#the episode is more focused on the vicious cycle than the characters and plots | Explore Tumblr posts and blogs

luxshine · 4 years ago

Text

The Great Supernatural Rewatch Project - Salvation

I started writting this in the middle of season 13 but RL and work and some mental health issues made me take a step back from fandom in general and well, I was also fearing this would be an unending job since the series JUST.KEPT. GOING.

However, now that the series is done (And omg, what a clusterfuck that was. My tallies are going to go insane if I get there) and thus there’s an ending in sight, I will do my best to finish season 1, and try and get the rest of the seasons in a more timely manner. Say, before they do the inevitable reunion and ignore the last episode completely.

(I’m going to be honest, part of the problem was that Supernatural used to be SO good back then, and when I see the new episodes I weep a bit inside. I can’t believe they were so much better at creating story arcs when they weren’t TRYING to create story arcs)

Of course, now we all know that Dean’s plots in general will not have a happy ending no matter what, and that makes that particular tally bittersweet. But there are STILL people who claim that nope, Dean was never mistreated by the writers and well, Jack damn it, I am not going to let that claim go without bringing numbers to the table. Hopefully, it won’t take me 15 years to finish (Because by then, I would be the only one caring I guess)

In any case, last lap for Season 1 and we begin with Salvation.

General stuff

A specific reason for me having rage quitted this episode in particular for so long: For some stupid copyright thing with Netflix, they don’t have Carry On My Wayward Son as the song for the final recap –at least in Netflix Latam. And Supernatural without Carry On My Wayward Son is no Supernatural. So I had to hunt my DVDs. Then my computer DVD player died. Then I decided to make 5 webcomics at the same time. THEN I decided to start doing illustration works, and three other projects and let’s just say I am a bit of a workaholic and leave it like that as the rest is not SPN-related.

Ahem.

Funny thing about the Road so Far –you know, besides being a LOT shorter than the ones we’re getting now- is that it focuses a lot more on DEAN at the beginning, while if you watch the show, well, we know most of those Dean scenes come from MoW episodes and not the actual mytharc. Another interesting thing is that if one believes those things to be chronological, it makes it as if the Colt had been with the brothers for a lot longer than half an episode, and that Sam’s issue with the visions is not that recent. Edition Magic everyone! Also, omg, they were babies when the series started, and how WEIRD is to see John looking at them with pride and smiling at Dean at some points.

Anyway, the recap and the epicness that is Carry On my Wayward Son ends and we start the actual plot.

Hello Pastor Jim. Goodbye Pastor Jim. And here Supernatural begins the long, long tradition of killing characters who could’ve been useful later on, and more importantly, that could’ve been the boys’s support system later on. While here it’s understandable since we need to show how dangerous and vicious Meg is –ah, irony that in about 8 seasons people will be rooting for her Redemption- it also makes the Hunters kind of useless. I mean, he has all that weaponry and only uses a knife? Sigh. Really, a waste. Pastor Jim as a concept was really intriguing –and I don’t think we’ve heard of any other hunter who was also a priest. Funny, when we have so many demons free now. There’s also the fact that when Pastor Jim claims that she can’t be in the church because it’s hallowed ground, she replies that “That might work with the minor leagues, but not with her” and I wonder… did we ever got a demon that couldn’t enter a church? Because right now out of the top of my head I can’t remember, and yet Pastor Jim was surprised but later no one seems to think it weird there were signs of demonic activity around his body. Another sign that, as engaging as the series was, once we start digging the world building, things fall apart very quickly.

Actually, if I may digress for a bit, here we have the very first look at Supernatural´s second biggest problem: killing support characters that may have been useful lately. Here it is because Kirkpe had this weird idea that Hunting would never be glamorized by the show/fandom and it would be a completely miserable and lonely existence. He also didn’t think that the series would survive past season 2. So, ok, killing the guy we only knew by throw away lines didn’t seem so bad. By season 13 every single recurring character had died at least once –and there were petitions to bring back I think every one of those who haven’t come back- it’s a big problem.

As I restarted writing, I also realized that the mere existence of Pastor Jim and his room of awesome research and weapons creates a problem in the future about the Men of Letters because… ok, so ONE member of the clerigy knew enough about demons and stuff to be a hunter and have THE Hunter as his main contact (John Winchester was sort of a legend back then. And he had also fell out of contact with many others so the fact that he and Pastor Jim were still friendly? Kind of interesting), but what about the rest? Did the Vatican have any contact with the British men of Letters or the American ones? And if so, what the hell did they think when suddenly ALL the Men of Letters disappeared? Ok, so that’s a lot of stuff that doesn’t matter right now as it won’t actually exist until much, much, MUCH latter, but see what I mean when I say that they didn’t plan anything and the lack of a series bible hurts the show more than it helped it thrive? I am realizing right now I could write a whole treaty on the Men of Letters and their non-relationship with hunters ONLY using this cold beginning and the Henry Winchester episode.

But this is not the time for that, so we get our title card and a very, VERY young Jeffrey Dean Morgan.

We move to John who is explaining off camera everything he knows about Yellow Eye´s plan. We can tell it´s not much as he thinks it came out of hibernation and that the whole attacking families is part of a cycle, but back then it was impressive how much he had managed to find out about this demon. We also know that it attacks exactly when the baby in the house is six months old, which brings us to this little jewel:

JOHN It starts in Arizona, then New Jersey, California. Houses burned down to the ground. It's going after families, just like it went after us.

SAM Families with infants?

JOHN Yeah. The night of the kid's six-month birthday.

SAM I was six months old that night?

JOHN Exactly six months.

SAM So basically, this demon is going after these kids for some reason. The same way it came for me? So Mom's death...Jessica. It's all because of me?

DEAN We don't know that Sam.

SAM Oh really? Cause I'd say we're pretty damn sure Dean.

DEAN For the last time, what happened to them was not your fault.

SAM Right. It's not my fault but it's my problem.

DEAN No it's not your problem it's our problem!

Now, in the following seasons we will know that yes, it was ALL about Sam. But right now, the characters and the viewers don´t know that. We know that a lot of families were killed by the demon (That at this point was still “The demon” and wouldn´t become Azazael until later), and that he doesn´t take the children. So… how did Sam leap from “this demon attacks families with 6 month old children” to “It´s all about ME!”? He even ignores that Dean and John lost Mary for his last line, when he decides it´s his problem and not their problem. Also, and this is important for the “Dean is the most awful person to Sam” crowd… Dean immediately tells Sam that no, it´s not his fault. While he could harbor some ill feelings against Sam –and demon Dean, 8 seasons later, will voice them- at this point he is 100% on Sam´s side. There’s also a sideway glance from John to DEAN when Sam claims that everything is about him, and then I wonder exactly why, if John knew all about the fact that the demon chased six month old children specifically, he never resented Sam over it. One would think that given John’s love for Mary and deep desire to revenge, Sam would really be the outcast and the one only treated like a soldier (as he claims he was, but not really as we’ve seen), instead of Dean who was completely blameless in the whole thing.

(Also, this is the first time we see that Azazael´s plan didn´t make much sense IF we believed that Kirkpe had everything planned. But that´s a discussion for another time)

Anyway, John interrupts the argument to explain that while he has no idea what the demon is after (Another thing that later would be contradicted as he knew Sam had powers), but that he has managed to figure out his pattern of attack to the point that it even repeated it for Jessica’s killing (Even if much, much later, we’ll learn that it wasn’t Azazael the one who killed her, and Demons would completely forego the signs when attacking. Have I mentioned I miss the times when the myths made sense?) and the three of them pack up for their first real hunt together as they decide they will save the next baby on the demon’s list, in a town named Salvation.

Important thing to note: when John recites the demon signs, Dean immediately replies “that happened in Lawerence”. He remembers, quite clearly, what happened a week before his mother died even if logistically, at his age? He wouldn’t care nor notice. Sure, he remembers his mom’s death because that was traumatic. But random cow deaths before that? Weird show.

If Sam noticed or not the signs before Jessica died, we don’t know. John is the one who points out they happened.

After two gorgeous road shots where we see John’s truck being followed by Baby (yet another thing we lost, John’s truck. I know we needed to have the guys together all the time, but man, if Sam had inherited it, they would’ve been able to cover more terrain at times, have double the arsenal and maybe not being identified by everyone and their leviathan in season 7, but I digress), and just entering Salvation John stops, obviously spooked by something. As Dean stops behind him, they find out that Pastor Jim is dead, and John got a call from another hunter named Caleb to tell him. They assume it may be the demon they’re chasing, or maybe another demon that was looking for Pastor Jim specifically but that last theory is not very probable.

Here I have to pause to applaud Jeffrey Dean Morgan’s acting, as you can practically FEEL John’s despair at knowing an old friend of him died, and that HE was probably the cause for that death. A Winchester trait, of course, blaming themselves for everything bad that happens in their world, but unlike Sam’s early outburst, here it seems far more desperate. Of course, JDM had a lot more experience than Jared at that point, but I really wanted to make a note of it because we lost a LOT of that characterization for John, where he actually WORRIED about people and not just the hunt. Even as he decides the plan for finding out what baby the demon will take in a week, we can see him broken and confused. So much that while Sam calls him “sir” when receiving orders, Dean continues the conversation by calling him “Dad”.

John then declares that this ends now, obviously feeling responsible for what happened to his friend. A long shot from the flanderized man we’d hear about in future seasons who was infamous for letting his hunting partners die without so much as a second glance.

Also, and not to be mean to the writers, but in their endless accidentally making Sam unsympathetic, they made him say that there were too many children in the county that could be a victim and that it would take forever to check all of them. While I KNOW the intent was to make clear that they had a deadline of one week, it comes out weirdly as “I don’t want to do the footwork.” Seriously, writers should be careful with that.

Actually, let’s dissect that. Because I just thought of two ways they could’ve fixed it AND give us more info.

JOHN Now we act like every second counts. There's two hospitals and a health centre in this county. We split up, cover more ground. I want records. I want a list of every infant that's going to be six months old in the next week.

SAM Dad that could be dozens of kids. How do we know which one's the right one?

JOHN We check em all that's how. You got any better ideas?

SAM No sir.

So, first way to make Sam not look that bad: Give the line to Dean. I wouldn’t like it specially, but hey, he’s the sidekick, not the hero, and so far he has only wanted to bail on ONE hunt because he wasn’t sure it was a supernatural hunt so he’d be better standing than Sam in that regard.

Second way: Make Sam say that YES, he has a better idea. Because the brothers ALREADY faced Max, so he could say they could look for a baby that was a bit “strange”, like, with poltergeist stuff going around. John could not believe him, but at least Sam would be being proactive.

In any case, they separate as John planned and we see each of them get into the hospital records. We get a glimpse of John’s collection of fake IDs, that include one for a Morgue forensic doctor, then Sam getting a homely nurse giving him files and him taking notes, and Dean… getting flirty with a very hot nurse.

And I make a point of the “Oh, look, Dean is an irresponsible womanizer” trope because once again the writers shoot themselves in the foot by showing the opposite of what they were telling (And no, this time I can’t blame it on Jensen’s acting and refusal to look at his female co-stars without respect).

WOMAN Hi. Is there anything I can do for you?

DEAN (smiling) Oh God yes.

She smiles and looks down.

DEAN (Holding up his ID) Only I'm uh....working right now, so...

The writers here make us remember that a) Dean is AMAZINGLY charismatic, as the woman IS flattered and seems interested, and b) That he will NOT dump his work for a quickie. We don’t even get a “maybe later” that could make him look as if he was really into her. It’s just that he flirts naturally, or at least, this is what we can infer now, as so far he hasn’t had any one night stand fling. The one time we saw him have a sexual encounter in the middle of a hunt was with an ex-girlfriend.

And again I have to wonder what was Sera Gamble’s intention with those scenes as yes, this was written by the same team as Faith, another episode where Sam’s good intentions tend to have a darker side, and gave Dean some amazingly cool scenes.

We don’t know what Dean says to the woman, as we cut back to Sam, coming out of the hospital just in time to have a very convenient vision of a woman, a nursery and a fire. Thankfully, the vision also comes with the useful audio hint of a train passing by, so Sam gets out his map and starts checking where that could be, which leads him to the house in his vision.

And by this point, we know we’re in the right track and this is an important Myth Arc episode, because Sam only has multiple visions in Myth Arc episodes, and he has one the moment he steps in front of the house in said vision. The gods of convenience smile upon him as right then and there a woman pushing a pram comes by, and he manages to talk to her, all friendly like by pretending to having just moved. Then Sam learns the woman’s name is Monica, her baby is Rosie, and Rosie is just six months old, exactly to the day.

Also, that she’s a very quiet baby and that it sometimes seems as if she was reading your mind. Oh, and that Monica really is blind to suspicious men asking her about her family with a face that reads “Oh shit, this is bad”.

Now, HERE is where the whole “five year myth arc” story falls completely. I mean, we already knew it was pretty unlikely it was real, given Kirkpe’s original interviews, but the mere existence of Rosie contradicts every single future story beat. Because if SHE has powers before Azazael goes into her house, then it means that the babies he was hunting didn’t get powers because of him, just that his blood either connected them (hence Sam’s very specific visions), made said powers far more powerful (quite likely), or made them a little bit more prone to violence/prideful behavior. All of those possibilities match with the plan of “raising” a new King or Queen of Hell, that would be faithful to Azazael, but are a bit iffy on the “finding Lucifer’s vessel” thing. Especially since we later learn that the Angels were also helping, and all Hell knew that Lucifer’s vessel HAD to come from the Winchester/Campbell bloodline due to Cain and Abel being the roots of said bloodline, and later pretty much everyone knew Sam was Lucifer’s vessel so the whole targeting a ton of kids, in particular after Mary’s death, is kinda weird.

Oh, Lux, you will say, it is because he wanted to hide his true intentions! No one knew that Sam had been feed demon blood!

Except that the important parties, namely Heaven and Hell, did. Michael had Heaven convinced of his orders, so even if a rogue angel found out that they were speed running the Apocalypse, said angel could be killed. And any demon who was against getting Lucifer back on top would be smart enough to keep quiet so, why the secrecy?

And again, ok, I buy the original demon blood kids being important to “hide” Lucifer’s vessel but… Rosie? What good would it do to Azazael’s plan to have a psychic 4 year old when Lucifer rose? Was “little four year old girl” a good match against a grown up hunter? What was Azazel thinking, if that was the plan all the time?

Now, I want to make clear this doesn’t make THIS episode or the Season-myth arc bad. This original “Boy King of Hell” storyline WAS good. It had a lot of potential, made sense for Sam and since it was before the days of the eternal “What is wrong with Sam?” seasons, there was no boredom of a repeat. It also set a very good question of what made a monster a monster, which would be explored a bit more in Season 2. And it was long before we realized Dean having a myth arc was a pipe dream, so there was no issue there either. It made sense.

But the fact that the writers kind of forgot about everything I just pointed out with Rosie’s scene to try and weld this to the “Heaven vs. Hell” storyline in season 4, and then just promptly forgot because Sam’s powers were then firmly connected to Azazael’s blood so they never came up again and even worse, we never find another psychic kid that could’ve been feed blood by Azazael THIS year that John was chasing him? (Since we know there were no other survivors from Sam’s generation, and later we have a scene that proves that there were no previous generations to Sam’s), it's kind of weird. Personally, I dunno about you, but maybe a return to this storyline in season 6 would’ve been a lot better than we got. Maybe.

