#some boring parts and the budget limitations show a bit but they do a lot with what they have

[reachexceedinggrasp]

Have been hearing from several professional and unprofessional critics alike that 65 was a disappointment, can you give a more thorough explanation as to how the script is lacking? Most importantly what about Driver's acting,did the poorly written script managed to affect his performance in a degradable way?

The actors did great with what they were given, the main problem was that they were barely given anything. It felt like a first draft because the characters have almost no personality, the relationships and themes are undeveloped, and it doesn't do anything with any of the ideas it introduces.

Like, first the set-up is super paint by numbers, serviceable but ponderous and overdone. Then the sentimentality they're trying to bring to it to give Mills pathos is just incredibly hacky. He's a pilot going on a two year assignment to pay for his seriously ill daughter's medical treatment, analogous to a technical diver or someone in the military. The daughter has Occasional Cough disease and is classically precocious while being played by an actress too old for how young they're writing her.

Anyway, they keep hammering on Mills having pictures and videos of her and constantly play them. These videos are entirely free of content and tell us nothing about either character. It's like placeholder dialogue. This is very tedious. I get it, he has a daughter.

But the main thrust of the film is the crash, the desperateness of the situation, and the renewed quest to escape once he realises there is another survivor. Mills the character has to carry almost the entire movie essentially alone, because Koa the other survivor does not speak a language he (or we the audience) can understand. And I think Adam could easily do that, he's a very engaging screen presence even in this, but they give him zero tools. Mills sends one message and then does not make further attempts or audio diary entries or anything like that. He doesn't talk to himself. He doesn't talk to Koa much and when he does talk to her the writers haven't thought at all about how people who don't share a language can communicate.

There's one scene where he draws for her, but it's horribly executed and for the rest of the film he just shouts slowly at her and when the plot needs her to understand, she magically does. There's just barely any effort made to establish a connection between them, we're supposed to care because she's a little girl and remember he has a daughter. It's especially stupid because one of the few things the movie bothers to tell us about Mills is that he's heroic. He considers suicide when he thinks he is the only survivor in a hopeless situation, he doesn't want to endanger anyone by calling for rescue and clearly has guilt issues, but he becomes determined to save that person the moment he discovers someone else is alive. It's clear he would have done this for anyone, it's not because Koa is a young girl.

If he'd had a monologue where he recorded his experiences for anyone who might recover the ship, or messages to his wife, or if he just thought aloud, or if he'd really tried to communicate with Koa, we could have seen some personality from him and the whole movie would have worked imo. Adam is more than charismatic enough to carry that off. But with the boring dialogue, no personality, and cloying hack sentiment the only thing going on... it's just empty when they try to make us care. You can see all the strings. Every device they use is so obvious and so unthoughtful.

There were one or two really funny/cute moments, but it's sold entirely by the actors with no dialogue.

There's also some bad blocking and confusing scene construction that undermines the performances, but it's not super embarrassing or anything, it's just not good. There's no support for the heady emotional moments or some of the intense physical moments, the actors are just adrift trying to sell it without context. So the script didn't really degrade Adam's acting apart from not giving him anything to work with, but the director does let him down. It's not an impressive showing for anyone.

But like, what is the point? We find out his daughter died while he was away despite the treatment. Was that necessary? He needs a dead daughter to bond with this orphaned girl on a hostile planet? He doesn't have an arc about learning to value life or wanting to live again, he is willing to give up out of guilt and despair and then instantly changes his mind when someone else's life is at stake. He's a selfless person, he already was, the only reason he's on this mission in the first place is because he's willing to do anything to save someone. Nothing happens on a character level. I'm not asking for much, it's a very simple story and that's fine, just something to invest in. It also has nothing to say about emotional connection without words or communication or language- why make them unable to communicate if you're not going to do anything with it?

He lies to Koa that her family is waiting for her at the escape pod to get her to come with him and that's supposed to be our stakes (the only stakes the film has besides 'will they die'), but it's just goofy because it's so haphazard and it's so unclear what she even thinks is happening. She's even more of a blank slate than Mills so I felt no tension about the lie or their relationship. When she finds out, it's deeply blah.

It just feels like there's no thought behind it and there's not enough effort put into it to make it as mindlessly entertaining as it should be either. Even a dumb action thriller needs character. There are good sequences, but way too many parts of it seriously drag because of how underwritten it is. I'm also really annoyed about a) the replacement goldfish plot of them killing his daughter so he can bond with Koa as though a man can't just care about a child in danger because he's a decent person and b) his wife is in the opening scene doing exposition and then she is literally never mentioned again. He has no pictures or videos of her. Getting back to her is not part of his motivation. We will endlessly harp on his dead daughter but the wife is chopped liver. Fuck you, movie.

But yeah the scene with the flower may be bog standard but it worked. Adorable, funny, A+ no notes. Again, credit to the actors because this is a super paint by numbers moment but they sold it. If they had leaned into the comedy a tish more, this would be a blockbuster. Every moment of deadpan with Mills, usually completely non-verbal, is stellar. He is funny and letting him be more funny would have saved this. Let him John McClane it up. They already have him getting progressively more injured as the film goes on, if they'd just let him talk to himself and be sarcastic this thing would have worked.

[timeagainreviews]

The Twist of a Stiletto

Back in the ‘90s there was a very famous TV show. 120 Minutes, don’t act like you don’t know. But for those of you not in the know, “120 Minutes,” was a show on MTV hosted by Matt Pinfield. There were other hosts, but Matt was my guy. Being a showcase of music videos from artists MTV wouldn’t dare play during the day, it was relegated to a late Sunday evening timeslot. Growing up, I never really had a personal relationship with music. It was the stuff in the background of movies. My dad would play CDs of his faves. Kansas, Jethro Tull, Chicago, Led Zepplin, The Beatles. Music could be fun or cool, but I could take it or leave it. That is until April 14, 1996, when 120 Minutes aired Rage Against the Machine’s “Bulls on Parade,” and my 12-year-old brain erupted. A fire was lit inside me that day and Zach de la Rocha was more than happy to pour gasoline on it. I was suddenly, without any kind of warning, in love with music.

The spontaneous combustion of music hits us all differently, but I’m sure my story made you remember yours. How could it not? Music is a part of our lives. We wrap our memories in song. As such, some songs become painful. We then lock those songs in our past where they can’t hurt us, but a passing car with its windows down can bring us back. Music is personal. “The Devil’s Chord,” is a story about our relationship with music. How we hold music inside and when we let it out. It is a celebration of song as well as a lament. While the episode often achieves harmony, it also falls a bit flat. Are you picking up on a theme? Is this striking a chord with you? Ok I’ll stop. Probably.

I’ll get the obvious out of the way first. “The Devil’s Chord,” is precariously close to “The Giggle,” plot-wise. The TARDIS lands. The Doctor finds the world behaving oddly. He discovers it’s all to do with a magical gay American who chews scenery for breakfast. The American sends the Doctor through a themed gauntlet of insanity. The Doctor banishes the American using their own tricks against them. The American disappears with a warning about the next guy. Bish bash bosh. I’m getting that all out of the way ahead of time, because that would be a really boring article to read. But I will say this- if this is the Pantheon’s only gambit, I’ll be disappointed.

Ruby’s explanation of how she discovered the Beatles through her mum’s girlfriend’s vinyl collection was charming and didn’t make me feel old at all. Not to be all “kids these days only care about Tik Tok and Roblox,” but I was fairly certain most young people hate the Beatles. That is, if my Facebook feed is anything to go by. It really shows you just how on the pulse Russell T Davies is these days. Hello fellow kids. Have some trans inclusion while I court problematic people on social media. Kids like Deftones, Russell. Do a Deftones episode. Have the Doctor fight robot pigs with Chico Moreno. (Man, nü metal is having a moment in this article.) My point being, it’s weird to choose The Beatles now.

I harp on a lot about how metatextual Doctor Who can be and how it’s the secret of its longevity. They need to replace their actor? Regeneration. They need to get the Doctor into a building? Psychic paper. But I think I’ve found the exception that proves the rule. Russell T Davies said in an interview “...The Beatles music is so expensive. Even on a Disney budget, we couldn’t afford that…And so I thought imagine you’re visiting The Beatles, and you couldn’t have The Beatles music. What would you do? And that’s the story. It kind of created itself”. In true Doctor Who fashion, Russell T Davies saw a limitation and folded it into the narrative. It’s a shame then, that it doesn’t work at all.

It started with their shots of Abbey Road and EMI Studios. The zebra crossing at Abbey Road isn’t that wide. I’ve been there. And since when did EMI Studios have a red brick entrance? Where are its classic Georgian-style box frame windows? It’s one of the most visited tourist spots in London, and you’re not going to actually go there? You can’t get the music. Ok. That’s sort of understandable. But they couldn’t film on location? What exactly is the Disney budget doing here? Remember when they flew the whole TARDIS crew to Utah? And then the next season to New York City? They managed to shoo tourists and locals away from Umpire Rock. You mean to tell me they couldn’t hold back traffic on Abbey Road for a few hours? Hell, just composite it. Shoot it on a soundstage. You don’t have to go “Angels Take Manhattan,” when you could go “Daleks Take Manhattan.”

This may seem like a weird gripe from a person who said it would be boring to complain about how two episodes are similar, but it is the crux of the matter. Why use The Beatles in an episode about The Beatles if you do nothing with them? Why highlight edifice in a story about being vulnerable? Yes, the episode is predicated on the very idea of not having the rights to The Beatles music catalog, but this also denies the audience a payoff. Let me explain. Ruby and the Doctor get dressed to the nines to go back to 1963 and watch the Beatles record their first album. Great so far. They have a cute little moment with the tea lady while they sneak into EMI studios. Still great. However, as they roll record for the Fab Four, it’s immediately apparent that something is very wrong. The Beatles' music sounds awful. Like how I imagine my friends on Facebook think they sound all the time. And still, things are going great. What this does, however, is set up expectations for the moment when The Beatles' music is finally back in its full glory. I’ve seen the shot from the trailer of Ncuti in the recording studio full of smiling perfects. It’s gonna be high energy. What a payoff. Right?

The Doctor and Ruby also pop in to listen to Cilla Black lay down a track. It’s the same crappy atonal music that only a trans woman with a collection of circuit-bent instruments could love. Something is amiss. The Doctor and Ruby do a bit of digging. It’s time to go talk to The Shitty Beatles. This time, it’s more than a clever name. With as much respect as I can muster, these have got to be some of the worst Beatle lookalikes I’ve ever seen. Except Paul who was spot on as the real Paul McCartney before he died and 1966 and was replaced with Faul. See my 9-11 Truther Anti-Vaxx Birds Aren’t Real grouphat for more information. The Doctor takes Paul and Ruby takes John. George and Ringo get zero lines, which tracks with history. They learn that both Paul and John don’t actually know why they play music. It feels silly, really. They should just pack it up. But something deep in them is still drawn to music, even if what comes out is a song about a dog that was only slightly better than “Rocky Raccoon.” But before they can slap them out of it like John with his first wife, they’re interrupted by visions of the Maestro.

Enter Jinkx Monsoon, who actually opens the episode but I’m using time travel to talk about things as they become relevant. Now, before they were cast in Doctor Who, I knew nothing about Jinkx Monsoon. I know she was on Drag Race, but I don’t watch that shit. No shade if you do. Ru Paul is totally not problematic and has never done anything weird. Everything I skimmed in Jinkx Monsoon’s Wikipedia page indicates they’re pretty cool. They relish in the role in a way that will make midwest dads shift in their chairs, and I’m here for it. They’ve got an oral fixation that’s impossible not to notice. When they eat the music from Timothy Drake’s soul, they let out a moan that sounds a lot like a climax, and not in the musical sense. Also, how sad is it for Tim Drake that he’ll never meet Batman? RIP Robin. 1925 was too early. Speaking of 1925, isn’t it interesting that the Maestro appears right around the same time as the Toymaker sold the Stooky Bill puppet to Charles Banerjee? Is there some significance with that year? Handily, no World Wars were happening at the time. The Scopes Monkey Trial occurred. Babe Ruth received surgery for an ulcer. They broke ground on defacing Mount Rushmore. But really, kind of tame considering the bookends of the era. The Lorcano treaty was doing a lot of the heavy lifting though.

The Maestro’s whole deal is a sort of crazed sense of ownership over music. To hear them describe it, music belongs to them. They are music. In this way, I was pleasantly surprised that they didn’t song and dance people to death. It’s nice to be surprised. I rather liked their motivation. Monsoon doesn’t need to do a whole lot of acting. It’s all very panto. Very drag. It’s the kind of performance you hope you get. I’m not saying it’s a bad performance, just an elevated one. Both Jinkx and Ncuti get a chance to overact a bit in this story. Once again, I don’t mean overact in a bad way. David Tennant is the biggest overactor in Doctor Who save for Soldeed in “The Horns of Nimon,” and he’s consistently voted favourite among Doctor Who fans. Add “tendency to overact,” to the pile of personality traits I’m beginning to love about the Fifteenth Doctor. I love it when the Doctor really sells the energy of a scene, even if it requires him to speak forlornly into the middle distance.

Attempting to get the world’s groove back, the Doctor has a piano hoisted to the roof of a building. This is, of course, a reference to The Beatles’ final public performance from the rooftop of Apple headquarters in Central London. Only instead of Billy Preston on the keys, it’s Ruby Sunday. As she plays a Ruby original, the inhabitants of neighbouring buildings begin to shake out of their fog as music descends on them like sunshine. It even inspires a granny played by Doctor Who legend Laura June Hudson to dust off her piano to play Debussy’s “Clair de Lune.” It’s a lovely moment which is about to get stomped on by the Maestro’s honking drag boots, but for a brief moment, music swells.

I was glad to see them taking time to slow things down a little in this episode. The Doctor even talks a bit about himself and Susan over on Totter’s Lane. Couple that with Carole Ann Ford’s presence at the Doctor Who premiere last year, and it feels like it might be more than a reference. I’ve seen Whovians of weak faith construe this to mean Susan is dead, but in my experience, when a writer says something isn’t, it is. That’s just my two cents. Who knows if any of it means anything. It could just be that it would be weird for the Doctor to visit London in 1963 and not mention him living there with his granddaughter. Or it could be that Doctor Who is finally getting a better Doctor/Susan reunion than “The FIve Doctors.” Who could forget the moment when they’re reunited? 

First Doctor: "Oh, er, this is Susan."

Fifth Doctor: "Yes I know."

How could you not get choked up? What a reunion. I can’t imagine why people would want something more. The Doctor told her all those years ago “Someday I’ll come back,” and he did. It was brief and without any of that pesky emotional connection we usually get from television.

Ruby pulls the classic “But the world didn’t end in 1963, I exist,” so the Doctor shows Ruby what the world would look like without music and it’s grim. It was nice of them to show us a bombed-out London as many of us are still feeling the sting from Fallout: London’s delayed release. Thanks, Doccy Who. But the two are not alone as they’re interrupted by the Maestro and their Looney Tunes brand of scary sexy. As with their first interaction, the Doctor runs. I love that aspect because it’s very Davies Doctor Who. The Doctor runs from the Time Vortex. The Doctor runs from Gallifrey. The Ninth Doctor refers to himself as cowardly, but what it really is is he hasn’t anything to prove. He’ll live today to fight again tomorrow, and yesterday. Timey wimey.

While the Maestro finds the Doctor both hot and timey wimey, they are still very much a threat to him and the Doctor knows this. You can’t fight the Pantheon. You have to abide by their rules. How do you fight someone who can control the TARDIS with music? The Doctor rips the TARDIS console a new one in order to flee back to 1963, where the world has yet to end. I found it cute the way he kisses the console to say sorry for the way he treated her. It not only suits the Doctor, but this Doctor with his brand of compassion. The TARDIS gets it, but you’ve gotta kiss a boo-boo or it won’t get better, everyone knows that.

The Doctor’s only plan with his limited resources is to somehow find the opposite of the Devil’s Chord, a sort of lost chord, if you will. Of course, this draws the Maestro to the Doctor like my cats to the sound of the tin opener. The Maestro captures Ruby, wrapping her up in sheet music. The Doctor stares down the Maestro as they allow him the opportunity to prove his musical genius. Can the Doctor find the lost chord? With each new note appearing above the piano, the Maestro writhes in twisted agony. But the Doctor hits a bum note and the Maestro is back on their feet ready to suffocate the Doctor in a drum and choke the life out of Ruby. But the song within Ruby’s soul from the Christmas Eve where she was left on that church stoop is stronger than anything the Maestro can muster. The Maestro may own music, but Ruby owns this song in that moment. Like before in “Space Babies,” the snow begins to fall indoors and the Maestro recoils in horror.

This gives the Beatles enough time to discover the piano and play that final note. Alone, they may not be geniuses, but the combination of McCartney and Lennon is enough to find the lost chord and banish the Maestro. They could have also achieved this with Harrison alone. He wrote “Here Comes the Sun,” after all. With the lost chord now found, the Maestro gets sucked off back where they came. Was the note they found the same one from the end of “Day in the Life?” RTD said they used a single Beatles chord. Was that it? I don’t know enough about music to answer that. After a quick re-listen, I'm going to say yes.

London is once again filled with music. Now, we’ll finally get the chance to see the Beatles play their actual music, right? They fixed music, right? God I wish. After cryptically looking into the camera and saying “There’s always a twist in the end,” the Doctor and Ruby are suddenly thrust into what I can only describe as the worst song possible. I’ve said in the past that I am not a huge fan of Murray Gold’s music. There’s nothing wrong with it, it’s just a bit safe for my tastes. But this song… I loathe it with every fibre of my being. It’s cloying, it’s corny, and it’s a repetitive ear worm you don’t want stuck in your head. I’ve said I was interested in Doctor Who doing a musical number, but this was god awful. I try to be as fair as possible when it comes to my reviews, so I think I’ve earned enough good faith to openly say this song is terrible. I would rather listen to the crappy dog song from earlier in the episode, and I don’t even own any circuit-bent instruments, and therein lies the problem.

How can you say the Doctor saved music when the way you present it is with a song that is simply not good? We need a good song in this moment, and that was not it. If ever there was a time to reach into the coffers and pay for a song, it was this. I mean, he said “There’s always a twist in the end,” and “Twist and Shout,” was right there. It wasn’t even written by the Beatles so it might have even been cheaper. They could even re-record it in the same Glee style in which they filmed the big song and dance routine. Hell, how expensive are Cilla Black songs? Do one of those. Instead, we get another fake Beatles song, in fake EMI studios, on fake Abbey Road to imply that we saved the future from a world of fake Beatles songs. By the time this insipid tune wears out its welcome, the Doctor and Ruby skip away across Abbey Road, lighting up the zebra crossing like piano keys. But instead of it being charming, it caused both my wife and I to say “Oh God, it’s still going.” 

