#the rest are completely original characters (Finn is half fan-character half original though he still exists as a Spooky Month OC

[pestercide]

Bunch of miscellaneous OC redesign concepts!! A majority of these aren't finalised I mainly drew these to mess around with my style

[sycamorre]

17, 33, 34, 38, and 40 for the OCs asks!

-OC Questions- Gonna try to find art for as many as I can to help with putting faces to names.

17. Any OC OTPs?

A handful! Most are from my Elder Scrolls RP days but I'm slowly collecting some DnD ones.

We have the werewolf power couple Indes and Korgul, my wood elf Companion (as in the Companions faction) and her half-orc beau Korgul:

Indes' little sister Nidhel, a healer, and another Companion, Tural:

And I still need to draw them together, but there's the newest pair from our last campaign, Ori and Ranna.

I have other ships out there, but I hate boring people with them because they're either characters that have never interacted with anything outside of my own brain or are completely unofficially and I'm someone who doesn't like to make a fuss or gush over things that only I know or care about on here.

33. Your shyest OC?

This is honestly a bit of a hard one. I have plenty of quiet/introverted characters, but I don't consider most of them as genuinely shy. Most have no problem socializing, even if they do not have a ton to say. Likely either as the result of myself being the same way or because most are RP characters that kind of depend on interactions.

I will say pre-campaign/younger Oriana was definitely in the shy camp, though as a result of being uncertain and scared of her magic rather than her personality. Gaining confidence with that and her fighting skills definitely got her in the previously mentioned "quiet but not shy" category.

I do have one character I can think of that is definitely shy in a literal sense. My witchy-innkeeper, Aubrey, has a member of her staff, Annabelle, who came from a servant background and was not treated very well in her previous job, so as a result she became very shy and anxious. To the point where if she is berated by anyone outside of the rest of the staff, she will either run away or freeze up. Aubrey has her mostly cleaning to help keep her from having to interact with bad customers, but not always foolproof. Everyone's trying to help her, though it's a slow process.

The night sky-themed air genasi I've drawn before (whose working name is Stellara/Stellari maybe) may also end up kinda on the shy side if I ever do get to play her. Mostly because I imagine her as a bit of a hermit who just doesn't do socialization very well in general.

34. Do you have any twin characters?

I do! Jayni, my halfling wizard (previously bard) that was originally made for a short-lived Waterdeep Dragon Heist campaign, has a twin brother named Finn. He was originally taking on an apprenticeship to a tinker in the city, but if the characters ever came back, I'm not sure if I would keep that or have him doing something else.

The art is old and Jayni specifically has strawberry blonde hair now, but Finn still looks mostly the same c:

And technically, though I never did make any official art for them and they would be shared and not just mine, it was decided between me and the other player that Indes and Korgul's first biological kids would be a set of twins (Uram and Taram), so I figure they may count as well.

38. Which one of your OCs would be the best dancer?

Easily Wisteria, the Eladrin glamour bard (who I drew here) that I really wanna play someday. The entire idea behind her was that I wanted a bard that didn't necessarily having singing or instruments as their main "thing" and I wanted an excuse to make a character that would feel natural dressing in very flashy, hanfu-inspired dresses, and she was born out of those two thoughts. Instead of playing an instrument, her magic is triggered by her dancing and her fan, which would act as her arcane focus.

40. Any fond memories linked to your characters? Feel free to share!

If we talked about all of my fond memories with my OCs we would be here forever. I have literally been making OCs and RPing them since the end of middle school/beginning of high school, and I still occasionally lurk around my old stomping grounds to see what old buddies are up to and reminisce on the nostalgia.

For the sake of being relevant to this post and the people I know here, I'm gonna go back to my Elder Scrolls RP days in the shipyard here on tumblr. Some highlights of my time RPing as Indes and Nidhel, as well as a family friend, Vialgo (an Imperial Dawnguard member) include:

The player of Tor-Acr, an Argonian were-croc, asking for a spar RP literally a day before I said I was gonna start looking for threads and sparking Indes' first friendship in that community.

Watching Indes' and Korgul's relationship grow from occasionally butting heads, to genuine friends, to secret feelings for each other, to admitting everything when Korgul was at a low point and sparking honestly one of the best RP romances I have every had the pleasure of being a part of and that made both of our characters better as a whole.

Getting to host a tourney event for the other Companion players and watching everyone get to enjoy it and building closer relationships between the characters.

Vialgo talking down one of his commanders when he almost slipped up and realizing I could actually play a smooth-talking character rather than just the blunt, gruff ones or super sweet, honest ones.

A whole multi-part story where Herryk, another player's Dragonborn character and one of the Companions that Indes is closest to (basically a little brother to her), is almost killed by a dragon and she witnesses him literally fall from the sky when he gets dropped by the dragon. And she plays an integral part in his return and the emotional payoff was just amazing.

Just getting to see my characters get integrated into other people's stories and getting to make even better stories together. I love that about RP so, so much and it's why I love it just as much if not more than just writing things by myself.

[unexpectedreylo]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Or something, anything other than what we got.

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

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

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

[arabian-bloodstream]

TROS: The Good, the Bad & the Huh?

So, I watched The Rise of Skywalker on Thursday. It met my expectations which were to not expect too much. I hadn't read the leaks, but I had still been spoiled. I didn't want to believe that Ben would actually die, but I knew it was a very real possibility so when it happened, I wasn't terribly surprised. Overall, I liked the movie, because, duh, it's Star Wars. However, I had a lot of problems with it because a lot of things didn't make sense.

I watched it a second time on Saturday and sadly, those things still didn't make sense, but I still liked it because, you know, Star Wars. So, here are my thoughts, first off with all of those things that don't make sense without having to rely on the SW visual dictionary or EU (because you should NOT have to rely on outside source to understand stuff) to explain them, then my biggest issues with the film, the things I did really like and my rankings of all the films as of now before it comes out and I can do a full rewatch:

Questions... So Many Questions

Where is Kylo in the beginning? Who is he mowing down? How does he find the wayfinder?

How did Palpatine come back?

Who has been taking care of him for the last 30-odd years?

Who are all of those hooded creatures in the stands?

Why are there a couple of Snoke puppets? Molds? What the fuck ever? In aquarium tanks?

Who is this General Pryde dude and why is he so high up and we've never heard of him before?

Who was Palpatine's girlfriend/wife/one-night stand that led to Rey's dad(?) mom(?)?

Where did this all come from!??!? Palpy having a child seems like a pretty fucking big deal to just OOPS! pop out of nowhere?

Some random THERE ARE ONLY TWO SUPER-SEKRIT-SITH wayfinder thingies to find Palpatine that Luke was on a SUPER-SEKRIT mission with Lando THAT WAS NEVER MENTIONED in between him training his Jedi students and his temple getting destroyed, having a split-second 'maybe I should murder my nephew' moment, 'nah!' and going into exile. Uhm, OK.

Leia was trained in the Force by Luke? Uhm... when? When she was pregnant with Ben? Because she got pregnant pretty much right after Endor. So... she learned enough from Luke--even though she didn't complete her training--to train Rey... enough that Rey became super-duper powerful. Because I highly doubt that Leia had time to train while pregnant and helping to start up a new government. OK, then.

So, Leia and Luke *knew* that Rey was the granddaughter of Sheev Palpatine--the most evil who ever eviled--and had no problem believing that there was good in her and she could be molded into an awesome Jedi... but didn't believe the same about their own son/nephew because he had too much "Vader" in him? Even though, Luke believed that Vader could be redeemed? Huh?! I mean... huh?

And on that note... so, all of the old Jedi decided to let the grandson of The Chosen One fall down a pit and crawl back up in agony with a shrug, but were like, 'yeah, we're gonna help the granddaughter of the man whose goal in life and in-between life and now life again after sucking out the life-force of the two remaining Jedi in the Galaxy.' OK, then.

So... how come, when Rey died she didn't just fade away? I mean, when Ben died he faded away right away. Why didn't Rey fade away right away?

So those horse-creature thingies... why were they on the ships to be on the destroyers? I mean, like... was there even room? And when that was destroyed, did like those horse-creature thingies all die? How sad... and no one cared.

The 'Rey, I need to tell you something' from Finn. I know now it was that he's Force-sensitive. AFTER watching the movie and hearing other people say it. Watching it the second time, I picked up on the clues, but those I watched it with the second time thought it was that he loved Rey. A lot of people thought it was that he loved Rey. I thought that the first time. It was clumsy, it was tacked-on. It was... stupid. Why would you leave a dangling thread, one of JJ's "mystery boxes" in the final chapter of the ninth-film saga? WHY?!

Also, more importantly, why were the Resistance celebrating at the end? Because "The Final Order" were taken out, but uhm, The First Order is still around. Unless I'm remembering it incorrectly (and I could be), it was the Final Order ships, General Pryde's destroyer and a bunch of First Order fighters, but not ALL of the First Order destroyers were there. They've got thousands of destroyers spread across the galaxy. They weren't all there. They took out the Emperor's fleet, not the Supreme Leader's fleet. And sure, the Supreme Leader is gone, and Pryde and Hux are gone... but there are other Generals who will step up. So, yeah, the First Order is still around. The First Order is the huge, massive enemy that our heroes are fighting the entire two films. And there is LITERALLY no mention of their defeat, of how THEY are brought down in this film. Instead, JJ brings in Palpatine and his thousands of somehow functioning Final Order fleet... and *that* fleet* is destroyed. YAY! Celebration ensues. WHAT ABOUT THE FIRST ORDER!?!? The one that we spent the last two films fighting?!? The ones that the rest of the galaxy had zero interest in helping to fight during the battle of Crait and ANYTIME in the interim before the Battle of Exogol. That's kind of huge.

Why did Rey go to Tatooine? Seriously? Why. Did. Rey. Go. To. Tatooine? Luke hated Tatooine. And besides, Rey spent at most a week with the guy and didn't have a very good relationship with him. Sure, they had a decent post-death conversation, but that was it. It really was like JJ intended (after TFA) for Rey to go to Luke and for Luke to train her in the ways of the Force and for there to be this great relationship, much like Luke and Yoda. I guess he expected for Rian Johnson to redo so much of TESB much as he had done with ANH. But Johnson didn't do that, and Abrams clearly didn't care. So he just ignored the relationship that Johnson *did* establish between Rey and Luke and pretended like the one that he envisioned had happened had, well, happened. (Psst, even though it didn't.) But it made no sense. Again, at most a week Rey spent with the grumpy old dude who wasn't very nice to her, whom she fought with and who told her--yeah, no, this ain't how it's gonna be, and so she took off and went her own way. Sure, Luke changed his mind, but she wasn't there for that.

Why did Rey have BB-8 with her? BB-8 is Poe's droid, not hers. Oh, right... it paralleled TFA--where it made sense that BB-8 was with her, when Poe was "dead" which he is not now. Mmhmm.