By the way, I am not counting the Boy King of Hell story arc as a dropped plot for Sam yet, as we’re going to keep with this at least until season 3. Yes, now we know it didn’t go anywhere, but at the time, and for these episodes in particular, it was THE myth arc of Supernatural. So it can’t be counted as dropped plot yet.

In any case, Sam goes and tells John and Dean about his vision and… oh, boy do we have to move John’s reaction to Emotional Violence.

It’s not good.

But before he can do more damage to Dean’s psyche, Sam gets a call from our favorite demon, Meg. Even if he doesn’t recognize her voice immediately which is weird because a) he did throw her off a window and one would think that makes a girl memorable, and b) it’s not as he knows that many girls who would call him, despite Dean’s best efforts to get him a new girl.

Meg dismisses Sam and asks for John. She makes clear that she is not playing, that she knows he has the Colt and that he will kill every single person who has ever helped John unless he gives it to her that same day at midnight. And to the brothers’ surprise, John accepts those terms (Unfortunately not before we loss Caleb too. I have a lot less interest in Caleb as a character given that he has exactly half a line in the whole show, but it’s still it’s sad to see a guy so defiant even in the face of death go so soon).

Meg also points out that John having the Colt is a “declaration of war” which is interesting as it sort of implies that if he hadn’t gotten it, then the demons would leave him and the brothers alone. And I find that incredibly funny since… no they won’t. And Azazael would’ve been ok if Sam kept the gun anyway, given why they really wanted and once again I am putting holes on the idea that this was planned from the start, aren’t I?

In any case, John declares that Meg is a demon “or is possessed by one” which… ok? First and only time we get the possibility of a demon not using a meat suit. I don’t think this is a mistake, because after all, this is back before the guys faced demons in a normal basis so they could believe that they had their own bodies besides the ones they possessed (And, more importantly, before there was a retcon that made the brothers face and know about demons since pretty much ever). To be completely fair, as much as I love Jimmy and the whole Lucifer arc once it started to make sense… I would’ve been ok if vessels weren’t needed. It added a lot of complications and ended up making the brothers actual serial killers.

Ahem.

After that little gem of wisdom that will be ignored forever, John declares that he will be taking the gun to Meg to avoid more killing and we get another questionable line for Sam. And I am curious as to how to tally it as it’s the opposite of him wanting to leave the hunt, but it’s not that nice either:

DEAN What do we do?

JOHN I'm going to Lincoln. DEAN What? JOHN It doesn't look lilke we have a choice. If I don't go, a lot of people die, our friends die.

SAM Dad, the demon is coming tonight. For Monica and her family. That gun is all we got, you can't just hand it over.

I mean, yes, it is true that the demon is coming for Monica (Well, actually, he’s coming for Rosie, the baby, but I will let that slip pass. Sam is not interested in married ladies), and that with the gun they can kill the demon but it’s not all they’ve got. By this time, Sam has already had his big hero moment when he exorcised a plane in free fall so they could do that, then chase the demon again and then kill it.

But what is jarring is how he hears “a lot of people die, OUR FRIENDS die” and he goes “yeah, whatever, we have a mission to fulfill”.

Which is precisely what later episodes will tell us John used to do, and was the reason why John was not exactly liked by the general hunter population. And at the same time, it’s an eerie reminder of Wendigo, where Sam is willing to let innocents die (his family friends, in this particular case, just as he heard Caleb choke on his own blood) in order to get his way (revenge on the demon that killed Jess. NOT revenge on the demon that killed his mom, since at this point, Sam is still on the “I never knew that woman” train of thought).

Sure, his mind is in the hunt, and that’s commendable because yes, in the long run, killing Azazael would save more innocents (And probably stop the Apocalypse, not that Sam or the writers at that time know it), but it is still strange to see our nominal hero simply not care for his friends’ lives. I mean, at this point WE don’t know about Bobby, so the closest to a parental figure that is not John that Sam had was Pastor Jim and he just DIED.

Worst part is, this could be solved really easy: Just have DEAN be the one who voices the complaint, and have “empathic” Sam mumble that there has to be a way to save everyone (Which, of course, John will mention in a second). It would make Dean look bad, sure, but we’ve been told once and again that Dean never, EVER goes against John plans. Which… not true, ut we will talk about that later. The scene continues, and John declares that he will go to Meg alone, with a fake Colt and while Dean thinks that that won’t work, Sam has a different complaint:

DEAN Yeah but for how long? What happens when she figures it out?

JOHN I just...I just need to buy a few hours, that's all.

SAM You mean for Dean and me. You want us to stay here, and kill this demon by ourselves?

JOHN No Sam. I want to stop losing people we love. I want you to go to school, I want Dean to have a home. I want....I want Mary alive. It's just....I just want this to be over.

And oh, boy. Do this four lines again hold so much weight.

First, once again, Dean seems to be worried for John (logically, he’s their dad), while Sam is making the weirdest line in the universe sort of work because he’s complaining that John is trusting them to kill the demon, something HE wants to do and not four seconds ago was saying they had to do, as if it was John shifting HIS job to Sam. Seriously, I don’t want to think the worst of Sam but when you take out Jared’s acting, the text doesn’t do the younger Winchester’s any favors.

And finally… John’s lines that encompass pretty much Dean’s philosophy in the following seasons. “I want to stop losing people we love” is pretty telling, but what comes next? He actually WANTS Sam to go back to college and not worry about the Supernatural. He actively agrees that Dean doesn’t have a home, and WANTS Dean to have one. It’s as close as love as we’ll see from John to Dean in Season 1, and it hurts. It hurts because we can tell he knows he won’t be there to see it… and now, in hindsight with the finale having aired, we also know Dean didn’t get that. (And to be fair, this is the John who did deserve Heaven. Not the flanderized version we’d get in the future)

Although, ironically, Mary got to be alive again, so… One out of three?

(No, seriously, it’s obvious the writers didn’t even remember this speech when Season 12 hit, much less Season 15)

Ahem.

Dean is sent to get a fake Colt, while Sam and John wait for him. If they talked about anything, we don’t know, but when they exchange guns, Dean voices what we all know is true:

DEAN You know this is a trap don't you. That's why Meg wants you to come alone?

JOHN I can handle her. I got a whole arsenal loaded. Holy water, Mandaic, amulets...

DEAN Dad... JOHN What? DEAN Promise me something. JOHN What's that. DEAN This thing goes south just...get the hell out. Don't get yourself killed all right, you're no good to us dead. JOHN Same goes for you. (There is a long pause) All right listen to me. They made the bullets special for this colt. There's only four of them left. Without them this gun is useless. You make every shot count.

SAM Yes sir.

JOHN Been waiting a long time for this fight. Now it's here I'm not gonna be in it. It's up to you boys now. It's your fight, you finish this. You finish what I started. Understand?

Again, I wish they remembered all they had to get rid of demons before, you know, killing everyone willy-nilly. I mean, I don’t even think I know what Mandalac IS but hey, John says it works, it works. And once more, Dean gets a line that makes clear he is the empathic, loving brother, when it wouldn’t have hurt Sam to say it. In fact, it would make clear that no matter what, he doesn’t hate John. But nope, Sam only acts like the soldier we’re TOLD Dean is, while Dean makes clear that for him, family is more important than revenge (And boy will that come to bite him in the ass later, not in the series, but in this same episode).

Also, I have to admit. When I started this rewatch, John’s final line was just a good moment for John to start letting go of his anger. Now? After that horrid finale? It hurts so, so much. But it hurts more because I KNOW that there’s no way it was intentional. Obviously, Kirkpe didn’t know the series would last 15 years, and I highly doubt Dabb remembered this scene when writing 15x20. But even so, it ends up being Dean’s epitaph. OUCH.

In any case, the Winchester separate again, and we go into act three. Get ready for the feels.

John Winchester hunting alone is a thing of beauty. Seeing him scope the place, check the water tank and immediately think of a plan? Makes me wish Jeffrey Dean Morgan had stayed longer on the show. Sure, John became an asshole, but in this episode he’s still not that bad, we still have no episodes that make clear he didn’t care for Dean, and wasn’t textually abusive. And I am willing to bet that if JDM had stayed, John would’ve evolved more to be a Bobby-like character. But well, What ifs is not why you came to this meta for.

As John is hunting, the brothers are staking out the house were they know Azazael will attack. And while they talk and decide that they have no way to get the family out (In a nice callback to how none of their excuses ever work) we get to this little gem of an exchange:

SAM I wonder how Dad's doing.

DEAN I'd feel a lot better if we were there backing him up.

SAM I'd feel a lot better if he were here backing us up.

Where once again we see where the brother’s priorities lie, and I wonder why the hell the writers ever thought they were writing Sam as an empathic character.

Because yes, Dean is wishing he could be out there helping his Dad, proving that for him, it has always been about the family. Not the hunting, but the protecting. But Sam doesn’t want to protect John. He wants John protecting Them. And helping them in the revenge hunt, not trying to save others.

Sure, we know the brothers are there to save an innocent mother, but John is also saving a ton of hunters and people who, in the past, were nice and open to the family. And it would’ve been so much easier to make Sam look better if he instead had said “I’d feel a lot better if we hadn’t had to separate” or something like that, that proved he saw BOTH missions were important.

Seriously, I do wonder why the writers made these choices, and I wish someone had asked this at cons.

We go back to John, who, really, Is an amazing hunter even if he is a horrible father. Also, I wonder if he got ordained at a web church, in order to be able to sanctify water. That would be such a John Winchester thing to do, and I do wonder why the boys never did it too. ANYWAY, he hands the gun to Meg, and to her ally that came so that we could have a scene to prove the Colt is fake as the ally shoots Meg.

As John says, Meg was lucky the gun was fake. And once again, I do wonder what the plan was if it WAS the Colt. I mean, Meg was Azazael’s second in command. Why would nameless demon risk killing her? Or did he kinow the gun was fake?

In any case, this makes the moment where we can be 100% sure that Meg’s meat suit 1.0 was dead. I mean, she could’ve survived the fall in Shadow, but a bullet to the chest? No way.

We go back to the brothers, and Sam breaks every single law of a procedural show by giving this great speech about how thankful he is to Dean for everything, and how he needs to say that “in case” something happened.

Dean is definitely not impressed and reminds him that the only one dying today is Azazael.

As we see John temporarily escape from Meg and her muscle boy, we go back to the brothers who see the demon omens start up so they get ready for the final fight.

The brothers manage to save Monica and her baby, despite the very understandable interference from Hubbard, the husband (I mean, you would not react nicely to two strangers intruding in your house and yelling to your wife to not go into the nursery room), however, before Sam can shoot Azazel, he disappears into smoke (A really interesting question here is, WHY did Sam wait to shoot and then wasted a bullet, but I digress).

Going completely against M.O, Azazael makes the CRIB burst into flames, but fortunately Dean has already gotten Rosie out of it so the brothers escape the flaming house. While Monica cries her thanks, Sam notices that Azazael is still inside, and tries to go after him, but Dean stops him because he is not going to lose his brother to the fire. By the way, I am not counting “Dean stopping Sam from going into a burning building” as “Dean forcing Sam to do something” since, uh, he was saving Sam’s life and it’s something anyone in Dean’s place would’ve done.

At the same time, we see John getting captured by Meg and her muscle boy because he didn’t think about getting a third escape route (But honestly? That was pretty much a plot necessity. John was HEAVILY prepared for that fight)

Back in the hotel, Dean is worried that John is not answering his calls, while Sam is furious that Dean didn’t let him kill himself by running into a burning house. They have a nasty fight that mirrors the one they had back in the pilot, but since it IS a fight between the brothers, you know the drill. We’re examining it under Violence.

Once Sam calms down, he tells Dean to try calling John again. Unfortunately, it’s Meg who answers and she tells Dean that they’re never seeing their dad again.

And we get the first “To be continued” for the series (Which to be honest, despite all the little continuity mistakes I mentioned here? Is still pretty epic)

Violence

Well, we had to run out of episodes where the brothers don’t fight each other at some point, didn’t we?

This fight, over Sam wanting to kill himself in his search for revenge, is a very neat parallel to the fight they had back in the Pilot, over Sam NOT wanting to even involve himself in the family’s search for revenge. Which I know it’s supposed to be ironic and a show of character growth since now Dean is the one saying that revenge is not worth their lives but… it falls a little bit flat because the reason why Sam is so gung-ho in killing Azazael is, once again, a very selfish one and the way in he expresses it makes it quite clear. (Again, I do wonder if the writers stopped to think about the implications of Sam only getting really into hunting when it was about him or his losses?)

But let’s start at the beginning:

SAM If you had just let me go in there, I coulda ended all this.

DEAN Sam, the only thing you would have ended was your life.

SAM You don't know that.

DEAN So what, you're just willing to sacrifice yourself, is that it?

SAM Yeah. Yeah you're damn right I am.

DEAN Well that's not going to happen, not as long as I'm around.

This right here? Is a nice summary of the relationship of the brothers for the whole series. Sam wants to do something stupid, like, say, running into a burning building, Dean is there to stop him before he hurts himself.

Also, let’s make clear the use of first person by Sam. It’s not “We coulda ended this”, as in the family ending the hunt, but “I coulda ended this”. Again, at this point, not something that is a problem, but considering hindsight, we can see how the writers are completely invested in SAM as a sole main character, and write him as such, while Dean is more of the sidekick.

In any case, the argument continues, still not escalating to violence.

SAM What the hell are you talking about Dean, we've been searching for this demon our whole lives. It's the only thing we've ever cared about.

DEAN Sam I wanna waste it. I do. Okay? But it's not worth dying over.

SAM What?

DEAN I mean it. If hunting this demon means getting yourself killed then I hope we never find the damn thing.

Important thing how Sam apparently forgot he left for four (two) years and wanted out of the family business, now that he is angry and into the revenge thing. It’s not “You’ve been searching for this demon your whole life”, which would’ve been correct AND a logical counterargument against Dean. Before this episode, Sam was supposedly the brother who understood that revenge was a way of living, while Dean is the one who was Daddy’s little soldier. But here, when it actually would matter to the narrative, it is as if Sam’s wishes for a normal life are completely forgotten and it’s Dean the one who understands that there’s more to living than revenge (Which, btw, is consistent through the season despite everyone claiming that Dean needs Sam to keep hunting. All season, Dean has been giving Sam outs, telling him it’s ok to quit)

And of course, Dean here proves that Sam is more important to him than revenge for his mother, as he is willing to never get to kill the demon as long as his family, his brother in particular, survives.

Poor Dean.

SAM That thing killed Jess. That thing killed Mom.

DEAN You said yourself once, that no matter what we do, they're gone, and they're never coming back.

SAM Don't you say that, not you! Not after all this don't you say that.

DEAN Sam look. The three of us...that's all we have...and it's all I have. Sometimes I feel like I'm barely holding it together man...and without you or Dad....

Unfortunately, script doesn’t quiet convey the scene as there’s a LONG pause between “That thing killed Jess” and “That thing killed Mom”. Enough so that we can believe that Sam is using that second phrase not because he cares (in the Pilot he made clear he didn’t), but to make Dean get on board with the whole “I can kill myself if it means getting revenge” plan. In other words, once again, Sam is weaponizing Mary against Dean, and that is a really nasty habit the younger Winchester never quite shakes out of. Instead, Dean shows how he LISTENED to Sam back in the Pilot and repeats Sam’s words to him on the bridge.