After the episode, I did a little bit of reading. I figured the two people dancing with the Doctor and Ruby were guest stars as they singled them out over the other background dancers. Evidently, they’re judges or competitors on Strictly. I dunno, I don’t watch that shit. So I really have no idea if that song was written to be in the style of something you would see on Strictly. But what I do know, is that it was brave of Murray Gold to show his face during that exquisite train wreck. I guess this episode really did pull a “Daleks in Manhattan,” à la “My Angel Put the Devil In Me.” In that respect, you can add contemporary music to the list of things Doctor Who should do well, but can’t seem to get right. It’s in good company with pirates and westerns. “The Gunfighters,” even fails at two out of three. Impressive!

I do admire the hell out of RTD and company for throwing their whole ass into that ending. It takes real chutzpah to fail so spectacularly. And honestly, as harsh as I’ve been, I didn’t totally hate the scene. In some ways, it's a clever pastiche to '60s music. In that light, I could maybe come around to it, over time. They’re also trying new things. But I think we found the ceiling pretty fast. I can’t say I’d like to see that sort of thing a lot more in the future, but here and there? Sure. As it is, it feels unrestrained and masturbatory. And truthfully, I would have preferred an actual musical like Buffy’s “Once More, With Feeling,” or Star Trek: Strange New Worlds’ “Subspace Rhapsody.” They somehow gave me what I wanted while simultaneously failing to deliver.

Now of course, the real question is- what was the twist at the end? Was it the appearance of the Maestro’s “son,” Henry “Harbinger,” Arbinger?  Or maybe it was a meta-reference to actress Susan Twist, the woman who once again has shown up in the background. I find it even more interesting that in every episode where she’s appeared, they give her a line to read. Or maybe it’s a Susan twist, as in the Doctor’s granddaughter. They mention Susan in the same episode with an actress named Susan Twist where they sing about twists while doing the twist. It’s like “Who’s on second?” or “The Doctor’s daughter who plays the Doctor’s daughter in ‘The Doctor’s Daughter,’ marries the Doctor.” 

Despite the ending and the rehashed story, I rather liked this episode. Jinkx Monsoon and Ncuti Gatwa had great chemistry. The mysteries continue to unfold. Along with my hope for the Rani, I can now add hope for Susan into the mix, and as with the Rani, I won’t get my hopes up. In the same vein, I'm grateful that Maestro wasn't a code name for the Master. We've seen enough of him for a while, thanks. Ncuti and Millie continue to impress as the Doctor and Ruby. I also admired Ruby's restraint in not telling John Lennon to avoid chubby guys in glasses. I loved the Maestro and the fact that their laugh was vocal warm-up. So much fantastic attention to detail. But that ending is not my bag. It felt tacked on, poorly paced, and obnoxious. It reminded me of that line from Fight Club- “We are the all-singing, all-dancing crap of the world.” Emphasis on the crap.

[doizy]

BASARA Gaiden-KATANA Rainbow Story-Ginkgo : A review (?)

When I first read the Katana Short Story in volume 26 of Yumi Tamura's Basara I had the thought that in a fair universe where Basara has the high budget anime adaptation it deserves this story would have had it's own stand alone-ish movie adaptation.

The people who adapted Basara to the stage must have had a similar idea because they chose to adapt this story for the stage.

Like all 2.5 play this play was performed for a limited time, in february 2019 (i think they were only 7 performances in total).

I was pretty curious to watch it so i ordered a dvd off yahoo auctions, and watched it yesterday.

Obviously this didn't come with subtitles, and my Japanese it still very rudimentary so this review is going to be quite superficial, but I was still able to to follow the play pretty well having read the short story it's adapting twice before.

For a refresher Katana is the story of the failed rebellion led by the generation of Sarasa's great grandparents against the cruel and sadistic Lion King, 100 years before the events of Basara.

Our protagonist Tara is a young woman who grew up as an orphan and was painfully rejected and abused by her community as they believed her to be cursed which means that she had grow up without ever feeling love or comfort. She was about to be killed in a sacrificial ritual but is rescued by the rebellion led by Gensho (Tatara and Sarasa's ancestor). She then joins the rebellion, where she for the first time find meaning and a place where she belongs, and we follow her and her companions doomed efforts in their battle against the Lion King.

The story is pretty short (about a 100 pages), which means that the stage play is able to adapt it really well without having to take big shortcuts, and it's folktale like narrative worked very well on the stage i thought. The play is even able to flesh out some bits, which was very nice, they added a lot of banter between our rebels which highlighted their relationship as brothers in arms (even if i couldn't understand most of it...).

Notably we see a lot more of the Lion King (who by the way is played by a woman, a former Takarazuka actress which i thought was neat), with little comedic scene which really show him a a despotic and cruel but also very bored ruler. By his side are two original characters and given their color coding i assume that must be the then Red and Blue Kings, which is the nice touch, they don't really do much in the story though, apart for acting as a leader of enemy troops in battle.

Speaking of battles those were really fun to watch! The choreography felt really dynamic, I loved the scenes with the lions in particular , i think they were inspired by traditional performances and used puppet and traditional sounding music with some nice drums. They were really cool to see!

Something else that was fleshed out in this adaptation is the relationship between Tanmanya and Iris, the stranded European woman he falls in love with. I think this was my favorite part of the show (maybe because i could actually understand some of it since Iris spoke english), it felt very sweet and beautiful (and you know, sad...).

Asahiko also get a flashback scene featuring his little sister that makes the scene where he's tricked into killing her all the more tragic (the flashback scene i wasn't quite able to follow but I'm a bit worried that it had some weirdly incestuous undertone since what i understood of it was Asahiko telling his sister that she's beautiful before she tells him that she wants to become a bride, doesn't seems very tamura esque though, so i might be completely off).

The finale was was very emotional with the tragedy of seing our heroes fails and their swords be scattered across the Japan, but with an added touch of hope conveyed by a cameo by Sarasa and the other heirs of the legendary swords.

If there was something i liked less it was the over reliance on pre recorded lines used for the characters inner monologues, since those are usually some very important lines and it would have been better to see the actors actually perform them in my opinion.

Other than that i thought the performance were pretty good, but without really understanding them i can't really judge, the music was great and really one of the highlights for me. The costume were simple but pretty nice (why didn't they let Asahiko wear crop tops like he does in the mnga though...), i wasn't much a fan of the costume of the King's harem (?) women though, it felt a bit to orientalist sexy costume and less like the interesting byzantine and Japanese style fusion Basara is usually going for.

It was really fun to watch and if you like Basara i can only encourage you to check it out! I think it's available on amazon Prime in japan, so if you have a subscription and a VPN you might be able to watch it there.

It left me very interested to check out the three other stage play that adapt the main story!

[hellzabeth]

i have opinions about The Prince of Egypt musical adaption and you’re going to listen to them: An Essay

So, quick disclaimer: The Prince of Egypt is one of my favourite movies of all time. The casting, the music, the animation, I think it’s one of the top-tier movies that have ever been made. I went into seeing the London West End production of PoE with a full expectation that nothing I saw on stage would ever live up to how much I love the movie. I was fully aware there are plenty of limitations to what can be shown live on a stage with human actors and props.

That being said, I was enormously disappointed with how the whole thing was handled.

The Good

Now before I launch into a whole tirade of what I didn’t like about the production, it does behoove me to say what I think they did do well. 


The casting of the role of Moses was done fantastically, as was Miriam, Tzipporah, and Yocheved. The swings and the ensemble were really engaged and well placed, going through lots of quick changes to go from Hebrews to Egyptians to Midianites and back.


The two Egyptian queens, wifes of Seti and Ramses, are actually given names, lines, and character beyond being simply tacked onto their respective kings. We get to see how they feel about the events happening around them, and there’s even a scene where Ramses meets his wife and courts her, whereas in the movie, she stands in the background and says nothing. This is one of the areas I was hoping the musical, which would naturally have a longer run-time, would expand on, and I was pleased to see the opportunity was taken.

Light projections on enormous curtains were used to very good effect, taking us instantly inside the walls of the palace and then out to the desert. 


Over all, the work was really put in to be engaging and emotional, and the orchestra really worked to deliver the right musical beats.


One of two stand out scenes as being done very well was the opening “Deliver Us”, which included a bone-chilling moment of Egyptians separating a mother and her baby, with her screams as she’s dragged off-stage, and the blood on the guard’s sword. It really brings home the fear as Yocheved tries to lead Aaron and Miriam to the river with her, not to mention Yocheved’s actress nailed the lullaby. 


The second was at the other end of the show, “When You Believe” was beautifully performed by the whole cast, though it was somewhat stunted by what came before...

The Bad

Oh boy.

So the main problem with this show is not the music, not the staging, not even that sometimes the ensemble was a little off-beat (the lai-lai-lai section in Though Heaven’s Eyes comes to mind). Any mistakes there can all be forgiven, since sometimes things just happen in live performance, someone’s a bit off or something’s just not possible to do on the budget allotted. 


The problem is in the script.

The Prince of Egypt movie is a story that stands not only on the shoulders of its fantastic music and visuals, but also on its emotive retelling and portrayal of the characters within - mainly Moses and Ramses. And while the stage musical does spend a lot of time with the two mains, it neglects two other, incredibly important characters.

Pharaoh Seti, and God. 


In the movie, Seti strikes an intimidating figure. He is old, hardened, and wise in the ways of ruling his kingdom - and is voiced by Patrick Stewart, who brings his A-game to the role. Both Moses and Ramses admire him and look up to him immensely as young men, and the relationship he has with both of them deeply informs their characters as the story progresses. It’s from Seti that Moses learns that taking responsibility for your actions is the respectable thing to do (and later, the true horror of having your idol turn out to be not what you think), and it’s from Seti that Ramses takes a huge inferiority complex.

There are two lines that Seti gets in the movie, one spoken to Moses, and one to Ramses. These two lines define Moses and Ramses’ actions later on in the story:

To Ramses - “One weak link can break the chain of a mighty dynasty!” To Moses - “Oh my son... they were only slaves.”

Guess which two lines are absent from the musical?

One Weak Link is turned into an upbeat song, rather than shouted at a terrified and cowed young Ramses. Instead of being openly a traumatic, internalised moment of negative character development for Ramses, it’s treated as a general philosophy that Seti passes down to his son. Instead of a judgement that is hung over Ramses’ head like a sword of Damocles, lingering in his mind through the whole story and coming up in a shouted argument with Moses later, it’s said and then moved on from. 


The “they were only slaves” comment, on the other hand, is absent entirely. This changes Moses’ relationship with Seti enormously, as well as his relationship with the Hebrew people. Upon finding the mural depicting the killing of the slave children, Moses is appropriately horrified, and Seti shows up to comfort him and defend his terrible actions. Moses leaves this interaction... and then sings about how this is indeed all he ever wanted! He has no moment of horrific realisation that his father thinks of the slaves as lesser, as lives that can be thrown away. This means that the scene where he kills the guard doesn’t lead into a discussion of morality with Ramses as he runs away, but rather Moses breaking down about his heritage as though it’s a negative, instead of something he’s realised is just as valuable as his life as an Egyptian. Instead of Moses being shown as having a strong moral core that protests against the idea of any life being lesser, he bemoans his Hebrew blood loudly, and makes little mention of the man he killed. His issue that causes him to run away is being adopted, rather than his guilt that he’s a murderer, and nothing Ramses can say will change it.

Later on, we don’t see Ramses express this opinion either (in the movie - M:”Seti’s hands bore the blood of thousands of children!” R:“Hah, slaves!” M:“My people!”) so it seems the core reasoning for the necessity of the extremes God had to go to in order to convince Ramses to let the Hebrews go is completely gone.

Which leads us into God Himself, as a character. 


God is a tricky topic in general. He is hard to talk about as a concept and as a character, and even harder to depict in a way that won’t offend someone. The Prince of Egypt movie always struck me as a very good depiction of the Old Testament God - vengeful and strong-willed, commanding and yet nurturing, capable of great mercy and great cruelty in one fell swoop. God is incredibly present in the story, a character in and of Himself, speaking with Moses rather than simply commanding him. The conversation at the Burning Bush is bone-chillingly beautiful. Moses is allowed to question, he’s allowed to enquire, he’s allowed to express how he feels about God’s choice, and God is given the chance to respond (and reprimand, and comfort).

In the musical, the Burning Bush scene lasts all of two minutes, during which God (the ensemble cast, acting as one moving flame, speaking in unison) monologues to Moses, and Moses is not given room to question, talk to, or build a relationship with God. Later on, once some of the plagues have gotten underway, Moses rails against God, flinches in his resolve, and tries to back out... and God says nothing. It’s Miriam and the spirit of Yocheved that convince Moses to keep going. As a character, God is nearly absent. Even when it comes to calling upon the Plagues, or parting the Red Sea, God’s voice is absent. Moses does not pray. He does not even use the staff that God encouraged him to pick up as a symbol of his becoming a shepherd of the Hebrews out of Egypt. 


It’s these little changes, these little absences of such vital lines and presences, that ends up changing the whole vibe of the show. Seti is more like a dad than an emotionally distant authority figure, and God is more like an emotionally distant authority figure than a character at all. Ultimately, the whole feeling that one is left with at the end…

The Ugly

… is that the script doesn’t like God, or religion in general.

A bold statement to make, considering the source material is one of the central biblical stories in EVERY Abrahamic religion. Moses as a figure is considered so important and close to god, that The Prince of Egypt, even with its sensitive portrayal, cannot be aired in a number of Islamic states, because it’s considered disrespectful to depict any of the prophets, especially an important one like Moses. Moses is arguably the MOST important prophet in the Jewish canon.

However, I haven’t highlighted one of the most noticeable script changes - the elevation of Hotep, the high priest, to main antagonist.

In the original movie, Hotep is a secondary villain, a crony to the Pharaohs, bumbling and snide and two-faced. He and his fellow priest Hoy are there primarily to juxtapose how charlatans can control power through flattery and slight of hand, reassuring Ramses that Moses’ miracles are merely magic the same as what they can do. They even get a whole villain song, “Playing With The Big Boys” which is a lovely deconstruction of lyrics vs visuals, where while the priests boast that their gods and magic are much more powerful, in the background the staff, transformed into a snake by god, devours and defeats the priests’ snake handily. The takeaway from the song is that God’s power is true, and doesn’t need theatrics.

It’s a good little nugget of wordless world building. And it is completely absent from the stage musical, with only a vague reference to the chant of all the gods names.

Hoy is gone, and Hotep is the only priest. He actively speaks out against the Pharaoh, boasts about having all the power, and is played as bombastic and proud. He’s a wildly different character, even threatening Ramses at one point. In the end, it’s shown that Ramses won’t let the Hebrews go not because he has inherited his father Seti’s cruel attitude towards the lives he considers beneath him, but because he is being actively bullied by the priest, and will lose his power and credibility if he doesn’t do as he’s told. Ramses is even given a whole song about how little power he really has. The script desperately wants us to feel sorry for Ramses’ position and hate the unrepentantly, cartoonishly evil priest.

That’s another matter as well - a LOT of time is dedicated to making the Egyptians more human and sympathetic, portraying them as largely ignorant of the suffering beneath them, rather than actively participating in slavery. Characters speak out of turn without regard for formality and class, even to the royal family. They are casual, chummy even. And this would be fine - in fact, it’s good to have that sort of third dimension to characters, even ones who are doing reprehensible things, to show the total normalcy and banality of evil - if it were not for the fact they still include a completely open-and-shut case of evil right next to them.

Hotep has no redeeming features. And on the other side, God is barely present, certainly not in a relatable context. Moses has several lines about how cruel and unnecessary God’s plagues are - and you know what, in this version, they are unnecessary! Ramses is not the stone-hearted ruler that his movie counterpart is, he has no baggage over being a potential failure, because it was never really given to him in the same way! By taking away Ramses’ threatening nature, numbers like the Plagues lose half their appeal, as the back-and-forth ‘you who I called brother’ lines between Moses and Ramses are completely absent. Moses is faithless, and is less torn between the horror of what he’s doing and the necessity of it for the freedom of his people, and more left scrabbling for meaning that he doesn’t find. And the only thing hanging over Ramses is Hotep nit-picking everything he does and threatening him, which is considerably less compelling than the script seems to think it is.

This is best exemplified at the end, when all the issues come to a head. The angel of Death comes and takes the Egyptian first borns (which was actually a well done scene), and the Hebrews leave to a rousing rendition of When You Believe. But then we cut to Ramses and Hotep, with Hotep openly threatening to revolt against the Pharaoh - whom was believed, especially by the priesthood, to be a living god! Hotep is so devoid of redeeming features he cannot even be trusted to stand by his beliefs! - unless Ramses agrees to chase after the Hebrews. Reluctantly, Ramses is badgered into the attempt.

Back with the Hebrews, Moses parts the Red Sea… not with his faith, not by praying to God for another miracle, not even by using his staff as in the most famous scene of the movie… but by holding out his hand and demanding the ‘magic’ work. Setting aside the disrespect of Abrahamic religions to call one of the most famous miracles “magic” (and my oh my, if there was a fundamentalist of any religion in the audience they might have gasped to hear it), it again belittles the work of God, and puts all the onus on Moses, not as a conduit for God’s work, but as the worker himself. Then, the Egyptians arrive in pursuit, lead by Hotep, not Ramses. Moses sends the Hebrews through first, lead by Miriam, and stays behind with Tzipporah… to offer his life in penance to Ramses! The script has completely stripped both Ramses and Moses of their convictions towards their causes, and Moses cannot even stand by his decision to lead his people.

Then, in a moment of jarring melodrama, Moses has a sudden vision that Ramses, his brother, will one day be called Ramses the Great (an actual historical Pharaoh who reigned 1279-1213 BCE). There is no historical evidence that this was the Ramses that ruled over the Hebrews (there are 11 Pharaohs called Ramses through the history of Ancient Egypt), and maybe if the scene was acted a little better, it wouldn’t have been so sudden or jarring. Even more jarring, is that then Hotep arrives with the rest of the army, and Ramses refuses to lead the charge into the parted sea. Hotep does so himself, and is the one to have the final dramatic moment, being crushed under the water.