Why did Rey take the last name Skywalker? She didn't have the relationship with Luke that warranted it. You know who she DID have the relationship with? Han SOLO. Leia Organa-SOLO. Ben SOLO. Those are the people with whom she had that kind of relationship. The man who DID become like a father to her in a few short days. The woman who did become like a mother to her. The man who was literally the other half of her soul. If she was going to take a name... it should have been Solo. Rey Solo. Taking the name Skywalker, much like going to Tatooine was not in character for Rey, and it wasn't FOR Rey. It was nostalgia for the Original Trilogy fans (oh, like JJ Abrams). It wasn't true to the narrative, the character, of the story that has been told over *this* sequel trilogy.

Why was there no Force Ghost of Ben? There needs to be some specific training in order to be a Force Ghost, sure. Which Luke *probably* got from FG Yoda. And which Luke gave to Leia in cut footage. And this specific training was mentioned briefly in the Prequel Trilogy, and more extensively in The Clone Wars.... but unless you remember that one line from the PT or watched TCW and know about that cut footage, you have no clue. So, many are left wondering, again: Why was there no Force Ghost of Ben? If Luke *probably* got that training from Yoda, why didn't Luke train Ben in it? He's gotta know how tragic the lives of the Skywalkers are... ain't no way he didn't train that boy early on about that bit of info, right? So, yeah, why no Force Ghost of Ben?

So many questions, so many things that had me going: Wait? What? Huh? Why... I don't... huh? How did--? When? Huh? That should not happen this much in a film. Period. That is bad writing. That is bad directing. That is bad pacing. That is just bad film making.

The Big Four Issues

I. Ben Solo Dying.

Had he had not been the last Skywalker, I would have been OK with him dying. Not happy, but narratively, I would have been OK with it.

Had Han not sacrificed himself essentially which was then used as a narrative to build into a huge reason as to why Kylo was having such a hard time staying on the Dark path, I would have been OK with him dying. Not happy, but narratively, I would have been OK with it.

Had we not been given some hints that Ben had been manipulated his whole life by the Dark Side and abandoned by his family, I would have been OK with him dying. Not happy, but narratively, I would have been OK with it.

Had we not been told that he was literally sharing a soul with Rey (one soul-two bodies), meaning that she will be bereft and lost without him for the rest of her life because her literal soulmate is dead now, I would have been OK with him dying. Not happy, but narratively, I would have been OK with it.

However, because of all of the above, narratively speaking, no, I am not OK with it. I have always said in every fandom I have been a part of that if it makes sense from a narrative point of view--even if I'm not happy as a fangirl--I will be OK with it. From a narrative point of view, this did not make sense. So, yeah, I had an issue with Ben Solo dying.

II. Kylo Ren's Helmet and Rey's Hairstyle

I said when I first saw the triple-bun-hairstyle again and Kylo with the helmet that I was wary because I felt that JJ had fundamentally missed the symbolism of what Rian did with the progression for both characters. I hoped that I would be proven wrong and there would be a reason for the return of both things (beyond needing the hairstyle for scenes with Leia to match the footage). Alas, I was not.

Kylo without the mask was him no longer in Vader’s shadow. The mask was about him being the scared, little boy, hiding who he was. At the end of The Last Jedi, he supposedly got everything he wanted. He no longer needed to hide. By destroying the mask, he was doing his best to let go of the past. He let go of Snoke, let go of Vader. But, of course, that wasn't the story that JJ wanted to tell. He wanted to keep Kylo answering to someone else, holding onto Vader. So because Rian got rid of Snoke, JJ brought in Palpatine for Kylo to be submissive to, beholden to Vader still, no longer the leader and back came the helmet, undoing all of that great character progression that Rian had crafted.

As for Rey and those buns, sigh. Once she realized–as she did in the cave, even if she didn't admit it fully to herself until Kylo called her on it–that her parents weren't coming back, she let go of that hairstyle. Why? Because that hairstyle is the only way she could figure that her parents would still recognize her. It's the hairstyle she had when she last saw them. By letting her hair down and not putting it back up, she let go of the fantasy that they were coming back. JJ putting her back into that ridiculous style, like with Kylo, he erased that huge, beautiful character arc of Rey's. She was once more a girl in search of her identity, her self. That self, that woman that she had found at the end of TLJ was gone. *double sigh.*

III. Rose's Presence or Lack Thereof

The toxic bullying and horrible way that Kelly Marie Tran was treated was completely unjustified in every way, shape and form. JJ Abrams pretty much rewarded that treatment by sidelining the character of Rose and wrote her as a glorified extra. Period. There's pretty much nothing else to say about it. Anything else will just devolve into ranting. It--yeah, just gonna stop here.

IV. The Force Bond Scenes

Least "big" issue, but it bugged me. I noticed it the first time I watched the film and hoped that it would be more clear the second time I watched it. That second time, I watched it with my brother-in-law and nephews and asked them if they had the same issue. They did. I wasn't sure honestly when Rey and Kylo were actually together or were having Force Bond moments. One of my nephews didn't realize that Rey and Kylo were actually fighting in person on the Death Star until Kylo was talking to Han. That entire scene from when he showed up inside the Death Star remains, through the fight scene, through her stabbing, then healing him and her taking off... my nephew thought that it was a Force Bond scene. Both times, I didn't realize it wasn't a Force Bond scene UNTIL they moved outside of the Death Star remains. When they were talking inside, I thought it was a Force Bond scene.

Rian Johnson did such a wonderful job establishing they were having a Force Bond moment. It was like the air was being vacuumed out of the room. You could feel the tension. It was obvious, but in these Force Bond scenes unless the scenes were drastically different or there was dialogue establishing it, you just could NOT tell.

But, It's Not All Bad!

The Han/Ben scene gutted my very soul in all the best way possibles. I ADORED the callback to The Force Awakens scene. How the play on the dialogue worked in the opposite direction, with Han urging him that he could it, he did have the strength to turn to the light. How Ben held the lightsaber, and once again, Han reached out to touch his face. Oh, God, and when he said "Dad," his voice breaking and Han said, "I know." I died. I was just.... gah, a total mess. I teared up both times. That was just everything. SO. VERY. HARD!

Babu Frick may be my new spirit animal. No, I do not find him cuter than Baby Yoda (puhleeze!), but dear Lord, I loved him so. When C3P0 (who will forever remain in my heart, I love him so) had his memory wiped and was introducing himself, I laughed out loud both times when Babu immediately pipes up with, "I'm Babu Frick!" and then later on when whoever mentioned that Babu sent them a message, 3P0 pipes up, "Oh, I know Babu Frick, he's my oldest friend," I lost it. So good.

Speaking of C3P0, every moment with C3P0 was gold (hehehe, see what I did there?). I seriously do love Goldenrod. I liked the sentimental, the sweet, the serious and the funny with him. Outside of the Babu Frick moments, my favorite was when he mentioned something about the Passana Desert festival and they all looked at the annoyance that is 3P0 and he has no clue and turns around himself to see what they are looking at. Oh, I love him so.

When Finn told Rose that he was staying on the ship... JJ may have cut the Finn/Rose dead in the water that Rian set up, but damn did KMT give it her all. That moment where she looked after him, oh it was beautiful. You could see all of the worry, the love, the pride... everything on her face in that moment. So good.

I may have felt that Zorri Bliss was a completely useless and pointless character, but that final bit with her Poe was hilarious.

The lightsaber battle on the Death Star remains was AWESOME-SAUCE. Every moment of it. I especially loved: Kylo walking out of the rain/water. Kylo and Rey both so exhausted they can barely keep going. Kylo having the kill-shot like two or three times and just not able to do it. Ben hearing Leia say his name. Ben dropping his saber when he senses her end is near.

Chewie finally got his damn medal!

Chewie mourning over Leia. That was all of us.

Man, when Rey and Kylo were fighting over the destroyer and then lightning came out of her hands... it was like WHOAH!! SO FREAKING COOL! I loved that. I really totes did!

I loved every single, solitary moment of Ben Solo. From his running to save Rey. From his free-for-all jump to his "Ow." To his facing of the knights, knowing he was outnumbered, but still determined to take them all. From his 'We got this babe!' look to Rey to his shrug once he held that lightsaber in his hand and took on every one of those Knights and took them all down, Ben Solo was sassy, bad-ass and amazing all without saying an actual word.

Dear Lord. Crawling from the pit, forcing himself across that rocky floor on a broken leg, gathering the woman he loved in his arms. The relief of finally, finally, truly holding her in his arms, the devastation at knowing she was lost to him, and then the determination, the refusal to let her go, to lose her. He truly finished what his grandfather started. He would not let the woman he loved die. So be brought her back, pouring every ounce of his life, his love into her.

I loved that she told him that she wanted to take Ben's hand, and so she did. And she said his name, one last time. "Ben." And I loved that we got that beautiful, beautiful smile. So happy, so free, so full of light. And no pain.

*sigh* The kiss. I loved, loved, loved that we got our beautiful, epic space kiss. *double sigh* Because it was beautiful. And it was epic. And it's canon, bitches! Yeah, baby!

Overall, I liked the movie. I believe that when I watch all the films together, I will be satisfied. I just wish I loved it. I AM happy for all of those people who do love it though. I truly, truly am.

The Skywalker Saga Rankings

Yes, I consider Rogue One part of the Skywalker Saga since both Darth Vader and Leia appear in it.

The Empire Strikes Back

The Last Jedi

A New Hope

Rogue One

Attack of the Clones

The Force Awakens

Return of the Jedi

The Rise of Skywalker

Revenge of the Sith

The Phantom Menace

[beansthembo]

I need to do a bit of a vent about the new Star Wars movie. Spoilers below.

I’m having some trouble processing what happened. If you’re reading this, you probably are interested in my opinion on it, and you probably also know that I was a big fan of The Last Jedi. By no means was it a perfect movie, but it took the chance of distancing itself from the rest of the series by springing off of what was established in TFA and building something new. A lot of people weren’t too pleased by this, and there are plenty of legitimate criticisms, but being completely transparent, I can’t listen to most critics of it because most of the people I know in real life who didn’t like it are racist or misogynistic.

TLJ tried to introduce people to the idea that, in reference to the new canon, just because it’s new and different, doesn’t mean that it’s bad. Kylo’s/Ben’s line, “Let the past die. Kill it, if you have to,” finds meaning in this, though a bit extreme. TLJ was going to learn from the past films and move on, for better or worse. TROS is determined to wallow in its past. As a lifetime fan of Star Wars, I can’t bring myself to hate it outright, like many vocal critics of TLJ, but I find myself severely disappointed by the decisions made in it.

I’ve honestly spent too much time composing those last paragraphs, as if I’m a legit critic or reviewer. I’m just kind of going to present my nitpicks and criticisms as they come to me.

So, first a few nitpicks:

-The opening crawl seems... poorly composed to me. The first line is “The dead speak!” Correct me if I’m wrong, but they don’t usually use exclamations in the opening crawls. I know I just spent the last couple of paragraphs defending new ideas, but the opening crawl always seemed as though they were meant to present information formally from a neutral perspective. Not a major criticism, but it did bother me a bit.

-What happened to Kyle’s TIE Silencer? I mean, it could’ve been destroyed in the previous movie, but I don’t really remember that happening. Either way, it seemed to me that they made the decision to make his ship more similar to the Interceptor, as, like, a ‘safer’ choice, but I don’t see why they couldn’t have just had the same ship.