Which is when Sam loses it and pushes Dean against a wall, Dean not defending himself at all, and yells that Dean has no right to say what Sam told Dean the very first hunt they had together after years of separation.

And of course, once Dean mentions their father, Sam starts calming down. NOT when Dean says that he’s barely holding it together, or that he only has them. Just when he mentions their father who is, in Sam’s mind, the one who can help him get revenge.

The fight ends, but Sam never once apologizes for what he said to Dean, nor for the fight. Which, by the way, contradicts his claim that Dean “always has his back”.

Emotional Violence

Whenever we have John on an episode, we’re going to have to talk about emotional violence and I kind of hate that because on one hand, I get how John could’ve been a very tragic figure that loved his sons but still wanted to avenge his wife, and not being the abusive bastard we know and don’t love that much.

When Sam and Dean explain about Sam’s visions, and how they started as nightmares but have grown in intensity, his reaction is quite subdued, but clear. He is not happy, but the problem isn’t the visions –for a man obsessed with the supernatural, his outward reaction to his younger son being a psychic is quite calm- but that they didn’t inform him of what was going on:

JOHN All right. When were you going to tell me about this?

DEAN We didn't know what it meant.

JOHN All right, something like this starts happening to your brother, you pick up the phone and you call me.

DEAN dumps the coffee jug and cup back on the counter and strides toward JOHN.

DEAN Call you? Are you kidding me? Dad I called you from Lawrence all right? Sam called you when I was dying. I mean, getting you on the phone? I got a better chance of winning the lottery.

JOHN You're right. Although I'm not too crazy about this new tone of yours, you're right. I'm sorry.

And let’s be clear, John’s anger is not directed at Sam, it’s directed at Dean. “Something like this starts happening to your brother” is not “Something like this starts happening to either of you”. Which is also a show of how good an actor JOHN is in universe because WE know that he knew. Missouri TOLD him point blank that Sam was powerful and that he could have known that John was around during the Home episode. But here, he acts as if this was news to him when he could ALSO have told them what to expect if that happened. (Mind you, I am assuming that Sera Gamble knew or remembered about Home’s script when writing this and didn’t just forget or was unaware that John was supposed to know)

Now, all season, Sam has been complaining and yelling about how John doesn’t answer their calls, doesn’t seem to care what’s going on with them. So it’d be logical and in character for Sam to say something here. But instead is DEAN, Dad’s little soldier, the one we’ve SEEN obeying John without question finally have enough and talk back to his father with some truths. And it’s VERY interesting that his first complain is not that John didn’t care that Dean almost died, but that he didn’t reply when Dean called from Lawrence. One could almost infer that Dean expected John not to care if Dean died, but was honestly hurt that he didn’t care about a case that could’ve involved MARY.

John, surprisingly, sort of agrees. He does say “I’m sorry”, which makes him the Winchester who is quicker to say those words… but he still manages to make a threat against Dean “I am not too crazy about this NEW tone of yours”.

Making it clear that before? Dean never talked back. And John doesn’t like it when his soldiers talk back.

It makes it hard to believe John ever thought of Dean as his son and makes it very clear why Dean never understood Sam’s confidence that Dean was the favored one.

Speeches and Apologies

I considered not including this particular speech, but then I remembered that Supernatural is ALSO famous for their big emotional speeches, and this is Sam’s first, and also, Dean’s first time listening to someone he cares about give him the “I am saying goodbye because I am going kamikaze” speech and after all the drama in season 15, I guess it’s necessary to do some dissection.

It is important that despite all the things that Sam has done to Dean, the words “I’m sorry” are never uttered here.

SAM Dean...ah...I wanna thank you. DEAN For what? SAM For everything. You've always had my back you know? Even when I couldn't count on anyone I could always count on you. And ah...I don't know I just wanted to let you know, Just in case DEAN Whoa whoa whoa, are you kidding me? SAM What? DEAN Don't say just in case something happens to you. I don't wanna hear that freaking speech man. Nobody's dying tonight. Not us, not that family, nobody. Except that demon. That evil son of a bitch ain't getting any older than tonight, you understand me?

This is not a bad “freaking speech”. I understand why Dean didn’t want to hear it, because it is like jinxing the mission (And, let’s be honest, it did), but it’s not a bad speech.

Except that, reading it again, it lacks one important part. Sure, Sam thanks Dean for always being there (Forgetting that, at least three times this season alone, he has accused Dean of not having his back and being unreliable. Which will ALSO be a constant theme in the series’s long run), but he never mentions the times HE did things that would be hard to back up. Which, again, I am not counting as a bad thing against him in this precise moment in time, since he is young, in his roaring roadtrip of revenge, and we’ve only know the brothers for a year, but it is the beginning of a series’ long crutch to make us forgive all of Sam’s sins without him actually doing the work to be forgiven.

On the other hand, it all goes to waste a bit later when Sam starts hitting Dean for the horrible sin of not letting him run into a burning building and kill himself so… it’s not really a “thank you for having my back” speech but a “You better remember, you never fight me and my choices are the best” speech in hindsight. Which… not good on Sam, no.

Double narrative standards

This episode is kind of balanced, except for that little moment where we’re supposed to think Dean is wrong for telling Sam that revenge is not worth their lives. So there’s not much to write in this particular segment.

Final Tally

Ok, back in the saddle. And after all that, I decided not to tally Sam’s little slip about not caring if their loved ones die as long as he gets to kill Azazael. Let me know if you disagree.

The count is still not good on Sam’s side, but as always, you are free to disagree with me, and dm me if you think I missed a tally or I should change one. If your argument is solid and canon based, I will listen to it and may change the numbers.

Numbers (or the TL;DR summary)

(Episode/Total so far)

Times Dean has lied to Sam or to a loved one: 0 / 0

Times Sam has lied to Dean or to a loved one: 0 / 3

Times Dean has been caught in a lie: 0 / 0

Times Sam has been caught in a lie: 0 / 1

Times Dean has hit Sam in anger: 0 / 1

Times Sam has hit Dean in anger: 1 / 4

Times Dean's lies or secrets have caused someone's death: 0 / 0

Times Sam's lies or secrets have caused someone's death: 0 / 1

Times Dean has abandoned (Or wanted to abandon) a hunt in the middle for his own needs: 0 / 0

Times Sam has abandoned (Or wanted to abandon) a hunt in the middle for his own needs: 0 / 7

Times Dean forced Sam to do something: 0 / 0

Times Sam forced Dean to do something: 0 / 7

Secrets kept by Dean: 0 / 1

Secrets kept by Sam: 0 / 2

Times Dean has blamed Sam for something: 0 / 0

Times Sam has blamed Dean for something: 1 / 4

Times Dean has apologized with words to Sam: 0 / 3

Times Sam has apologized with words to Dean: 0 / 2

Times Dean has respected Sam's boundaries and/or rules: 0 / 7

Times Sam has respected Dean's boundaries and/or rules: 0 / 0

Times Dean hasn't respected Sam's boundaries and/or rules: 0 / 0

Times Sam hasn't respected Dean's boundaries and / or rules: 0 / 13

Times Dean has made fun of something Sam does or has: 0 / 6

Times Sam has made fun of something Dean does or has: 0 / 31

Times we focus on Dean's needs: 0 / 1

Times we focus on Sam's needs: 1 / 6

Arc episodes dedicated to Sam: 1 / 7

Filler episodes dedicated to Sam: 0 / 6

Arc episodes dedicated to Dean: 0 / 0

Filler episodes dedicated to Dean: 0 / 4

Arc episodes dedicated to both brothers (or to none): 0 / 2

Filler episodes dedicated to both brothers (or to none): 0 / 2

Dean's Dropped Plotlines: 0 / 1

Sam's Dropped Plotlines: 0 / 2

#Supernatural rewatch project #Salvation #Dean Winchester #Sam Winchester #not very Sam positive #John Winchester #Season 1 #Season 1 episode 20 #SPN #Supernatural meta

57 notes · View notes

nellynee · 5 years ago

Text

FowlPlayAU (aka Miraculous Peacock Marinette AU)

Literally no one asked but I don’t care. An AU in which Marinette holds the Peacock Miraculous

This actually developed from a few different threads that I tugged on over the course of a few months.

I guess the starting point for this was probably the season 1 episode “Simon Says” with the very short but profound moment of understanding between Gabriel and Ladybug over the pedestal they both placed Adrien on and the subsequent really, really heavy handed comparisons everyone kept making towards everyone else about who resembled Emilie the most

Basically I thought this episode was the heaviest seed in the narrative of the parallels between Gabriel and Marinette, both fashion career focused workaholics who take way to much responsibility on their own shoulders and get obsessive to the point of destructiveness over their respective, similar love interests, and using those parallels as a point of interest in showing both Marinette's growth as she moves beyond that destructive mentality and towards regarding Adrien as a person and how Gabriel’s “love conquers all” mentality isn’t an inherently positive thing but no. *sigh* no, they needed more screen time for one time characters. It fleshes out the world,yes, but not the characters. LOTS of interesting long term threads were dropped in favor of broadening the cast to try and shoehorn that “kid superhero group” into the show that was originally tossed. Basically I’m saying that I do think Gabriel and Marinette have enough in common to surprise some people, including each other, and I’m a sucker for intergenerational friendships

The second main factor was the small subplot at the time of Gabriel suspecting Adrien of being Cat Noir. I got really interested after “Gorizilla” about what might actually happen if Gabriel did figure out that Adrien was Cat Noir at that point in the series (I have words about Cat Blanc, trust me. No those words aren’t “throw the whole mess out the window” because I actually love it. But many, many words) Going off the heavy handed implications that Emilie was the former Peacock, I thought it would be interesting, and in character, for Gabriel desperately analyze his son’s behavior as Cat Noir, trying to figure out WTF Adrien thinks he’s doing, only to realize that Cat Noir has some pretty obvious affections for Ladybug. This is unacceptable of course, but understandable in a “he’s a hormone ridden, teenage boy, and Gabriel was once too the same sort of boy in love with the same sort of heroin” sort of way. The obvious answer to getting rid of what is the only possible obstacle for his son’s cooperation (I was going off the pilot with the potential of Cat Noir as a Hawkmoth agent because of their familial connections) is to get rid of his affections, and since it has to be shallow, he’s too young and also Gabriel controls his whole life so it can’t be love, then all he has to do is shift his son’s affections. Cue an uncomfortable number of episodes in which Gabriel subtly inserts a B plot into his Akumatized villains by trying to push various girl together with his son in carefully controlled circumstances. Because this is before Kasumi, and again, those nice parallels between Marinette and Gabriel himself, he eventually after trial and error settles on Marinette as the perfect candidate. Thus, we get a series of hilarious situations in which Marinette and Adrien are pushed more and more into high pressure uncomfortable and intimate situations, losing time and ability to turn into their superhero personas as a natural deterrent to power creep and justifying the use of other Miraculous users a lot more.

I saw someone comment in one of their author’s notes on a fic a long time ago that they hated the trope of Marinette being an emotional Atlas and my instantaneous internal response that that kinda WAS Marinette's character early series, especially the origin episode, and that a lot of the most prevalent fics were written in that time period, and that really intense response from me really stuck.

Peacock aesthetic. yup, that alone gets an equal piece of the pie

So yeah, if any of that interests you, keeping in mind that on top of potential sympathy and understanding of his actions, Gabriel is still absolutly a shitty person, then the actual (canon divergent) AU is under the cut.

The actual thing diverts during Stone Heart, in which the moment Marinette decided to become Ladybug for realsies rather than try to faust it off Alya doesn’t happen. Rather than deciding to put on the earings, Marinette distracts the monster enough they can get away. Alya finds the earings, and takes up the Mantle of Ladybug.

This decidedly marks a regression in Marinette. Where as Ladybug, and with Tiki’s constant assurances and influence, Marinette learns to work past her urges to take responsibility for everyone’s emotions, Marinette has now lost that constant companion, and has to deal to with her new best friend’s time being diverted

Cut forward to “Stormy Weather” and Marinette has fallen into a vicious cycle of guilt. The little creature had told her it was her destiny to be Ladybug. And while we know that the situation with Hawkmoth is not much different than it is in canon, Marinette is totally convinced that the only reason Hawkmoth is still around hurting people is because she rejected the call. That guilt has built into a feeling of impotent inadequacy that convinces her that she’s no longer deserving of the Ladybug roll, and so she’s both unable to do anything, and responsible for Hawkmoth still being around.

The most prevalent of episode changes is Lady Wifi. It’s Marinette who’s akumatized, not Alya, and it’s a fairly traumatizing, but empowering experience for Marinette.

The ultimate culmination of this is this universe’ “Volpina” episode, where, in the background of main battle events, Marinette gains an understanding of the suspicions that Gabriel might be Hawkmoth, and in the climax of the battle, believing Adrien in danger, she confronts him, confirming his alter ego.

In a scene I have no time to actually extrapolate on, if your curious, just ask, Gabriel and Marinette come to a tentative understanding. He’ll give her the powers to protect his son, and she’ll actually have some sort of control in her life again. This akumatization takes the form of a faux Peacock Miraculous.

This marks the first half of her partnership as an antihero with Hawkmoth. (and yes, I do have the mechanics of how he can akumatized more than one person at a time without Catalyst, which will be extrapolated upon request, but this is long enough already)

Again, I wanna draw attention to those Sweet, Sweet Marinette and Gabriel parallels. Gabriel, through half truths and carefully peppered moments of emotional manipulation and practiced vulnerability, attempts to B plot Marinette into stealing the Miraculouses. Believing herself to be at least somewhat in his thrall, Marinette allows herself to empathize with his plight, and they build a surprising, if strained, raport.

After discovering that she is not, in fact, under Hawkmoth’s control Marinette rebels just long enough to have Hawkmoth take back his Akuma, and Marinette caves the next time Adrien is in Genuine Danger, stealing the real Peacock Miraculous and using it.

This marks the second half of their partnership, and Hawkmoth reveals that the miraculous is broken, and Marinette is now dying from it’s use, and that her only choice of survival is to help him make his wish. This evens out the power balance, at they both now have the same goals and powers independent of each other, but also ups ante.

That’s the most tldr general of overview, with other more specific highlights like

Ladybug!Alya having to reach her own emotional maturity, her earlier stint as a hero leaving her with a much bigger ego in terms of how she perceives her impact of the morale of the city and where her priorities lie in trying to boost that morale vs her personal needs. Ladybug!Alya tries too hard to take notes from already established heroes and public images. She still runs the Ladyblog, Spiderman style.

After quickly realizing (after some confusion) that the Ladybug he fought Stoneheart with the last time is not the same as the one he fought the first time with, Adrien gets a big old case of the pining sighs

Early series Adrien and Alya are both not the type to value secret identities, and so yes, they do reveal said identities to each other fairly early.