The Takeaway

After watching the show, I’m afraid I could never recommend it as either a play, an adaption, or even as a faithful retelling of a bible story. Its character drama isn’t compelling enough to be good as a standalone play, with it two main characters declawed and their core motivations reduced to a squabble between brothers rather than a grand interplay between two cultures and ideas and trauma handed down from their father. As an adaption of the movie it’s upsettingly bad, with grand numbers like the Plagues rendered piecemeal and fan favourites like Playing With The Big Boys missing entirely. As a retelling of the bible story, it’s insulting, completely cutting God out of the equation, taking no opportunity to reintroduce Aaron as an important character (which he was, in the bible, as Moses was a notoriously bad public speaker, with a stutter, and Aaron often interpreted for him) and more importantly, completely erasing God’s influence from the narrative.

I don’t know who this show was… for, in that case. If it wasn’t for drama lovers, movie fans, or people of the faith, then who the hell was it for? Why change such a critically acclaimed and well-beloved story? Why take away all these defining moments? If you wanted to tell a story about how religion is the true evil, how God can command people to do terrible things, and how those who uphold organised religion like Hotep are unrepentant, one-dimensional monsters… why would you tell that through the Prince of Egypt?

Underwhelming at best, infuriating at worst… just watch the movie. Or read Exodus. At least the Bible’s free.

[fbfh]

magnus chase relationship and intimacy hcs

I genuinely found zero magnus hcs and it made me really sad

Also might not be as in character as my hoo posts cause I haven’t finished the series my library is closed don’t come for me-

As with all steamy/nsfw works, all characters are aged up to 18+

Warnings: moderate descriptions of ptsd symptoms and emotional recovery,, also like boinking and dicks obvs

1.6k words uwu

‘,:)

So he absolutely definitely has ptsd 

I don’t remember norse demigods being mentioned as having adhd and dyslexia so correct me if I’m wrong lol

I mean his mom was brutally murdered, he was fucking homeless, then he was killed and taken to valhalla

So yeah

Ptsd

He’s really defensive and jumpy at physical contact for a while

But he’s also incredibly touch starved

He’s super whipped for you

So it makes him really frustrated when he wants to be affectionate and vulnerable with you but he just,,, can’t

He has a lot of emotional walls up too for obvious reasons

You have to have really clear communication with him 

Which you do,, and he appreciates it a lot

You baby step into affection and intimacy

And let him take the lead a lot

It takes a while

But after a bit he gets these bursts of affection where he’ll cuddle and make out with you for like

Five minutes or less

Then it starts to feel weird again

You try to do small stuff like hand holding or blowing him a kiss or putting your head on his shoulder to help melt that ice

And it works

It goes from feeling weird, to weird but nice, to nice but kind of weird, to nice enough to ignore the weird part

As soon as he can be,,, he is an affectionate fiend

He likes to bear hug you a lot

He keeps a hand on your cheek or jaw line or the back of your neck when you kiss a lot

He still gets a little weird about his back or stomach or neck being touched which you totally understand 

So you kiss his shoulders and collarbones and run your hands over his chest and arms a lot

Once he had a really bad dream and couldn’t sleep cause he didn’t feel safe bc

~‧₊˚; *‧.₊˚ flashbacks fucking suuuuuuck ~‧₊˚; *‧.₊˚

So you played some home renovation show and spooned him and whispered

“It’s okay, I’ve got your back”

He didn’t have anymore nightmares that night

He really likes back hugs after that, as long as he knows it’s you behind him

He gives really nice kisses

It’s like a big full kiss

Idk how else to describe it but it’s very unique to him

He’s super protective over you still in a healthy way

He’s super fuckin pansexual and you can pry that from my cold dead hands

So he has a lot of hoodies and denim jackets

And bracelet stacks and weird dad thrift store shirts

And you can get him more of these things no matter how many he has and he will love it an equal amount 

Which is a lot

He gets kind of insecure and feels bad about all his weird symptoms bc he minimizes what he’s been through a lot

It’s kind of a why can’t I just get over it and be normal feeling

You remind him a lot that it’s okay and his feelings and experiences are valid and he’s safe now

He needs to hear that a lot

Once a lot of that ice has been broken he gets really touchy really fast

You two were just like

Chilling on the couch watching a movie or something

And he nuzzles into your side to cuddle

So you lay down a little more and he rests his head on your chest

You keep watching the movie like that for a while 

He props himself up and just kind of looks at you for a minute

He can’t remember feeling this warm before he met you

And now he feels really really warm 

And tingly

You’re about to look over and ask if he’s alright when he just 

Presses his face into your neck and starts kissing you

You let out this breathy flustred little laugh he’s never heard before and he wants to make you make that sound again

He kisses up to your face and his hair is all in his eyes

So you brush it out of the way and tuck it behind his ear and his face nuzzles into your hand

He bites back a moan

You end up making out a lot

Which leads to,, other things

You don’t question it or ask where that came from

You just give him a lot of love and reassurance

Once he feels comfortable,,,, I hope you’re ready bitch

Cause you’ll be under him

And on top of him

A lot

Like a lot lot

He doesn’t have a lot of experience so he likes it when you take the lead

Big fan of showering together

I almost fucking forgot

He thinks you look hot in everthing obvs

But if you wear his boxers 

He goes apeshit

If you wear bras he likes the unlined sheer ones best on you

He also thinks you look really nice in boyshorts and cheekies

Esp the invisible microfiber ones

He likes how soft they are and how they just kind of seamlessly glide over your hips

If you play with his hair he practically starts purring

If you tug it really gently he moans

Just thought you should know that

Things get really intense in a good way with him

He gets very caught up in the heat of the moment

Has broken the bed before

And would do it again

Blitz and hearth almost walked in on you two cause they heard a loud crack and thought someone broke in

It was a very very close call

You laughed about it a lot later

He also likes things to be really soft and fluffy

So sleepy morning sex is definitely in his vocabulary

When he gets more comfortable he loves when you rest your head on his tummy and he can play with your hair and touch your shoulders

He also likes when you have your hand resting on his lower back

He finds it really grounding

Gives a lot of back hugs

Sometimes his head is resting on your head or shoulders

Sometimes he’s sucking on your neck

Just kinda depends yk

Really really likes it when you straddle him

Esp when you play with the hem of his clothes

You really really like to straddle him too

It’s a nice seat if you get what I’m sayin

Kind of wants to have shower sex with you but is also really scared of slipping and getting hurt

Settles for romantic bubble baths instead

Kind of stubbly, esp in the morning

It’s really cute

But kind of ouchie on more,,, sensitive areas

He’s usually fine staying a little stubbly, unless he’s planning to surprise you

You get a little excited when you see him shaving extra carefully

He sees you staring and just kind of looks you up and down and winks

Alksdjafskfja 

He likes having his hair longer

So do you

So you show him different ways to do little buns and stuff to keep it out of his face and stop it from getting tangled when he sleeps

Ngl you haven’t lived until you’ve seen magnus hard in his boxers kneeling over you hastily throwing up his hair so you can have some fun

That image is thankfully burned into your retinas for all eternity 

You get palpitations thinking about it

You’re the only one allowed to play with his hair or call him maggie/mags

He sometimes borrows your scrunchies and it’s really really cute

You end up with this little routine of swapping them when they stop smelling like the other person

If you don’t wear scrunchies you get him some and he thinks it’s adorable

You also steal them and swap them out when they don’t smell like him anymore

He loves having picnics outside with you

Especially to go stargazing

Yeah rooftop picnics are a thing

Plus people can’t really see what you’re doing and no one really goes up there so uh

As long as you can stay quiet you’re never bored

Sometimes when you’re stargazing his hand will just kind of gradually go from resting on your hip to wrapping his arms around you and having you lean against his chest

You sometimes raid the fridge together in the middle of the night

You took him to mcdonalds at like 2am once

It was not the last time that happened

Totally the type to love getting matching pj bottoms with you

Really loves it when you hold his hand with both of yours

It makes him feel really loved and masculine in a good healthy way and generally good

On days when he just Needs a Distraction you try any hobby or activity you can get your hands on

His favorites so far are painting each others nails, random online flash games like papa’s, finding the best climbing trees (weather permitting), and binge watching and reviewing the weirdest shows and movies you can find

Including but not limited to flava of love, josie and the pussycats in outer space, lightning point, and clone high

The movies are usually really low budget, or questionable teen romance movies like twilight, sierra burgess is a loser, the kissing booth etc. 

You still quote clone high to this day

He’s very excited for the reboot me too, magnus, me too

Doesn’t stop clowning on TJ bc of it

TJ has no fucking idea what he’s talking about 

“For the last time Magnus, I’m just named after him. I’m not a clone. I don’t know John Kennedy or Abraham Lincoln, and how could I possibly know Cleopatra??? Where are you getting this from, you understood this like a week ago-”

He really likes just kind of hugging you from behind and smooching wherever he can and swaying back and forth

Tells you he loves you a lot

Really really grateful you’re in his life

Does everything he possibly can to be the best boyfriend

Cause you deserve it

Did i mention he loves you a lot lot lot

Cause he really does

Treat him right, give him a lot of love 

He also blushes really easily shhh

[nonbinaryeye]

Forsaken Scholar and Beholding Sailor

Written for @lonelyeyesweek

Day 6 - Entity Swap

One of them spends most of the year travelling all around the world seeing all its wonders. The other one stays locked in the Institute. It is not that hard to guess which one of them serves to the Eye and which one serves the Lonely…

Read on AO3

…

Peter Lukas loves traveling around the world with his ship. What could be better and more fitting for a servant of the Eye than to sail through the seas as he pleases,  discovering all the hidden secrets of the most forgotten places on the Earth, gaining forgotten Knowledge and Seeing all the wonders the world has to offer with his own Eyes. And the most importantly of course – also feeding his patron with different flavours of the worries, fears and traumas people are experiencing in the different countries.

As amazing as it is to cross over the ocean all the way there and back, one of his favourite places is still the city of London. It is not because the sight of the city would be that amazing or wonderful – far from it. However it is one of the most monitored cities in the world and how could the soul of a Beholder not appreciate that? Knowledge that he cannot even cross a street without dozens of cameras – from ATM, from nearby stores, the traffic ones– turning its Eye on him, it's truly delightful!

It is strange though how he chose from all the places to build his Institute here as well. True, in two hundred years London certainly changed a lot but it was hardly quiet, peaceful or abandoned back then. As always Peter is curious about his intention and as always he sees it as one more reason to not to tell him anything.

Whistling he approaches the Magnus Institute – quite a big building in the middle of the city – which you could somehow still easily miss if you did not know exactly where to look for it. He opens the door with an elbow as both his hands are preoccupied carrying a big box containing few things he picked up on his travels.

Peter never felt the particular need to hoard the artefacts. He is the servant of the Eye. The point is therefore to See to witness everything with his own Eyes. There is no need for that. Though lately he always makes sure to grab a few interesting or possibly cursed objects. It would be rude to show up after such a long time without appropriate gifts.

“Hello, I am here to see my husband!” he announces loudly to the receptionist. She winces and looks around in fear that someone will blame her for such a loud visitor. As always there is still no one around.

“I… uhm… who?” she hesitantly turns back at Peter who is cheerfully smiling.

“You know, James-… no, I think it is Elias now… Elias Butcher? Boucher? Budget? I don’t know why he always has to pick the worst names.”

“Uh… do you mean… Elias Bouchard?”

“Yes! That sounds about right… even though… are you sure it is not Butcher?” Peter grins while the woman on the reception desk continues staring at him in disbelief.

“I didn’t know Mr Bouchard is married.”

“Oh, you didn’t? That is very unfortunate for you then. He hates when people know too much about him.”

“What you mean by it… uh… I- I will announce to you…”

“It is alright! I will find my way. See you around.”

Peter winks at her since his hands are still full and whistling again he turns around leaving a mildly confused, mildly terrified woman behind.

The Institute is a maze. Full of corridors leading in the same direction and full of others leading to dead ends. Full of offices which seemed way too big for just one person but too small to fit there two. Full of empty rooms or doors with no room behind them. One could easily get lost there. Even a basic task might take hours considering how far away all seems all the basic utilities form each other.

What luck that Peter Knows the way very well and in a couple of minutes through a few shortcuts he stands in front of the door leading to the office of the Head of the institute. Or at least he thinks these are the doors… They all look exactly the same and of course that there is no sign, no plate with name trying to give any guest any sense of space.

He kicks in the door a few times and when he hears nothing he tries to open it again with his elbows. To his surprise the door is not even locked!

“Hello Jonah!” Peter cheerfully greets the man who is frowning at some documents on his desk. On the first look he seemed to be the least remarkable person that ever lived – he is of rather small posture, dressed in a boring grey suit matching the colour of his eyes and hair that lost the bright ginger colour quite some time ago. But one cannot always trust the first impression as he also appears to be in his forties and claims to be named Elias Bouchard.

From all the people Peter ever met, Jonah Magnus is the most fascinating and charming one. It has taken Peter a while to get through his dull and cold demeanour but once he has he could no longer unsee his sharp wits and occasionally even a bit nicer and sweeter side.

“You are here already? Haven’t you left like yesterday?” Jonah does not even look up and Peter cannot help himself but smile over the familiarity of his act.

“It has been three whole months! Have you not missed me, oh fog around my lighthouse, cliffs around my port, barnacle-”

“No for a fact I was very happy without you and your ridiculous names of endorsement,” he sighs dramatically but corners of his mouth twitch a bit upwards.

“I did miss you. I was writing you that on the postcards.”

“Yes I know. I could not miss the overflowing mailbox. Once again I beg you not to send me anymore of them. I don’t even know where to put them…”

“Have you not say the last time you are throwing them all away?” It is always cute to see Jonah’s pale skin to colour with blush.

“Yes! Yes I am. That is what I meant. My bin is overflowing with them.”

“Feel free to throw them away, I will send you new ones!”

“That is exactly what I beg you not to do!”

Peter decides not to tease Jonah any longer; he is starting to look a bit exasperated and he knows better than to push his buttons too much. One time when Peter crossed the limit of Jonah’s tolerance, the servant of the Lonely filled the office with fog. It took the servant of the Eye a few minutes to get out and when he did he found himself in front of the Institute with doors locked. He would rather not repeat that. And so to offer peace Peter finally puts the box down on the desk. By the sound it makes it is clear that it is much heavier that one might guess by the ease with which the sailor has carried it.

“I am bringing you gifts!”

Jonah looks unimpressed. “I am not interested. Please could you find some other place to throw all your useless crap in than my institute?”

“I thought your institute is supposed to research the supernatural? I am bringing you cursed and priceless artefacts to study and all I ask in return is your love. Should you not be more grateful?”

“First of all your price is too high. Plus I have plenty of things to study for decades since you must bring me something every time…”

Saying that the institute’s approach to supernatural research is specific or interesting would be an understatement. As far as Peter knows Jonah Magnus started the Institute way back in 1818 shortly after learning about the Fears. Jonah pretended he was only interested in studying the supernatural even though he already had a scheme in mind regarding how to serve his chosen patron. He decided to lure in scholars with the promise of achieving great discoveries. Then he made sure to make their life just a lonely misery with them sacrificing their life in pointless study isolated from society.

Peter also knows Jonah was somehow acquainted with his ancestor Mordechai Lukas, who decided to sponsor his project in exchange of sharing all the knowledge and discoveries the institute will create as a byproduct of making scholars lonely. The deal lasts till now and that is how he and Jonah met at first… But that is all Peter knows about his past as Jonah is not usually very talkative concerning his past.

Forsaken has granted him a long and lonely life to serve its cause. Though lately Peter is doing his best to sometimes interrupt the lonely part of it… He changes name from time to time for legal reasons. Not that it is even necessary as no one ever looks into the institute and its matters way too closely. And if someone really even notices its existence and starts asking way too many questions it usually only leads to their mysterious disappearance.

“You can always hire more people to sort it out? I sometimes doubt you really have any employees at all. I rarely run into anyone…”

“That is exactly the point. I do not really want to risk they could meet. Now regarding your gift…”

“Ah well as much as it pains me if you do not truly want it…” Peter put on a theatrical look of tragedy and grabs the box again. Jonah raises his hand to stop him. Their fingers brush and he is as cold as ever.

“It is fine… since you have already brought it here. Just put it in the artefact storage on your way out. Someone will get to it eventually.”

Peter lets go of the box again rather grabbing Jonah’s hands into his leaning closer over the desk. Jonah is still doing his best to look unbothered but when Peter kisses his hands he cannot help himself but smile over the silly behaviour of his partner.

“We can always get a divorce if you despise my affection so much, my beloved husband.” Peter gently strokes the golden ring on Jonah’s finger.

“No need. Time spent together with you is so short when you live as long as I do that it hardly matters anyway.”

“It hardly matters to you. It still matters to me, my dear Jonah.”

“I could not care less, Peter,” Jonah grabs his collar and finally pulls him into a kiss.

[themightyaliendwarf]

TPN s02e08

Maaan, what an rollercoaster! We literally go from amazing to fine to incredible. Which kinda makes me angry because this is how this season SHOULD look like. Okay, fine, let’s skip Goldy Pond, but let’s make it equally amazing as this. Just in an anime original way. And this episode proves they COULD do it. It’s a pity that it took them over a half of the season to reach this point. But let’s start from the beginning.

1. So, Peter Ratri is voiced by Yoshimasa Hosoya. I was joking with my friend that it might be the reason why the quality of the animation isn’t always the best - because he took a half of the budget. Anyway, I think he is doing a good job with voicing this character right now, but I will wait with the final judgement for the Peter’s meltdown scene. 

2. Just a fun fact I read in the manga: apparently when Isabella tells Norman that he is going to a new home, Shirai used the kanji that can also mean ‘cage’. 

3. Another thing I loved: they showed how Norman found about Vincent. It’s shown in the extra pages for one of the volumes (I don’t remember in which one right now).

4. Again, I like that the first 7-8 minutes were fully focused on Lambda. I think that this is something that anime-only people really needed (without the context, it’s difficult understand how MUCH those guys hate the demons and why). And for manga readers it was cool to see it in colour. But on the other hand, I’m kinda disappointed that they just showed us the images of the experiments. I think adding movement and sound would make those scenes absolutely terrifying. But hey, at least they showed it!

5. So, we found out a little bit about the escape, buuuut it was nearly as much as I was hoping for. Based on the panels in the manga, we could have already guessed that they used some kind of explosives. I guess we still need to wait for another special chapter/light novel.

6. Annnd after the amazing lambda part we jump to the search... Now, do you know why this whole thing was more engaging in the manga?