-The Falcon has a round dish again? You know, now that I’m thinking of it, the dish may have been blasted off in TLJ. I just was surprised by that.

I may add to that list later. the actual problems I had were:

-Rey is sort of obsessed with ‘earning’ Luke’s (and Anakin’s) old lightsaber. Which has been repaired, by the way. She doesn’t actually ‘own’ it, even though she’s been using it for the past two movies, she’s just been borrowing it from Leia. I was really looking forward to seeing her make her own (or already have her own) lightsaber, which she does, but she waits until the end of the movie to show it off. And it’s rad as hell! Wtf? why couldn’t she have been using that the whole time! It’s one of my favorite lightsaber designs now and they show it for a whole two seconds!

-They finally give Snoke a backstory, and it’s... that he was Palpatine’s puppet the whole time. I’m gonna say, not the worst backstory they could have done, but they really tried to make him just not matter at all. I mean, yeah, the way he was done off with in TLJ was pretty unceremonious, but I always felt that meant that the real big bad was meant to be Kyle all along. Instead, the Skywalker saga becomes the Palpatine saga. I’m not opposed to the concept of Palpatine surviving and attempting to resurrect the Sith, but that’s something I’d expect from a novel, not the main story of the final movie in the franchise. And, honestly, regardless of whether or not Snoke was secretly Plagueis, I always thought he was supposed to be some other ye olde sith master, not just some sort of failed clone(?)

-Kyle rebuilds his fuUcking helmet. Why? What purpose does it serve? He doesn’t even wear it most of the time. The longest period he wears it is when the First Order officers comment on it. He’s just being dramatic. Which, I suppose, would be in character, but after the scene in which he shatters it in TLJ, it seems pointless.

-Another nitpick, but when they expand upon Rey and Kyle’s ability to connect through the force, it seems a little... disjointed. I do like that they took the time to expand upon that, even though I thought Rey closing the Falcon’s ramp on him at the end of TLJ was symbolic of her cutting him off, the way they presented it seemed, well, off. Like, it makes sense if you take it at face value, but if you start to think about it at all, it sort of... weird. I dunno how to describe it. Like, they interact with each other’s environments, but can’t see what they can interact with until they interact with it, and they can trade items, and... yeah.

-The big one... Rey’s a Palpatine. Her father was Sheev’s son. (When did that happen, huh? Who’d want to get with that wrinkly mess?) Why the everloving fuck couldn’t Rey just have been Rey? Why did she have to be related to someone existing in the franchise already? JJ’s going around saying that this was his plan the whole time, which is bull fucking shit, because otherwise they would have communicated this to Ryan, and I’m pretty sure TROS was originally going to have another director in the first place, and ALSO I’m pretty sure JJ did say at some point that Rey’s parents only mattered to her. While I’m on the topic of fan theories and origins, nobody in the movies was ever concerned about who Snoke really was. They knew who he was-the Bad Guy. Nobody ever cared who the Emperor really was in 1983, so why was Snoke’s death and non-explained origins such a big deal? I have more conflicted thoughts than I can even put down, so i’m gonna move on.

-Oh, before I forget, they just completely write off Rose. She’s present, but they minimize her screen time. I get that a lot of people didn’t like her, and there are some valid criticisms of her that aren’t completely rooted in racism and misogyny, but I never found any problem with her. I actually felt she was pretty relatable. She meets a hero, trips over her own words, and then learns why you should never meet your heroes. Disillusioned, she’s about to turn him in but they come up with another plan, and together they visit a world full of people she joined the Resistance to get away from. I’ve got that same feeling about those sorts of things-while I do enjoy a decent amount of privilege, I still, you know, fight against the system that gave it to me. And I can’t stand to see people abuse others just because they don’t have that privilege, so hearing her speech about wanting to punch a hole through that city did mean a lot at some level. Then, at the end, when she’s like, “this is how we win. Not by fighting what we hate, but saving what we love,” I can even relate to that. It’s when, like, you explain to a kid how you hate something, and they jump on the bandwagon, and get real angsty, and then you’re like, “no no no that’s not what I wanted you to learn!” It’s hard to describe it with my rapidly deteriorating attention, but I never thought she was a bad character.

-DJ wasn’t in it! I mean, he wasn’t the most important character, but I still wanted to see him again.

-They have this fake out where they pretend Chewie was dead for a whole 20 seconds. I totally called it, too-the ship he was supposedly in blew up (or rather, Rey blew it up with force lightning accidentally), but since he didn’t die on screen in front of us, I knew it had to be a fake out. And it seems like the only reason for that was so they can find out that Hugs was the traitor, who is only betraying the First Order to see Kyle lose, which I mean fair, but then he’s unceremoniously killed off by the new big officer guy who we’ve never seen before but was supposedly one of the Emperor’s top men. I don’t think his name was even mentioned in the movie-or if it was, it had zero staying power. Also, they have this part where Threepio had his memory erased for a while before being backed up by Artoo. The lead up to it was very dramatic- Threepio’s generally been a comic relief character up to this point, and now he’s got to give his life for the cause (He had a translation of some Sith runes in his memory, but his programming prevented him from saying the translation aloud, and his memory needed to be wiped in order to access it), but as soon as his memory is wiped they do not give two shits that one of their best friends basically died right in front of them. Then Artoo brings him back and still no one cares.

-Poe and Finn do have a nice dynamic in the movie, but then we find one of Poe’s exes and he starts flirting with her and its like no Poe your husband’s right tHERE POE DON’T DO IT (and don’t dismiss this as shipper nonsense because John Boyega and Oscar Isaac both wanted FinnPoe to be a thing and acted through the movies like it was already don’t you say this is the first you’re hearing of this)

-The way that Rey defeats Palpatine is by crossing lightsabers in front of him to deflect his lightning?

-Reylo is canon NOOOOOOOOOOOOOOOOOOOO (Insert the gif of Vader yelling no at the end of ROTS)

-Also why does it always have to be a planet destroying superweapon? I know legends did that a lot but there doesn’t always have to be one for there to be stakes.

I think there was other stuff, but my brain is too scattered at this point to make any more cohesive thoughts. I mean, there was a lot of stuff I did like about it- Lando’s back! And i think Wedge is too, but he was on screen for about a second and a half, so I couldn’t tell. It was confirmed that Leia had force training, and even had a lightsaber! And I do like that they’re taking some inspiration from Legends, but I’m pretty sure Dark Empire was not one of the most popular series’ from it. I also did like Ben seeing a vision of Han; It’s not entirely clear if it was a force ghost thing (I am of the belief that Han was at leas a little force sensitive) or if it was just Ben sort of coming to terms with his actions, but the scene was pretty well done in my opinion. Also, Rey taking the name Skywalker at the end. That was nice, like she chose her family.

Now I just remembered a couple of things-Finn was basically confirmed to be force sensitive, but the way they did it felt very ham-fisted. Like, they weren’t like “he felt a disturbance wink wink nudge nudge,” they were like “HERE IS SOME SUBTEXT THAT ISN’T ACTUALLY SUBTEXT SEE HERE” like they never outright say it but it would have been less insulting if they did. Also, they introduced a force healing thing, which has been a more of a thing in the games, but we’ve never seen it on screen before. But like, Rey dies at the end and Ben brings her back and then [REDACTED] and then he dies, even though, like, a lot of things. I don’t know I’ve been typing for way too long I need off.

Anyway, it felt good to vent, thanks for reading if you did. I give TROS 6.5/10.

[kylermalloy]

My Official Unofficial Ranking of The Originals Seasons That Literally No One Asked For

So, these rankings turned out hilariously chronological. It’s not that I think each season just got progressively worse—it’s just that when I laid out the good things about each season, and the bad things that outweighed them... this is the order I ended up with.

MAJOR SPOILERS for The Originals ahead! Also, as a disclaimer: this is all opinion-based, and I reserve the right to change my mind at any time.

5 - Season 5

So...I kind of hate the last season. Part of it is my bitterness about how the writers messed up the character dynamics, and part of it is amazement that the (mostly) same team of writers wrote the masterpiece that was season 1.

So, the overarching story for this season is...? “We’re making a spinoff with Hope next year so we have to get rid of all the characters who are close to her who don’t want to be in yet another dumb vampire show”? That’s my impression of the writers’ goals when they planned this season. Although there are a few pertinent themes about hatred and prejudice (the irony of the Nazi-esque bad guys opposing Klaus when Klaus himself had a Nazi-esque crusade back when he first showed up on TVD is not lost on me) none of the themes have a lasting impact. They’re not developed in a memorable way. We get these purist losers to serve as villains for the first half of the season, then they’re unceremoniously taken out after they’ve killed a sufficient amount of main characters.

Then the rest of the season is just...wheel-spinning. A game of hot potato as we speculate who’s going to die at the end.

Don’t get me wrong, there was some powerfully good stuff in this season. I fully support the ending, even though the majority of fans didn’t like it. I loved it. I thought it incredibly fitting for the show to end as it began—with Klaus and Elijah side by side. Facing death together as they faced life. Dying for Hope. Their family’s legacy.

HOWEVER. A few good moments at the end of the season doesn’t make up for all the crap the writers pulled throughout the season. They had NO RIGHT to kill Hayley. They had NO REASON to separate Elijah from the family—the entire show, basically—for over half the season, or to make him complicit in killing Hayley. And that darn time jump from season 4 to season 5 is just...I have no words. Klaus and Hope were jipped out of so much time together, just because the writers wanted a teenage Hope. So many sloppy decisions were made in this season, both storywise and character-wise. It really calls into question the writers’ understanding of the characters they’re writing. So much of this season undercut what the last four seasons of the show were working toward. And the regressions we see in this season have no lasting impact—like Klaus’s murder relapse, or his estrangement from Hope. They’re nothing more than cheap excuses to make the plot happen.

(Clearly I have feelings.)

What this boils down to is that the narrative in season 5 has no structure. It’s a patchwork of lazy storytelling and fanservice—a few good moments between characters we already know and love doesn’t excuse that. Although the series ended with a bang, it’s clear that this final season was nothing more than the scattered, picked-clean bones of the show I fell in love with.

4 - Season 4

So this season is much better in terms of plot—the story is tightly paced and clearly planned out.

The problem is that it’s boring.

The narrative that the writers presented this season required lots of moving around and doing things and characters talking to other characters, and hardly any of it was interesting. Klaus and Elijah spend most of the season separated in one way or another. Freya is separated from her family for a large part of the season, and I’ve only just recently rewatched the entire show—so I can definitively say that Hope and Elijah don’t have a single conversation in this whole season. Elijah, the one who first believed in and fought for Hope—before Klaus, before Hayley even, really—Elijah isn’t important enough to talk to Hope. Elijah gets shunted off to his dark arc mostly with Vincent—all to facilitate a completely unnecessary breakup with Hayley.

The one thing I have zero complaints about is Klope. Klaus and Hope were flawless in this season. They were everything I wanted. Klaus’s unsure parenting, his determination to make this change-for-his-daughter thing last, his SOFTNESS around her...that part of the season was stellar.