They also can both keep a fucking secret, so it works. They are secret BFFs

After the first time Adrien is rescued by the mysterious Peacock Holder, he figures out that whoever she is, she’s the original Ladybug, and more and more ends up distracted and drawn away from fights by her, the perfect reason for Alya to have to bring in other miraculous users. (the interactions tend to take place on moonlit balconies. There’s heavy Pilot influences here)

Marinette does this thing where she spreads her fan when she’s startled and hides her face. Mostly because Cat Noir wont stay out of it. The miraculous’ memory means she tends to fan speak a lot. Symbolism

Speaking of symbolism, the character designs are rife with them. I know exactly what Peacock Marinette looks like and there’s a reason for everything.

The subplot where (inspired by the pilot) Cat Noir finds out that there used to be a curse on the ring that could only be lifted by a kiss from Ladybug (thanks to her creation/retcon powers). Cat Noir convinces (inaccurately) himself that his destruction powers can totally do something similar with Hawkmoth’s mind control now all he needs is to kiss the Peacock user and she’ll be free! She’s totes not a bad guy!

Yes, Marinette does get a different miraculous ala being an episode helper, and her emotions are complicated about it

And other fun tidbits. This got way to long but I’m more than willing to extrapolate on anything more specific that anyone is curious about

#miraculous ladybug #miraculous au #peacock miraculous #mlb #peacock marinette #FowlPlayAU

35 notes · View notes

littlemisssquiggles · 6 years ago

Note

as a fellow pinehead, i dont personally ship rosegarden. i have no problem with it, but i just wish there was more content that focused solely on oscar instead of his relationship with ruby. i appreciate your blog since you actually make a lot of stuff pertaining to oscar specifically, i just wish it was more common ;w;

Inthe fandom or in the series? I’m assuming it’s the series because I think there’sa good bit of Oscar-themed stuff in the Pinehead community like art andtheories =D

Asfor the series…I…well----IfI’m being completely honest Flame, even though I’m a big Rosegardener, Iwouldn’t want Oscar’s entire story revolve only around hisgrowing relationship with Ruby either. Though I enjoy every last Rosebud bonding momentthe series tosses my way, if Oscar’s character comes to only focus on his bondwith Ruby and nothing else then it would unfortunately fall into the same issueI had with Oscar’s story with Ozpin.

Whatintrigued me the most about Oscar as a character was his potential. What drew me towardsOscar wasn’t his connection to Ozpin but how the writers were going topotentially tell his story as this newestaddition to the hero cast while going through the transition of being theperson that’s meant to become Ozpin’s successor. I was intrigued to see how thewriters were going to handle Oscar’s development while juggling his conjoinedstory with Ozpin and any shared relationships the two might have with othercharacters.

However, thus far, one could make the debate that Oscar’s story and personality has mostly been forged by his ties to other maincharacters meaning that his overall presence thus far has mostly served todrive another character’s narrative while not really touching much on his own.

If it’s not Ozpin then it’s Ruby and if it’s not Ruby then it’s Jauneand there hasn’t been much attempt to fleshhim out beyond that. This justifies why C9 upset me so much. Rather than havingthe episode focus on how Oscar handled taking in Jaune’s accusations againsthim from C8 or even showing both Jaune and Oscar’s feelings in the episode as aforeshadow to them growing close as potential teammates. Instead, we only gotJaune’s perspective while Oscar’s was completely omitted from the episode, toldto have happened off screen which left some Pineheads very dissatisfied.

Oneother complaint about Oscar in V6 C9 that I’veseen is that the Writers used him as a plot device to drive development forJaune as opposed to what C8 set up which looked like Oscar’s feelings weregoing to get touched upon. As much as I’ve gotten over some of my gripes aboutC9, Oscar going from being depressed in C8 to being perfectly fine in C9without much on-screen address will always remain jarring me.

WhenI review C9,somehow I feel like there was supposed to be a short 12-13 minute standaloneOscar-centric episode between the events of C8 and C9 that would’ve explainedwhat happened with our farm boy after he went missing in Argus that got cutfrom the season. V6 was originally announced to have 14 episodes before reducingto 13. I feel like if the CRWBY had gotten the chance to do the original 14, wecould have gotten that Oscar-centric episode that tied into C9. But…that’sjust me assuming things.

Notsure how long you’ve been following my blog Flame but forthose who’ve been reading my musing posts since V5, I’ve been gunning for Ozpinto be temporarily taken out of the story solely for the possibility of theWriters finally given more depth toOscar as his own person outside of his story with Ozpin.

InV5,Oscar mostly took a backseat to Ozpin. I went into V5 thinking we would get to seemore of Oscar’s own personality as he learns to become a huntsman whileconnecting with RNJR and simultaneously training to fill the big Wizarding shoesthat he was meant to take over. Instead what we mostly got was Ozpin stealingthe screen time rug from underneath Oscar’s feet pushing him to the back as wegot more of him than Oscar.

Oneof the common critiques I heard for Oscar is that he’s been treated like a body suit forOzpin---a new face the old Wizard could wear while the Writers didnothing to develop Oscar as his own person.

Asa Pinehead,I hated hearing that complaint about Oscar because obviously there was more tohim than just a body for Ozpin to take over when he saw fit, as most Pineheads seeOscar. However, I unfortunately couldn’t blame other fans for thinking that waysince…well…the show hasn’t really done much with Oscar within two seasonsadmittedly. Not really.

Evenwhen Ozpin is out of the story, we still didn’t get to learn much else aboutOscar. With Ozpin going into isolation, I was hoping V6 would have been the season wegot more insight into Oscar as his own person. Did we? Well the verdict is stillout on that since the season isn’t complete yet. But if I had to answer thisquestion based on what the volume gave us within the last ten episodes, theanswer would be a disappointing no. Though the set up for Oscar’s growth wasdefinitely there, it didn’t exactly go anywhere...at least...not yet, maybe there’s still a chance.

I mean we still gotthree whole episodes left for our precious farm boy to shine like gold brighter thana supernova but I can’t help my slight skepticism based on this season’s run with him. Nonetheless I am curious to know what the full payoff of this season is going to be like for Oscar.

After all that’s happened this season in ties to Oscar and Ozpin, how is it all going to end?

This is why I started toying with the concept of Oscar returning from the dead as immortal after sacrificing himself to protect someone he cared about, like Ruby.

This way the Ozma legacy would continue with Oscar without the threat of him losing himself in the process. We all pretty muchanticipated Oscar eventually taking Ozpin’s place within the hero team but thisway, Oscar doesn’t have to change who he is.

He can still be his own person, cementing what Ruby told him in V6 C4.

“...I’m just going to another one of his lives, aren’t I?”“Of course not, you’re your own person.”

If immortalized, Oscar can still be himself and thus,we as an audience can still be given more opportunities to learn more aboutOscar as himself. Oscar can still fulfill his destiny as one of the Wizards ofLight but still make it his own by having his experience and final outcome be different from his predecessors.

Istill stand by my hunch that Oscar is meant to be the one to end it all. Endthe vicious cycle of reincarnation. End the curse.

It would be such a cool twist if Oscar met the God ofLight in the Realm between Realms and begged the God to grant him immortalityso that he could end the suffering of Ozma and the past Wizards; instead usinghis newfound power to protect the lives of the people who matter the most toOscar all the while fighting to stop Salem as her true adversary.

Jinn said that in time Salem wouldmeet her adversary but when you look at it like this, was Ozma ever trulySalem’s destined foe?

Think aboutit. Ozmawas originally Salem’s lover. Her former companion and the father of her children.Though they became sworn enemies who fought against each other, a part of mewould like to believe there is a part of Salem and even Ozma that stillharboured love for each other.

What I love about the Fairy Tale romance is that they shared a deep love so strongthat Salem was even able to tell that it was Ozma’s soul from behind the faceof Diggs when they reunited the first time. Salem loved Ozmaso much she even recognized him in the body of another man. That’s powerful.

Iknow Salem hates Ozma now but imagine if all that hatred she feels is just herlove corrupted by the burning destructive magic that turned Salem into thewicked witch she is now. As a matter of fact, there is something I’ve wonderedabout Salem. If Salem was able to sense Ozma’s soulfrom inside Diggs due to their love, if Ozma’s soul is to disappear completelyfrom this world…would Salem feel it?

Likelet’s say my theory about Oscar coming back from the deadalone as himself immortalized with Ozpin and essentially the culmination of allthe other Wizards over the centuries, including Ozma, going off to the afterlifeto rest in peace…would Salem feel Ozma no longer being a part of Remnant?

I know this conceptseems farfetched but somehow I’m picturing Salem as being the type of person who holds a grudgefor a very long time but the minute they discover that the person they’ve hatedfor so long is gone---truly gone forever, suddenly all that anger and ragedisappears as their true feelings forsaid person start to resurface.

Likepicture Salem being alone in her lair when Oscar is revivedand she suddenly senses Ozma’s soul disappear.Like even though they’ve been apart for eons, somehow through her corruptedheart there has always been something that still connected Salem to Ozma. A little light oflove. Though Salem did her best to cover that light, still it remained.Taunting her. Bothering heruntil she had no choice but to snuff it out sendingher forces to kill the source of that light.

Butjust like life, the light would always return until one day, the light finallydisappeared and unlike the previous times, it felt different.

Imagine…how Salem would feel tolearn that Ozpin---Ozma is gone. Truly gone. Somehow, I can just picture Salembeing in her lair of darkness when she suddenly gets a feeling of the windbeing knocked out of her. She then clutches her chest as she realized whathappened. He’sgone. He’s…actuallygone. No longer did she have the light that connected her to Ozma.

He…was gone again and for a second time, Salem found herself in a world withoutthe man she defied the Gods for. And for the first time in years, what she feltwasn’t pure rage. But a familiar sadness that she hasn’t felt since the day shefirst lost him and when Salem looked at her reflection, she was surprised tonot see herself but the face of a young woman crying for the loss of the manshe once loved for the second time in her lifetime.

Thatcould really interesting. I doubt we’ll get something like this for Salem inthe canon but it could’ve been something interesting to send off her characterstory for this volume. After all, we haven’t seen her since C4 but c’est la vie.

Ithink it would be really cool if the adversary Jinn foreshadowed Salem having isin fact Oscar. And if Oscar becomes an immortal justlike Salem, incapable of dying just as her then that would make him her true adversary as opposed to the original arrangement with Ozmaonly reincarnating in the bodies of likeminded souls.

Butas always, these are only my theories. I feel like we have a higher chance ofseeing Ozpin come back or the Merge occurring than Oscar actually changing thecycle with his sacrifice to be the last reincarnation. Buuuuut I’m still going to play with the idea.Whether it becomes canon or not, I really like my Oscar Immortalized/ The Last Wizard of Lighttheory too much to let it drop. Can’t wait to discuss it more next week.

Inthe meantime, I’m really glad you enjoy my content Flame. Thank you so much forappreciating my stuff and putting up with my bazillion and one Pinehead headcanons XD

I’dlove more Oscar-centric content too, mainly from the actual show. But we got threeepisodes remaining m’friend. Who knows? Maybethe CRWBY Writers might surprise us with something truly Oscar-worthy.

~LittleMissSquiggles (2019)

#squiggles answers: rwby #oscar pine #professor ozpin #oscar and ozpin #salem and ozma #rwby salem #rwby theories #rwby spoilers #flame-cat

36 notes · View notes

animebw · 6 years ago

Text

Binge-Watching: Zetsuen no Tempest, Episodes 16-18

Warning: the following episodes are so bad that I nearly had an aneurysm watching them. Nothing but rage lies below the cut. Proceed at your own risk, hazmat suits recommended.

IDGAF

I think I’ve come to a certain conclusion regarding bad shows; they tend to get worse over time. See, the thing about bad writing is that it often stems from ignorance above all else. Ignorance of how characterization and plot progression works, ignorance of how to get your audience invested, and ignorance about how to effectively tell the story you want to tell. But because bad writing is ignorant, it also doesn’t know it’s bad, and in fact, it would consider itself quite good. Thus, not only does it not recognize its mistakes in the moment, it keeps building on those mistakes with equally misguided attempts to capitalize upon the supposed goodwill those moments brought up. For example, if a show has an annoying comic relief character that it thinks is just hilarious, it will likely keep shoving that character to the forefront in order to build on the jokes its established with him. But since these jokes are bad, and the writing is both still too ignorant to recognize that fact and still too flawed to make better jokes, the attempts to expand upon this already unfunny material only results in even less funny material that wrongly assumes the audience is loving the shit out of it, and thus it’s the right move to go all in with focusing on that stuff. What starts as a bad idea is built upon to become a worse idea, and the whole thing becomes a vicious cycle of increasingly unbearable moments that compound their awfulness with each new iteration. And especially in a self-contained anime that lasts just one or two cours, the writers have no chance to respond to that criticism and course-correct to make something better. They’re stuck with the blind leading the blind, making increasingly wrong-headed decisions with no chance of someone puncturing their thick wall of delusion and pointing out the mistakes they’re making.

As you might expect from that rather grim opening, I am not having the best time with Zetsuen no Tempest right now.

Like, sweet buttery Christ on a muffin, these episodes were awful. They were awful in so many ways that I’m having trouble trying to process them all at once. Yes, that’s pretty much been the case from the word go, but I think it’s becoming particularly clear to me now just how broken the show’s entire mechanism is. So much of the agony I experienced over the course of these episodes comes from the show making the mistake of assuming you’re already on board, then proceeding to make choices that might work if you really were on board, but in reality only serve to make you even less on board. It’s not just bad, it’s a constantly increasing variety-pack flavor buffet of bad that doesn’t just get worse, it gets worse in new and increasingly excruciating ways. Bad drama can be at least a little fun, not that there was much fun to be had in the dreary, portentous dreck of the first twelve episodes. But bad comedy? Especially comedy this bad? Fuck my life, there were so many points over the course of these episodes where I legitimately had to stop myself from scratching gouges into my skin just to experience agony that wasn’t quite as excruciating.

I want nothing more than to be done with this show. It’s so bad in so many ways, and it’s only getting worse as it goes. But I made a commitment to reach the end of whatever show I tackled on this blog, and I refuse to let this waste of space beat me. So let’s dig into its rotten corpse and see if we can’t autopsy how it’s going so terribly, terribly wrong.

My Teen Romantic Comedy SNAFU

If I’m being honest, there’s a level to this show’s badness that fascinates me. I can hardly believe that so many animators, writers, storyboarders, and producers were able to look at this monstrosity’s script and say with a straight face, “Yes, this is exactly what we want.” Chief among those considerations; transitioning from the bleak, apocalyptic tone of the show’s first half into a romcom with goofy hijinks and waaaaacky music! It almost feels like the first and second half of the show were handled by two completely different writing teams. How the hell did we get from darkness and brooding to this half-baked excuse for a romantic comedy? These two genres are about as foreign to each other as you could possibly get, and it’s not like the show is trying to do some kind of genre-bending mashup with them. It’s just taking an already-established dark story and smashing it into a completely ill-fitting light mold. It makes no sense, and yet it plods along its merry way like it makes all the sense in the world, no matter how many times it walks into traffic and gets haymakered by a passing Buick. Just on its face, this is such a bizarre choice that it completely shatters my ability to take it serious. Even as awful as Guilty Crown got, it didn’t suddenly decide to transition into an entirely different genre halfway through. At least it tried to keep a consistent point, even if it failed miserably.

