriors Project. This guy, and his shirt, rules.

7. Phillip Dorsett, who refuses to get lost in the Patriots’ newfound wealth of receivers

Dorsett came into the Patriots’ 2019 preseason as the team’s No. 2 receiver, behind only Julian Edelman. Then New England got Josh Gordon back from his indefinite suspension and signed Antonio Brown, leaving the former first-round pick’s place in the lineup in question.

Over the past two weeks, he’s answered that question. He belongs somewhere near the top of Tom Brady’s wishlist. Here he is replacing Rob Gronkowski as Brady’s safety blanket on third-and-long.

3rd-and-17: A diving 18-yard catch by PD-13: #GoPats | #NEvsMIA pic.twitter.com/QyKQRzol2E

— New England Patriots (@Patriots) September 15, 2019

And here he is catching an ambulance pass and showing off the wherewithal to avoid getting destroyed by the Dolphins secondary after stretching out:

@Dorsett_4#GoPats | #NEvsMIA pic.twitter.com/ww9SQtOyAj

— New England Patriots (@Patriots) September 15, 2019

Dorsett only had three catches for 39 yards on a day where no Patriot had more than 60 receiving yards. He’s not a guy who’ll get Pro Bowl consideration, but he makes the New England passing offense considerably more dangerous by doing so many little things right.

6. Lamar Jackson, who is still a quarterback and still belongs on this list

Jackson’s appeared in this feature three times in six weeks. He’s very good. In Sunday’s win over the Cardinals he threw for 274 yards and ran for 120 more.

WHAT ❗️❗️@Lj_era8 to @Primetime_jet for 41 yards❗️❗️ pic.twitter.com/vgbZDHLLwB

— Baltimore Ravens (@Ravens) September 15, 2019

That’s one hell of a throw for a running back.

5. Cooper Kupp, who did this to the Saints

Kupp missed half of 2018 with a torn ACL. I’m no doctor, but I believe he’s back to full strength.

We've missed you @CooperKupp! pic.twitter.com/QS44q55Zki

— Los Angeles Rams (@RamsNFL) September 15, 2019

Kupp only had two catches against the Saints’ versatile secondary, but he made the second one count. While the original call of a touchdown was overturned, the third-year wideout’s big gain effectively put away a Saints team that struggled without Drew Brees.

4. Todd Bowles’ defense, which made us all* look stupid

Bowles’ tenure in New York ended with three straight losing seasons, but the former Jets head coach and current Buccaneers defensive coordinator showcased his gridiron acumen by shutting down the Panthers on Thursday night. Tampa Bay held Cam Newton to 25 completions on 51 pass attempts and limited Christian McCaffrey to 37 rushing yards on 21 carries in its first victory of 2019.

No stop was more important than the Bucs’ final one. Bruce Arians’ last-minute brain fart and back-to-back timeouts led to a delay of game penalty that turned Carolina’s last gasp fourth-and-2 attempt to 4th-and-0.5, but Bowles’ unit was up to the task.

PRIMETIME PLAYERS MAKE PRIMETIME PLAYS#GoBucs | #TBvsCAR pic.twitter.com/r8mfOdIJid

— Tampa Bay Buccaneers (@Buccaneers) September 13, 2019

How’s Bowles doing it? He’s turning his team’s developing players into stars. Shaquil Barrett played the game of his life, setting career highs with three sacks and four QB hits. Vita Vea was a mountain in the middle, making four stops and proving immovable for a shaky Carolina offensive line. Vernon Hargreaves was everywhere those two weren’t and some places they were, shutting down the Panthers with a dozen tackles and a pass defensed.

If the Bucs’ defense can play like this every week, they’ll never be out of a game.

*No, not you, intrepid Tampa fan. You knew all along and I was wrong to ever doubt you.

3. Mike Vrabel, the master of the big man touchdown

Vrabel knows a little something about getting into the end zone despite not being a skill player. He accounted for 10 receptions in 14 NFL seasons as a linebacker — all of which ended in touchdowns. On Sunday, his Titans snuck reserve tackle David Quessenberry through the line and into the end zone to catch a one-yard strike from Marcus Mariota.

Draw it up, Arthur Smith! Goal line TD for offensive lineman David Quessenberry. #INDvsTEN pic.twitter.com/hlCGIvsww8

— Tennessee Titans (@Titans) September 15, 2019

That’s great. You know what’s even better? The fact Quessenberry BEAT CANCER to get here. He fought off non-Hodgkin’s lymphoma from 2014 to 2016, then bounced around the Texans and Titans practice squads before finally getting his moment to shine in Nashville Sunday.

2. The Bears’ kicking game, somehow

I’m as shocked as you are.

pssssht Bears kicke--wait, what? pic.twitter.com/XyCiJ1TI83

— Christian D'Andrea (@TrainIsland) September 15, 2019

Eddy Pineiro was perfect on the day, kicking three field goals and adding an extra point. And that’s how the Bears won a game where their quarterback threw for 4.4 yards per attempt.

1. Patrick Mahomes, who got some kind of video game powerup in Oakland

The Raiders made the world briefly question the Chiefs’ dominance by taking a 10-0 lead early in the first quarter Sunday. Any comeback Kansas City could make would have to come without the team’s lead wideout Tyreek Hill and a suspect tailback rotation. And then Patrick Mahomes unleashed this second quarter:

19 passes, 286 yards, four touchdowns.

Mahomes uncorked scoring plays of 44, 42, 27, and 35 yards to Demarcus Robinson (twice), Mecole Hardman, and Travis Kelce. His last six passes of the first half ALL went for 22 yards or more. This was very nearly history.