Klaus’s arc of healing his relationship with Marcel was also good. I don’t think it got enough screentime, and by the end of the season it wasn’t fully resolved, but I liked how it was actually addressed. (This show has a tendency to brush off Marcel sometimes)

The other thing I really appreciate about this season is that Klaus, the main character, wasn’t given a love interest this season. After his major love interest died the previous season, the writers did not try to give him a new one, or even try to pair him up with his baby mama. His relationship with his daughter was his main focus for the season, and it was beautiful.

So, season 4. Not as insulting as season 5 in terms of plot, but this plot...and this’ll surprise everyone...took too much focus. We spend more time learning about the Hollow this season than developing Mikaelson family relationships, and that’s honestly a crime. Any story that doesn’t develop the Mikaelson family dynamics is dead in the water.

3 - Season 3

At a glance, this season is awesome. I know a lot of hardcore fans liked it. I also know a lot of fans hated it. Me, I both hate it and love it. I think the idea they were trying to accomplish was a good one, but the cost? Very high, too high. The story, though it has great stakes, is actually quite shaky in places.

Personally, I never liked the Trinity storyline. The idea of the Originals facing their first sired was not interesting to me, especially when Tristan was boring, Lucien overstayed his welcome and became annoying, and Aurora turned out to be nothing beyond a silly soap opera plot device.

I did like the ending, though. Marcel finally reaching his last straw. Rising above his creator and finally showing us what would happen if the power dynamics were reversed. It’s sick and scary and exactly what I want from a monster soap opera.

But there’s a lot of things I don’t like. I don’t like that Cami was killed. Double-killed, actually. Davina’s arc was in complete shambles the entire season. Hope was out of focus for most of the season. And the werewolf drama that had caused Hayley so much grief last season wasn’t even background noise—it straight-up didn’t exist.

Like I said, I liked what the show was trying to do, but I think the writers chose an ending and forced it to happen instead of letting the pieces fall organically. There were probably some outside factors involved too, like the fear of not being renewed, actors wanting to leave, etc. My personal theory is that, out of worry that season 3 would be the final season, the writers killed Cami in an attempt to push Klaus to glorious redemption mode (don’t even get me started on how dirty they did Cami’s arc) thus giving us the conflicting death/vampirism/permadeath Cami arc in the back half. Which makes sense—but it’s still messy from a storytelling perspective.

But despite all that complaining, there were some things I truly loved about this season. The Klelijah rebuild was solid, organic, and completely earned. They began in a fractured place, seemingly beyond repair, then forced to band together in the face of threats, and ended the season possibly closer than they’ve ever been. (their hug in the finale still messes me up, y’all. I’m weak!)

Elijah got some truly interesting stories this year. While Tristan and the Strix were both duds, I actually really enjoyed Elijah’s relationship with Aya. And his relationship with Freya! Let’s be real, season 3 was really the season of Freylijah. As weird and incestuous as the Mikaelsons come off sometimes, Freya and Elijah are the most married. In fact, I’ll just go ahead and give a shoutout to Freya altogether. A hitherto unexplored Mikaelson with a sketchy-at-best history with her brothers moves into their house full-time? This could have been an epic disaster, or at the very least could have turned Freya into Rebekah 2.0—but somehow neither happened. Freya held her own, and her addition worked very nicely.

*deep breath* I have so much to say.

2 - Season 2

(Yes this list is shaping up exactly how you think it is!) Okay. I’ve got so much love for this season, even though parts of it drive me up the wall.

I’ll start with the positives: the family feels. Almost every part of the family drama hit home. The resurrections of Finn, Kol, Mikael, Esther, and the surprise introduction of Ansel were all superb ideas, storywise. The recasts of Kol, Finn, and Esther (and eventually Rebekah too!) all worked VERY well—a special shoutout to DSharman for making me truly care about Kol for the first time! And having an old family member as the main villain works SO well for this show. Dahlia was really awesome—and in the end, almost underutilized. But Freya! The addition of Freya to the family brought forth a whole new tidal wave of emotions.

And do I even need to say it? Klope, y’all. They just give me all the feels. The midseason finale will always have a special place in my heart.

That’s not to say I don’t have my problems with this season. The narrative structure comes from a very bold place—in typical TVD fashion, the terrible threats we started out fearing are soon rendered obsolete by this much huger looming threat. Alliances are formed, backs are stabbed, hearts are broken, and the end of the season leaves us and the characters picking up pieces of our hearts off the floor.

I very much like the idea that Klaus, obsessively paranoid and fearful, would turn on everyone he loves to protect his child. However, I don’t think the necessary steps were taken in the narrative for us to actually reach that point. There was too much werewolf drama—for Hayley to care about them so much, shouldn’t we know more than three of them by name? And speaking of Hayley, I kind of hated the back half of her arc. As she ascends to werewolf queen, she loses all the braincells that got her this far and decides to trust Jackson and her new family over the Mikaelsons, the oldest, most ruthless and feared supernatural beings in the world. Huh?

Altogether, I just don’t think Elijah, Rebekah, and Hayley all turning on Klaus was well-deserved in the writing—especially considering how well they all worked together in the beginning of the season. I think it was another case of the writers establishing an endpoint far ahead of time, then pushing all the characters and events to fit their plan. Still, I liked this season a lot. Not as sloppy as season 3, but still not as masterful as season 1. And without further ado...

1 - Season 1

Here it is! The masterpiece. My baby. The year of television I can rewatch at any time and enjoy so thoroughly I forget the other million times I’ve seen it. And I can wax poetic about it for days, much to the dismay of my followers.

I’ve heard some people—fans, even—call season 1 unfocused or disorganized, cluttered, still figuring itself out...but I disagree very strongly. Since TO is a spinoff, and the three main characters were already well-established by the writers (well, as consistent as the writing on TVD ever was) I never saw TO as a show that had to figure itself out. It knew who its characters were, it knew exactly what it was trying to do, and it did exactly that. It just was never what the audience expected, and it took a storytelling route that we as viewers aren’t quite used to.

This show took on the monumental task of trying to redeem one of the biggest, baddest fantasy villains on television. A thousand year old mass murderer who had long since lost any drops of humanity. A tortured soul, sure, who’d made a few cursory steps toward semi-goodness, but still damaged beyond repair...or so we think.

Klaus’s redemption comes through this child that he fathers. But it doesn’t come for free. I often say that Klaus is both the protagonist and the antagonist of season 1, because no one is working harder against his betterment than he is. We as viewers have to learn quickly that Klaus accomplishing his goals is not necessarily a good thing. We expect his struggle with Marcel to end in triumph at the season finale, because that’s what generally happens with pilot plotlines. But instead, Klaus wins the Quarter in less than eight episodes, and his rule falls apart multiple times before the season ends. (I’m especially grateful for Marcel’s character not falling into the trope of “Klaus created a monster who ended up being worse than he is!” because that’s stupid— and why Lucien, who does fall into that category, fell so flat for me. It just doesn’t work with a character like Klaus. Nobody out-monsters him.) We expect him to get everything he wanted—because he’s the main character and things work out in the end, right? No. The entire season is a slap-in-the-face wake up call for Klaus. He can’t be worthy of this child that he can’t deny he wants unless he changes who he fundamentally is. He expects to rule the Quarter through his sleazy condescension and his larger-than-life threats, but he finds himself challenged and even overpowered at every corner. He expects to mistreat his sister, walk over her and rage at her like he always does, and ultimately win her inevitable forgiveness—but she can’t take it anymore, and she leaves him.

He expects to be able to control everyone around him, placing himself at the center of everyone’s universe, and that ought to create a suitable environment for his child to grow up in. But when she’s born, he can’t even keep her safe on her first day of life. And that’s when he realizes he can’t do this anymore. Despite being a master strategizer, this can’t be how Klaus lives and acts as a father. The season finale is a beautiful culmination of this realization, as he does what he’s never quite been able to do, and trusts the people around him—release control.

Of course, this realization isn’t the one-and-done redemption story. The walk back is long and arduous and full of setbacks, as the subsequent seasons prove. Klaus’s old temperaments get the better of him over and over and over again. He learns and unlearns and learns again. And I could just go on and on about how much I love this season.

Now, after all that gushing, I still don’t know how much of the season was planned, or if outside forces (actor contracts, availability, etc.) had a hand in shaping the story, but either by tight plotting or happy coincidence, the stars aligned and this season is darn near perfect.

There are definitely flaws and shortcomings, but the overall story is just so good that I can easily overlook them. Catapulting off TVD, which relied so heavily on shallow drama, TO did what most spinoffs can never do, and surpassed their parent show. This first season? It’s to die for.

(I realize this was far too long, and I don’t really care. I’m aware of my inability to move on from shows that have ended, and I also do not care.) I’d love to hear thoughts, discussions, opinions, anything!

[chaseyesterdays]

So this is probably a tad late but I realized you are probably the biggest Star Wars fan I follow (okay maybe not probably) but I want your opinion on TLJ and to an extent TFW, like you honest impression and opinion. I have no problem asking off anon/sending a message if you’ve got some opinions™️, just state so.

Hi Anon! I’m perfectly comfortable answering anonymous messages or carrying on conversations via DM, so however you feel most comfortable is fine by me! I do have A LOT of opinions though and I’m probably not going to remember half of them for this post, so if there’s anything you want me to elaborate on or any other questions you may have, feel free to ask me however you like!

(I’m putting this under a cut because holy crap, this went on so much longer than I ever thought it would.)

Okay, first off: I think TFA had great potential as a film. ( I know you asked more specifically about TLJ, but I feel like I have to start at the beginning to get my thoughts semi-in-order. TFA introduced what could have been very interesting characters: a female orphan scavenger Force sensitive, a POC stormtrooper raised from birth for destruction but with a kind heart that ultimately guides him, a hotshot pilot with a gentle soul and a desire to do the right thing while remaining loyal to whom and what he believes in – even a female stormtrooper captain who could have had such a great backstory if they’d just let her. I can’t demonize TFA too much on not developing these characters because it’s the first installment in the saga, but still, where TFA failed is in its progression of the characters. I can almost forgive Rey’s overt Force abilities in the fight with Kylo Ren because yeah, we’ve seen the same with Luke on a slightly smaller scale, but it still felt a little bit jerky to me in terms of flow. Finn and Poe fared better in my opinion, but only because I felt like this new trilogy would give each of the new trio a movie in which to shine: TFA would be Rey’s and Finn and Poe would have what became TLJ and Episode IX to be more of the focal characters.

But here’s where I have issues with TFA. First, the movie was just a remake of A New Hope with different characters. I get that JJ Abrams was trying to appeal to the original fans while still providing that same magic to bring in the younger generations, but sheesh, the whole plot is essentially recycled with a few things moved around order-wise. Desert planet that isn’t Tatooine but looks like it, jungle planet that isn’t Yavin IV but looks similar, a “Death Star” that isn’t a Death Star but is essentially a Death Star, the death of a wise old mentor… There was literally no originality. I think JJ let his fears of fucking up the saga get the better of him, so he was too afraid to branch out and make the movie really great. He could have used similar elements and plot points as an homage to the first movie while still providing his own take on modernizing the film, or placing different characters as the focal point. In the end, even though I cried like four times watching it because Han Solo was one of my favorite characters and didn’t deserve to go out like that, I can’t rag on JJ too hard for TFA. He tried, but he fell flat on some things, and ultimately his treatment of an Original Trilogy character opened the door for some atrocities to be committed down the road.