But there’s a much more pressing issue at hand here, one that makes this choice not just nonsensical, but unforgivable. Romcoms are, at their heart, character pieces. They rely on the chemistry between every single character in the cast, all the relationships and quick wits and banter and clashing personalities forming the backbone of their emotional drives. But as has been previously established, the characters of Zetsuen no Tempest are pretty much personality deficient. They have no interesting quirks, no understandable motivations, and no chemistry with each other whatsoever. This show does not have a basis upon which it can build a solid, character-based story. And it’s here that the law of accumulation bullshit comes into effect; it doesn’t have the tools to build this house, but it tries to build it anyway, and it only results in the construction failing harder and faster. With no well-established personalities and no interesting relationships to play off of, the show is forced to smack these limp, lifeless pieces of cardboard together and do its best to give off the illusion of sparks flying. It dresses everything up in wacky music and patently contrived scenarios, while everyone’s faces start doing the anime-face super-expressive thing for the first time ever, and all of it only serves to highlight just how empty the meat under the sizzle actually is. Tempest can dress these empty husks up with as much razzle dazzle as it can muster, but without the ground to actually built a genuine chemistry-driven rapport off of, it will only ever collapse on top of itself.

The Black Hole of Rage

And the end result of all this flop sweat is a cavalcade of minutes upon minutes of unfunny joke following unfunny joke, everything built off of moronic and lazy contrivance, until I wanted to gouge my ears and eyes out with a melon baller in hopes that might save me from the pain. Fuck me, where do I even start with this garbage fire? Well, literally every second Hakaze was drooling over Yoshino was an exercise in utter agony for me, and considering that’s, like, 90% of her screentime at this point, that is a lot of agony. I simply can’t wrap my head around why this show expects me to take this relationship seriously. We have seen nothing to justify why she might have feelings for him in the past, and they continue to have no chemistry whatsoever thanks to Yoshino’s utter black hole of a personality (more on that later). But the show charges ahead regardless turning Hakaze into a shrieking, hormone-addled mimsy who gets wetter than a waterslide in a rainstorm at the merest thought of this pasteboard lug blandly sitting beside her, because that’s the only way it can even approach any semblance of giving this relationship some spark. I had to groan especially loudly at a moment where she frantically wonders why he hasn’t noticed her feelings for him, which, you know, fair, she was being so obvious about her attraction that Yoshino has to be a legitimate blind-deaf not to pick up on it, but at the same time, yeah, he has literally no reason to assume you’re in love with him, because there’s literally no reason for you to be.

Yet their scenes still have no chemistry regardless, because as I’m so fond of saying, a hollow imitation of a storytelling device is not that device itself. All this hyperactive whinging served to do was make me sink further and further down into my chair until I wanted to shut the entire world out for fear of cringing to death on the sheer dissonant imbecility of it all. In fact, it got so bad that at some point, I’ve done something I don’t think I’ve ever done before; I started acting out the scenes as they were happening, but as if I were in the scene, making up my own dialogue as they went along. I literally started re-writing these scenes in real time in my head, replacing the insipid and lifeless sparring with my own personality driven-dialogue and expressive character animation, trying to overwrite my agonizing experience with something I actually enjoyed. I have had plenty of opportunities where I’ve wanted to go back and rewrite parts of a show after not liking how they turned out, but I’ve never had the experience of a scene so bad that it made me mentally start that process in the moment as a way to keep myself from self-destructing with aggravation. In a way, I almost can’t help being impressed with the depths Zetsuen no Tempest is forcing me to plunge to in order to keep my sanity.

But the show keeps on trucking regardless, getting pummeled by tomatoes at every opportunity and thinking they’re roses. The formerly serious members of the mage association engage in a “Guess Yoshino’s Girlfriend” scene that was so excruciating I think I nearly coughed up a lung. There is no universe in which this scene would happen with these characters, and once the situation starts spiraling into such moronic directions as “maybe he’s a lolicon” it becomes abundantly clear that the writers are just on fucking meth at this point and have completely abandoned any and all pretense of internal consistency. Forget that atmosphere of grounded realism we were aiming for, we’re just gonna turn every single character into a fucking dumbass who talks about a teenager’s fetishes as if it’s the most important thing in the world. Except then it doesn’t even bother to make the characters any more interesting, so it’s just a bunch of lifeless puppets spitting out the kind of dribble that springs fully formed from the wet, sticky tissues of hack anime writers, almost like watching a bunch of mannequins in business suits be forced to regurgitate one of those auto-generated scripts written by a bot that’s read pages and pages of bad anime so that it can come up with some half-baked, bastardized approximation of what it thinks dialogue is supposed to sound like. Not even Hanemura’s obvious audience insert “this is all fucking dumb” position helped out, as Hanemura is still such a whiny snot rag that it’s impossible to empathize with him at all and I just end up wanting to punch everyone in the dick.

And can I just say, literally everything about the way this show treats Hakaze makes my blood boil. No, she was never really a good character, but I wouldn’t wish this kind of regressive, derogatory, condescending treatment on my worst enemy. It is legitimately disgusting how this show completely strips away any sense of agency she might have once had in favor of turning her into a complete slave to her womanly hormones, completely obsessed with Yoshino in a way that makes no logical sense but keeps happening regardless because this fucking hack script cannot conceive of any role for a female character besides eye candy and/or unconditional waifu bait for the audience the self-insert protagonist. I don’t care how much the show tries to justify it as “the will of Genesis” or whatever such bullshit, if this story actually wanted Hakaze to be a character with her own agency as opposed to a lifeless wish fulfillment puppet, it would’ve found a way to make her so. But instead it drags out these revolting old ladies to prattle on about how love is “changing” her and making her into a perfect, sweet, submissive housewife ideal for nothing but drooling over the principle dude on her life, and I swear, I started making gargling noises with my mouth to avoid screaming and smashing my computer into pieces. Not that I got much respite when the secret of Yoshino’s girlfriend finally came out, because then she just turns from a blubbering mess into a zealous lunatic in a dumb costume who still is completely driven by this unnecessary, unexplained, unjustified crush that’s impossible to get invested in.

This show... its badness amazes me. It really does. I legitimately don’t know if I’ve ever come across a more comically incompetent script in all my time watching anime. Again, I can’t believe I have to say something positive about Guilty Crown, but even as sexist as that show got, at least it never made that subtext into the actual dialogue of the text. That requires a lack of self-awareness bordering on outright mania. And the worst part is, I can only see it getting worse from here. I can only see this utter monstrosity of a script growing more and more agonizing until it finally fizzles out. What a wonderful fucking world we live in.

Intent vs Execution

Okay. Exhale. Take a step back. That was a lot of anger. That was a lot of rage directed at very deserving targets. But before I close this post out, there’s one more piece of analysis I want to make. And this one is gonna be more measured, because while it’s still about another way this show utterly fails, it’s a failure that I can at least see where it was coming from. One point I’ve been harping on for a while is that Yoshino is an utter nothing of a character, a blank slate with no personality and no motivations who exists only to be limply characterized by whatever everyone else says about him while never exhibiting that characterization in person. It’s gotten so comically underwritten at times that I’ve wondered if Yoshino having a nothing personality was kind of the point, and in truth, I’ve suspected that might have actually been the case on a couple of occasions. What little consistent information I’ve been able to glean from everyone psychoanalyzing him from the outside is that even they can’t get the clearest read on who he’s supposed to be, almost like he wears this blank persona to hide his true self for whatever reason. It was an idea that, at least in theory, had potential. And the one moment in this entire stretch of episodes that didn’t piss me off was the reveal that this was indeed the case; Yoshino was actually supposed to come off as that weird and empty. It’s just a shame that the actual execution didn’t get that idea across and he just came off as a complete nonentity as opposed to someone who put on the facade of being a nonentity because it was easier than letting their real feelings shine through.

Look, this is a similar problem to the issue I ran into with Future Diary, where a good deal of the seeming plot inconsistencies and contradictory character motivations where intended to be foreshadowing as to what was really going on, but the show didn’t make them seem like foreshadowing so they just came off as the show being really bad at basic logic and character consistency until it became clear what was really going on, and even then it was barely a patch. I can absolutely buy that Yoshino’s blank appearance was an intentional act, that putting on airs of not having much going on was easier for him than accepting the grief of losing his girlfriend. Hell, I’ll even cop that seeing him finally break down, unable to maintain his composure in the face of Hakaze’s pressing and admitting how lost and angry he felt in a world that didn’t make sense, was by far the best scene in the entire show. It’s the closest he’s come to feeling like an actual character, the closest he’s come to feeling like there’s an actual point to his existence. It paints him as a mirror image to Mahiro; instead of bracing against the unfairness of the world, he internalizes it and buckles down, trying to rid his pain through self-denial as opposed to active attempts at resolution. That could have made for an actually interesting character. And had that been the character we actually got, I might have actually had something of substance to hold onto with Zetsuen no Tempest.

Sadly, this is a case where intent does not equal execution, because even with this new information, the Yoshino of the show up until this point does not feel like a Yoshino with actual depth under that empty exterior. The problem is, we’ve been privy to Yoshino’s inner thoughts pretty much constantly thanks to this show’s over-reliance on inner monologue, and nothing he’s ever said or thought has given him any sort of personality. His mind is full of the same banalities and lifeless mutterings and musing as every other character in this show. The way other characters talk about him tries to paint him as this enigmatic figure of unknown depths, but then the script handicaps itself by actually showing us those unknown depths at every conceivable turn, and the only impression those depths leave is that no, he really is that shallow and thinly-sketched a person. As such, the reveal of his true pain in episode 18 doesn’t come across as the shell finally shattering and the real Yoshino finally coming through, it feels like a cheap coat of paint was suddenly splashed across him and now the show’s treating that like the shell shattering and the real Yoshino coming through. It’s a potentially meaningful statement that completely falls apart thanks to the lack of structure to support it, and the little we see of Yoshino following that scene doesn’t inspire hope that this character evolution is actually going to stick around in any meaningful way and make Yoshino consistently feel like a well-realized person from here on out. I wish I could have hope that this would mean anything more than a momentary respite from drowning in this show’s caustic saliva, but at this point hope is far too much to ask for. Zetsuen no Tempest is never going to get better, and in all likelihood, it’s only going to get worse before it’s over. Just give me something for the pain and let me die.

Odds and Ends

-Panty teasing. Okay, Sure. Not like I wanted to start this session out on a positive not or anything.

-”Could they be more flashy?” I feel ya, bud, it’s like we turned into Power Rangers here.

-Definition of bad blocking: Having Samon discuss his plans with the tree directly behind a group of pedestrians observing its aftermath. Like, dude, someone’s totally gonna hear you

-Heart of Exodus? Wuh? How is that separate from the- oh whatever, like I care.

-Credit where it’s due, rappelling across an old rope is pretty cool.

-Was it... ever a question why the trees existed? Was “metaphorical representation of the show’s themes” not enough?

-Oh joy, business skulduggery. I’m sure this will be an interesting distraction.

-I, too, randomly break into philosophical ruminations of botanical worship upon seeing a random tree outside that I’ve certainly seen many times before. This is good writing.

-”In that case, the ice shaver would be shaving you, Yoshino-san.” Okay, that actually made me laugh. Sarcastic Yandere Aika is far better than blank slate Aika. More of that, please.

-Oh for- WHY IS IT ALWAYS ALCHEMY?

-”The Tree of Genesis is not the god that created the world, but a weapon to destroy civilization brought down by aliens!” Stops, closes laptop, stares outside blankly. They wrote this. Somebody actually wrote this. They thought this was good writing.

Okay. We’re done. God willing, we’re done. Six more episodes to go. See you at the end of the tunnel.

#anime #the anime binge-watcher #tabw #zetsuen no tempest #blast of tempest #the civilization blaster

1 note · View note

frazzledsoul · 7 years ago

Text

Reboots and Revivals, Ranked By Frazzled! (well, the ones she has seen)

So we’re currently experiencing a revival craze. The suits have run out of ideas, few people actually want to watch the networks anymore, so why not send everyone scrambling back for the stuff they used to love?

I’m not so crazy about it. The trend seems to be to retcon the characters’ endings so we can place them back in the same places they were ten or fifteen or twenty years ago, and in many cases the characters needed and deserved those endings. It doesn’t do anyone any good to make these characters unhappy when they were happy or to pretend that life hasn’t moved on when it very much has. It isn’t the same and many times it ruins what was good about what we loved about those TV shows in the first place.

However, sometimes stuff needs to be fixed, and that’s not a bad thing.

However, since this article got all of it dreadfully, dreadfully wrong I will proceed to rank these revivals from worst to best, according to my infallible judgment.

(I won’t be discussing Roseanne, as this is Tumblr and I doubt that discussion would go well. It probably would be in the middle of the pack if I was going to talk about it, though).

9. 24: Legacy

Okay, whose brilliant brainchild was this? 24 without Jack or Chloe? How can we even think of such a thing? I mean, Tony Almeida was there, and he was still hot, but seriously . . . there is an entire plot thread devoted to whether Not!Jack’s wife wants to take her birth control pill. THIS IS NOT WHAT I SIGNED UP FOR, GUYS. Plus, they kill the female head of the CTU, the only likable character? (besides Tony, that is).

I’ve heard they’re planning to reboot it again, only still without Jack or Chloe, but with a female in the Not!Jack role. Guys, that was not the problem here. The problem is that you can’t do this without the Terrible Twosome. Don’t even bother.

8. Battlestar Galactica

I only watched the first two seasons, and I didn’t see the original. I’m not going to say a lot about it, but the human characters got to be so vicious and did so many blatantly immoral things I just couldn’t excuse that I quit. I kept rooting for the Cylons to wipe out the human characters. I don’t think that was the goal. Before then, it was a very well made show, though. Sometimes I wish I could have kept watching it.

7. 24: Live Another Day

Okay, I only suffered through a few episode of this, and it probably shouldn’t even count as a reboot. We still had Jack and Chloe and they merely removed the action to another continent. However, I just think that killing off Chloe’s entire family so she could wear black eyeliner was so cruel that I couldn’t get past it, especially since the show refused to touch a hair on Kim’s head. I don’t think moving the action to Europe really worked for me, either.

I’m glad they killed off Audrey, though. I could never really understand Jack’s obsession with her.

6. Fuller House

This show knows exactly what it wants to be and it is. What it wants to be is not a quality show. It wants to be a nostalgia-filled, kitschy sitcom, and it is. So I enjoy it for what it is and don’t expect more. It’s ranked low because the end result is well, not that good, but that’s mostly due to the nature of the show. It’s as good as it can be, and that’s enough.

Also, #TeamSteve forever, and I look forward to the Perfect Strangers reboot so we can have crossovers.

5. The X Files

Okay, so major points off for breaking up Mulder and Scully for the purpose of this reboot, William is a bizarre alien hybrid baby and not really the spawn of our beloved duo, someone needs to inform Chris Carter about the realities of the female reproductive system, and WTF was that ending?

OTOH, I did really enjoy Mulder and Scully being adorable and making their way back to being a couple and I can live with that ending since we’re already pretending that these two are years younger than they actually are. But please, no more, ever. Done. Finito. That’s it.

4. Gilmore Girls: A Year In The Life

Oh, wow. So much to say about this. I know this because I have spent the past year and a half talking about it, over and over.