Because we got her. I don’t think it will be controversial if I say that the search for Mujika was really boring. Just a bunch of pictures and building up suspense by showing us that CGI demon. Speaking of that demon!

7. You know what pains a lot in this episode? SO MANY reused animations. I mean, the test solving animation, the demon, the chase, later the demons degenerating and demons eating other demons... look, I know they want to save money, but there are some limits!

8. Apparently Ray, a guy who has been living in the wilderness for months, needs a watch to tell that sun is setting. Just a minor nitpick that I had to point out. 

9. Okay, I think we can official crown Norman as our new edge lord. I mean that monologue on the top of the rock... I know that words are from the manga, but when it’s shown like that, it looks more silly than serious. Also, the quote ‘I will gladly become a God or a devil’, doesn’t make THAT much sense here, because we didn’t get this scene:

To me it felt like unnecessary fan service towards manga readers, but I’m happy for you if you liked this scene. Norman is allowed to become our tiny edge lord.

10. You know what made me angry? Don and Ray shooting the demon, but Emma and Gilda not. Yes, Emma does it a second later, but it became a trend to give her badass scenes to boys. The next scene, however, made me furious.

11. Ray shoots the demon and then he and Emma share a sigh of relief. But then it turns out that the wild demon is still alive and it’s going to eat Emma. Wait a minute... I have seen it somewhere... OH, RIGHT!

Of course, there are situations where Emma is the one who is being saved. The problem is that in the anime she is always being saved by someone - never the other way around. I’m happy that Ray is given stuff to do, but why is it that he is given Emma’s stuff. Come on!

12. Also, how did they know that it was Norman who caused the explosion? How far did they actually went? Are you going to tell me that they were in practically the same location for months and nobody found them? Again, those are nitpicks, but they bother me a lot!

13. Also, apparently the drug is now spread through the air, and Norman’s whole gang is made out of edge lords who need to stand dramatically on the chimneys. I can imagine that during planning they had a conversation similar to: - Boss, do you know what ever genocide needs? - What? - Dramatic JoJo posing over the burning villages.  - Good, good... write that down!

14. Okay, enough ranting, let’s move to the incredible stuff. First of all, the music in those last scenes really reminded me of the Witcher Soundtrack and I LOVE the Witcher soundtrack. So epic! 

15. I actually stopped taking notes at this point, because I was so immersed in everything that was happening on the screen. The music, the tone, the colours, the expressions - THIS! This is what this anime should be from the very beginning. Making us care about the demons, and showing that they are also the victims of this system. The actual dread and thriller, the moral issues, engaging plot lines.

16. The scene with the old demon and Norman? Good anime original content? How is it possible? When the old demon asks Norman whether he is a human and he doesn’t answer - because at this point he himself isn’t sure. Yes, give me more of that!

17. Norman being terrified after seeing blood on his hands? That’s a good change from the manga Norman, because it makes narrative sense. Really, CloverWorks, how can you make such an amazing scene after those 6 mediocre and one good episode? 

Anyway, it’s difficult for me to add anything right now because I don’t feel like I have enough words to describe how much I loved that last scene. Does it mean I have forgiven this season its previous sins? No, but I’m a happier person right now, and I’m REALLY looking forward into the next episode. 

[rachelbethhines]

TTS Songs Ranked Worst to Best

Someone asked me to rank my fav and least fav TTS songs a while back, but I’ve since then relistened to the soundtrack and there’s a whole bunch of songs that just forgot about, so here’s a more accurate ranking now that the songs are more fresh in my mind

32 .  Life After Happily Ever After (Reprise)

This song is infuriating, because the finale is infuriating. Listening to this song just makes me angry all over again because it reminds me just how unsatisfying the ending to TTS was. I wanted to turn it off at several points. I barely can get through it despite it being so short. It doesn’t help that the soundtrack leaves all the dialogue in there and fails to actually end the song. It just cuts off before the final note.

31. Hook Foot’s Ballad

Does this even count as a song? Why is it here on the soundtrack but not the Hurt Incantation? Did Menken really waste his talent writing a joke and did the showrunners really waste money and limited resources on this?

30. Friendship Song

Bland, boring, and pointless. It was clearly written as a marketing stunt for the radio disney charts and not as anything to do with the plot of the series. They just throw it up on screen to fill out the running time and don't even let the whole song play through. It’s pitiful.

29. Waiting in the Wings (Reprise)

I didn’t think much of the original song one way or the other, but the reprise is soooo dumb. The plot twist it introduces winds up ruining the whole show and sabotaging both Cassandra’s and Rapunzel’s characters. It’s not even a nice sounding song on it’s own. The kid’s voice is irritating (who I’m sure is doing her best, but really little kids shouldn’t be made to sing professionally as a general rule) and the melody just as bland as the first time it was played. The only reason to like this song is if you’r a mega fan of Cassandra’s or her VA, which I am not. (Note: this is not a criticism of Eden Espinosa, I just don’t happen to follow any of the VAs in this show)      

28. Through It All

I like the instrumentals in this song, and that’s about it. Everything about this song is wrong. It doesn’t fit the story, it’s a misuse of the cast and songwriters, it’s a waste of valuable screen time, the melody is dull, and the dang soundtrack had to throw in that lame dialogue about ‘greatest threat ever’ at the beginning. If you want a pump up song in your story then you got to earn it. You can’t just tell us things are bad, you got to show it. A joyful horseback ride and everyone sitting in a bar safe and sound isn’t threatening or depressing enough to warrant a cheering up session. Plus the song itself doesn’t add anything to the overall story.

27.  The Girl Who Has Everything

Sometimes I think the writers were willing trying to sabotage themselves. It’s as if they were determined to make the only two main female characters in the show unlikeable bitches in season three.   Don’t believe me? The creator Chris has said this song only exists to highlight how much easier Rapunzel has things than Cass and went onto say that Rapunzel was in the wrong during their conflict because ‘she held Cassandra back’. (Oh yeah she totally ‘held back’ the grown woman who left on her own accord, returned on her own accord, and then assaulted and tried to murder a bunch of people for no reason of her own accord.) But this song does succeed in furthering season’s three narrative that Rapunzel is a spoiled selfish brat. Shame the story fails to address this setup and never has Rapunzel learn to be a better person. Rather the narrative bends over backward to tell us how special Rapunzel is without any sense of self awareness and this song falls into that same trap; making it both irritating and pointless.

26. Listen Up

Yeah, I talked about this on my salt marathon, but I just don't like this song very much. The melody is fine but the lyrics are a real miss in my mind. It doesn’t help matters that the song is indeed pointless in the grand scheme of things.

25.  Livin’ the Dream

This is much on the same level as Listen Up as it features the same problems. It doesn’t add to the narrative and the lyrics kind of let it down. I placed it higher just because I like the melody a little more.

24.  More of Me

This song is a lot like the Friendship Song in that it was created to be an end credit song for the pop charts and you’d be forgiven in forgetting it even exists. However, it at least got to actually play all the way through. I think this song was a real missed opportunity. I honestly believe that it should have been the opening theme song of the show instead of Wind in My Hair. It’s more built to serve such a purpose and it’s a waste of resources not to actually use it. Alternatively, I would have accepted it being reworked into the actual series as a character song. Especially since we’re missing a song in season three due to budget cuts.  

23. Wind In My Hair

Speaking of theme songs, I think I would like Wind In My Hair a lot better if i didn’t have to listen to it every episode. On its own it actually has a lot of things going for it; a nice melody, interesting instrumentals, good singing, ect. Unfortunately it’s just over exposed, and none of those elements lend themselves naturally to an intro song for a tv show. In fact the theme song feels really out of place and is edited oddly to fit the shorter intro. 

22. Wind In My Hair (Reprise)  

Honestly the theme song is mostly comprised of this reprise, but it has the opening instrumentals from the OG song frankensteined onto it. This means that the version that plays before every episode is on fullblast all the time to keep the energy up, but that’s not how the song is suppose to go.  The actual reprise that plays in the pilot builds to a crescendo, starting soft and melancolony and getting louder and more hopeful and determined. It sounds a lot better in full because of that.  It’s still too overexposed though. Both these songs would probably be higher on the list of not for the theme song version. 

21. With You by My Side

This song is fine. It’s nothing special, but it’s not bad either. What knocks it down the list is the fact that Lance isn’t in it, despite Lance being right there.  Like don't bother hiring a famous Broadway singer if you’re not going to have him sing!  But that speaks more to the poor writing of season two than anything else. This song also doesn’t really add anything to the narrative as, contrary to what the writers intended, it doesn’t actually enhance the emotional impact of Cassandra’s betrayal later in the episode. The song itself is just tacked on and doesn’t take the opportunity to lay down any foreshadowing for that plot point.  

20. Next Stop Anywhere

Another perfectly serviable song. It’s not bad but nothing outstanding. It gets the job done. It’s also really ho-hum and the soundtrack keeps all the unneeded dialogue, which is a pet peeve of mine. 

19. Waiting In the Wings

Despite it’s hype, I never thought much of Waiting in the Wings. It’s got nice instrumentals and Eden Espinosa gives it her all in the singing department. The problem is it’s too generic. It’s a bare bones basic ass ‘I want song’. Cassandra's movations are weak and unsupported by the narrative, the melody is boring, and it honestly doesn’t add anything to her story. I mean it should, it’s her character solo, but because she’s written so poorly the song just winds up undermining the character in the end.   All I’m saying is that, this is not the song from season two that I would have nominated for the Emmys. But it’s still Alan Menken, it’s still nicely performed, and given the rest of the competition for that year, it did deserve to win. 

18. If I Could Take That Moment Back 

This song is also pretty generic, but it’s less boring than I See the Light, (yeah, I said it, I See the Light is boring) so that’s a win in my book. Ergo this holds the title of the only New Dream duet that I enjoy. But there’s better stuff on this list. 

17. Next Stop Anywhere (Reprise)

Well no, I take that back. The reprise of Next Stop Anywhere is also technically a New Dream duet. It’s still not anything amazing, but it works for what it is. Plus, Adria’s opening dialogue in the soundtrack version doesn’t bother me quite as much as some of the other dialogues choices that were kept in.  

16. Stronger Than Ever Before 

I really enjoyed this song in the moment. It’s catchy and fun, and it finally has Lance doing something rather than ignoring his existence. However it is borderline unnecessary in terms of story placement, and I’m slightly mad at it now that I know that we could have gotten a Rapunzel and Varian duet but it was scrapped for this instead.   

15. Crossing the Line

Keeping with the theme of ‘songs I have conflicting emotions about’, we have Crossing the Line.  This song is confused. It starts and stops, the melody isn’t clear, the orchestration is playing tug of war with the singers for dominance, and it’s basically Alan Menken and the show’s creators ripping off Frozen. (I guess he’s kicking himself for leaving that particular project?)   But it’s interesting. I never heard anything quite like it. It’s memorable even if it doesn’t fully work. It’s got these interesting bits and pieces to it that just never quite comes together as a whole. Some of the lyrics are some of the best Glenn Slater has ever wrote and is far better than the story actually surrounding the song. Yet there’s other lines that are total cringe. Sometimes the song is bold and catchy and gets you all hyped up, and then other times its limp and staggering and feels so awkward to listen to.  Yet it’s not boring or generic and so I have to place it higher than the rest of the songs that’s come before. (Also, there’s some amazing orchestral covers out there that really pulls together the various parts really well, just fyi) 

14.  Nothing Left to Lose

I really don't like this song.  I’ve been one of its biggest critics ever since it was leaked by the marketing team earlier this year.  And yet... I can’t in good conscience place any lower on this list.  All of the problems I have with it are the exact same problems I have with Crossing the Line. It’s confused, the various pieces don't line up, the instrumentals are competing with the vocals, the song’s progression is weird with it’s constant key changes, some of the lyrics are good while others are absolute shit, ect and so forth.  It also actively works against the story it's trying to tell. The song wants you to sympathize with Cassandra, but her lines are as shallow as a puddle and makes her look like a sociopath. Especially when she’s physically attacking Varian through out for no reason. Also neither character learns anything from the exchange and it fails to impact the story.  By all accounts this is a bad song.  But I’m Varian trash.  There I said it. You happy?  Varian’s parts in the songs are fine, good even, and the song is anything but bland. I would rather listen to a mess then be bored to tears by a competent yet standard four chord pop song. 

13. I’d Give Anything

This song is nice to listen to. Story wise it absolutely sucks and shouldn’t have been in the finale at all. But it sounds pleasant.  This is one of those songs that could pop up randomly on the radio and I would just think it it a nice sad break up song. I can’t say that about some of the other misplaced songs in the show. This one however, you can very much, absolutely divorce this song from the narrative and it would be fine.  Now that’s not good writing, and it’s very much a waste of limited resources, but I’m rating the music here first and story second. 

12. Buddy Song

The Buddy Song also absolutely did not need to exist but it also sounds nice. Plus, it makes use of Lance so I’m a little more lenient towards it.   I can’t however place it higher since it really is just Alan Menken ripping off Alan Menken. Like, I would not be at all surprised to find out that this was originally a deleted song for Aladdin or something.  

11. Bigger Than That

What can I say, Lance just gets good songs. When the show bothers to give them to him.  Unfortunately, it’s not the best placed. It kind of interrupts the more important drama of Be Very Afraid, and probably should have been saved for a later episode. Especially since it hinges on a plot point that is contradictory to Lance’s character.    We should have gotten a Varian and Rapunzel duet here and given Lance his own episode in the second half of season three. This song could have easily been refitted into being a bonding moment for him and the girls. That would also have filled out the season’s original songs to the usual eight instead of only  seven.

10. Life After Happily Ever After

Now we’re getting to the good stuff. The top ten. The best of the best.  This song makes the cut for three reasons.  1. It lyrically and musically interesting 2. It does the job of furthering the story and the characters  and 3. Eugene’s part is so damn good.  Like this song could have easily fell down into the ranks of ‘fine but generic’ if it wasn’t for the bridge with Eugene. That puts it over the top and to my mind makes it better than anything from the OG film. (well almost anything, Mother Knows Best is still great)    This is the barometer by which I measure all of the music in the series. Is it better or worse than Life After Happily Ever After? Because this is the level that I equate good musicals with.  What keeps on the tenth spot and not higher is the dialogue that still left on the soundtrack and the lack of a Cassandra introduction. That and also the rest of the songs are just flat better. 

9. Hurt Incantation 

Hurt, Decay, Reverse, whatever you want to call it, this was such a cool fucking concept. One that was utterly wasted by the show.  I place this so high because it just sounds awesome! It looks good too, and it offered up so many possibilities from a story perspective.  What lets it down is the lack of follow up for it and it’s too short. There’s needed to be another verse. It also should have been on the actual soundtrack instead of  Hook Foot’s Ballad.  (The Heal Incantation also was sung in What the Hair, but I’m not counting it since it was written for the film) 

8.  The Girl Who Has Everything (Reprise)

I hate the initial song and the set up that it took to get here, but I love this reprise. It’s perfect. This is what the story needed more of. Rapunzel taking her life into her hands, and her proposing to Eugene would have been the perfect capstone for her arc.  In fact I’m angry we didn’t actually get that. There’s absolutely no reason why Rapunzel couldn’t have done so and we could have had her and Eugene engaged during the second half of season three. How much better would have it been if Cassandra threatened their wedding plans and that’s why they couldn’t go through with it until after the series ended? So much more tension that way. 

7. I Got This

This is a really good song that actually futhers the characters and the narrative. Moreover it’s refreshing to see the heroine not be perfect and to fail sometimes due to her own inadequacies. It’s just a shame that the series didn’t follow through with this set up, but I appreciate the attempt all the same.   

6.  Set Yourself Free

This is the only song in the series that’s an actual satisfying pay off for anything. Music wise it’s nothing too special, but in terms of context it just works. We were sorely deprived of such resolutions and songs with actual meaning in the show. 

5. View From Up Here

This song is too good for the episode it actually appears in. We needed something like this back in season one to introduce Cassandra with. It also sadly doesn’t fit with the wider narrative after season three. However I shall still appreciate it as a ‘what might have been’ type song. 

4.  Let Me Make You Proud 

The only reason why this song isn’t higher is just overexposure and I’ve no one to blame but myself for that. I’ve listened to this song way too many times. As such it tends to alternate between this, View from Up Here, and the next song on the list. But make no mistake it is glorious. Fantastic instrumentals, set up, and of course amazing vocals. 

3.  Everything I Ever Thought I Knew

Yes, I know this plot point didn’t lead anywhere, but it works for this song at least. Also Eugene’s VA is a really underrated singer. He sounds nice and he emotes really well.  Though I’ll be honest, this jumped up to third place because it was fresh in my mind after listening to the soundtrack before making this list. I’ve always liked the song and I do rate it highly, but it can change places with Let Me Make You Proud and View from Up Here at anytime depending on my mood. 

2.  Let Me Make You Proud (Reprise)

This song is heartbreaking!  Story wise it probably shouldn’t exist because it gives away the twist too soon, but who cares, it’s awesome!  Varian’s arc is the most compelling in the show and the only thing that saves TTS from falling into mediocre obscurity; and it’s songs like this that help make the arc stand out even more than it already does. 

1. Ready As I’ll Ever Be

I said it before and I’ll say it again; Ready As I’ll Ever Be is the greatest thing Alan Menken has ever written in his entire career!  If you know anything about the multiple award winning songwriter then you know that is no faint praise and I do not dole it out lightly.  This song is the reason why this show even has a fanbase. People are still getting into the series because of this song. And no matter how many times you listen to it just rocks!   It’s complex, layered, moody, and with a fantastic beat and energy. The performances are wonderful and the instrumentation glorious. It belongs in the hollows of Disney’s greatest hits and not regulated to a spin-off tv show that failed to make its money back.  I weep for the lost potential that this song and this show had. It hurts to know that so many people will never see this flash of brilliance that has come out of the House of Mouse, will never know the wonderfulness that is Varian.  Ah, ‘c'est la vie’, I suppose. Tangled the Series got what it deserved, but it's crew did not. While I can not in all honesty recommend the series in full; I do sincerely urge any Disney fan to check out the songs at the very least. Especially this one.  And that’s it. There’s my official ranking of all the songs, and I hope those of you read my Tangled reviews appreciate the hours it took into making this. 