And speaking of atrocities, that leads me to TLJ. Now, I’ll be honest here, I’ve only seen the movie once and fucking refuse to watch it again, but I’ve read a lot of other people’s reactions to it and examined some articles/YouTube videos explaining why everybody else thinks it’s such a bad movie, so I’ll call on what I remember for now and if anything else comes up in the future, I’ll let you know. But I’ll start here and now by saying that the reason TLJ was a failure from the start falls directly on the shoulders of Rian Johnson. Rian Fucking Johnson, Mr. Hubris, who literally said he set out to make a movie that destroyed fan expectations and worked to keep them guessing (if I remember correctly – like I said, I’ve sworn off TLJ content for awhile now just to keep my blood from boiling). The direction Rian took TLJ made no fucking sense and completely torpedoed the outline that JJ had for the movie, derailing the trilogy as a whole just because Rian wanted to be the smug, smart asshole who knew better than anybody what was gonna happen. As a result, the movie is full of plot holes and directionless actions and flat dialogue and ridiculous characterizations, and it’s not just a failure as a Star Wars film, it’s a failure as a movie in general because the plot simply doesn’t hold water. It’s literally a low-speed car chase with some cool effects that made half of its characters either useless, annoying, OOC, or redundant. It’s bad. My creative writing professors aren’t even dead yet, but if I’d turned in that script for one of my classes, they’d be rolling in their graves. (Did I mention I studied writing, grammar, composition, storytelling, character building and plot development for four years in college and make my living as a writer now? Trust me, I know my shit.)

First off, one of the biggest failings Rian Johnson had aside from the general plot was mistreatment of characters. The POC characters Finn, Poe, and Rose bore the brunt of that because Rian wouldn’t know how to write good POC characters if they literally smacked him in the face – hell, even the best of us white people are still learning. But Poe was reduced to an angry Latino stereotype, which made absolutely no sense considering his actions and attitude in TFA. He trusted Leia and the Resistance leaders and followed them because he respected them, not because he was blinded by them or whatever else anyone can try to insinuate. Admittedly he’s right to question Holdo because her actions make no sense and there’s literally nO REASON FOR HER NOT TO TELL HIM WHAT’S GOING ON, but he wouldn’t just fly off the handle and stage a mutiny like that. He would have talked to Leia about it repeatedly, talked to Holdo and others repeatedly, and Leia would have made Holdo see sense if she was in character AND SHE NEVER WOULD HAVE FUCKING STUNNED POE.

Ahem.

Finn and Rose’s storyline is harder for me to remember because I hated that cantina sidequest thing so much, but what I do remember is feeling like Finn wasn’t even the same person (he wasn’t, because Rian Johnson killed him and put someone else in his place) and Rose was just redundant because it felt like she was created to be a love interest so Finn would be with someone other than Rey (again, I’m fine with platonic best friend relationships, but considering the fact that Finn/Rey would be a biracial relationship and the big ship R*eylo is founded on a whiny white man literally abusing the female protagonist, it just seems like a blatant attempt to undermine the POC characters and relationships in the film). Now let me be clear: what happened to Finn and Rose is not the actors’ faults, as they were at the mercy of Rian Fucking Johnson, and it isn’t the characters’ faults that they’re so weak. That’s all on bad writing and Rian Johnson, and I’m in no way blaming anyone but him for destroying them. (Also, I don’t want Finn to die at all, but having Rose save him from sacrificing himself just so she could kiss him and declare love for him and keep fans guessing again is just…so bad, Rian. Why won’t you let your characters make sense.)

And then there’s Rey. If I’m remembering correctly, both Daisy Ridley and Mark Hamill said they didn’t get back into character for TLJ because the characters they played, Rey and Luke, weren’t even the same characters in this film, and whoo boy, does it show. First off, I hate this term, but Rey was essentially a Mary Sue in this film. She had pretty much no training with Luke but somehow managed to be an amazing Force user anyway?? Look, I’m a naturally talented singer, but I didn’t just get good because of that, I got good because I worked hard and studied technique and worked with instructors who helped me take my natural talent and channel it and refine it into something better. That’s what Luke should have done. That’s what Rey should have gotten. But neither of them were in character so of course we didn’t get that. Instead, we got an angry, sullen Luke who tried to murder his nephew in his sleep, which NEVER WOULD HAVE HAPPENED BECAUSE HE SAW ENOUGH GOOD IN DARTH VADER NOT TO MURDER HIM SO WHY THE FUCK WOULD HE DO IT TO HIS NEPHEW, HIS SISTER’S ONLY CHILD. No sense people. No sense.

Rey being a nobody is a controversial point because some people love the fact that a great Jedi can be anyone at all. I get that. But what those people don’t realize is that the Skywalker line came from a slave woman. She was a “nobody” in the grand scheme of things – no disrespect to Shmi Skywalker, who was a powerful woman and a goddess in her own right. Making Rey a Skywalker (either from Luke’s line or Leia’s) does not diminish the “nobody” thing. In fact, it’s the only thing that makes sense, because that lightsaber belongs to the Skywalker line and it wouldn’t just call out to anybody – my creative writing professors would have shot that shit down in a heartbeat. So I think Rey will actually end up being someone with a connection to the Skywalkers; some people theorized that “The Chosen One,” AKA Anakin born of midichlorians, could be almost an avatar-like thing, or Rey could be a reincarnation of Anakin if she’s not a Skywalker/Solo somehow. Kinda farfetched, but no less farfetched than the rest of this fucking movie, so whatever.

Tying Rey and Kylo together could have been so interesting if Rey was his sister. I loved the idea that Rey and Kylo were both Solo children of the Skywalker bloodline, representing the Light and Dark sides of the Force and proving that ultimately, the balance between Dark and Light is what defeats true evil and restores balance to the galaxy (after all, balance is not the absence of dark or light, but an equal ratio of it, and I firmly believe that being a Jedi should not be banishing all the darkness in you, but simply controlling it and centering yourself on the balance between love and passion and anger and pain). It would have made such a good story for Kylo Ren to be a double agent or a legitimately brainwashed young man struggling to do what he thinks is right and being misled but still using his gifts to support balance once he realizes he’s been led astray. Instead, we got literally the worst villain ever: he’s not intimidating, he’s whiny, he pitches temper tantrums, he’s selfish, he’s abusive, he’s impulsive… The writers can’t figure out what they want with him, because they’ve worked so hard to make us sympathize with him and like him and set him up like a misunderstood kid, but then they go and have him make the conscious choice to be evil but still be all those “good” things? It makes no sense. His character progression is all over the place because Rian can’t write and the Kylo he created is not even the same character as JJ put in TFA. And as a result, we now have just about canon proof that Rian wanted R*eylo, which is just another glorified abusive relationship that “stans” keep romanticizing. Gag me with a spoon. I’m done.

Also, who the fuck was Snoke? How was he so powerful? Where did he come from? How did he brainwash Kylo? Who trained him or how did he learn all he knew? How could he see everything and sense everything but not hear, see, or feel Kylo moving the lightsaber? Why were he and Phasma completely nerfed and killed out of nowhere with absolutely no character development or reason for dying? The world may never know.

And here’s where I get really angry: the sheer disrespect for the Original Trilogy characters. Harrison was ready to retire as Han, and I can understand that – I don’t like how Han went out, but I can almost forgive that because I don’t want the actors to be miserable. But what they did to Luke and Leia is unforgivable. Straight up, point blank. Luke Skywalker would never try to murder his nephew in his sleep. Leia would never stun Poe or send her son away or be a terrible, absentee parent. Luke would never be the person he was in that movie, because even in the depths of despair, Luke chose good, chose to see the good in others. He and Leia never gave up hope or belief that good would always triumph over evil. The Luke I saw in TLJ had none of that, and Mark Hamill himself said it wasn’t Luke, it was “Jake Skywalker” or some other nonsense. Mark is a genuinely kind and accepting person, so if you manage to make him angry about a character he’s played for more than thirty years, you’ve fucked up big time, and Rian Johnson did just that. And what’s worse, there was no reason for Luke to die aside from the fact that he just wasn’t convenient for the writers to consider anymore. Han’s death happened to let Harrison retire, but Luke’s was just to get the old generation out so Kathleen Kennedy and the other Powers That Be could do whatever they wanted in the Star Wars universe and milk that cash cow for all it’s worth. Now that Carrie’s gone, all real ties to the Lucasverse are gone, and I’m not convinced they weren’t going to kill Leia off anyway for the reasons I stated above. The blatant disrespect of that, of destroying characters I’ve loved my whole life, who literally kept me alive when nothing else did… It’s unforgivable. I wept like I lost loved ones watching Luke and Han die, and I refuse to do it again.

And here’s what it all comes down to for me: hope. Star Wars was founded on hope. The whole franchise was created in the wake of the Vietnam War when everyone needed something good to believe in, a clear divide between good and evil where good won simply because it was willing to fight for what it believed in, support others, love others, do the right thing. Even when the chips were down and everything was at its darkest in ESB, they always had hope, and in the end, hope won out. There are literally documentaries out there and books written about the success of Star Wars and the fact that hope is its literal cornerstone. The sequel trilogy destroyed all of that. There is no hope anymore. The Resistance is pretty much decimated at the end of TLJ, and at the hands of a government (not even a government??) that rose up out of nothing and destroyed like twelve planets with a flick of a switch and blew billions of people away (and of course we never hear another word about that because that can’t be important at all). Everyone is dying. There are no ships left. There are no forces – less than 100 people made it off that salt planet whose name escapes me and I don’t care enough to look up, and it might have been less than 50. There is no chance that the Resistance can rise up out of nothing and overcome that. Considering how far Rian derailed the progression of the trilogy as a whole, I don’t know how on earth JJ can come back and fix it with literally nothing on his side – all for the sake of shock factor (I swear, I shake my fist at Rian Johnson in my head at least once a day). I know the modern trend is to shoot for gritty, hopeless, “realistic” films because that’s what the current mood is in this country and around the world, but that’s not what Star Wars is about. That’s never been what Star Wars is about. The whole story was built on the foundation of hope, that good could rise and triumph over evil, and there’s simply no room for that in this sequel trilogy. Essentially, the sequel trilogy has failed because it destroyed what makes Star Wars “Star Wars” at its core, and for that, I will never forgive it. The prequels may have been dark, but they exist to show that while the good can fall, ultimately, they can rise again even if in the smallest of ways. “Even the darkest night will end and the sun will rise.” The narrative is so convoluted and misconstrued in the sequel trilogy, and it will never be able to find that same foundation of hope again because Disney fucked up. As I said in 2017, “Star Wars is dead. Long live Star Wars.” So I’ll stick to my Original Trilogy and remember the good things that kept me going, the characters and actors that saved my life and made me realize that even in the face of darkness, hope and love can overcome all. That’s Star Wars to me. Honestly, that’s what Rogue One delivered, and if you take anything out of this, it’s that Rogue One is the only Star Wars thing Disney did right. But the sequel trilogy isn’t Star Wars, it isn’t even halfway decent storytelling, and I hope that on the day I die Rian Johnson and everyone responsible for TLJ can lower me into my grave so they can let me down one last time.