There was no need for this revival to exist. The only reason that it existed at all was because a large contingent of fans were convinced that the only real ending was the one that ASP could write, that only she could magically fix what was wrong with the last two seasons, even though she had caused most of the damage in the first place. It wasn’t to make Lorelai and Rory happy or to give them the endings they deserved so they could move on with their lives and not have to depend on each other so much. All of that had had already been done.

So was it a mistake giving ASP control of the narrative back? I don’t know. I enjoyed the revival. I didn’t trust these writers. I had feared for years that if ASP got her chance to pretend that season 7 didn’t happen that she would have simply reunited Lorelai with Christopher and give them the happy ending because she hadn’t gotten to write that ship like she wanted. All I wanted from this revival was for Luke and Lorelai to be happy and for Christopher to stay in his corner and not bother anyone else. I got that.

I loved Luke’s epic speech to Lorelai and the wedding in the gazebo. I loved that Lorelai admitted that the Christopher thing was a mistake and she had loved Luke all long. I loved that they had formed this successful domestic life for themselves after so many hurdles and misunderstandings. I loved how much Jess had grown and that he and Luke were still close. I found a lot of the revival in general to be funny, quirky, and charming.

However, honestly? It was sloppily written. There are gigantic plot holes and logical inconsistencies all over the place. Prison Break and Roseanne both did a better job in resolving the stuff they retconned from their last seasons, and both of those shows brought characters back from the dead. It’s obvious to me that the two major things that season 7 did well - focusing on April as a vital and important part of Luke’s life and developing his relationship with other characters and making Logan an independent person who wasn’t beholden to his father for his entire existence - were dearly missing from the revival. And objectively speaking, that ending for Rory is horrible. Not because I think it’s really that disastrous of a situation now but because the intent all along was to ruin both Lorelai and Rory’s hopes and dreams and sacrifices. No one can ever escape becoming their parents, and neither Lorelai or Rory can really grow up and seek the futures they wanted because they’ll always be tied to the same cycle. “Where you lead, I will follow” becomes a curse, not an inspiration.

So maybe it’s better to just keep the finale we had, and believe that Rory was sent off to live her dream in the adult world that Lorelai had worked so hard to ensure for her. Lorelai moves onto a life (and a family) with Luke that they both had wanted. Neither of those things were possible unless Lorelai and Rory were allowed to grow up and have a little space from each other. The relationship the show was about wouldn’t be exactly the same, but it was necessary for them to move on and be happy. I think that’s a perfectly suitable happily ever after.

3. Macgyver

I don’t remember ever watching the original show, though I’m sure I must have at some point. This is a perfectly inoffensive and entertaining procedural. It’s exactly what it wants to be and nothing else. I quite enjoy it for that.

2. Hawaii 5-0

I am certain I never watched the original. However, like Macgyver, an inoffensive procedural that is exactly what it wants to be. I haven’t watched it since they kicked off half the cast, but until that point I really liked it and, and bonus points for the many, many guest appearances from TV sci-fi royalty.

1. Prison Break

Okay, I really did not expect to love this revival this much. They resurrect our dead protagonist, revive our OTP, have all of the returning characters basically behave in character, and we can get down to the business of illogical plot twists and impossible action sequences. And we end up with a happy ending with our formerly dead hero reunited with his family and the villain vanquished?

Seriously, I know it’s Prison Break and the expectations aren’t that high, but I wish other revivals were able to do this. Just bring back your characters and end it with the plot thread concluded and everyone we care about happy and alive. That’s all I ask for.

(This will probably be shot to hell if they go through with the second season, but for now it’s my favorite).

#revivals ranked!#gilmore girls ayitl #prison break #macgyver #24 live another day #24 legacy #battlestar galactica #fuller house #x files #hawaii 5-0

5 notes · View notes

aion-rsa · 4 years ago

Text

The Best Books of 2020

https://ift.tt/eA8V8J

In 2020, we needed good stories more than ever: To escape, even for a little while. To subvert and question the status quo. And to remind us of the joys of being human. The books listed below fall into one, some, or all of the above categories. We had our contributors select the stories that meant the most to them this year and polled you the reader to compile a subjective yet comprehensive list of some of the year’s best. Here are the books, organized by genre, that broke through the cacophony to mean something to our Den of Geek contributors—and to you—this year…

Quick note before we begin: Like many other areas of the media industry and economy, the independent bookstore industry was hit hard by the lockdown caused by the pandemic, as more people than ever flocked to Amazon to get their reading fix. If you are inspired to purchase any of the titles we gush about below, consider using Bookshop.org or other sites that support independent bookstores (especially Black-owned ones) to do so. They need your help more than ever!

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Best Horror Books of 2020

Mexican Gothic by Silvia Moreno-Garcia

Silvia Moreno-Garcia’s Mexican Gothic was the buzziest release of the summer – and with good reason. Her lush prose, descriptive settings and disturbing plot combine for one of the most compelling – and likely uncomfortable – reads you’ll experience this year. (If you love mushrooms, I’m really sorry in advance.)

Set in 1950s Mexico, the novel follows the story of the vibrant debutante Noemi, who must journey to a remote mountain village to check up on an ailing cousin, whose mysterious husband keeps insisting she’s mad. If you’ve ever read any Gothic literature before, you know many of the beats that come next: The isolated manor, the creepy servants, the dark dreams, the gaslighting, and the constant sense of rising dread. There’s even a cruel housekeeper that could give Mrs. Danvers more than a run for her money.

Moreno-Garcia uses nearly every conceivable Gothic trope to her advantage, telling a familiar tale whose often predictable elements still somehow manage to feel fresh and new. This is largely due to the deft way that the author weaves the political and the fantastical together, reckoning with larger issues such as racism, British colonization and Mexico’s fraught history with eugenics. A good story, well told, with more going on beneath the surface than one might expect.

– Lacy Baugher

Devolution by Max Brooks

World War Z author Max Brooks takes on Bigfoot in this excellent eco horror which comes with added resonance during a pandemic. Like in his zombie bestseller, Brooks approaches the story as if it were real—it’s the novel equivalent of a found footage tale with the events that befall the residents of isolated eco community Greenloop documented in the diary of our protagonist Kate. Greenloop is a remote idyll of smart homes powered by sunlight and waste and controlled by phones and tablets where deliveries arrive via drone, but when the eruption of active volcano Mt Rainier cuts them off from the rest of the country the groups survival skills are tested. The trouble is, most members of this wealthy community don’t have any. And that’s before the family of sasquatches turn up…

This is a violent, vibrant horror with carefully drawn characters and an escalating sense of dread. Though there is humour here Brooks manages to make the Bigfoot group scary rather than faintly ridiculous, while the mirroring of the devolving eco society and the rise in power and confidence of their feral counterparts is handled skillfully. Intercut with interviews and real life stories of broken boundaries between man and wildlife it’s a cautionary tale that tells us never to underestimate nature, be wary of an over reliance on technology and that humans have animal instincts too.

– Rosie Fletcher

Survivor Song by Paul Tremblay

Tremblay completed his infection horror Survivor Song long before the pandemic hit but the novel is unsettlingly prescient. An outbreak of a deadly and fast acting strain of rabies has swept the country. Citizens are told to isolate at home while hospital staff are vastly overstretched and are put at risk due to a shortage of proper PPE. But when Doctor Ramola hears that her very pregnant best friend Natalie has been bitten by an infected human she’ll do anything in her power to help deliver the baby safely.

This is an incredibly poignant road trip novel, of sorts, which takes place over just a few hours. It’s a love letter to friendship, an anti-fairytale and a careful character study drenched in Tremblay’s characteristic ‘sad horror’. One ‘interlude’ section, which features characters from Tremblay’s earlier work A Disappearance at Devil’s Rock, is so utterly devastating you’ll want a biscuit and an episode of Schitt’s Creek just to get over it. If Tremblay’s A Headful of Ghosts was his take on the possession subgenre, Survivor Song would fall loosely into the zombie category, though it’s likely to be the most gorgeous and literary zombie novel you’ll read all year.

– Rosie Fletcher

Southern Book Clubs Guide to Slaying Vampires by Grady Hendrix

Despite the slightly twee title, Hendrix’ latest is an evocative and often very frightening tale of a small town terrorized by a violent outsider. Based in the same world as his coming of age masterpiece My Best Friends’ Exorcism this tale is set in the 90s and focuses on the mothers of the small Southern town of Charlston: bored housewives whose work is often denigrated and overlooked.

At the centre is Patricia, who spends her time looking after a senile mother-in-law, almost grown kids and an ungrateful husband. She, along with neighbourhood friends, forms a book group who discuss true crime stories which provide handy knowledge and insight when Patricia begins to suspect handsome stranger James Harris is up to no good. Charleston is where Hendrix grew up so he paints the town vividly and with affection while acknowledging the oppressiveness felt by the women there, and the systematic racism experienced by the black community, whose children are disappearing and who are not being taken seriously.

Across his work from Horrorstor, My Best Friend’s Exorcism to We Sold Our Souls, Hendrix has proven excellent at writing women and girls. It’s no different here, where the Southern mums of Charleston are heroic and fearsome and their friendship is all powerful – if anyone can take on a vampire it’s them.

– Rosie Fletcher

Thirteen Storeys by Jonathan Sims

This extraordinary debut by Sims is a both a multi-genre anthology and an overarching haunted house story. Centred around the mysterious Banyan Court, a housing complex consisting of a thirteen storey luxury high rise and the poorly built and utterly decrepit affordable housing unit hidden behind it, the book introduces us to various residents or people connected to Banyan Court, each of whom receives a mysterious invite to a dinner party on the top floor hosted by the strange and reclusive billionaire who owns the complex. At the end of this party, we are told, the billionaire will plummet 13 storeys to his death, and none of the guests will have any recollection of what happened.

This is a very smart first book, showcasing Sims’ talent in a range of different horror styles and bringing multiple voices without ever feeling overcrowded. There’s the eerie tale of a little girl and her imaginary friend, who might not be as imaginary as you think, the loyal door man and his violent alter ego competing for supremacy and the art dealer who becomes obsessed with a strange painting. Characters interweave in pleasing ways building to a grotesque but satisfying denouement which ties all the stories together. Sims is an exciting new voice in horror who is definitely one to watch.

– Rosie Fletcher

If It Bleeds by Stephen King – READERS’ CHOICE

The people have spoken!

Stephen King is not only one of the greatest writers of his generation but also one of the most prolific, and nigh a year goes by in which at least one of his stories—either new or adapted—isn’t in the cultural conversation. This year, it was If It Bleeds, a well-rounded horror collection of four previously unpublished stories, including one that features King universe character The Outsider‘s Holly Gibney (in the story that gives the book its name). The novellas revisit many of King’s most popular themes, from supernatural cell phones to the cost of creativity, and manage to feel both modern and nostalgic at the same time. If It Bleeds hit bookshelves in April and, in the midst of the real-life horror that was the pandemic, the continued killings of Black Americans by police officers, and the American presidential election cycle, King gave us something gloriously fictional to be afraid of. Whether you’re a longtime King fan or have never read anything by the horror master, If It Bleeds is well worth your time.

– Kayti Burt

Best Science Fiction Books of 2020

Riot Baby – Tochi Onyebuchi

One of 2020’s most incisive works packed more power into a novella than a book thrice its size; and while its particular story has a dystopian feel, it is actually keenly of the moment: not just the current protests against incarceration and police brutality, but the vicious and violent cycles that imprison, murder, or otherwise cut short Black lives. In an NPR interview at the start of the year when Riot Baby was published, Onyebuchi discussed how well-meaning white people talk about broken systems, when instead Riot Baby concerns “a system working just as designed.” That is, a system that cannot be overturned except possibly by superpowered means—and even then, not always easily.

Ella has a Thing, an otherworldliness to her that allows her to glimpse the fates, positive and negative, of those around her; to astrally project across the country and into others’ minds; to control unimaginable forces. But she can’t break her brother Kev (the “riot baby” of the title, born during the 1992 Los Angeles riots) out of Rikers Island. She can’t stop him from getting arrested in the first place, struggling as an adolescent not to transmute her rage into her powers and hurt those she loves, even as her baby brother is targeted for the color of his skin.

That tension and futility drive this slim account of not just their lives, but of the Black experience, projecting back to the roots of their family tree and forward to the authoritarian near-future in which Kev struggles to build the foundation of the rest of his life. Riot Baby is brutal, but it still nurtures hope—and it’s a necessary read for well-meaning white people like me.

– Natalie Zutter

Star Wars: Shadow Fall – Alexander Freed

This might seem like an odd pick, as it’s the second in a tie-in trilogy, and not particularly accessible if you haven’t read the previous book. But I’m true to myself. This was certainly one of my favorite books of 2020, with the caveat that sometimes favorite means “heavy enough that it, artfully, made me extremely miserable.”

It’s not what you might expect from the generic title. I’m often fascinated by genre writers who try to tackle writing about aimlessness in genre, whether that be slacker heroes or the existential ennui faced by Alphabet Squadron between spaceship gun fights. It’s such a plot-heavy genre that writing about questlessness sounds very hard. And Shadow Fall has done that magic trick. To quote my own tweet, this book is about people who act on mistaken assumptions and concoct entire non-existent relationships in their heads and hurt themselves in fugue states. All of the relationships are intense, but splintered and sideways all the time. Each character is their own carefully defined brand of amoral and brittle. I’ve rarely seen awkwardness portrayed so well in a book without the story itself coming off as edgy and misanthropic.

It’s also a good adventure story, with set-piece battles, a mysterious cult, and a genuinely surprising take on how the Force works from a series that isn’t at all about Jedi. Start with the first book, Alphabet Squadron, don’t mind that title either, and make sure you have some calming tea ready.

– Megan Crouse

Sex Criminals Vol. 6: Six Criminals by Matt Fraction + Chip Zdarsky

Really, this is celebrating the end of Image Comics’ raunchy-yet-surprisingly-heartfelt series about Suze and Jon, who find out they share the same gift: Their orgasms stop time. So, of course, they start robbing banks—only to discover that it’s not just them with this gift, winding up on the lam from the Sex Police. But rather than treat this audacious premise like a fleeting dirty joke, Fraction and Zdarsky built out a deceptively simple metaphor into a thought-provoking exploration of lust-versus-love, money and class, the chasm between finding someone who “gets” you in the bedroom but not outside of it. With cheek and heart, they boiled all this down to Suze’s refrain of “This fucking guy” that makes me tear up every time I read it.

And it wasn’t all just bodily fluids and dangly bits—Sex Criminals also consistently delighted in pushing its own envelope in all things meta. Drawing in post-it notes to obscure the Queen lyrics they couldn’t get the rights to for a scene they’d already drawn; a sequence in which huge dialogue bubbles physically knock extras out of the way; even turning Fraction’s anxiety attack about writing a key scene between two female characters into its own mini-comic—this team often turned their probing gaze on themselves.

In the Sex Criminals universe, robbing banks was small potatoes, foreplay even—the final volume ascends beyond the initial crime, transforming into a treatise on grief and time and retreating into memory. As the final issue posits, take any significant moment between two people and you have to expand the frame, to look at every single other person who brought these two together, whether for a one-night stand or “to have and to hold.”

In fittingly 2020 fashion, the series concludes bittersweetly, but the final moments come back full circle to where the series started: wanting to prolong that particular pocket of time and space in which it’s just you and your person, the rest of the world be damned.