[michaelfoote2000]

David Lynch & Surrealism: When the Non-Traditional Becomes Traditional

Often described as “one of the most unique visionaries working in cinema today,” it is not hard to see why director David Lynch and his unusual catalogue of work have garnered a lot of attention since the 80s (ScreenRant). Looking at his career holistically, it is evident how little his style has actually changed. Meanwhile, public perception of him and his productions has fluctuated quite a bit from decade to decade. After a somewhat uncertain start in the 1970s, he eventually rose to become arguably one of the most popular directors in the 21st century, which brought about strong implications for the world of independent cinema. The rise in popularity of David Lynch’s small but strong category of films brought about a wider acceptance of surrealist storytelling, as more audiences embraced the non-traditional storytelling so often associated with independent projects, further blurring the lines between industries and individuals.

David Lynch’s directorial debut, Eraserhead, actually serves as a perfect microcosm of his cinematic style and approach. First and foremost, it is utterly and proudly surreal. The entire film takes place in an ambiguous and unsettling interpretation of America – as many of his projects do – operating within a world that manages to both feel very familiar and very foreign at the same time. The film’s plot, focusing on a man and his grotesque, barely human child, is incredibly vague; Lynch keeps the purpose of the story open to interpretation, simply leaving the viewer with the shock and confusion at what they just watched. Eraserhead does not hold back: like many of Lynch’s films that follow it, it is gruesome, graphic, and sexual (ScreenRant). In other words, it had many of the characteristics that defined a number of flicks as independent cinema. Taking the risk of making such an off-putting movie did not come without its consequences, though.

Released to limited audiences in 1977, the film initially received a good amount of backlash. Variety denounced it as “unwatchable” due to the vagueness and brutality of its content, and since Lynch is notorious for refusing to give any clarification on most of his projects, interviewing him about the project provided no satisfying answers (Variety). It has since become something of a cult classic, embraced by fans of such dramatic and stupefying cinema (Chion 3). But it is easy to see why Lynch did not fit in with mainstream cinema at first. He made it clear that the kind of work he wanted to make did not have accessibility or comfort in mind. If Lynch wanted to be a surrealist director, it seemed he would have to accept that he would inevitably fail to capture the hearts of the average American viewers.

And yet, despite such a baffling first project, Lynch managed to break into Hollywood rather quickly. He found himself directing an adaptation of the science fiction novel Dune only seven years later in the mid-1980s. Much unlike his first work, Dune turned out to be very slow and boring. Its story is far more concrete, given it is drawing from a popular source text in a genre proven to have reliable appeal. The appeal did not transfer over, though; Dune was a commercial and critical flop (Hollywood Reporter). Lynch was not happy with it either; famously, there were a multitude of clashes and complications with the studio that led to the final release of the film differing greatly from his original four-hour vision. The disconnect is not only felt by Lynch, as Dune does stand out like a sore thumb amongst the rest of his filmography. It is considerably less obtuse and unusual than everything that came before and after, and yet still audiences refused to embrace it. The mainstream had rejected Lynch once again, who refused to be deterred.

Lynch stuck with his comfort zone and returned to writing and directing projects that outright ignored the mold in favor of the atypical (as independent filmmakers are known to do) (Nochimson 11). For instance, Blue Velvet was another clear example of Lynch’s untethered approach to storytelling, a late-80s suburban tale that was much more in line with his personal stylings than that of the mainstream movie circuit (Nerdist). Blue Velvet was a success, much more so than Dune or Eraserhead, but still did not become a Hollywood-level hit (Far Out Magazine). At this time, independent cinema had not quite reached the heights of popularity that it would soar to by the turn of the century. Audiences were not used to his level of surrealism…that is, until the arrival of a certain TV phenomenon. David Lynch’s first major foray into television was the mystery series Twin Peaks, premiering in 1990 on the ABC network. The opening episode was actually shot as a movie in case the show did not get picked up – and was even released as one outside of America with a more ‘concrete’ ending (well, concrete by Lynch’s standards). This premiere is arguably the most important work of David Lynch’s entire career, as it kickstarted what was his first project to really achieve true mainstream success. Its original run only lasted two years before a swift cancellation, but it made a huge impression on the audiences it did reach, especially after it took a hard turn into supernatural elements and had a massively ambiguous ending. Audiences were enthralled and intrigued after being hooked with the more mainstream premise of a teenage girl’s murder; Lynch had finally found a way to hook more viewers on to one of his non-standard projects (Nerdist). Thus, the attention achieved from the original finale of Twin Peaks (the only episodes he directed outside of the opening few of the first season) naturally had a very tangible impact on Lynch’s career.

After writing and directing another mind-bending independent film that came in the form of 1997’s Lost Highway, David Lynch signed on to direct the G-rated Disney romp The Straight Story (Filmmaker Magazine). This 1999 film is easily David Lynch’s most mainstream work. However, miniscule touches of his style are still prominent throughout the film. While it is the kind of saccharine story one would expect from Disney, it has a colorful cast of side characters (reminiscent of the residents of Twin Peaks) and its camerawork shares some broad similarities with Blue Velvet (Variety). All of this makes sense, given that The Straight Story was the first feature film that David Lynch directed while having no hand in the writing. Still, Lynch’s involvement in the project proved that Hollywood was finally recognizing his talents and seeking his unique style.

Ever since then, David Lynch has remained in the peripheral vision of mainstream audiences. While not quite a household name, his works have propelled him to being one of the more well-known American directors of the past half century or so. People retroactively began to look back on his older works and find renewed interest, turning Eraserhead and Blue Velvet into strong cult classics among film nerds alongside Twin Peaks. Concurrently, Lynch worked on a number of short films and shows across the 2000s, 2010s, and even into the 2020s. One of his most intriguing and baffling productions was a short, 60-second commercial he made for a Sony video game console, dubbed simply PlayStation 2: The Third Place. It is no more nonsensical than the rest of Lynch’s work, but it stands out because of its role as a promo for what would go on to be one of the best-selling video game consoles of all time. Even though it would be misguided to credit that all to Lynch’s advertisement, it nevertheless left a sizeable impact on a widespread audience, remaining in the memories of gaming communities for decades to come. In part thanks to the opportunity to reach wider audiences due to advancements made in the internet age, surrealist art was touching more people than ever and finding new audiences. Along with the rising popularity of independent film around the turn of the century, where non-traditional storytelling almost became its own miniature fad in Hollywood, David Lynch’s style was on its way to becoming mainstream.

What really cemented David Lynch in the hearts of cinephiles was his 2001 film Mulholland Drive. It felt like a perfect companion piece or spiritual successor to Twin Peaks with its interweaving plotlines, otherworldly side characters, and unclear lines of reality. The ending of Mulholland Drive is perhaps one of the most debated story moments of Lynch’s career because of just how surreal and non-linear it was. The film was quickly labeled one of the best films of the decade and has remained on many such lists in the following two decades (Nerdist). Since its release, Lynch has shifted his attention to television and other short-form content. He has continued to make surrealist short films like What Would Jack Do? that ended up on Netflix among other originals that became some of the most popular mainstream media of the decade. Meanwhile, he has used his YouTube channel to produce loads of short videos colored with his signature oddities, which consistently draw in thousands of viewers (Far Out Magazine). But the ultimate evidence of cultural power that Lynch managed to achieve – despite his rejection of mainstream filmic practices – was the story behind the Twin Peaks revival season that aired in 2017, known simply as The Return. A season that almost did not happen when executive and budget limitations stopped him from making the project, Showtime gave David Lynch completely free reign to make the 18-episode story he desired. It was slow, raw, abstract, uncomfortable – everything his works have come to be known for (Nerdist). And it was a massive success. Fans tuned in every week for to watch some of the most bizarre, dream-like television ever produced, proving that Showtime’s permission of creative liberties paid off.

Although Lynch may permanently shift mediums going forward, his surrealist style of storytelling will likely never dissipate. Not only is it essential to building the character of his works, it has become widely embraced across the nation as the appeal of his films (Creed 2). Lynchian surrealism brought him from the world of independent cinema to mainstream eyes, demonstrating how non-traditional storytelling has found popularity and widespread success with film audiences in recent years.

Want to learn more? My sources:

David Lynch by Michel Chion

The Passion of David Lynch: Wild at Heart in Hollywood by Martha P. Nochimson

The Untamed Eye and the Dark Side of Surrealism: Hitchcock, Lynch and Cronenberg by Barbara Creed

ScreenRant: https://screenrant.com/david-lynch-eraserhead-established-director-style/

Nerdist: https://nerdist.com/article/david-lynch-filmography-streaming/

Far Out Magazine: https://faroutmagazine.co.uk/david-lynch-career-eccentric-master-cinematic-surrealism/

Hollywood Reporter: https://www.hollywoodreporter.com/news/general-news/dune-review-1984-movie-953878/

Variety (1): https://variety.com/1999/film/reviews/the-straight-story-1117499811/

Variety (2): https://variety.com/1976/film/reviews/eraserhead-1200424018/

Filmmaker Magazine: https://filmmakermagazine.com/110889-theres-so-much-darkness-so-much-room-to-dream-david-lynch-on-lost-highway/#.YJK4JrVKiM9

[loopy777]

Return of the Jedi is often looked upon as the weakest of the original trilogy. If you share that opinion, what do you think would have improved it? Aside from the Ewok thing, I think they could have gone with a different climax that doesn’t involve a second Death Star (maybe an old timey ship-to-ship style battle with the Executor but in space?)

Yeah, having another Death Star is definitely a bit tired. I appreciate that it came with a bunch of different visuals thanks to its half-finished nature, destroying it didn't involve another trench run, and it allowed for the biggest and most technically accomplished space action of the entire series (they did that all with real models and compositing! CGI may look nice, but it's easy), but having another super-weapon -- never mind the exact same thing as the first movie -- feels lazy.

In the early drafts, the creative team had been toying with something involving the Imperial Capital, but the action never really went beyond Death Star-esque space stations and a forest moon. I think something could have been done with the capital planet itself, but that would have required more budget than George Lucas wanted to spend, and his vision possibly wasn't even technically possible at the time.

Also, I do agree that that Ewoks are perhaps a little too kid-friendly. I think the theme works, with the 'primitives' defeating the more technological Empire, and I even think it was implemented in a believable manner. But the whole 'teddy bear picnic' look of it (as Carrie Fisher called it) was probably too much for the aging primary audience, never mind the adult fans, and there didn't need to be so much silliness and comedy with them. It's the same thing that sunk Jar-Jar and the Gungans in Phantom Menace- cute bumbling critters are fine, but then the audience isn't really going to warm to them winning a war. I don't mean that the fight needs to be all gritty and violent, but leaving the slapstick to just Wicket and letting the other Ewoks looks like experienced guerillas would have probably accomplished a lot in endearing the idea to the audience.

More than the teddy bears, though, I think the look of Endor's moon itself doesn't meet Star Wars standards. It's just a forest, the same thing you can see in any low-budget fantasy movie. Sure, there are a few more redwoods in RotJ than in LotR Knockoff #47, but it's still a step down from what came before. Tatooine was probably the most boring-looking planet before that, in terms of environment, but the sci-fi civilization built on the desert made it interesting. Endor's moon is just a forest and the Ewok treehouses. There's no wow-factor, especially after ESB upped the game from the first movie.

Overall, though, I think the main problem with RotJ is one that isn't really visible on the screen. It's the primary culprit behind the lack of enthusiasm people feel for the movie, IMO.

I'm talking, of course, about the pacing.

The first part of the movie, the rescue of Han from Jabba, feels like a stand-alone adventure more appropriate to an episode of a TV series. It has nothing to do with the conflict with the Empire, and has this slow rollout of the cast that definitely feels like it's reintroducing the audience to them, an odd choice for the last movie in a trilogy. Nothing is accomplished by it except reestablishing the status quo, getting the whole cast ready to return to the real story. It's the most visually impressive location in the movie, with the rancor and all the alien costumes, but in the end Luke just fights his way through it. Throwing Luke and company into something a bit more involved, like if Jabba was meeting with another crime lord and Luke played them off against each other or something, would be a bit more engaging. But that would still leave this section of the movie feeling separate from everything else. I'm not sure how to solve that, as it is a bit of business leftover from ESB that has to be tided up in some way, and it's a good example of why playing things by ear can be really hard even for people who are good at it.

The next major problem with the pacing comes on Endor's moon, when Luke and company spend so much time meeting the Ewoks. I don't think it's a long time in actual count of minutes, but it's a slow bit that's probably more drawn out than it needs to be. The original Star Wars was a location-hopping adventure with wonderfully-paced forward momentum buoyed by some fun moments of natural downtime. ESB was a chase sequence spiced up with the ramping romance between Han and Leia, with Luke's powering up and exploration of the Force inter-spaced, culminating in the heroes suffering major dramatic defeats. But RotJ starts with a side-quest, then Luke gets the truth about Vader in a good scene that's still just people sitting around and talking, and after a speeder bike chase (that again is probably too long) the heroes take their time becoming friends with Ewoks in a forest. Star Wars was exhilarating before this, and now it's laboring to the finish line while dithering to clean up its own subplots.

(Note: I do NOT advocate avoiding the due diligence of cleaning up subplots in order to try to maintain a propulsive plot, and the final movie certainly isn't the place to be throwing new subplots in. That's how you get Rise Of Skywalker, and no one wants that.)

When the big finale starts, with Luke confronting Vader and then the Battle of Endor kicking off, the pacing finally gets back on track, IMO. George Lucas knows how to edit together an action sequence, if nothing else, and knows when to cut back to the slower but more emotionally meaty Luke-stuff with the Emperor.

However, I do think the parts with Han and Leia can come across as a little rote, since their action isn't really tied to any story or character arc for them. It's functional enough with them both leading the rebellion, but there's nothing particularly dramatic about it for them, and they're just busting one small bunker, compared to Lando taking on the big examples of Imperial might, the Death Star and the Executor Super Star Destroyer. Han and Leia don't even get to fight one of the big walkers, they just fight the smaller chicken-walkers! And I think Lando's role does feel more like part of his character arc, with him being a respectable leader for the good guys in a nice uniform, and using his cleverness to keep the fleet alive long enough to assault the Death Star.

But, strangely, the moment in the whole Endor battle that feels the most like a culmination is when the Executor Super Star Destroyer is destroyed, and none of the main characters are even involved in that! Sure, blowing up another Death Star is fine, but we've already done it. No one has blown up a Super Star Destroyer before, and that got built up through the whole previous movie.

Fortunately, everything about Luke's big climax with Vader and the Emperor is functionally perfect, and that's the part that people were most interested in, so I don't think that RotJ really stumbles at the end. It succeeds and does deliver a lot of what people had come to like about Star Wars. It just doesn't do it as intensely or smoothly as the previous efforts, so it feels weaker.

So if I were to try to create a 'stronger' RotJ, I'd probably shave the Han Rescue down to a quick action-packed prologue, do the Vader=Father explanation for Luke as a mix of Obi-Wan's explanation with a trippy Force Vision Quest with some interesting visuals, then have the Rebellion assault the Imperial capital in a mix of space and ground battle. I'd get rid of the whole concept of the forest setting and the spear-wielding primitives, since that's the same metaphor as the Empire and Rebellion, anyway. I'd also make the Rebellion fleet smaller and more desperate, connecting it clearly to the losses from the previous movie, and the attack on the capital is some kind of desperate last ploy, motivated by some kind of time limit. Luke still confronts Vader and the Emperor alone. For Han and Leia, I wonder if -- instead of simply having them fight -- they could maybe rally some downtrodden local citizenry to help take down or turn off some big Imperial Plot Thingy, giving them a chance to show leadership and unite the Rebellion with the people it's been fighting for, or something like that. Han could even tell the locals about the Force, something they've never heard of, living on the capital. And Leia gives them the chance at freedom.

Hm, perhaps the first assault against the Imperial Palace fails at first, with a bunch of Rebels dying but Leia and Han escaping, leaving Lando and company stranded in space with the baddies? Then Leia and Han need to find an alternate way to accomplish the goal, giving the 'meet the locals' sequence a bit more intensity and a time limit, but still serving as a bit of downtime between actiony bits. Or the final half of the movie could be all action, with the relative downtime being Luke's part with the Emperor and Vader in the palace. (This is the kind of thing decided in the editing room.) Then the Rebel assault can be continuous, and about to lose when Han and Leia show up with reinforcements. Movie audiences love that. They turn off the Imperial Plot Thingy. Then Lando lands the decisive blow on the Executor, which crashes into the Imperial Palace just after Luke escapes in the wake of Vader's death.

Anyway, that's all off the top of my head. But you see where I'm going with this. Keep it moving, keep it intense, keep it new and interesting, don't get too hung up on the Vietnam War metaphor that inspired certain themes, and try to put more characters arcs into things so that Harrison Ford doesn't spend the next 30 years talking about how much he wanted his character to die.

Maybe we can have a village of Ewoks living in the capital sewers, along with other Downtroddens. There's no reason not to have any teddy bears.

Star Wars is supposed to be fun, too. And a little silly.

[asphalt-cocktail]

For the Sake of Content- Chapter 2

Chapter 2: Pseudonym: Sugar

Summary: After walking in on your long-term boyfriend, Harrison, cheating on you and then losing your job the following day; your find yourself broke, jobless, and single for the first time in a long while. In order to make ends meet, your best friend since college, Freddie, suggests you start soliciting explicit photos of yourself, not only to help boost your confidence but to help pay the rent for his band mate’s apartment you just moved into.

A/N: Hello my lovelies! I’m so happy with the reception I've gotten with my fic! I’m really excited with what I have written out so far and I’m really happy seeing everyone enjoying what I have written, i have big plans for this little cutie. Not a lot is going to happen during these first few chapters other than establishing the foundation because it is a slow burn, but don’t worry, once we get there it’ll be like a fucking avalanche of chaos. My tag list is open, so if you are interested feel free to send me an ask! I will be reblogging with my taglist and links to the previous chapter, so please be patient with me!

Pairing: Roger Taylor x F!Reader

Warnings: Language, mentions of sex work, masturbation, some friendly banter between roger and reader, not proof read, short chapter but don’t worry it gets better.

Word Count: 1.7k

18+ if you are a minor do NOT interact with this post. This is fictitious content and I own nothing.

It was your first night living with Roger and you were secretly thankful he was busy with a gig which allowed you to unpack your things in peace. He made it very clear that you were to stick your side of the apartment, i.e. your room, and not ruin the ‘aesthetic’ he had worked so hard for his apartment to have. It disappointed you to say the least, considering your only qualm with the apartment was the hideous wood paneling that made up the walls of the living room. It looked like a scene straight out of a 1970s porno.

The later it got the more you progressed in unpacking what little boxes you had and the closer it got to Roger coming home. You finished with what you decided would be the last box of the night and now laid in your bed, door closed, your colored LED lights dimly lighting your room a deep red color.