I probably left a lot out because I have so many feelings on this matter, and this response is like encyclopedia-long as is, but it’s the truth of what I feel, and I really hope I shed some light on the topic for you (probably way too much light, but I digress). Thank you for caring about my opinions Anon! I really appreciate you giving me the opportunity to put my thoughts down, and if you managed to make it to the end of this ridiculous post, just know that my inbox and my asks are always open for any clarification or fandom-screaming or thoughts in general. Have an amazing day, and as some people whom I love very dearly used to say, “May the Force be with you. Always.”

[smillingcartoonist]

TV Shows That I Watched in 2018

A bunch of shows that I saw only one episode.

I have different reasons to drop out some of this show most of them is because It just didn't ring right with me. The first one I guess it was the Grant Morrison comic adaptation 'Happy' it was kinda fun, maybe I should watch the rest since it is on Netflix now ! The new Devilman anime was another one off ! Mostly because I kept reading the comics and I saw no sense into watch something that I just read and it was gonna be the same exact thing but with some differences ! also another anime was that B whatever that was terrible, and I saw the first episode of Final Space, it was fine but is not for me, it was like it was trying to hard to be funny and I can't care for that !

Black Mirror (Season 4)

Not as good was the last season, but still have some good episode, like half is good and the other half is meh ! I liked the most of them but the best one was the Star Trek parody one, and the most boring was the one after that, the one with the Daughter with a video cam in her brain, that one was way to dramatic for my taste ! Did kinda liked Metalhead there is pretty interesting stuff in that episode, it also weird that there is a episode that links all the other episodes in one shared universe ! like almost everything seems to happen on their on place, but ones says that no ! everything happen in one place, I Know that there is subtle hints of that on some episode, but I’m not one to look after that !

Adventure Time (Season 1-7)

I wanted to Watch all seasons in almost half of this year, but I couldn’t, because I get easily distracted sometimes and I’m Lazy, I managed to finish the 7º season in time to end to write this ! I Not one for care about all this cartoon shows that fan art appears on that god awful Radar, but this was like the last modern cartoon that I watched when i was a Teen, and so this year i decide to catch up to it and I realized that this year was gonna be the last season of the show ! talk about luck. But anyway, this was the most enjoyable thing that I watched this whole year ! re watching the first season make me realize how much cynical they are, like there is this episode where they go find a crystal in the middle of the woods with Tree Trunks and a lot of silly cartoon stuff happens and then at the end they find the goddamn apple and Tree Trunks bites it and explode ! it’s like the whole episode was this joke and that ending was the Punchline !

I guess it’s around season 5 when everything get really existentialist Are you dreaming this Universe Finn ? or are you a butterfly dreaming being a human boy and land made of candy ? it’s weird this children show passing this topics that don’t even go though the head of most people, like they own Mortally or something like, but it’s incredible to see how mature the show get across the time, everything begins with this silly crazy LCD cartoon show and go evolving and taking on more mature themes, the characters also evolve, like you see Bubblegum is this lovable character at the beginning and then you realize she is actually a Control freak maniac ! the character arcs are really nicely done in this show !  and also the own mythology of show is build up nicely, but there is some weird message that i get from this show, like some things are inevitable, Finn losing his Right arm in all of his lives, the end of the world ! there is some pretty eerie stuff in there ! man Love this show !

Also for reason one these i was Think about that scene with David Bowie in Fire Walk with Me but I replace all the character with the ones from this show ! Finn was Cooper of Course, Magic Man was Bowie, I Though that the whole FBI should be form by the wizards. Maybe I why work on that someday, Twin Peaks but the characters of Adventure Time ! That should be fun ! we live inside a dream.

The End of the Fucking World (Season 1)

I Think I describe the trailer for this was the Murder version of Moonrise Kingdom, and after watching I Think I was kinda right, it was based on a graphic novel that Will probably never see the light of where I live ! It was one the best series of this year for me ! You have two oddballs one think he is a psychopath and the other is rebellious Teenager and both of them go out on a journey of disasters ! It has nice sense humor and soundtrack too is nice, mostly composed of music that I probably have listen at least once and never knew the name ! I Though it had Sonic Youth in the middle of that, but It wasn't it was another band ! I do wonder how the next season is gonna be ! some Prison Break stuff maybe ?!

Jessica Jones (Season 2)

A Much weaker season then the previous,but still watchable ! I like seeing Krysten Ritter as Jessica, I Enjoy most of it the only thing I Kinda didn’t like was the whole thing about her Friend being jealousy of her for not having super powers, that diminish so much about that character ! Also the Villain was kinda of OK, Jessica psychopath mother, in comparison to David Tenant in last season ! Tenant appears in one episode in this season as Ghost and Think that was the most enjoyable episode of this season ! This was also the only show that got saved from being Cancelled from netflix, I don’t really know if that good or bad ! 

The Rain (Season 1)

One of the most boring show that I watched in this year, I really don’t know why I watched everything ! Does even anything in this show make any kinda of sense ?! I suppose this was to be something like the walking Dead,but in Denmark, and on the place of zombies there is a Killer Virus mixed in the rain and some incredible boring and stupid people ! and really dull story ! so I don’t Really care about it !

Dennou Coil (26 Episodes)

The Only anime series that I care to finish ! It’s about a bunch of kids that use a glasses to see through some kind of virtual reality, but also it’s about dealing with Grief of dead relatives ! most of the show is this straight forward narrative that get’s kinda of rushed in the end, but the stand out of this show was the one-shot episodes, those are really good, especially the one where they grow beards that are actually a bunch of sentient hair virus thing ! I wish that more of this show was just this type of one shot episodes, I think that the original Idea was kinda like that ! specially when you see the conceptual art for the show !

The Alienist (Season 1)

A Good first season for a show that can get better ! I Really like the concept of this, a Psychologist create a crack team to play Sherlock and find a serial killer, I really like the first episode but everything after that was kinda of average, good performances in general, but most of the other story lines I Couldn’t care less about them, Expect from the main one that was the serial Killer that was killing boy prostitutes in the streets ! pretty big shock of culture that come of that, Like “Really that happen before ?! Damn ! Thank god I don’t Live on that time” 

Mobile Suit Zeta Gundam (5 or 6 Episodes)

I Think this year I discover that I might really not like anime, I Wanted to watch all of this, but I end up not really caring about it so much the more I watched, and I at some points I barely wanted to continue, I don’t Think that it was bad, I Think it just me ! Maybe was my mood at the time, i stopped after watching 6 or 5 episodes, maybe I Get back at watching this, I still Think that Giant Robots fighting is a pretty awesome concept.

Banana Fish (5 Episodes maybe)

Another one that I just dropped because I just didn’t care about it, I think it begins great but I kinda lost interest in the way, I guess it’s good but just not for me ! So year ago I try to read the manga and the same thing happen !.

Atlanta (Season 1 & 2)

One of the people that I follow keeps saying how good this show is and saw it was on Netflix, so I decide to see if was that good ! and it is ! I Don’t even like hip hop that much, actually I don’t Like Hip Hop Point, but really didn’t think that this show would be of the quality that it is ! So intelligent and funny, Donald Glover is really something else.I watch most of the second season while trying to do a Essay that really didn’t wanna do it , I Think I finish both of them at the same time I guess. I can’t to see the next season, hope they give more episodes to Darius, that is the best, the actor is pretty great to, he was on that Death Note Movie, I guess that there he was really bad !

The Hollow (Season 1)

One day I was browsing in the netflix catalog and find this show, that was just there ! I decide to watch because why not ! I Think I already said what I though about, it’s a really fun show with a terrible ending, It’s about three kids that wake up in a white room and they have to figure out the way out and what is happening, eventually they learn that are inside of a videogame, but you can figure that out way early ! I suppose this did make quite a success for a show that have no advertising what so eve. Also I think this show is just this one season, I don’t see how either this can go further then what it was !  

Preacher (Season 3)

Find Incredible that this show keep getting better and better ! The first season was kinda of Ok, the second was a way better and this one is just even better, I like the way the adapted the angeville arc, Jesse Grandmother was a crazy religious fanatic, but in this series they turn her into a Vodu witch with a phone with a direct line to hell ! also like how they make Jodie and TC more charismatic, in the comics those two are just the worst fucking person to ever walk the earth ! in this one they still complete bastards but still likable ! God this time is not a Yellow buff dude turns red when it get’s angry, But it’s a old man in a Dog costume riding a motorcycle with some tramp ! I mean you kinda have to love the surreal sense of humor of this show ! I Think from everything that happen in this season, the next might be the last one ! I do wonder If gonna see god rip out Jesse eye with his teeth.

Disenchantment (Season 1)

I Though this show was ok, most of the jokes didn’t really landed with me, but still was something nice to pass the time, since I had nothing to do at the time that I watched this ! I Not really the biggest fan of Simpsons and Futurama, but I kinda watch a lot of episodes of this shows, I remember that since we never got a cable TV we watch most of this show on the public channels, at Simpsons will all ways be on a different channel ! or on a different time ! Browsing to channels one day and find that is passing at this one channel at afternoon, the other day It was in another in the evening ! It was kinda crazy ! This show did some kinda of success and got already four seasons ready to be delivered in the following years ! I Think that would happen even if it wasn't successive !

American Vandal (Season 2)

This I have some kinda power over me, because i can’t stop watching, like I watch one episode and I just get so into it that I binge watch almost everything, I don’t really know what it is, well this time they moved from dicks to shit, I don’t really know if that was supposed to be more funny or less, it’s kinda like almost the first season but on a better resolution and a Incredible likable character that is the basket player, there is even a Meta thing about the show being a show in Netflix, is kinda nuts ! anyway still a really solid show, the humor is still not flying with me but the investigation stuff is really what grabs me ! this time the season end with some kinda of moral massage that I totally forgot about, I guess it was about being yourself or some stuff like that !

Maniac (Season 1)

I Just remember the Scene where there is a fat Asian guy playing chess with a pink kaola in a park with no context what so ever ! that enough for me to say that this one the best show of the year ! It’s on me over on the concept of the mind exploration so you end up seeing a lot of crazy stuff that don’t really make sense but they are there anyway ! the show is Cute, it’s about the relationship of this two broken persons and them dealing with their problems, I thing one of the high points of the cinematography that is really interesting, also like the universe they are in, is like a futurist version of 70′s or something is completely crazy, I was watching the first episode trying to figure out what year they are ! also the other high point is Jonah Hill playing the Sweden secret agent in penultimate episode.