Yet Sex Criminals’ greatest legacy is that it’s not the last comic to delve into the intersections of sexuality and science fiction. Vault Comics’ Money Shot, from Sarah Beattie and Tim Seeley, is a clear successor with its story of underfunded scientists having sex with alien species in order to subsidize their interstellar teleportation research. As another series about copulating to undermine capitalism, Money Shot carries on the horny torch that Fraction and Zdarsky lit way back in 2013.

– Natalie Zutter

Upright Women Wanted by Sarah Gailey

Queer western speculative fiction. Need we say more? Sarah Gailey, author of Magic for Liars, is back with an all-too-brief tale of Librarians, the only truly free women in this version of the American west, and Esther, a stowaway escaping her small town and plenty of secrets. Nothing is as it seems, including those running the book wagon – one’s a trans guy with they/them pronouns who must masquerade as a woman for his own safety whenever authorities or other prying eyes are near.

While the noir of Magic for Liars made that world feel inevitably dark, Upright has a more hopeful outlook and a wide-open setting that feels full of possibilities, even as the Librarians make their way delivering books in the kind of dystopian setting you might find in The Handmaid’s Tale or The Grace Year. In a year so full of doom, the Librarians are capable and even swashbuckling in their adventures, teaching our newcomer narrator and maybe even making her swoon with their swagger.

– Delia Harrington

The Resisters by Gish Jen

In AutoAmerica, a not-so-distant future where everything is connected to artificial intelligence and the have-nots are meant to be good consumers and nothing more, a young Black-Asian woman with a gift for pitching baseball becomes the eye of the storm when her country decides to bring back the national pastime and compete in the Olympics.

Come for the underground baseball league, stay for the sly pop culture references. The world is built out so fully that the inevitable movie or limited series version of The Resisters might even be better than the book – blasphemy, I know, but so many concepts and kinds of tech are dropped in that a showrunner and crew would have a field day bringing to life.

It’s rare these days for a man to narrate spec fiction, and he certainly has the least interesting story here, but perhaps he has the best vantage point to admire his talented wife and daughter, the former a lawyer who repeatedly takes on Aunt Nettie, a defiant nickname for the government-backed AI who runs their lives, and the latter, a young woman who was raised in a defiant household, whom he hopes won’t fall for the allure of Aunt Nettie’s promises.

– Delia Harrington

Best Fantasy Books of 2020

A Deadly Education by Naomi Novik

In a year where we are all struggling with how we feel about Harry Potter and its complicated legacy, Naomi Novik’s A Deadly Education has arrived to offer us an entirely different and thoroughly exciting magical boarding school tale. The first in a trilogy dubbed “The Scholomance” after the magical school at which it takes place, the story is sort of like Harry Potter’s dark twin, featuring a difficult female heroine, a unique magical system, and a very dark take on the world of teen magicians. (Plus, it features the sort of effortless, matter-of-fact diversity that more authors – both YA and adult – should emulate.)

Galadriel “El” Higgins is a powerful, potential dark sorceress in her junior year at the Scholomance. Here, students must fight for their lives from the moment of their admission against the horrifying monsters known as malificaria that roam the school halls trying to eat them on their way to class and graduation is simply a test of who can escape a roomful of the largest and deadly creatures in the school. El is powerful enough that she could probably wipe out all of them on her own, but she refuses to embrace her natural affinity for dark, potentially world-destroying spells – no matter how many of her fellow students think she already has. Novik’s prose is as propulsive and fun to read as ever (consider this an additional, belated plug for her icy fantasy Spinning Silver) and A Deadly Education manages to put a fresh spin on what otherwise might feel like a staid, overdone setting. From its prickly heroine to the very real stakes that surround her classmates – most literally won’t live through final exercises – there’s so much here that feels unexpected and new. The sequel cannot come fast enough.

– Lacy Baugher

The Once and Future Witches by Alix E. Harrow

It’s rare that a story truly feels like magic, but such is the case with Alix E. Harrow’s lush and enchanting The Once and Future Witches. Part period piece, part celebration of sisterhood, and part feminist manifesto, the story is a love letter to women of all kinds, everywhere.

Set in an alternate version of America in the late nineteenth century when witching of all kinds is banned, this is a story about three sisters finding their voices and staking a claim to their own futures. It is also about accidentally summoning a magical tower and returning witchcraft to the world, healing the rifts between sisters and exposing the cracks between people who claim to want justice, but who actively work to oppress others. And it is about the power of community – the great things that can happen when women honestly see one another, support one another, acknowledge the challenges inherent in saying yes to help, and work together to make the world a better place. Isolation is dangerous, both for ourselves and the world we inhabit, and this is a novel that will make you want to call your personal coven and thank them for being there when you needed them.

Once upon a time, there were three sisters and they starred in a remarkable book, full of fairytales and folklore and old stories made new. In 2020, perhaps more so than ever, the idea of once and future resonates more strongly than it ever has before, the people we were and are, and what we might become – but only if we hold on to each other along the way.

– Lacy Baugher

The Bone Shard Daughter by Andrea Stewart

Multi-perspective fantasy novels are all the rage right now, but Andrea Stewart’s The Bone Shard Daughter is truly something special. Not only does it deftly weave what initially seems like five separate stories together into something powerful and thrilling, the novel contains precisely the sort of compelling characters and rich worldbuilding that make this genre so much fun to read in the first place.

The first installment in the “Drowning Empire” trilogy, The Bone Shard Daughter is set in a sixteenth-century kingdom comprised of migrating islands that float through something called the Endless Sea. A story of empire and identity as much as it is a story of magic, the book at first follows Lin, the heir to the throne of Phoenix Empire, or, she will be as soon as she has proven she can properly use bone shard magic.

It’s this central magical system that makes this book so compelling – it involves commands being etched on pieces of human bones harvested from the general public in annual trepanning ceremonies, which are then used to power “constructs,” chimaera-like beings cobbled together out of various animal parts. If that wasn’t creepy enough, these shards literally drain the life energy from their doners to keep the constructs alive, a sort of human battery system that is horrifying to witness. (Especially when it appears that many of the more complex constructs have something like sentience of their own.)

Creepy and thoughtful, The Bone Shard Daughter grabs your attention from its opening lines, dumping you in a complex tale with lots of moving pieces that only gets messier as it goes on, and expects readers to keep up. For those who can manage it, it’s more than worth the journey. (And did I mention there’s a magical aquatic cat?)

– Lacy Baugher

The City We Became – N.K. Jemisin

Jemisin is a master of fantasy world-building, and she turns that eye to the real world in an unsubtle, masterful New York City under attack by lovecraftian horrors. Funny, weird plot twists abound. This book starts with someone screaming on top of a roof, beautiful mystical singing from his point of view, and a neighbor yelling at him to shut up. There’s a musical beat through the whole thing, and all the ways that music can be added to or enhanced by the city noises all around it.

Along with living in the city herself, Jemisin meticulously researched its history and quirks. She’s great at digging into detail, but also knows when to go broad, adding pop culture and references that seem obvious in hindsight but not too goofy to maintain the tone of the story. It’s fast-paced, especially toward the end.

This is distinctly a novel for today, talking about racial tension from a variety of perspectives, and addressing the kind of harassment that comes with those conversations. It’s a snapshot for what’s been talked about on Twitter, what’s being talked about in art galleries and publishing houses. And it’s a snapshot of the city — kind and cruel, raucous and serene. It probably helps that part of this book made me feel some rare home state pride.

– Megan Crouse

The Unspoken Name by A.K. Larkwood

The Unspoken Name by K.A. Larkwood sets itself apart in two major ways: its setting and its characters. Priestess Csorwe is fated to be sacrificed to the eldritch god her people worship. But when she’s rescued from that fate with a wizard with ambitions of taking over a kingdom, she becomes a servant to a different master entirely — and has the chance to become far more than a sword-wielding minion. (There’s some cool sword-wielding too.)

Surrounding her are people motivated by power, ambition, the unknown, the experience of living always in the shadow of the unknown and their sense of what is known becoming askew because of it. It’s about emotional abuse and people who want things and people they shouldn’t and can’t have. At the core is Csorwe, refreshingly straightforward but wonderfully complex in her own way.

This story plays out in a world the author describes as an “eerie hyperspace labyrinth” that also does great things with some more familiar, but under-explored fantasy elements like flying ships and orcs. Full of strange magic and fascinating creatures, it’s truly inventive. The world may have orcs and elves, but it never feels derivative of the fantasy greats. In more ways than one, this is a book that exemplifies what secondary-world fantasy can be in 2020.

– Megan Crouse

Wicked as You Wish by Rin Chupeco

It’s a rare thing when I encounter a novel that feels as though it’s written exactly for me. The first time this happened to me was when I (belatedly) read American Gods. Wicked as You Wish is the second book I’ve ever picked up where I immediately felt as though I were the target audience, and the story was just for me.

The story opens with the budding friendship between Tala Makiling Warnock, a girl who can nullify magic, and Alexei Tsarevich, heir to the throne of Avalon, in hiding after a terrible spell froze his kingdom. The Makilings are allies and protectors of the throne of Avalon, and Tala’s family is dedicated to keeping Alex safe—at least until his sixteenth birthday, when the Firebird will arrive and help him come into his powers. But the Snow Queen of Beira, Avalon’s enemy, is eager to finish the war she started, and Alex is keeping secrets of his own.

Rin Chupeco’s world draws on mythological and literary traditions including Wonderland, Oz, and Tala’s Filipino magical heritage, blending them into world building that’s contemporary and relevant (there’s a scene with ICE—at the behest of the Snow Queen facing off against Tala’s immigrant family). And while the book is marketed as YA and would certainly appeal to that audience with it’s predominantly teenaged cast, Chupeco’s sophisticated third-person omniscient narration gives readers insight into the motivations of the adults, who come through as strong leading characters as well. It’s an incredibly smart fantasy novel, and if it requires a little work to keep up with the worldbuilding and twists the story takes, it is absolutely worth the effort. The next book in the series cannot come out soon enough.

– Alana Joli Abbott

Phoenix Extravagant by Yoon Ha Lee

Yoon Ha Lee is better known for writing stories in space than fantasy, but based on his blending of space and mythology in his middle grade novel, The Dragon Pearl, I’d been looking to his first fantasy novel. I was not disappointed. Phoenix Extravagant follows Jebi, a non-binary painter trying to succeed in an occupied nation; when trying to assimilate gets them thrown out of their house by their sister, and fails to get them a well-paying job they’d applied for, Jebi’s at a loss. Jebi has no desire to work at the Ministry of Armor, aiding the war effort that continues to oppress their people by painting the magical commands for automata. But the Minister leaves Jebi no choice: join, or their sister—who, unknown to Jebi, is a revolutionary—will pay the price.

Jebi’s gift for painting allows them to communicate with a dragon automata, who was painted with pacifist instructions, and the two make plans to escape the conflict all together. Lee’s story tackles themes comparable to Peter Tieryas’s “United States of Japan” trilogy and Arkady Martine’s A Memory Called Empire, especially in the way both of those series look at ideas of assimilation and the justice—or injustice—of dues one pays to their government. Lee gives no clear moral answers in the tale—Jebi’s sister seems to prioritize revolution over family, Jebi’s lover has killed people Jebi cares about, and the antagonist may have valid reasons for his evil plots—and that’s part of what makes the story so compelling to navigate. The novel is planned as a standalone, but I’d love to read more set in this world.

– Alana Joli Abbott

Black Sun by Rebecca Roanhorse

Reading Black Sun was like opening a new door in my mind. This is an epic fantasy series opener, and a lot of the tropes are familiar, but they’re all presented with different structure and framework–enough so that the novel feels like something entirely new. The story centers on Serapio’s journey to the homeland of his mother, where a bloody destiny awaits him; the efforts of Sun Priestess Naranpa to revolutionize her priesthood and make them more relevant as true servants uplifting the people of her city; and Xiala a ship captain whose supernatural origins make her both feared and targeted, but whose earthy attitude grounds the story. While Naranpa and Serapio are set up by the cosmology to be enemies, Roanhorse depicts them both so sympathetically that readers will hope for both of them to survive–and thrive–despite whatever fate has in store for them.

Roanhorse draws on indigenous American and Polynesian cultural and physical geography, which makes the world feel rich and new in a genre that has traditionally drawn on classical or feudal Europe for its influences. Using language that tends toward poetic, she plays with time, so that the narrative moves backward and forward around the events rather than in a linear fashion, which means the reveals of the narrative come not as the story progresses, but as readers progress through the story. Don’t be surprised to see this one on all the award lists in 2021.

– Alana Joli Abbott

Invisible Life of Addie LaRue by V.E. Schwab

A girl makes a deal with the devil to live forever, and is cursed to be forgotten by everyone she meets. It’s the kind of premise a book could coast on, but V.E. Schwab has never been a coaster. From the very beginning of her career, the 33-year-old fantasy author has elevated engaging plot with unforgettable prose, resulting in stories that stick with their readers long after the book has been closed.

With The Invisible Life of Addie LaRue, the story is a particularly ambitious one: spanning 300 years, from 18th century France to modern New York City, we follow Addie as she learns how to live an existence in which she cannot hold a job, cannot rent an apartment, cannot have relationships. “We tell these immortality tales of men where all of a sudden they’re immortal and it’s just like, go get rich, go have fun, go have 100 mistresses and just sleep your way through eternity,” Schwab told Den of Geek earlier this year. “But women would never have that option.”

But this is not just Addie’s story. It also belongs to Henry, the only person Addie meets in three centuries who can remember her. Henry is a millennial living in New York, living with mental illness. In a story whose only other two main characters are an immortal woman and a devil, Henry is our human.

Ultimately, like so many of Schwab’s books, The Invisible Life of Addie LaRue is not quite what you expected: romantic and Romantic, modern yet classic, Addie was one of the unforgettable books of 2020.

Best Young Adult Books of 2020

Ruthless Gods by Emily Duncan

Emily Duncan’s “Something Dark and Holy” trilogy is everything YA fiction is not supposed to be: Dark, frightening, unsettling, and very, very bloody. Its second installment, Ruthless Gods, is a complex tale of war, betrayal, and heartbreak – a story that is not particularly hopeful, gory in a way this genre is rarely allowed to be, and populated by heroes who are often anything but.

The novel follows three lead characters: Nadya, a young mystic who talks to gods but can no longer hear them; Serefin, a king whose country has long been at war with Nadya’s and whose life and consciousness are no longer entirely his own; and Malachiasz, a deeply disturbed boy who either wants to destroy the gods, become one himself, or something in between. Over the course of the story, their lives become intertwined on what feels like a cosmic level, as politics, religion and the very survival of humanity collide.

Duncan’s prose is rich and lush, full of gorgeous descriptions of eldritch nightmares and frightening visions, with a fair amount of body horror thrown on top. For YA fans, this is a series that is unlike most anything else you’ve encountered this year.

– Lacy Baugher

The Sound of Stars by Alechia Dow

There aren’t a lot of books I read this year that captured the feel of 2020 as well as The Sound of Stars. There’s no pandemic in this book, but the alien invasion that results in humans being locked inside their apartment buildings, unable to socialize, their normal lives taken from them because the world outside just isn’t the same? I’m sure Dow never intended that to be a metaphor, but it worked for me!