Patrick Mahomes threw for 278 yards in the 2nd quarter, the 2nd-most in a single quarter over the last 40 seasons (Drew Brees had 294 in a quarter in 2008). h/t @EliasSports pic.twitter.com/shQXQzxz9O

— ESPN Stats & Info (@ESPNStatsInfo) September 15, 2019

That was all the Chiefs needed. Those 28 points were all they scored in an 18-point win.

[lakewooduni]

Olivia Remirez is a twenty-three year old model who is a Lakewood Local. She is a bisexual cis female. Oliva is graceful and optimistc, but also self-centered and vapid. 

Olivia Ramirez didn’t have to amount to much. Just had to smile and be well behaved at her father’s parties.  Her father never wanted his daughter to have to lift a finger.  He’d come from almost nothing a built his way up to a multi million dollar corporation. Made for a lovely immigrant success story, the media ate up the story of Javier Ramirez. And loved it more when he married her mother, an Oscar darling actress. Javier and Audrey Ramirez couldn’t avoid the media spotlight, but they didn’t mind much at all. Gladly became a power couple of LA, buying a huge house and hosting lavish parties, where Javier could scope out new business deals, with the added benefit of the Hollywood Elite being present, taking advantage of his clients and partners being star struck, he turned his multi-millions into some real money. And then came the twins, Matías and Samuel. Both boys were raised with the expectation that they’d be given control of their father’s company together. Meanwhile, Olivia was never expected to have anything to do with the business, focused more on her mother training her to be a perfect socialite.

She struggled with fitting into the mold that she was supposed to sometimes. Knowing that she didn’t have to go to school or have a job ever if she didn’t want, just smile when camera flashed, left her bored. She started taking up different hobbies, just to find one that would keep her satisfied. That was when she really fell into her own, discovering her love for painting. Olivia had always loved art, but being a messy painter wasn’t fitting for someone of her social status, so she never showed anyone but her brothers her works. Sam dismissed it off hand, but  Matías encouraged her to pursue  the passion. She started selling her paintings through a friend, signing them only as ‘Liv’,the nickname only her brother could get away with. For a minute people loved her work, one of her bigger pieces even going for a fifty thousand in an auction.  It looked like she could have the best of both worlds.pursue  the passion. She started selling her paintings through a friend, signing them only as ‘Liv’,the nickname only her brother could get away with. For a minute people loved her work, one of her bigger pieces even going for a fifty thousand in an auction.  It looked like she could have the best of both worlds.ever if she didn’t want, just smile when camera flashed, left her bored. She started taking up different hobbies, just to find one that would keep her satisfied. That was when she really fell into her own, discovering her love for painting. Olivia had always loved art, but being a messy painter wasn’t fitting for someone of her social status, so she never showed anyone but her brothers her works. Sam dismissed it off hand, but  Matías encouraged her to pursue  the passion. She started selling her paintings through a friend, signing them only as ‘Liv’,the nickname only her brother could get away with. For a minute people loved her work, one of her bigger pieces even going for a fifty thousand in an auction.  It looked like she could have the best of both worlds.camera flashed, left her bored. She started taking up different hobbies, just to find one that would keep her satisfied. That was when she really fell into her own, discovering her love for painting. Olivia had always loved art, but being a messy painter wasn’t fitting for someone of her social status, so she never showed anyone but her brothers her works. Sam dismissed it off hand, but  Matías encouraged her to pursue  the passion. She started selling her paintings through a friend, signing them only as ‘Liv’,the nickname only her brother could get away with. For a minute people loved her work, one of her bigger pieces even going for a fifty thousand in an auction.  It looked like she could have the best of both worlds.

At least, it did until Matías got diagnosed with Non-Hodgkins lymphoma. Olivia never left her brother’s side during his treatment, completely going silent in the art world, ending her career. Sam on the other hand, shut down any emotion, pouring himself into taking over their father’s business instead of dealing with the threat of losing his twin. Olivia can’t remember ever seeing him cry about it. Matías looked to be recovering before he died. One minute, his doctors were sharing the good news, that all the money the Ramirez’s had thrown at his treatment seemed to be paying off, that remission was likely, and the next the whole family was crowded into his room, watching him flatline.

Olivia went numb after the funeral. She couldn’t bring herself to pick up a paintbrush again, picking up modeling just to give her something to do so she didn’t have to think about what was missing. Her family picked up everything and bought a new home in Malibu, keeping all of Matías’ things in a room that nobody ever went in. For a year none of the remaining Ramirez’s could look each other in the eye, nobody talked about it, until Olivia got caught breaking down outside of a club by paparazzi. She would have hoped that they’d see a sister mourning her older brother, but they just saw a story for sale. Rumors started circling about the newest up and coming model being on drugs, unable to contain her emotions. Her family was forced to talk about their loss through the media hailstorm. Olivia did a few interviews where she would just talk about how much she missed her brother, turn it on the magazines that had tried to take her family down. Nothing felt better, but it felt like progress for the first time in ever.  After a little bit of time, she began going by Liv, wanting to always be reminded of her brother.  

Liv still doesn’t know exactly where to go from there, still modeling to just have something to do, eating up the spotlight a little more now than she ever had before. She was starting to blow up as a model, getting invited to Fashion Week and hundreds of events.  Would date other celebrities for a little while, just for posterity. Nothing was ever serious, not that she really ever wanted it to be. Liv just felt lost, so she moved out to her own home nearby, just outside of LA, just trying to figure out what to do with herself for once.