Your frowned going through your emails and reading rejection letter after rejection letter from the jobs you had applied for. You were thankful you were quite the penny pincher and were able to survive to for at least a month, but the dread still loomed over you like a dark cloud.

Your mind drifted to Freddie’s suggestion from earlier that week, “Try camming, love, it’s all the rage right now!” his loud voice echoed in your mind until you finally caved and grabbed your phone typing in your search engine how to be a camgirl.

Several articles popped up;

How to Become a Cam Girl

TIPS FOR BECOMING A CAM GIRL & HOW I DID IT

Camming on a Limited Budget?

You sighed, your eyes felt strained from reading article after article. You’d seen several reoccurring websites, the two most popular being Twitter, Snapchat, and some live stream sight called WatchMe. Skepticism filled your brain, why would people be so into buying nudes from people or watching them masturbate on camera when they could do it for free on some porn site?

The sense of intimacy that one got, anonymity, and personal interactions with some who was literally paid to be nice to you over ruled the financial aspect.

The financial aspect also caused you to throw what little shame you had left out the window and soon you found yourself impulsively signing up for all three sights starting first with WatchMe. You pursed your lips when you found yourself being prompted to enter your name, what the hell would you put? You certainly couldn’t put your real name, could you? No, you couldn’t. You found yourself smiling while entering Sugar into the name space.

The application process was surprisingly long and bureaucratic, but it was probably good they had you submit a picture of your license twice, once just on its own, and once next to your face just to confirm you were of legal age. The only downside was that it would be a three day wait for the information to be processed.

You scrolled through your imaged looking for some pictures or videos to put on your premium snapchat, but much to your dismay you found that you had a few vanilla nudes taken ages ago back when your and Harrison’s relationship was still young and romantic, but not much else. You reluctantly got out of bed and rummaged through your underwear drawer, picking through your cotton granny panties you wore when your period made you bloated and finally found a black lacy pair of panties that had a matching black lacy balconette bra that pushed your breasts together giving you the perfect amount of cleavage.

You put it on and stood in front of your full-length mirror, it had been ages since you’d last put on lingerie. It felt nice to put it on for yourself and not for someone else; you twisted in the mirror, observing how the lace delicately cupped your cheeks and hugged your hips perfectly. You chewed on your bottom lip and posed, kneeling in front of the mirror, your legs spread and your back arched to give your chest a little extra pop while you positioned your phone over your face and clicked a few pictures.

The red lighting in your room caused a complimentary glow against your skin, showering you in red light and somehow making your images look more erotic. You smiled a bit to yourself, you looked hot!

Our relationship is boring

The word hammered against your mind, causing you to frown and your brows to knit together in frustration.

You were NOT boring, did boring people take pictures of themselves to sell to other people? No.

You found yourself getting hot with frustration and strangely enough, arousal. You didn’t know if it was from how you were dressed working in tandem with the lighting or if it was your pent-up frustration from not having a proper orgasm in so long, but you soon found your hand traveling south while you remained kneeling in front of the mirror. Before you began you carefully positioned your phone, just enough to keep your face out of the picture and rubbed your thighs, leaving teasing touches around the band of your panties.

Your chest heaved with anticipation, you didn’t know why but the fact that you were being videotaped added a feeling of naughtiness to your actions. You gave your slit a teasing rub, your hips twitching at the sudden pressure before your fingers harshly rubbed yourself. The rough fabric of the lace adding an additional tingle to the pleasure that shot through you. You moaned, leaning back ever so slightly to angle yourself and rubbed yourself through your panties, strumming harshly at your clit.

“Ah, fuck.” You whined, reaching up with your free hand and kneading your breasts, pulling your bra down and allowing them to freely spill over. Your nipples reacted to the cold air and hardened almost immediately. You pinched and twisted at them while your fingers began to move faster and faster against your wet core before you decided you needed to fully touch yourself.

You stripped off your panties and spread yourself for the camera, allowing your glistening cunt to be on full display. You slipped your fingers between your folds and began to rub harsh circled around your clit, rolling your hips along with your motions and allowing unfiltered moans to fall from your lips. Roger wouldn’t be home for another few hours, but for some reason the idea that you may get caught enhanced the arousal you felt.

You dipped two fingers into your tight hole, letting out a high-pitched sigh and now feeling contently full. You pumped them in and out of your tight cunt, the slick sounds squelching as you pumped them in and out rapidly. Your stomach clenched when you brushed against that spot inside you and a knot in your tummy began to tighten, getting tighter and tighter each time you thrust your fingers into you. You used the heel of your hand to rub harshly against your clit, the slickness guiding you with ease “Fuck, fuck, fuck,” You whimpered out, rolling your hips against your hands.

The tightening knot in your stomach snapped and your body jerked while a wave of pleasure washed over you.

After you recovered, you sat up, did you just masturbate in front of a camera? You couldn’t help the smile that crept onto your face; it was like you had a dirty little secret of your own.

When you finally ventured out of your room you found Roger lounging in the living room “Wow, out of your room for once?” Roger asked, kicking his feet up on the coffee table.

“No company tonight?” You chimed, noting the absence of some bar floozy hanging off his shoulder, “Did your show go all right?”

Roger’s brows were tightly knit together, he was obviously tense over something and the long sigh he let out before answering you practically told the story; “No, it was complete garbage.” He mumbled, “The venue, not us.” He quickly followed with.

Right, of course Queen was perfect, but you decided to entertain the idea, inching closer into the living room, “What was so bad about the venue?”

It was as though he were waiting for someone to ask him that question, “The crowd was total shit, I know Freddie is damn good at interacting with the crowd, they were just,” He took a surprisingly aggressive drink from his beer bottle, rolling his eyes at the memory, “Stiff as hell,” He mumbled, “Then! That wasn’t even the worst part, on top of that the power cut out not once but three times!” He dramatically raised his arms in frustration, “I practically threw my set off the stage after the third time.” Roger scoffed. Despite your distance from him you could smell the combined stench of sweat, cigarettes, and alcohol that seemed to seep into his garish outfit.

You arched an eyebrow at him “You threw your kit off the stage?” your voice pitched in disbelief.

Roger shrugged “Yeah,” he was so nonchalant, “What about it?”   

“Well I guess you won’t be going back there anytime soon,” You mumbled, and Roger raised his bottle in agreement, “You know, I was thinking we could paint the walls a nice cream color.” You mentioned, lightly running your hands across the drab wood paneling.

Roger narrowed his eyes at you, “Paint over wood panel?” He scoffed, “It’s original finish, you can’t do that!”

You rolled your eyes dramatically, “I can tell it’s original, I can practically smell 1970 seeping out when it gets too hot in here.” You chastised, “Plus painting the walls a lighter color will brighten it up a bit, what the hell are you trying to live in, a cave?”

“Fine, you get to paint the accent wall and I’ll take the others.”

“I pay half the rent here too!” You constantly reminded him that he wasn’t the only one who lived here anymore.

Roger let out a frustrated sigh, “Fine you get two walls and I’ll get two. Have fun painting them Saffron Ivory of whatever boring color you decide on.”

Well, guess your civil conversation is over, you sighed, “At least it’ll look better,” You mumbled, turning back to face him "Shouldn't you shower, you filthy bastard" You scrunched your nose up at his pungent post show odor.

"Ah, fuck off," Roger muttered flicking you the V.

You flashed him a closed mouthed smile "Pleasant, as always." you sarcastically stated before you found yourself slinking back into your room. You truly had no idea how Freddie expected you to coexist with this man.

[very-grownup]

THE YEAR IS 2020 AND I WATCHED NEON GENESIS EVANGELION FOR THE FIRST TIME, PART 13

Episode 25.

I spend twenty minutes after the episode ends trying to articulate what I think happened to my friends, gesticulating wildly.

The episode starts with a condensed version of the last upsetting bits of the previous episode and thus sets the ground for my difficulty in expressing my thoughts on it because of the imperfect intersection of linear narrative and metaphorical examination of selfhood. I've been trying to follow the show as a narrative, even as things dissolve, but here everything just goes STOP NO CONTEXT JUST IDEA AND INTERNAL INTERROGATION which I think I follow but I have difficulty following WHILE ALSO thinking about giant robots.

Something bad happened after the events of the last episode and maybe in the overall narrative structure that's all that matters? I guess this episode is about the question of what the end goals of all the barely understood players are vis-à-vis humanity through Shinji et al.

How can we be our fullest self? What and who informs who that self is? The passive approach, as seen in Shinji, isn't it. You cannot only do what you are directly told to do and you can't intuit what other people want you to do as unspoken directions.

The isolationist approach, as seen in Asuka, isn't it, either. Trying to act and live above and without human connections or direction has made her sense of self the most fragile. She's just a shell projecting an ideal around a core of hatred.

Misato is there as, perhaps, the end result of trying to live life like Shinji into adulthood (the result of Asuka's approach is evident because she's shattered), a projected false self created to fulfill the outside expectations of others while the inner self gets lost.

Rei I feel is the one who is closest to having it 'right' insomuch as there can be a right way to be a human being (and perhaps part of what Evangelion and its characters are grappling with is that there isn't or if there is, it's not a simple thing). She recognizes that who Rei is is shaped by Rei's interactions with other people and the passage of time and I think that Rei 3's apparent rejection or turn on Gendo's influence is because she knows that's not the entirety of it. Everyone is confronted to some degree by the fact that the version of themselves seen by other people is flawed but in Rei's case she's able to know it in a profound way because she is aware of the previous Reis and their memories but also of herself as distinct from them. So Shinji knows her but he doesn't Know Her and much of what Rei knows of others is removed, the Rei deaths and recreations putting a barrier between a direct human connection. The human connection is key but perhaps the degree to which so much of it is abstracted in Rei is why she isn't fully emotionally engaged as a person, even when her understanding of personhood is so much fuller than the others. No human connection leads to Asuka: fragile and quickly destroyed. Shinji recognizes the importance of the human connection, maybe, but fails to enact the how and in its place he has the projections of what he thinks other people want guiding him.

The people in our hearts aren't real people but just manifestations of our self speaking through puppets that look like people we know and can't substitute for human connection and create a similarly false self for the benefit of the false people projections (Misato).

Shinji's fear of being hurt by human connections results in his inability to make human connections and his holding himself up to the standards of imagined human connections which are unsatisfying and disappointing to everyone, including him.

Gendo's Human Instrumentality Project seems to be about recognizing the need for human connections, specifically individuals filling needs for each other that cannot be filled by the individual alone, both for the pursuit of fulfilling the need to find the true self but also taking humanity beyond humanity. I think it's because Gendo has sublimated his grief and sense of loss with respect to his wife into viewing the ability of individuals to obtain fulfillment and then lose it as a weakness that can be overcome.

If all of humanity loses its individuality and turns into the orange tang all humans are always complete and cannot be made incomplete by losing part of themselves. This is too much connection and gross, indistinguishable. What is the point of this if there is no individual?

Right now it looks like all approaches are imperfect and lead to failure, certainly in the context of Evangelion and these characters.

Visually everything is very cool in this episode even though the budget limitations are obvious. The work arounds are creative and inform the substance of what's being said, I think? There's distortion and dissolving and isolated figures on foldout chairs under spotlights.

My favourite thing is how the false characters, the characters talking to the real characters in the chair, are clearly drawn differently, badly, off model. Something is done to indicate their lack of realness, especially the false Shinji in Misato's heart.

I'm sorry if this commentary has become increasingly boring, I'm sorry if I'm doing or talking about Evangelion wrong or badly or pointlessly. I've really enjoyed it. This concludes my report on the penultimate episode of Neon Genesis Evangelion.

The final episode behind the cut.

Episode 26.

I appreciate the honesty of opening the episode with text that basically announces "look we don't have the time to explain everything so we're just going to explain it as it pertains to this microcosm called Shinji". It's a very clever/honest sort of meta acknowledgement of MAN THE BUDGET OOPS but I feel it's also in a way of framing the psychological aspect of the narrative as something that is not unique to Shinji but Shinji is merely the lens through which something more universal is viewed.

The episode seems to be divided into four distinct sections. The first bit is a ramped up version of the meditative internal discussions that have become increasingly frequent during the series. Interrogation by on screen text asking questions like are you happy, why aren't you happy, what do you want, why do you want this, why do you do that ... some of them very basic therapy sort of questions, others being refinements of that, questions meant to prompt you to look inward for an answer only you have.

But although we're told that this is an examination of Shinji sometimes Asuka is answering, sometimes Rei is answering. Sometimes they're asking the questions. Sometimes other characters are asking or elaborating, unseen.

Previously I've talked about feeling like narrative-wise things have been dissolving, when I try to recall a sequence of events, but here what's dissolving is the distinction between the characters because the experiences are unique but the feelings are inherently universal.

There's a lot of different things going on here, visually. Still portraits, reused footage from previous episodes, repeated shots of a rotary phone with the cable cut really sticks in my mind for some reason, what seem to be actual black and white photos of contemporary Japan. There's a universal quality and it's also how everything around you, all the people and experiences, make up the you that you are, shown with an outline of Shinji that's filled with rapidly flashing poorly imposed images of others that don't fit in his outline. It's cool.

That's when the episode transitions to its second bit which is, like, I don't know. It's a bit student film, it's a bit like that Loony Toons bit where Daffy Duck is talking directly to the animator who can erase and redraw him at will. It's barely animated in parts.

I had this understanding that Evangelion ran out of money near the end and that the last episode was barely animated at all and I think I assumed it would be like how I understand the second disc of Xenogears to be, just ... text because we can't do assets? But it's not. It's unpolished and sketchy and minimal, in spots just pencil drawings or roughly coloured in with markers, at one point it's just wave forms? But it was sad and weirdly beautiful and it felt like an extension of Shinji's internal struggle for meaning and understanding. Maybe because the lack of budget gives it an aesthetic similar to a student or art school film, it informs the material with a sincerity that I feel would be lacking in a more polished, traditional product. The fewer hands that can be felt in something the more /authentic/ it feels.

I, at least, have a greater patience and a great appreciation for something when I feel an authentic quality from it, even though that's only my perception. Form and substance compliment each other here, even if it's just because of budget constraints.

There's a really good part where it's just Shinji in a white void and it's, you know, about how that's the safest because there's nothing constraining him because he's the only thing, but it feels empty because how do we know what we are if we have no references. So a horizontal line is drawn and that's the ground in this white void and Shinji is then standing on the ground and it's reassuring, it's a reality that simultaneously limits your options but in limiting them defines what they are. It's just ... good.

Once things have been completely broken down it's time to I think reassemble them and that's the third part of the episode where Shinji wakes up in an otoge game where everything is good and normal and Asuka's his childhood friend, his mother is alive (but still faceless) and his father ... also exists and is not being actively cruel but hidden behind a newspaper, similarly faceless, existing but known (he's at the table, Yui is in the kitchen with her back always to the camera), Misato's his hot teacher, Rei is the new transfer student ... There's running to school with toast in mouth (from otoge Rei). Shinji's just a Normal Teen (but the normalcy is false, this weird artificial hyper normalcy that contrasts with the sad, raw realness of Shinji's life in Tokyo 3).

That's on the stage that Shinji is watching from his stool in the empty gymnasium with Misato and it goes dark and it's like ... this is another reality but I don't think it's meant to be a quantum thing but an example of the potential of, like, /imagine/ a you who is happy. So this is the fourth part of the episode and it's characters, every single character, interrogating Shinji, pointing out Shinji's flaws, and giving him ... advice? Guidance? A lot of it is ... bad. The characters recognize real problems Shinji has, that Shinji knows he has and then they tell him things which are presented as, for lack of a better term, 'solutions' to his problems of self. But a lot of them are not actionable. Some of them are little more than 'you hate yourself but have you considered ... not hating yourself?'

Much like when Shinji gets praised, once, by his father for what he did in the robot and that is assumed to be good because it's good in comparison to the nothing he's received, the words Shinji gets here are presumed good because they're actual acknowledgement of his problems.

The result is Shinji standing on the earth, surrounded by the other characters, announcing that he is determined to care for himself, and they all applaud and congratulate him and it's weird. It's presented as happy but there's no emotion. No emotion in this climax of a series that has so effectively evoked so much emotion, raw and powerful and real and relatable. It's not happy. It's not sad, either. It's just an absence of sadness. It's this orange tang safety in muted absence of loneliness or danger. I think because Shinji is given good conclusions for his problems (self-worth and love have to come from within, you need to allow yourself to care for yourself or you'll never believe completely that others can care for you) but he's not shown a good path to get there. What people tell Shinji gives him an understanding of what the goal is (happiness) but none of the tools to get him to happiness, something he has no real personal experience with, so the ending he arrives at isn't authentic. It's a false construct, like the otoge realty.

It's not a good ending but I think it wants there to be a good ending and the viewer to recognize when a 'good' ending isn't really good. It's a lot to think about. This concludes my report on the final episode of Neon Genesis Evangelion.

[radramblog]

My commander decks, Pt. 2

I don’t like leaving these two-parters open for too long, so I’m gonna nip this one in the bud now.

Zada, Hedron Grinder- Mono-Red Storm/Tokens

My Zada deck came from having played a weird Red/Green Werewolves/Zada Aggro/Combo deck in Shadows over Innistrad standard, and then getting to come back to it some time later since a lot of those cards took a really long time to rotate out for some reason. The deck was, admittedly, kind of a pile, but it was huge fun and could just kill people out of nowhere. This commander deck, based on a very well-put-together list on tappedout, spawned from how much I ended up loving Zada, with her unique effect lending surprisingly well to an all-in combo deck. 

This deck doesn’t come out of the box very often, and for pretty good reason. Not a lot of people appreciate getting combo’d off against, especially when it’s as loose and indeterminate as this deck is, and there is just so much math involved that even piloting it can become a pain. It’s incredibly powerful, being fragile in some ways but resilient in ways you wouldn’t expect. It’s actually probably the closest thing to a cEDH deck I have, though it would obviously stand no chance at an actually competitive table.

The deck, at this point, has deviated pretty heavily from the primer it was based on, both since I don’t want to buy overpriced cards that aren’t significant upgrades and because I have some jankier effects I wanted to play (also, because that list has been consistently updated and mine hasn’t). I’ve had it called a Goblins deck, and while there are a lot of Goblin cards in it (I mean, Goblin Matron is there), it actually kinda gets under my skin when people do that. It’s not a Goblin deck, Goblins just happen to be really good at making tokens! I don’t really like Goblins. (Zada is an exception.)