Big Mouth (Season 2)

I thing the one of the downsides of this season was not seeing people over reaction to the explicit stuff in this show, this season was even more explicit then the last, I mean some people flip because there was a scene where Jess talk with her vagina in the Mirror, This time they enter in a vagina in that episode of the sexual education lesson, that was the weakest episode of this season by the way !  and there even more gross stuff like that in this. Also this season got more of a story line then just one-off episodes, they introduce a villain to this season, which I kinda like the idea. In Resume I think this season was kinda better then the first.

Castlevania (Season 2)

What everyone wanted a season of castlevania that have more then a hour ! iT have two hours now ! Still amazing as ever, even though the animation was kinda poor on some scene, most when characters are talking at some points the animation become really wonky, but on the fight scenes, whoa ! it’s something else ! Most of the season was focus on the bad guys and Belmont and friends stay kinda on the background for most of the season, I Though that was a really good idea, focus more on the new interesting characters and let the other laid back a little. I also like the whole depressive Dracula thing, give more character them just some megalomaniac bad guy that wants to kill everyone ! the only thing that I wonder is if Warren Ellis is gonna keep writing for this show. I can’t imagine this show having the same quality without his writing !      

Daredevil (Season 3)

I don’t really don’t remember if I watched this show before of after I read the Frank Miller run on Daredevil, I Think it was after that, because while i was watching i was starting to remember the things that I just have read ! specially on the second season, it is kinda a ok adaptation, everyone seem to love this show from all the other marvel netflix super hero shows, I thing it is just kinda of ok. This Season was the fall of Murdock, and kinda have to say that the comic was way better, I really don’t like saying that, because I think the only people that say that are complete idiots that want to pose was intelligent or something ! The High point is the fight scenes, those are really well done ! 

Doctor Who (Season 11)

This was the worst season of this show so far ! No even Kidding, this was really bad, I said one my mega review last year that season 10 was bad, and thinking about it, it wasn't that bad, and the finale wasn’t complete trash, I still don’t like what I don’t like. But this season, damn, we have Jodie Whitaker was the first female Doctor and her first season is a complete mess, everyone though if they got rid of Moffat the show would get better, I don’t see why everyone hate him so much ! he have Up’s and Down’s, But so far Chris Cannibal only have downs ! The main problem is the writing, is so poor ! almost all episodes are either ok or complete garbage, in mine opinion there is only 3 good episodes in this season, the first one, the Rosa parks one and It takes you away ! Cannibal episodes are the worst, the first episode was ok, and then he just got worse and worse, this season Finale was the most boring thing ! I stop caring to whatever was happening in the middle of the episode, Like last time I had something to complain to about the finale, this time I had nothing, because I don’t give a shit !

Whitaker was the Doctor was kinda of ok to me, it seems to me that her acting was really good when they give a Doctor, which are very few ! so most of the time she was saying complete nonsense ! Her characterization of The Doctor was really shallow too, it’s like she was a side character in her on own Show ! it’s Crazy, it’s like they have no Idea what they are doing ! The companions of this season too are possible the worst  too, except Graham ! he is a charismatic old man with a actual character, But the other two, Ryan and Yaz, I could do without them ! Ryan is a Complete Dipshit and Yaz is a complete blank slate ! most of her scenes she just kinda there, listing and them she say something, she never really did something in this entire season ! Why have her them ?! also why they are travelling together ?!  all of this people have no chemistry what so ever, they try to impose that their a friends, but it seems like they are sharing a cap together ! 

The Critics have been saying that this season was the best of the show in years or something, and Jodie is the best Doctor ever, and of courser their going to say that, she is the first female Doctor, they going to fill her ball even if she was complete terrible ! also the notes of for this season in IMDB have been the lowest that I ever seem for the show ! It was complete shit show I Think even care about that I have to wait a entire year to get the next season, I Don’t really give a shit anymore ! if we keep getting this kinda of quality for the next seasons I Don’t stop given a fuck about this show !

But on the hand this season re-woken mine fanaticism for Doctor Who and I saw a Bunch of old Episodes, and I end forgetting about that Park Chan Wook series ! Also two Other series that I wanted to see and end Forgetting was Killing Eve and Sharp Objects, also maybe I should have watched the Sabrina show or maybe not I don’t really know. 

[sylvestersrpg]

EVENT WRAP UP AND RECAPS. 

The mixer, in Sue’s humble opinion, was an absolute success. There was a certain amount of liveliness to the party only the guest could provide. Sure, this was in part due to all the alcohol that was snuck in, but Sue doesn’t know that. All she saw was happy residents. 

Below the cut is all the listed headcanons for each character for the Mixer event Sue threw!

AJ ALVAREZ 

At the party Aj - completely sober - decided that the place needed someone to get down to start the fun. He took it upon himself to be the one that’d dance to give others the courage to do so.

He didn’t stay completely sober though, after a while grabbing the flask he’d hidden in his waistband and getting moderately drunk before he ended up heading back to his room sometime after midnight.

BLAINE ANDERSON 

Despite the mixer’s classification as a “dry” event, Blaine’s not opposed to breaking the rules if it means having a good time. Besides, it took some serious liquid courage to wash down the flavorless cardboard Sue called “pizza.” While he’d classify the playlist as “very eclectic,” it only took a couple of drinks to get him twerking center stage on the dance floor. Thus, his thicc ass (he does squats!) is the star of several of Delaney’s pixs from the night. 

He wasted no time responding to Finn’s text asking to meet him in the courtyard. Blame it on the alcohol, adrenaline, or his weird obsession with how far apart Finn’s nipples are on his chest. The sitch might seem dirty from the outside looking in, but Blaine’s into what they’ve got going on. It’s satisfying knowing he can get his best friend off when he needs it most and he’s pretty sure he’s Finn’s fave person to do it. They ended their night cuddled up in B’s bed nakey, safe and sound. 

FIONA ANDERSON 

Fiona couldn’t survive at a party like Sue’s without alcohol, so when Santana offered up a bottle of liquor soon after their arrival, Fi couldn’t help but get carried away. After more booze than the average person should consume in the span of four hours, Fiona passed out in Santana’s bed, completely oblivious as to anything that might have happened the night before. 

In between taking shots with her roommate and avoiding the rest of the crowd, Fiona spotted her longtime ex-girlfriend, Brittany. She thought several times about going to confront the other girl, but every time she got too close, Brittany seemed to find the nearest object to hide behind. After the first few tries, Fiona decided to give up in favor for another round of shots.

DELANEY ANDREWS

She didn’t drink. At all, for various reasons, but mostly because it was more fun to watch her apartment mates get wasted and do various insane things (maybe, possibly, I like to hope someone did something crazy). While she boasts about her camera being full of blackmail (that she has no intention to use), it’s actually full of fairly tame photos, moments of fun captured and frozen in time, proof that perhaps the party wasn’t a complete waste.

She didn’t actually interact, not a whole lot. “Camera ghost” is actually almost appropriate. Not that she’s totally inept in social situations, but she would only bite if someone walked up to her. She’ll save her wild side for another time.

AUDREY BAER

Post pre-game, Audrey did her best to casually insert herself in each and every conversation, butting into everybody’s business in ways she claims are “charming.” She found Sue’s lack of follow through disappointing, but not entirely party pooping and with Mitchell to cheer her on, she successfully completed a number of handstands both fully clothed and shirtless.

Not wanting Delaney to feel left out, she showered her with drunken affections she didn’t actually ask for, pulling her into the thick of things for her own, selfish benefit. She white girl twerked and attempted to plant one on her neighbor, but was rudely interrupted by Santana’s sobbing. Following Delaney’s Cinderella-esque escape come nine o’clock, she took the party to Finn and Silas’, where she promptly decided to actually pursue the Eiffel Tower she had “planned” with Jo and Frankie.

CHRISTIAN COHEN-CHANG 

At the beginning of the mixer, Christian kept more to himself, still being new to the apartment building. It wasn’t until Jo took it upon herself to take him around and introduce him to people. All the while, she was slipping him alcohol from her flask the entire time. As the alcohol got into his system, Christian became more of a social butterfly.

Once the mixer was over, and Christian was drunk, he tried to go back to his apartment. About half way down, he stumbled and fell down the stairs. All in all, it took him about 20 minutes or so to get up and actually get into the apartment. And it was all to cuddle with the doggos at the end of the night.

HUNTER CLARINGTON 

While at the party Hunter stayed mostly to himself, save for a moment where he spoke with Sebastian that turned into very sexual flirting.

Once he wrapped things up with Sebastian he then headed back up to his room, only spending about an hour and a half in the lobby the entire mixer.

TYLER CLARKE

Tyler spent the majority of the mixer keeping to himself, drinking the spiked too sweet fruit punch someone had handed him. There was a lot of Candy Crush played that night on his end. He beat the level he was stuck on! It was a great accomplishment on his end.

He felt slightly awkward coming across Marley being there. While she seemed to stay close to her sister’s side and ignoring his existence he still kept glancing her way. That resulted in plenty of glares and nasty looks in response from Eliza who looked none too happy to see him there. 

QUINN FABRAY 

It is a well-known fact that Quinn is an angry drunk (i use to have ABS), and she spent a good portion of the night being petty about stupid things: “Who holds a mixer in a conference room?” But if there were shots, she was there, and she did as much laughing as she did yelling.

It is also a well-known fact that Quinn hates Mitchell Puckerman, and Mitchell Puckerman’s drum set. There was a moment when Mitch looked at her, just a look, and Quinn went off. It was cured later by another shot and a God-awful hangover to help her forget, but that neighborly relationship is as good as shot. She’s not actually sure she’s settling in, and the mixer didn’t help. Her job at the paper is boring, and her relationship with her sister isn’t exactly blossoming. The anger faded with the alcohol, but a sinking feeling she’d made the wrong decision took its place.

FRANKIE FABRAY 

Frankie spent the former half of her night talking to Fiona. She was originally very scared of drinking at Sue’s party, because she thought that if she was caught Sue would cut her head off. 

The latter half of her night was wild. She went to Silas’ after party where she got very drunk; more drunk than she’s been in months, and admitted to Jo and Audrey that she’s been fantasizing about hooking up with a girl for a very long time. The result? A threesome. 

FINN HUDSON

Despite the below average amount of decorations and alcohol for what would usually be considered a “mixer” Finn genuinely had a good time. He got to the event just after 7:00pm and began making his rounds to greet some familiar faces, stopping to dance with AJ Alvarez a bit as well (AKA getting everyone to do the YMCA). One other familiar face being, Fiona Blair, whom he hadn’t realized was living in the same building as him but recognized that they had a friend in common from Rhode Island College. They spent a good amount of time chatting and getting to know one another while sipping on a few drinks. And now Finn is pretty confident that they’ll hang out again sometime.

Around 8:30pm Finn was a couple of drinks into the night and began to get a little tipsy. And when Finn is tipsy he tends to also get horny. So, he sent a text to his best friend with benefits, Blaine Anderson, to meet him in the Courtyard away from the party. After drunkenly making out for a little while, Blaine invited Finn back to his apartment to continue their fun. Being at Blaine’s apartment was important because if they went to Finn’s they’d be stuck in the middle of the “after party” at Finn and Silas’ apartment where free tattoos were being offered. And though Finn had every intention of getting his first tattoo from Silas that night, he ended up crashing at Blaine’s place instead.