The title takes its name from a fictional album performed by fictional band The Starry Eyed, whose media presence before the alien invasion provides a framework for the book. The story centers on Ellie, a black girl determined to help her human community escape through the illegal borrowing of books, and M0Rr1S (Morris), an Ilori labmade, responsible for vaccinating humanity to prepare Earth for Ilora habitation. Morris, unlike other Ilori, is emotional, and loves music; immediately Ellie intrigues him with her bravery and willingness to risk everything for the sake of stories. When he enlists her to steal hidden music for him, their uneasy friendship begins, and as the stakes get higher, Ellie and Morris travel across the country on a mission to save humanity.

The story is fantastical and earnest and hopeful, and it was especially wonderful to experience in the audio production, which featured two excellent voice actors telling the story of stories and music and love.

– Alana Joli Abbott

Cemetery Boys by Aiden Thomas

“I know the exact moment of inspiration for [Cemtery Boys],” Aiden Thomas told Den of Geek about his YA debut. “[A Tumblr writing prompt asked], ‘What would you do if you summoned a ghost and you couldn’t get rid of it?’ And you see people commenting and stuff and they’re like, ‘Oh, this super spooky, scary thing.’ And I was like, ‘Okay, but what if he was cute?'”

Cemetery Boys is not only breaking new ground when it comes to explorations of trans identity and Latinx culture, it’s also a delightful read. The story of Yadriel, a trans teen boy determined to prove himself a brujo to his traditional Latinx family, Cemetery Boys has the best inciting incident: Trying to get answers about his cousin’s mysterious death, Yadriel attempts to summon the ghost of his cousin. Instead, he summons the (cute) ghost of school “bad boy” Julian. Julian has some questions of his own he’s looking to answer and, when he refuses to leave, Yadriel’s mission gets a little more complicated… especially once Yadriel realizes he might not want Julian to go.

Romantic and hilarious, sweet and suspenseful, Cemetery Boys has so much to fall in love with: from its diverse cast of characters to its vibrant and complex world. Thomas wrote the novel, in part, so that young, marginalized readers would have a story not only to escape into but also “where they see themselves as being incredibly powerful, supported, but very importantly, being loved.” Cemetery Boys is a gift to us all, and a reminder of what is possible when the still far-too-inaccessible publishing industry lets more people in.

“No, it wasn’t the end. It was a better beginning.”

Best Non-Genre Books of 2020

The Darling Killers by Sarah McCarry

Over the summer, mere weeks into lockdown and in the phase of the pandemic where it felt like you couldn’t trust anyone or anything outside of your precarious bubble, author Sarah McCarry began serializing her latest novel The Darling Killers via a weekly Substack newsletter. The sparklingly clever title tells you plenty, but in short, it’s a female-perspective Talented Mr. Ripley by way of Los Angeles’ glittery world of young adult authors whose mastery over words has earned them obsessive fandoms and access to the endless party life.

In the style of the best thrillers, this lush novel provided the perfect escapism as antiheroine Sofia Bencivenga arrives in LA and immediately falls in with a trio of talented, haunted writers: ethereal Alison, bitchy Judith, and charismatic Jaxson. Sofia goes from shadowing their weekly writing dates to conning her way into emerging-writer status, but when Alison dies under suspicious circumstances at one of Jaxson’s fabulous parties, Sofia has to pause in her pursuit of vicariously living through Alison’s life to consider its dangerous flipside.

It would have been enough for the book to skewer the particular cult of YA author celebrity, to mock how every supporting character nurses their own dreams of writing—or at least acting out—The Great American Novel. But McCarry also gets to the heart of yearning to create worlds and characters, the ache of writing-as-processing, the thrill of trying on other stories and lives—she grabs that heart out of your chest and shows it back to you, thumping obscenely but recognizably. Back when the rest of 2020 stretched out ahead of us, especially uncertain, waking up to each installment every Tuesday morning was one of the few things keeping me looking forward to the next week.

– Natalie Zutter

Beach Read by Emily Henry

Beach Read is perhaps the worst misnomer of any book title on this list, and the cover doesn’t help. The lead characters only go to the beach near their adjoining properties once, maybe twice! Emily Henry’s gem lies somewhere between romance and literary fiction, mirroring her characters’ work. In Beach Read, next door neighbors find themselves uncomfortably close – they can see in one another’s windows, when they’re both on the deck they can easily chat at normal volume – and of course their first interaction is fraught.

It doesn’t take long to find out they’re both writers – she, romance; he, literary fiction – and amid an argument about whose work is easier, a challenge to swap genres unfolds. Throughout the heat of the summer they teach one another about their respective genres and open up about their lives. It’s darker than the average romance – he’s writing about a cult where pretty much everyone died; she’s cleaning out her dead father’s home – but if you’re looking for something with adult sex/romance and adult relationships and emotional pitfalls in equal measure, Beach Read has you covered.

– Delia Harrington

Yes, No, Maybe So by Becky Albertalli and Aisha Saeed

In a year when politics was inescapable and inescapably miserable, Yes, No, Maybe So provided political escapism that soothed my soul in the form of a romcom about a state senate race. While the setup might sound contrived – two teens, a Jewish boy and a Muslim girl volunteer to knock on doors together and fall in love – the book itself featured well-drawn characters. Trading off narration by character and corresponding author, we learn about their home lives, friends, hopes and fears, why they’re invested in this race, and how they really feel about one another.

Taking place mostly during Ramadan, the book has some fun easter eggs for veteran canvassers and field staff while doing a decent job explaining some of the inner workings of a state-level campaign for newcomers. Anyone interested in getting more politically active will find numerous examples in the book of how to do so, and it certainly helps that as Jamie and Maya face their respective fears, they make getting involved seem easier to the reader, too. The book is incredibly earnest, tender and sweet, both about politics and their romance, especially under Jamie’s narration, but Maya and their circumstances bring in a dose of realism to help balance things out so it’s not too saccharine.

– Delia Harrington

What were your favorite books of the year? Let us know in the comments below.

The post The Best Books of 2020 appeared first on Den of Geek.

from Den of Geek https://ift.tt/3aMii43

#aion-rsa #Den of Geek

0 notes

rhymaresh · 8 years ago

Text

The Gendered Gaze and Objectification of Women in Teen TV Shows (E4’s Skins vs NRK’s Skam)

This essay will be discussing the issue of the gendered gaze in teen-catered television shows, focusing primarily on two shows with similar content and a similar targeted demographic: the British TV show Skins, and the Norwegian teen drama, Skam (translating to ‘Shame’). I will be exploring issues of spectatorship, the gaze in relation to gender politics, and the effects of the objectifying gaze on audiences.

The female body has been subject to objectification through spectatorship and voyeurism long before the age of media, starting with nude paintings of women catering largely to male collectors and leading up to present time when in a patriarchal, consumerist society the female body has become a commodity. Television has become oversaturated with objectifying representations of women to the extent of which it is has become near impossible to place a female body in the spotlight without it becoming subject to objectification. As Constance Penley states in her book, Feminism and Film Theory,

“Cinematic images of woman have been so consistently oppressive and repressive that the very idea of a feminist filmmaking practice seems an impossibility. The simple gesture of directing a camera towards a woman has become equivalent to a terrorist act. This state of affairs — the result of a history which inscribes women as subordinate — is not simply to be overturned by a contemporary practice that is more aware, more self-conscious. . The impasse confronting feminist filmmakers today is linked to the force of a certain theoretical discourse which denies the neutrality of the cinematic apparatus itself.” (Penley, 1988)

The field of female representation is hard to navigate under these conditions, perhaps even more so when the media in question is aimed at teenage audiences. As statistics show, watching television is one of the main leisure habits that teenagers engage in. The effects of negative representation and objectification has been proven over and over again to be detrimental to young, impressionable audiences and recent decades have seen an increase in body-image related issues in teenagers and young adults, making it almost impossible to not draw a line between the two facts.

“Versions of what it is to be a woman, then, are offered to the teenage viewer; versions which become part of the range of ideas which form an identity. Whether they are incongruent with other ideas being offered, or identical to them, may, of course make a difference to how much influence they have. So, for example, if all the cultural messages a young woman receives tell her that she must, first and foremost, be a perfect body, then it is possible to surmise that this would have more impact than if it were only coming from one direction.” (Frost, 2001, p. 98)

The increasing amount of teenagers consuming television shows has led to the birth of an entire new genre, that of teenage drama shows such as Gossip Girl, Pretty Little Liars, Freaks and Geeks, Skins, and 13 Reasons Why, to name only a few. As Rebecca Feasey notes in Masculinity and Popular Television

“Television has routinely featured teenagers and the teen experience in a range of talent shows, variety programs, soap operas and sitcoms, with such programming culminating in the teen television drama of the early to mid-1990s. These texts do not merely reflect adolescent interests and anxieties, but rather, they play a significant role in managing and shaping the teen experience. However, even though the small screen appears saturated by the trials and tribulations of the teen life and a varied spectrum of adolescent concerns, this youth demographic has little or no control over such representations.” (Feasey)

Many of such TV shows seem to present a teen reality that has more of an intended aspirational aspect to its characters than an intent to represent teen life and struggles as they are, most of them concerning themselves mainly with centering their plot around skinny girls, rich families, large parties and expensive cars. However, as one The Guardian article aptly notes, Skins was one of the first teen dramas to actually take an interest in portraying something more similar to reality. A fact which perhaps contributed to its incredible popularity over the years.

“Skins [...] took the radical step of considering what young viewers might want and aspire to by actually thinking about and consulting young viewers. It told the story of a group of mates in Bristol who were leaving school, who slept with each other, went to parties, drank a lot, smoked weed, and talked like the kids they were. Their personal dramas weren’t the dramas of adults transposed on to slightly younger adults to act out; they were smaller, more honest and more precise than that. The first series [...] played with typical teenage issues. They were exaggerated and comic, but believable nonetheless: the characters were dealing with losing their virginity, eating disorders, school trips, sexuality, divorce, friendships, and not feeling good enough for your peers.” (Nicholson)

However this does not make Skins exempt from issues of objectification when it comes to female characters. In fact, in its attempt at realism it may have further added to the issue in a vicious cycle of objectification. In fact one of the first scenes on the show involves one of the main characters looking out the window at a naked woman who is unaware of him watching her. In another scene from the same episode the camera pans up Michelle’s body as Tony watches her dance at a party. Later, in another episode Tony is spying on one of the teachers who steps naked out of the shower. In these scenes the camera becomes the tool through which voyeurism is performed.

Even past that, the show’s female characters are objectified by the males ones to the extent of them becoming mainly a plot point in the story lines of the male ones. Of course, the objectification of women extends outside the world of film and it’s realistic to believe teenagers would treat each other this way, however it is possible to maintain realism as well as address these issues. From the very start we see Tony and Sid treating Cassie as nothing more than an object, a means to an end, a tool for Sid to achieve his goal and lose his virginity. Female nudity on the show seems to only have the purpose of giving pleasure to the male spectators through voyeurism. Especially in teen television shows, this contributes to the oversexualisation of girls, both on and off screen and raises concerns regarding objectification and consent.

The question that needs to be asked in this case seems to be: is it possible to create a television series that offers a realistic representation of teenage life while also dealing with such issues? It seems hard to think this would be possible. However, in the years since Skins came to an end in 2013, another teen TV drama has risen in popularity. Created in 2015 Skam (Shame), a Norwegian TV series focusing on the lives of a group of teenagers from Oslo, is now airing its last season and has one-upped the british favourite both when it comes to representation and objectification as well as production.. Less over the top when it comes to its characters and the dramatic situations they are put through, Skam presents a more realistic, more self-aware version of teenage life, choosing to subtly point out the issues that come with issues such as the male gaze rather than encourage it (much as its British counterpart has). As one viewer states, in an article for the Guardian, “Skam’s real appeal goes beyond its current leads, no matter how telegenic and lovable they are. ‘The show is very willing to tackle ignorance among Norwegian teens – you see a lot of it and you also see the part where they get educated.”” (Hughes)

Skam, just as Skins before it, deals with a lot of the issues prevalent among teenagers today: friendship, romance, virginity, sexuality, mental health, body image, religion, sexual assault and consent, to name just a few. However, unlike Skins, when it comes to female objectification, instead of simply putting it in practice, Skam points out its problematic aspects, both through its well written dialogue as well as through elements of cinematography.

In the short time it’s been airing, Skam has proven to be one of the most innovative tv shows as well, fact which has contributed to its widespread popularity. Each season of the show is focused on one main character and takes place in ‘real time’ with clips being posted on the show’s website throughout the week and adding up to form one complete episode every Friday. The clips are accompanied by screenshots of texts between the characters and by posts made on their social media, which add to the storyline. The music in the show is also very significant to the scenes it accompanies, from Akon’s I Wanna Fuck You to Yusuf Islam’s Don’t Let Me Be Misunderstood. The scenes are shot mainly on location, and only a few weeks before the respective episodes are meant to air. This way, the director, Julie Andem, and the production team can receive the teenage fan’s feedback and sometimes alter the storylines in order to maintain its realism.

So far out of the four season of the show, three of them have had females leads, while one season focused on a male character’s journey to coming to terms with his sexuality. The first season of the show dealt with issues of insecurity, cheating and trust, the second season dealt with issues of consent and sexual assault, the third one tackled self-acceptance and mental health, and now, on the last season with a Muslim girl as a main character, it is expected issues of religion and discrimination will be tackled. Due to the predominantly female point of view throughout the show and possibly the female director however, the instances where women are objectified are addressed as opposed to being left as they are. In one particular instance, one of the male characters with a notorious reputation as a ‘player’, takes advantage of one of the girls’ crush on him and after having sex with her and getting what he wanted, proceeds to ignore her. As a Dazed article notes,

“Skam speaks directly to its viewers as a peer rather than from a pulpit. Another moment shows a character called Vilde, who is told point-blank by the guy she is lusting after that he’s just not that into her. Her friends attempt to comfort her, telling her he’s not worth it. Still, she can’t help but feel inadequate. “I know you should think that if a guy doesn't like you, it’s not you there’s something wrong with. It’s him,” she says. “But how does one think like that? I keep thinking it’s me there’s something wrong with.”” (Taylor)

Throughout the entirety of the show the entire storyline attempts to deconstruct female objectification rather than encourage it in the same way Skins did before it. Due to this it is rarely that the camera focuses on the female body in a sexualising or objectifying way. Even when two female characters end up making out while drunk at a party, with one of the male characters watching them, the scene never becomes sexualising.

In conclusion, while Skins certainly captured the reality of teenage life and validated a lot of the experiences and emotions, its oversexualisation of the female body and in particular of teenage girls’ bodies, makes it at the very least almost uncomfortable to watch and at most damaging to its young audiences. Skam, as its Norwegian counterpart, is not afraid to show the same realities, while still educating audiences. Its use of the camera as an instrument of the Gaze is far less extreme than the one Skins offered its audience. In an age of social media and consumerism where women’s bodies are objectified perhaps more than ever it is almost a novelty when a teen-targeted TV show treats its female characters with respect while still managing to capture all those key moments of their adolescence, and manages to do so without showing their bodies framed in oversexualising ways.

#i see so many points i could have made but didn't #anyway i hope you enjoy #i wrote it too last minute to be any good #but i'm so close to a mental breakdown over my workload and my life #that idgaf #skins #skam

24 notes · View notes