 Basandra, Battle Seraph- Boros Forced Combat/Pillowfort

Basandra was one of four decks I built after I got really bored, hit Random 4 times on EDHRec, and designed four decks based on the results. While I did end up proxying up 2 of the others (Seizan Mono-B Group Sl/hug, DL Atarka Dragons/Panharmonicon), Basandra was the only one that resonated with me enough to want to build it for real. It represents to me the possibilities of Boros beyond just aggro and the handful of archetypes the colour pair has been crumbed over the years.

It also happens to be a pretty political deck. While the plan of making people fight each other instead of me is all well and good, in a perfect situation you’re still going to have one more opponent left to deal with. The deck is pretty light in ways to actually win the game, although having a Flying commander does help a little bit (See, she does do something!). With that said, I’ve played the deck enough times to have racked up a few wins, so it’s far from helpless, and the random hate pieces that are mostly in to keep people from going over my defences can just lock some decks out of the game. (If you’re a deck that loses to Aven Mindcensor then you deserve to lose to Aven Mindcensor, sorry)

I really enjoy the Thalia’s Lancers package. Tutors like this and like Mwonvuli Beast Tracker in the Radha deck are fun to build around, with the right combination of cards letting them turn into mini toolboxes. In this deck, the Lancers can find land, ramp, removal, pillowfort effects, card draw, making them extremely versatile. While I am generally opposed to tutors, Lancers get a pass.

 O-Kagachi, Vengeful Kami- 5-Colour Spirit Tribal/Cast Triggers

This deck is stupid bad but it’s built around a bunch of silly cards that I love. The spirits of Kamigawa look and feel bizarre, but in an elegant way- they’re off in their own little world, doing whatever, while the rest of the game happens around them.

Unfortunately, most of them kinda suck. There’s a reason I didn’t build around Soulshift, and it’s not because I’d die to Rest in Peace.

This deck, therefore, is an eclectic collection of spirits, good and bad, with the stated goal of finding enough cost reduction to start loop-casting members of the -Onna cycle, generating value through “whenever you cast a Spirit or Arcane spell…” effects. Getting to this point, however, is it’s own endeavour. The deck is desperately in need of a rebuild, with way too high a curve and not enough ramp to support itself. The deck includes the entirety of the Myojin cycle, all 5 Dragon Spirits, and all 3 pieces of Iname- not to mention, most of the Spirits that actually have good effects are fairly mana-hungry themselves. Even the manabase is a bit silly, though I have gotten away with proxying fetches and shocks since the deck doesn’t need any help flopping.

When the deck does get going, though, it can get pretty out of hand. Literally, in fact-the deck can rip through people’s hands and occasionally lands, but the cards doing so are so expensive and bad that it feels more earned than just dropping Narset/Windfall or Armageddon. No-one can stay mad when they lose to Myojin of Infinite Rage, since the Myojin is the one with all the Rage. It can be resilient as well, with great recursion effects such as Karador and Iname, Life Aspect just happening to be Spirits. It’s still not good, but it’s something.

 Gonti, Lord of Luxury- Mono-Black Theft/Control

Like Zada, Gonti spawned from a standard deck I enjoyed playing, in this case the Azor’s Gateway Mono-Black Control deck I piloted to surprising success for a long time. A fair few cards in the deck come directly from that list, including the incredibly water-damaged Torment of Hailfire and some of the weirdo one ofs like Tetzimoc and Liliana, Death’s Majesty. The deck is grindier than anything, with incremental draw being the name of the game and murdering opponent’s threats the subtitle. Gonti, in addition to being one of my favourite cards of all time, supports Mono-Black Control quite well, being able to grab answers to things that would normally be pretty difficult for mono-B to handle off of other people’s decks, or creating synergies where no-one expects them. As a result, while there’s not as many of this type of effect as many Gonti decks, there is still some amount of cards that let Gonti re-enter than most decks they helm, there’s still a fair few ways to do so.

Theft is not a particularly well-supported strategy, especially in Black, but it serves to add replayability and versatility to the deck. The deck doesn’t play a huge number of threats, and most of the ones that it does are those that add to the steady value train or that double as something else. I haven’t quite committed to putting Praetor’s Grasp in, but I’m thinking about it. I also opted not to add in the new hotness of Opposition Agent, because as it turns out that’s not the kind of magic I want to play, and with a full hand and frequent planeswalkers on the board I don’t really need to go out of my way to generate more hate.

Playing this deck does harken back to that old standard deck, thinking ahead about which cards I need to keep around to answer certain threats I guess are coming up, and getting unexpected surprises off the top of my opponent’s library to win in unexpected ways (I once Gonti’d a Radiant Destiny off of my opponent’s Vampire deck, realised between Gonti and a few Gifteds I had a pile of Aetherborn cooking, and beat them down with that). Control is far from my favourite deck archetype, but it’s nice to have the option there if I want it.

 Hallar, the Firefletcher- Gruul Kicker

My Hallar deck was given to me as part of the EDH subreddit’s Secret Santa, the maybe only year it was ran, and it still shows some evidence of the budget limit that exchange carried. While I have done my best to improve on it and diversify it, there’s really only so much one can do with such a narrow commander.

With that said, it’s not like the deck is bad. Especially since the addition of more Kicker cards in Zendikar Rising, Hallar has more option to choose from, and they can get burning very quickly. From what I’ve seen, however, most Hallar decks build around cheap Kicker costs, trying to trigger their ability as many times as possible as quickly as possible. And while some of these cheaper cards are of course present in my list, I chose to instead play some of the other bigger kicker cards, along with more ramp, to help spread the attention away from Hallar as needed and to give the deck something to do if they start costing upwards of 10 mana. I’m not convinced this added resilience is the correct path, but it’s my path, and the deck performs admirably even faced against substantially more expensive lists.

 With that, I have listed all of my current commander decks. While I have a few in the build process, maybe I should stop? Because 10 is likely enough. Either way, I hope you enjoyed reading about what and why these decks are, and I hope to see you on the other side of a table soon. (I won’t play Zada game one, promise.)

[0poole]

Why I don’t really like anime

Alright well here’s one that’s pure “who tf asked” energy but it’s something I’ve legitimately been thinking about. Most of these are just me trying to organize how I think. I try to keep away from this general aura of saying I don’t like something completely unprompted, but my brother is a massive anime fan so I’m around anime a lot more than anything else I’m not into.

Obviously I’m gonna have to preface this with the whole spiel. People can do and enjoy literally anything they want so long as it doesn’t hurt other people. Apart from that, this is just me putting thoughts onto paper and shouting them out into the void pretending people on the internet care or even will hear in the first place. And, apart from THAT, I’m also saying I just don’t like it, not that it’s “bad.” Anyone saying something as expansive as anime can be universally “bad” is objectively an idiot who doesn’t know how things work. Also, I’m not trying to cover my bases as if I expect anime fans to hound me like people stereotypically assume they would, I’ll always cover my bases when saying things like this to catch literally anyone and make the undertones of what I’m actually saying perfectly clear to everyone.

And similar to that, absolutely none of this stems from the less affectionate stereotypes of anime fans. Let it be known that I’ve been a part of various fandoms, including My Little Pony, Steven Universe, Undertale, and probably some others that have just-kinda-bad to horrible stereotypes put on them because of the true weirdos in the fandom who act seriously out of turn. I know the feeling of being lumped in with those unfortunately remarkable people as if this giant group acts basically in the same way/agrees with the same actions. Plus, anime has grown so far beyond the “nerd culture” that I feel like it’s more normal to like at least a little anime than to not like it at all, so people that suggest all anime fans are weirdos are the weird ones.

    But yeah, over time I’ve definitely felt a full bias against anime for some reason. Obviously some fit into my interests and get into my mind when I had an anime phase (like anyone), as I’ll mention, but for the most part if something is brought up as “anime” I just lose all interest in watching it. I feel like in terms of my overall biases, there are only three types of series: Non-anime animation, Anime, and Live action. For some reason, live action series are even worse in the bias chart than anime. I literally can’t muster up even the slightest interest in a live action series, while I can at least sometimes get behind the idea of an anime (and it’s a whole different can of worms for movies/other forms).

    The reason why I say “non-anime” animation instead of “western” animation is because it really doesn’t have to do with place of origin at all. Also, calling stuff “western” kind of excludes non-Japanese eastern countries that don’t produce anime, like Russia and India. For me, the question is just anime compared to all other types of animation. Aside from the objectively bad art styles of course.

That really just gets troubling with the true definition of “anime,” though, but as far as I care to define it it’s entirely revolving around the art and animation style, and maybe various other stylistic things as well. It’s one of those “hard to define it, but you can usually spot one when you see it” sort of things. But, I feel like even though “anime” might literally just mean “Japanese animation” in general, I feel like there are Japanese animations that could not be “anime.” For example, the big one being anything by Studio Ghibli. It honestly could or could not be anime, but the fact that there is a debate suggests that there’s more to anime than it just being Japanese. If it’s not origin, then basically all of it rests on the style itself. Especially since so many people start off trying to draw “anime style” (like I did), and since some things have been called “French anime” (a term which honestly gets me infinitely more into an idea for some reason, I guess it being “French” reverses the negative bias from “anime”). Then of course it gets into murky water, though, like are Teen Titans (the original) or Avatar: The Last Airbender anime? It’s obviously something that doesn’t have a clear definition and it sucks. But, it’s easier for me to talk about if it’s limited to the art style, because that’s pretty much my main gripe with the whole thing.

I could also just not even remotely know what I’m talking about but just go with it.

If it had to be limited to a single sentence, the main reason why I don’t like anime is that it feels like 90% of it looks extremely similar to one another. See a few paragraphs down for the major exceptions, because there’s always exceptions. Also I’m sure someone somewhere is trying to pull out the “Calarts style” argument here and honestly nothing inoffensive pisses me off more than that and I’m gonna for sure make a separate rant on that some day. Obviously “western” animation isn’t the saving grace either, but it feels closer in general.

It may be one of those things that is supposed to be more functional, of course. I’d have to imagine it’s much more writing-focused, because, if I were an executive at an animation company, I could definitely get sold on a story much more easily if it followed very similar artistic practices that have been used by so many other companies/groups. Plus, for the audience, it’s probably easier to enjoy a story when you are pretty sure you’re going to be into the art style of the show by default. I’d have to imagine that’s why there are so many different anime (animes? Consider it a fish/fishes type thing) out there. For the most part, too, it seems like the vast majority of it is animated simply, with the higher detail and budget being saved for the big events. I’ll never say it’s not a reasonable thing to exist. It just sucks when the one thing made to be so universal is the one thing you don’t like. 

But I’m definitely realizing I care about the visual of an animation more than the story. Definitely, a few years ago, I went full stereotypical writer, and cared so much more about the story itself than how things looked, but I definitely have changed from that. I’m much more likely to enjoy a story that’s pretty simple and easygoing that’s told in amazing animation than a highly detailed and complex story that’s told in pretty simple and easygoing animation. I mean, apart from that, I definitely don’t like the idea of a story’s complexity being one of its selling points, but that’s beside the point. Also, not to suggest all anime are “simply animated.” Exceptions are everywhere.

I’m the type of person who can enjoy something by “turning my brain off,” if you want to discredit the value of simplistic stories. Plus, now that I’m starting to try and make animations of my own, whenever I see some crazy good animation I’m halfway between “The animators are legends for putting in the massive legwork of making that” and “The animators are legends for making so impossibly good and high quality.” It also boggles my mind a bit when I see an overly detailed anime character/mech/whatever move. Someone had to animate that.

And then there’s one specific gripe that’s basically exactly that, but distilled into its purest form, and that’s how practically all young male protagonists in a mostly realistic setting in anime look like actual doppelgangers with each other. But, again, that’s a product of japanese society being less racially diverse overall compared to the Americas, so obviously the archetypal male is going to look much more average compared to what I’m used to. Just because there’s a reason doesn’t mean I have to like it, though. And, obviously, a lot of anime doesn’t have this issue, especially with the slightly less prevalent idea of “anime protagonist hair” of the past. Plus, girl characters don’t really seem to have this issue, and lord knows anime girls are a big thing. And, even worse for my case, it’s the same issue I have with the Calarts argument: The protagonists are supposed to look more average/approachable, while the side characters and environment can go the extra design-distance. I will say though that if an anime features the main character who looks just like that one archetype, I just can’t like it at all. It’s too plain. Same goes for when characters attend a school, and their “main” outfit is just their school uniform. Obviously practically all schools in Japan have uniforms, but it’s just so boring from a character design prospective. 

Another big part of the style that I don’t like is just the level of detail anime characters/things often have. The worst part of this is always, ALWAYS the hair. It always looks so greasy and stringy, and it just makes me feel gross looking at it for too long. I don’t even care what color it is. Something a little less universal are the more fantastical side of outfits some characters wear some of the time. Obviously some outfits just go too far with detail, or maybe try too hard for a specific look that it thwarts the design as a whole. It’s kind of hard to say that without having specific examples, but I’ll always prefer bigger shapes and relative simplicity over the level of detail most anime characters have. Same goes for items too. 

One thing that’s very easy to avoid on the larger scale, but still pretty prominent and a thing I genuinely hate, is how much more sexualized things are in anime. Like I said, it’s pretty easy to avoid sexualization because you can usually tell from the get-go where it’s at its worst, but even in other cases it feels like it creeps in even in the best shows. Trust me, though, I’ll never not admit to being horny, but when I sit down to engage in a genuine story I’m not even joking when I say that there is practically no situation where I want sex to be involved. Romance can be on-and-off, but specifically sexual elements just really throw me off of taking a story seriously, even when it’s actually incorporated into the greater themes and ideas of the story. I don’t know why I’m so averse to it, but I am. But, really, this is more of a writing thing than a visual thing usually. I swear to god, whenever my brother shows me an anime (my family would be completely disconnected from anime without him), there is like a 70-80% chance some female character is going to call a male character a “pervert” (or whatever the untranslated word they use is) and have it play off like a casual joke/remark. That shit actually makes me want to die. It doesn’t even matter whether or not they’re actually being a pervert, the mere mention of the remote idea genuinely pisses me off to no end.

Even though it’s just barely relevant, the way they always draw people with blood shooting out of their nose when they see lewd things makes me feel uncomfortable too. I’m not sure what anime originated that trend, because it sure as hell can’t be a thing from real life. That just doesn’t happen on the scale it happens in anime. Plus, it can’t feel good. 

Strangely enough, one of the main things that doesn’t put me off is having to watch with subtitles. For one, if there’s any culture whose animation I enjoy inherently more by default, it’s French animation, so I still deal with it outside of anime. And, even when I understand the language being spoken, I still like watching with subtitles just so I never mishear or misunderstand something. But, also, I’m actually completely on the “sub” side of the age-old-and-probably-ignored-nowadays-but-i’m-behind-the-times “Dubs vs Subs” debate. For some reason, it is extremely hard for me to look at an anime with a very plainly english voice over top of it. It just doesn’t feel right, almost ever. Some get it right of course, but the general state of dubs is pretty low compared to just reading text with the default emotions behind them. It sounds kind of counterintuitive, because I can’t exactly admire the animation as much if I’m reading text, but I feel like I’ve watched and written enough (even though it doesn’t exactly take much to find this skill) to realize what the general effect of a scene is, and when I do, I can usually watch the actual animation itself instead of reading the text. Like with French stuff, I can pick up very few words that repeat and match them to the subtitles to learn just the slightest bit of another language. I actually took a French language class in high school though, so it’s much easier then…

And one thing that I actually wish non-anime did was make different intro sequences/songs for different seasons/sections of the story. Even though some classic cartoon intros are so insanely classic that it’s hard to want to get something else, I can imagine that, for the most part, the alternative intros could be just as good. I guess it’s because we have so many more episodic shows, so the same intro could reasonably apply to the whole show as if it’s practically the same thing over its entire course, unlike anime which are more structured and progress with each season. I just want more music.

Of course different anime differ in levels between these, with some being major problems in some areas and being completely fine in others. I really don’t like going super in-depth about things I hate though, so let’s just skip that.

But the only rule without an exception is the rule that states “everything has an exception,” so there are a few anime that I actually like, or ones that I respect from afar. I did have an anime nerd phase in my past, although it wasn’t super intense or long lived, but in that period a few anime did sneak into my radar and I still like them, mostly because I can’t help but love the nostalgia. 

The one that kinda doesn’t count is the Pokemon anime. I like it because it’s Pokemon and I love Pokemon. Plus, it’s based on literally the most profitable gaming franchise ever, so it’s not like a fringe indie series. I will say that I actually really like the artistic direction they’ve taken for both the series and the official artwork/design as a whole. The Sun and Moon series looked pretty cute but maybe took it a bit too far, but the current series has a great balance of the clean, expressiveness of the Sun and Moon series but the solid-ness of the series before it. Apart from that, though, it’s one of those things I only still watch out of obligation, and for the rare good moments. I just love watching Pokemon exist, you know? Since I’ve watched so much of it already, and don’t have too much else to watch on a weekly basis, there’s no reason not to just put on the newest episode. It’s funny, though, because I normally like the dub of the anime more than the sub, but since the Sun and Moon series upped Ash’s expressiveness up to 10 it felt like his old dub voice actress didn’t quite match him anymore. Since I had no impression on what his original japanese voice sounded like, it was easy to start watching the subbed version and apply his new traits onto that voice. Either way, watching the subbed version means I can watch further into the series, and can’t get spoiled on things that’ll happen weeks/months down the line in the dub. As I said, it’s pretty normal nowadays to be into anime, meaning so many more people are following the Japanese episode release times and posting about it ASAP.

One that’s pretty expected is One Punch Man, which I watched once I heard someone explain it as “a parody of anime,” or something to that effect. The greatest thing about parodies is that they can be enjoyed both by those who love the thing being riffed on, and those that don’t. So, I watched it, and loved it. Me thinking about it like a parody also let me pass by the usual gripes I had with anime as a whole, like over-the-top crazy strong villains explaining so much out in the open, only to get one-shot by Saitama. And, the more obvious parody elements, such as Saitama becoming so strong just by exercising a lot, and just being a generally understated guy who just kinda is around. Pairing him with Genos, the more stereotypical anime powerhouse protagonist, is a great choice. For the animation, they even go super hard on the battles partially, I’d have to guess, because it still is just cool, but also to juxtapose how relatively simple Saitama is. There’s even some great character designs in there, like I remember this one single-episode side villain who was like a silhouette girl (?) with sharp teeth and long, seaweed-like hair that I loved the most. There’s also that second-in-command henchman guy under the main season 1 villain who looked sort of octopus-like, and I think had a crazy stupid name. I even liked the second season, which I guess most people didn’t like as much? It might’ve not been the highest of highs but I didn’t hate too much of it. 

One of the weirder examples is Attack on Titan because of the artstyle. For some reason, it feels like the characters of AoT are drawn and designed so well that they can look anime, realistic, and just barely cartoonic at the same time, creating diverse and impressionable characters without having to resort to the crazy stuff like colored hair and weird clothes. Plus, this lends extremely well to the overall atmosphere of the show, which of course is more grim in a slightly more realistic setting, but with the occasional guise of happiness some scenes have. It can be everything at once. But, of course, I only realized that after watching it, and the main selling point was actually how interesting and unique the story was, while remaining, at first, pretty simplistic all things considered. I just loved dudes with giant swords jet boosting up to a shambling giant and slicing the back of their neck. Compared to most anime, it was so specifically designed, instead of having a lot of detail put into everything to have the uniqueness. The Scout uniform is basically iconic at this point, while remaining pretty straightforward and, even better, completely unrevealing. Even when you hear the idea of an “anime sword” you also kind of think of something super flamboyant and complex, while the Scouts’ swords are also pretty simple, but very recognizable, basically being a rectangle, and also being replaceable. The whole device they use to get around is also so simple, yet so cool, and relatively reasonable. From a writing perspective, it’s also really good to have all main characters be on practically the same playing field in terms of abilities (aside from, you know, Erin) so each knows their full limitations, and you don’t learn anything out of the blue in the midst of battle. Even better, it’s a type of power you have to be genuinely skilled with, not like how most stories pull the “you’re inherently powerful you just need to release it!” sort of deal (Again, Erin).

I am kinda falling out of interest with the story as it progresses, though, but it’s entirely not the creators’ faults. Part of the appeal initially was how mysteriously cool and terrifying the Titans were, and why everything in this world was the way it was. Like with pretty much everything going on for long periods of time, the explanation had to come eventually, and it never is quite as good as you thought it’d be. Now that I know exactly why everything is the way it is, a lot of the magic kind of dissipated. Plus, that subplot of the false royalty of their kingdom and all the politics of that got very Star Wars Prequels with me. I didn’t come for that stuff. I am still a bit in that “I’m obligated to watch it since I’ve watched so much already” camp, so if they ever continue the series I’ll get back in. I’m definitely not at all the manga type, though. I don’t really like long form comics as a whole, and my eyes genuinely hurt looking at most manga because it seems they don’t use different shades of grey as much as they should. It’s all black and white, and my eyes can’t stand it. It’s the digital age, dammit. Leave the old style behind.

Even though I already said it’s on the verge of being anime and even though It’s all movies (I think?) you gotta admit Studio Ghibli stuff is just impossibly magical. I can only actively remember seeing like 3 of them (Spirited Away, My Neighbor Totoro, and Ponyo) but I would actually sell my soul to keep these movies in existence. I’m highly considering watching Kiki’s Delivery Service next because I think it’s on some streaming service my family has, where I can literally just watch it whenever with no fuss. They all fall into that kind of foreign fantasy genre that I love to all hell, because the “usual” for western fantasy has gotten impossibly stale and I actually kind of hate it now. Literally whenever any kind of story is a fantasy story, but with fantastical elements coming from some culture that isn’t the norm for fantasy, I can’t help but love it. Even though I’m talking more about the high fantasy genre, I can still love Ghibli stuff for being so adorably casual and local, making it feel so much more like every little thing they show you exists in some magical recess in the real world. The artstyle also has that kind of feel, where it’s cute in that weird-looking way. Plus, it’s a movie, so there’s a more solid stream of higher quality animation, instead of the more necessarily efficient series. Also also, I would die for Chihiro. That’s all.

For the stuff I don’t actively engage with as much, you can’t not mention the big Shonen Jump names, like One Piece, Naruto, and the one I interacted with the most, Yu Gi Oh. I’ve watched all three of those to some extent at some point in my life, but they didn’t really stay too much. 

One Piece has another remarkable artstyle, being so weird and quirky and large-faced with everything. I can also appreciate the fantastical pirate elements, as well as the very unique superpowers of Luffy, and the rest of the Devil Fruit powers. I would totally try watching again if it didn’t have over 900 goddamn episodes. That’s the problem with watching super popular stuff like that, it goes on forever, and it’s so hard to make that commitment. Either way, I think that one guy with the cigarette/lollipop was a walking “pervert” joke so I don’t miss it too much. I also honestly think a non-episodic series that goes over like 200-something episodes can’t possibly have a truly balanced and engaging story all throughout.

Naruto also had that “High fantasy of another culture” appeal to it, and is probably the most classic anime that isn’t Dragonball (which I personally am not really into at all, never was). I don’t really have too much to say about it, but I did really like the Wii game I had where it was a fighter with all the characters. I haven’t checked, but I’m pretty sure Naruto’s just like One Piece in that there are too many episodes to make the commitment and I think Naruto might even have a worse problem with “Pervert” jokes, but I don’t remember exactly.

Yu Gi Oh, on the other hand, is actually still sort of my jam. The recent stuff, whether it’s the cards or the series, is completely beyond me, and looks like the true anime BS that I don’t like, but the OG Yu Gi Oh stuff was awesome. I still know how to play the card game, at least with the earlier, simpler rules and card effects. I don’t even know how to play the Pokemon card game, and Pokemon’s one of my favorite things ever. I wish we still had those pre-made decks sorted so I could just play really quickly with those to regain my idea for strategy, and then make an original deck of the hundreds of hundreds of cards we have lying around. It’d be fun for no other reason than nostalgia. The video games are probably a good place to start, and I still have that old PC one where it was split into multiple versions for like Yugi, Kaiba, and Joey I think. I had the Yugi one, and last time I tried I actually had trouble beating him. There’s a semi-decent multiplayer one I have on Steam right now but it’s one of those things where I could either play that, or just… not, and continue life as normal. I might try it out again, but I already feel like I’m wasting my day. Oh my god, then Dungeon Dice Monsters on Gameboy Advance? Who needs anything else for that plane ride, am I right? I think there’s even those semi-story based RPGs on the Gameboy too that I should probably try out again. There’s just so much goodness.

And I haven’t even talked about the anime yet. Definitely the more meme-able of the classic anime, and I can definitely appreciate it for that. It was pretty weird in its own way. Especially with Yugi himself having what might just be the most insane and nonsensical hair style of all of anime. But, even then, I actually think it’s my all-time favorite, and I kinda love it. I have no idea why I do, but I do. I couldn’t even conceive of how to draw it from anything other than the front view. I also seriously appreciate when a character’s main icon/representation is something unique, and the Dark Magician is such an insanely cool character for just being some random dude on a card. Even apart from that, the Millenium Puzzle looks really cool, as does pretty much anything with an Egyptian flair to it. Then, we got the man, the legend, Joey Wheeler, who would not have been the same with any other voice actor. I stand by the fact that Tea and Tristan should’ve been fused into a hot-headed tomboy though, you really could’ve done without them both separately. Kaiba is also a classic anime antagonist/antihero, and he’s pretty lovable for it. Such great characters for something that really didn’t need them at all. I definitely have more nostalgia for the card/video game overall, but the anime definitely has an impression of its own. 

There’s also Zatch Bell, which I only know about in full because of that one Billiam video. I did have some vague idea of what Zatch Bell was, but only because we got those cool little books to hold the cards in. Honestly though the average character design in the show kinda sucks considering the fantastical elements are kind of cool. The only reason why I’m bringing it up at all is because I think Zatch’s design might be my all-time favorite character design in any anime property ever. His hair does still look pretty greasy, sure, but overall he has a very simple and clear design, and even though I’d definitely redesign him to look more puppet-like, the only reason why I see him as a puppet is because of the lines going down his cheeks. Those lines might be one of my all-time favorite single character design details for some reason. He also has a giant bow around his neck, and that plus the wide dress seriously makes him feel like a character I’d design (mostly because I have a character with somewhat the same details) minus the uber-generic anime boy protagonist sidekick.

For the list of anime I haven’t engaged with at all yet but can respect from afar, the shortest one I can describe is that one with that skeleton guy who has that average job and it’s animated very plainly, almost like a more western adult animation. You know, that one who got the meme with the subtitle of “Thanks, but reconsider!!!” with him looking all average but also anime-shocked at the same time. I can appreciate the deviation from pretty much every norm for sure.

For the more popular stuff, probably the second most likely for me to watch is My Hero Academia. The artstyle is just varied enough to make it feel better. Sometimes the hero outfits get a little weird, but most of the time they’re alright. What I’m really here for is the base character designs under them. Deku is an amazing average protagonist character design, who definitely looks average but still unique enough to not look boring. Designs like that are hard to come by, because it’s so much easier to use more over-the-top unique elements to make the main character unique. Doing more with less is always preferable though. I could list off all the characters and all, but beyond Deku I really would just be saying things like “The guy who looks like a crow or whatever.” Except for Tsuyu. Tsuyu is best girl, and if you don’t draw her mouth wide enough I’ll be sorely disappointed in you. I think there isn’t a single character I love more from a property I don’t engage with at all. To be honest, I don’t think there’s a serious chance for me really wanting to get into it, though, mainly because I’m intimidated by that little shitstain with the weird latex ball mohawk. As I’ve heard, he’s the walking “pervert” joke type. Could be wrong. I hope so.

The most likely is another Academia, that being Little Witch Academia. It looks adorable as all hell, and the fantasy elements look classically fun, being a sort of bubbly spin on the more generic Harry Potter-type stuff you might imagine for a witch/wizard school. I’ve heard that any Studio Trigger series is animated very well, but somewhat lacking in the story department, but as I said before I can very easily enjoy a simple story with great animation in front of it, so it really seems super up my alley. Plus, it’s just like, ON Netflix. I could literally just boot it up any second and start watching. 

I usually try to organize these paragraphs/lists in ascending order of interest, but I gotta break that for something that’s super half-and-half, and sort of the one that triggered me to want to finally write down all this junk. Madoka Magica is occasionally really cool, with the absurd and bizarre imagery of each Witch and Labyrinth, and I seriously love that part. But… Then it turns to the characters, which I honestly hate looking at multiple times more than the average anime character. Maybe it was somehow intentional, but their faces seriously look like those drawn by kids just starting out trying to draw anime, but just barely adjusted to look more polished for the sake of decency. I’m also not really into the story, being this massive juxtaposition of cutesy little magical girl antics and hellish demonic nonsense and brutal events. Trust me, I’m not the one to shy away from intense, adult stuff in animation, but I feel like the two extremes are almost too far apart from each other to really get into. That, and the magical girl dresses they each transform into was the specific inspiration for me mentioning designs that feel like they’re too set on doing one thing that it hinders their overall design. The yellow girl’s dress looks pretty cool though, since she has those weird poofy shoulder things, another character design trait I love. I just had to mention it because of how crazy interesting the Witches and Labyrinths are. 

I just remembered Sailor Moon existed as I was writing that, and I’m not insanely opposed to looking into it. It might fight with Dragonball for the title of most classic anime ever. It also looks kind of cutesy-fun, which I can enjoy, but I definitely would expect it being a bit old to be its downfall. The artstyle alone gives me some vicarious nostalgia, even though I’ve never engaged with anything styled like it (and honestly believe it’s objectively worse than the anime style that’s more common nowadays). People as a whole seem to be nostalgic about it, so it’s kind of hard not to also feel it a little bit. As I said, though, I do kinda hate it compared to modern stuff. Same thing applies to Dragonball and really anything of Toryiama’s work. I can see the nostalgia from other people, but I just don’t like it.

I’m sure there are others that are just barely being forgotten about, but you get the point.

So yeah, that’s basically why I hate anime except I talk more about the anime I do like instead of hating on it as a whole. Believe it or not, when I like animation, I truly do like it, regardless of whatever form it is. But still, anime as a whole is not at all my thing. Feed me my generic Disney Channel “Calarts” SJW shlock instead. 

[mostlysignssomeportents]

Permanent Record: Edward Snowden and the making of a whistleblower

I will never forget the moment on June 9, 2013, when I watched a video of a skinny, serious, unshaven man named Edward Snowden introduce himself to the world as the source of a series of blockbuster revelations about US spy agencies' illegal surveillance of the global internet. Please, I thought, be safe. And Please, don't turn out to be an asshole.

The thing is, the decision to flush your life and turn your back on your life's work for a matter of principle is not normal. We like to think that every whistleblower takes action for the purest of motives, but whistleblowers, like every other human being, are mixed bags, with complex motives, and if we only listened to whistleblowers who were angry at their bosses over a missed promotion or a bad disciplinary report, we'd know a lot fewer vital truths about our life.

Edward Snowden is, as far as I can tell, the rarest of whistleblowers: someone who was motivated purely by a commitment to principle.

I have "met" Snowden a few times: I was the opening act for his first-ever public appearance, and we did a double-act together in New York City once where he appeared by video, and I was thrilled beyond words when I learned that he'd taken one of my books with him when he fled Hong Kong, and even more proud to have published and reported out some of the documents Snowden brought with him and turned over to the journalists he worked with to publicize his revelations.

At every turn, I have been impressed with Snowden's thoughtful, principled, rigorous nature. He is, in some ways, a consummate sysadmin, one of those technical specialists who conscientious mix of technical prowess, careful planning, attention to detail, and sense of duty make them unacknowledged legislators of the world, every bit as much as poets are.

In Permanent Record, Snowden's memoir, we are given the best proof yet that Snowden is exactly what he appears to be: a gung-ho guy from a military family who believes deeply in service and the values embodied by the US constitution, who explored multiple avenues of squaring his oath to uphold those values with the corrupt and illegal practices he saw around him, and worked out a breathtakingly bold and ambitious plan to do what no one else had ever managed: to expose wrongdoing in a way that provoked sustained interest and sparked action, while relentlessly focusing attention on the misdeeds he was alarmed by, rather than on himself.

Snowden's life history bears this out: a smart kid who -- like so many of us -- fell in love with computers and the way that they exemplified how systems could work, and how they could be exploited to let you shortcut the most boring, or foolish, or hidebound parts of society, and who were lucky to come of age in a time when the desperate tech skills shortage meant that this kind of mischief was a ticket to a job, rather than a cell.

Despite this clever understanding of the fallibility of authority, Snowden's identification with his parents' -- and ancestors' -- military service meant that he was terribly vulnerable to jingoistic calls for revenge after 9/11, leading him to enlist in a program that promised to stream him into a job as a Special Forces sergeant, until he broke both legs in basic training.

That injury pushed Snowden into the intelligence services, where he could use his computer skills to effect less atavistic, but even more important contributions to the revenge he burned for. In the CIA and then the NSA, Snowden was slowly but surely disillusioned: first and foremost by the Beltway Banditry from a new generation of military contractors whom the spy agencies use to circumvent the staffing limits placed on them by Congress.

Since Congress never says no to a budget request, the agencies can "hire" more people than they are permitted simply by contracting with Dell or IBM or Booz-Allen or some other military-industrial swamp-dweller to fill positions, and since these companies operate on a "cost-plus" basis, collecting a percentage of the salaries they pay, everyone is incentivized to charge as much as possible for these deniable contractors.

Snowden contrasts this with the principle of service he was raised with and that was embodied by his own family and the parents of the military kids he grew up with, and then shows how the culture of corruption forms a toxic stew when combined with the pathological secrecy of the agencies and the normal military boondoggles and deference to the chain of command.

Nevertheless, Snowden thrived: as a smart, skilled technician who could write and speak coherently about his work and who also cared deeply about that work, he was in high demand, both as a "sales engineer" for the private companies he contracted with, and for the spies he supported on overseas postings in Geneva and Tokyo.

But as Snowden's career progressed (and as he was laid low by a seizure that was diagnosed as epileptic), his professional need to know a bit about everything the agencies were doing gave rise to a terrible suspicion as the shadowy contours of the agencies more-secret-than-secret global internet surveillance project revealed themselves to him.

In these chapters of Permanent Record, we're treated to a riveting blend of spycraft as Snowden painstakingly figures out how to confirm his suspicions without tipping off his bosses, and a brilliant ethical treatise as Snowden reveals the reasoning that took him from each step to the next, right up to Snowden's decision to burn his previous life down, fly to Hong Kong, and step into the jaws of likely life imprisonment, with the kind of torture that poor Chelsea Manning was subjected to, to make an example of him.

Snowden isn't just a principled patriot, he's also a gifted writer whose ethical reasoning shines through in a memoir that is more than a recounting of an extraordinary life: it's a manifesto for the importance of privacy, the corrosive dangers of corruption, and for a mass, global movement of resistance to the perversion of the internet into a system of control and surveillance.

Even if Snowden had turned out to be an asshole with impure motives, it wouldn't have made the things had to say any less true. But Snowden is a hero with the noblest of motives, and the native wit and tactical genius needed to turn his act of sacrifice into the start of a global movement for change.

Permanent Record is an extraordinary book, and it's hardly a surprise that Trump's DoJ doesn't want you to read it. Snowden says he'll come back to the US to stand trial if he can argue the ethics of his actions to a jury. Permanent Record makes it clear just how persuasive that argument would be. Let's hope he gets to make it, someday.

In the meantime, the whole world owes a debt to Edward Snowden, both for doing what he did, and, now, explaining how he did it, and, most importantly, why.

Permanent Record [Edward Snowden/Metropolitan Books]

https://boingboing.net/2019/09/24/pardon-snowden-now.html

[otakween]

009-1 (2006) - Episode 11

I gotta say, the animation quality seems to have dipped quite a bit. It’s not really that it’s ugly, more so that it’s limited (lots of close ups and not a ton of detail). This show must have been made on a relatively low budget. Hopefully we get some higher quality for the final episode. This was one of those kind of boring “in-between” episodes in a three part arc. It did have some nice action though.

Notes:

-The two bad guys (main dude and torturer) had the exact same voice which was really jarring. I did a double take to make sure it wasn’t the same character.

-Loki returns which isn’t all that exciting because he hasn’t really done much this series. He’s pretty boring actually, all he has going for him is that he’s handsome and plays for the other team (not in the sexual way haha)

-Really annoyed by the fanservice in this show because it mostly involves drawing clothes in ways that clothes do not work. The way they draw butt cracks it’s like the girl’s skirts are wedged in there lol. Also, the boob socks: 

-Loved the fight on the train at the end and Mylene going rogue. It was pretty badass when she just kicked that dude off the train while on the phone lol

-Look at this guy’s ridiculously flat profile (Egg had this problem too):

(his nose looks very broken)