KURT HUMMEL 

Kurt went to the mixer in an attempt to get to know the people living in his apartment building a little better; he wasn’t planning on getting drunk. He had a few drinks, talked to a few people, and was planning on going back up to his apartment once he started getting bored. Then the karaoke started. He had fun singing a few songs - he really did love to perform - but the karaoke adventure soon turned into a heated competition between himself and Madison McCarthy, fueled by the alcohol he hadn’t meant to keep drinking.

Kurt has a few tattoos, but he hadn’t really planned on getting any more any time soon. Until he started drinking at this party. Silas Xavier had a tattoo gun, and before he knew it Kurt had two new tattoos: a small calligraphy of ‘no ragrets’ on his right shoulder blade and a smallish picture of Santana Lopez’s face just below his left clavical.

SANTANA LOPEZ 

Santana, as always, made an entrance late with Fiona on her arm. Smuggling a fifth between her boobs wasn’t easy, but she took one for the team and poured shots for hot tenants and hot tenants only. Though claiming she hadn’t come to socialize, her emotions and her alcohol got the best of her, and she ended up crying on numerous shoulders.

She met big fan Brittany Pierce, signed her boobs and made out with her upon request, gave her number to Mitchell, of all people, and joked about doing the do with her roomie, but was ultimately too distraught to do so. When they did stumble home, they passed out together. Half naked and spooning. In Santana’s bed.

RYDER LYNN

Ryder brought Code Red Mountain Dew to the party and his Ninja blender he won at Dave n Busters, along with enough bananas and strawberries to sink a ship to make some smoothies. Anyone that didn’t like banana/strawberry was shit out of luck.

Tipsy, Ryder spent his entire evening following Eliza around and making sure that no one else hit on her. It was pathetic and sad and everyone can see that he likes her except for Eliza. After everyone said goodnight, Ryder went home, threw off his clothes, and watched Hoarders - on top of downing 6 tacos he’d bought from a food truck the day before. The hangover was real though yikes.

MASON MCCARTHY

Mason spent a good portion of the night getting down and dirty once he was drunk; putting his stripper skills to good use by performing a small show via one of the tables. No clothes were removed, but he was pretty great at hip gyrating.

He also participated in a drunk rendition of he and Madison’s go-to karaoke song: “Midnight Memories” by One Direction. He was off key for probably 99% of the song, and he did receive the occasional “boo” due to the song choice, but he sang as passionately as he could and had the time of his life.

JO MEEKS 

For quite a bit of the mixer, she had her arm firmly wrapped around Christian’s impressively large bicep, taking him from person to person to introduce him to the apartment goers. However, she did have to loosen him up just a smidge, which was where her trusty flask came in handy. 

By the end of the night, her flask was bone-dry, and Christian was in much better spirits, allowing her to leave his side eventually to try her hand at that Eiffel Tower Audrey had promised. And leave it to Aud to come through. Somehow, she, Frankie, and Audrey had stumbled their way into one of their apartments, and their clothes practically flew right off – along with any recollection of what happened thereafter.

BRITTANY PIERCE

Brittany, in fear of being recognized by her ex-girlfriend, Fiona, spent most of the night finding zany ways to avoid confrontation. This included dropping everything and leaving conversations at a moments notice, wearing a lampshade on her head, and hiding behind people that were slightly taller her. 

The night was not a total bust though; Brittany met the weather lady of her dreams: Santana Lopez. She promptly fangirled and asked her to sign her tits. 

PETER PIERCE 

Thursday was pretty busy for Peter. He had just sign the lease for his apartment when Sue Sylvester reminded him to show tonight for the luau that she worked hard on. Before she could drag him into mini rant about how much everything cost her, he thanked her again for everything and told her he’d be glad to see her tonight after he got some things settled into his apartment. For the most part of the day, he worked hard building every new piece of furniture that he’d need set up for his things. He wouldn’t have everything done tonight but it was good to know he’d have bookshelves, dressers, his bed, and his tv stand for when he’d move in tomorrow. He’d need a new couch eventually but for now this was all he felt he’d need at the moment.

When he made his way downstairs for the party he found it very hard to join in. The people didn’t look too bad. But he did feel a major discomfort since he didn’t know everyone. Something he was used to really. There were a couple of moments now and then that a flash would bother his eyes but after moving to the far corner with a cheap slice of pizza in hand and a can of soda, he felt like he could stay there for a bit and mostly observe his new neighbors. Of course he made sure to let Sue see him and thank her again for everything. But it wasn’t long after till he grew bored and tired from the long day he had. It was at eight thirty that he found his way back to his room upstairs.

NOAH PUCKERMAN

tba.

MITCHELL PUCKERMAN 

She did, in fact, bring her drumsticks. And while she was doing consistent drumrolls once Audrey got drunk enough to try her hand at acrobats, she figured out a few new fun beats to try out at her set later on. Once she finally got drunk, she let really lose, and ended up going home with another resident. In the process, she ended up losing her pants.

Once intoxicated, she got into an epic staredown extravaganza with her resident arch nemesis, Quinn Fabray. The staredown progressed into a full blown argument, provoked only by Mitch giving Quinn a dirty look. With Mitch’s liquid courage and Quinn being an angry drunk, it was certainly a sight to see.

ELIZA ROSE 

It was twerk city when it came to Eliza’s activity at the mixer. She, of course, pre-gamed before getting there and managed to sneak a few mini liquor bottles into the mixer via her bra. She wasn’t completely drunk, but was tipsy enough to flirt with anyone she came across. Except for Tyler. Anytime he so dared to look in Marley’s general direction he got a nasty look in response.

She was happy to spend her night with her sister who seemed to stick to her side, the two happy to quietly judge and make fun of people who were doing anything stupid. Well, it was mostly Eliza tipsily making fun of people to Marley and getting a giggle here and there from her sister. Ryder seemed to stay close by them as well and Eliza was happy to hang out with her two best friends.

MARLEY ROSE

Marley made an appearance, but decided against drinking anything other than water, which earned glares from Sue who assumed she was a lightweight (which isn’t entirely untrue). She spent time with the people who she does know, but didn’t really make any new friendships. Plus, it looked like most people weren’t there for that, anyway. One guy was there for the specific reason of hooking up with his neighbors, her roommate was drunk off her ass, and Marley felt out of place in her home.

She kept close to her sister’s side, Eliza whispering to her all the things that people were doing that made them ridiculous. She made her feel comfortable even though she was out of her element, and though she was tipsy, she was still there for Marley, which she appreciated so much.

SEBASTIAN SMYTHE 

Sebastian attended the event with the intent to find out if there is anyone worth banging in the building. Although Sebastian did find a few pretty faces, overall he was  disgusted by Sue’s attempt to host what must be a more depressing alcoholics anonymous meeting with stale pizza and dollar store juice. He wasn’t quite sure what the theme of the party was: Sue going to Hawaii? Sue having a baby? Sure having a baby in Hawaii? Sebastian really didn’t care. The only thing he knew was that he stayed away from the cheap refreshments.

Despite his terrible attitude, Sebastian did interact with some of his neighbours and even flirted with his ad agent, Hunter. Once he had made an appearance at the party for a while, he left to hook up with some guy from Grindr.

SILAS XAVIER

Silas opted out of drinking a whole lot, instead keeping himself mostly sober in case anyone needed help getting home. He danced, he sang a little bit, but all in all he didn’t do a whole lot at the actual mixer.

After the main festivities died down, Silas retreated back to his apartment to host a little tattoo party, giving people what they want for practice. One session in particular with the one and only Kurt Hummel ended up with Kurt getting Santana’s face and the term “no ragrets” on his body. Silas, while slightly intoxicated, complied with really, no ragrets.

[elizabethrobertajones]

I'm not saying you agree with that TLJ article since you tagged it 'mh', but I'm very worried but this latest trend 'Your opinion is wrong because of internalized ___'. Some movies just suck? Like, I hated Ghostbusters 2 because it was bad. I was perfectly okay with having four women as main characters, but that can't be your whole idea for a movie.

I do think that article is interesting, and trying to describe what is basically a wider cultural phenomenon. I’m sure on case by case basis you could rarely boil it down to just a few specific factors and “diagnose” someone except for really obvious lifelong character types who would be in the most obvious demographic. 

Star Wars *already* got a bunch of sexist and racist backlash before TFA, so it’s already in the bracket of movies which got thrown together as the collection of SJWs are ruining our childhood movies like Mad Max, Ghostbusters, etc, so it’s also definitely not like this is a wild stab in the dark that it has pre-existing tension, although in this case the reaction is still really split. But I can see why it’s easy to examine it this way and analyse where it might make people uncomfortable, and wonder to what degree people are prepared to let go of Leading White Man formula for mega blockbusters. 

Something like Wonder Woman, people know what they’re getting into when they see it in the sense that the franchise is completely built around there being a female character in the lead role. So that stands quite alone. And it’s not like there haven’t been action movies with female leads in the past either, but the re-casting in the case of Ghostbusters, or just development of interesting female characters who aren’t beholden to a cookie cutter template/romance arc within a supposedly male-dominated franchise (Furiosa, especially) and changing up old franchises to have more diverse cast (Star Wars) or just completely flip the “male is the default” idea like Ghostbusters and Oceans 8, are deliberately challenging and in some cases - the last 2 especially - are pretty much thumbing the nose to the idea of all-male casts being unremarkable and default. Whether the movies are *good* or not (I thought Ghostbusters was about on the level of, say, a Ghostbusters movie for quality and humour, so okay basically :P) they’re culturally significant at a time when it seems both bizarre and horrifically slow and backwards that we *still* don’t have *even just getting male and female representation right, never mind race and sexuality and disability representation* (I mean for that last point - in some ways these films are already going to be regressive by the time other progressive steps are made, for example Charlize Theron wearing a green screen glove to delete her arm, instead of just hiring an actress with half an arm which is the immediately less-expensive and fiddly route to get the aesthetic…)

But idk, it’s not even like Star Wars was either perfect or extremely progressive, it just managed *not* to have 2-3 white male leads + some other people in the background, and to allow the non white male people to have such a stake in the story they could mess up and make decisions that affected the fate of the galaxy - often negatively, as this is the ESB slot of the trilogy aka where everything is supposed to go in the toilet. There was a lot they could have done better and I’m still annoyed that Maz and Phasma both got pitifully tiny roles but were basically included despite the set up of the movie being extremely restrictive to much exploration and with probably the longest time limit they thought they could allow themselves and still sound like there were any tension in the chase… 

I think it’s definitely always worth exploring whether social issues are having an impact on the reception of a film, though, because it’s a way of addressing the issues in our society, which we *know* exist, and when a film is openly critical of our society, and then people are critical back at it, guessing there may be a nervous backlash from people it made uncomfortable for too-close-to-home reasons makes sense. The critique offered by Kylo Ren to edgy white masculinity is really interesting, and I think it’s probably not hard to imagine SOME people especially who fit the profile are reacting against him, or glorifying him anyway unironically while disliking large amounts of the rest of the movie. 

One of the points that article made as well was that other generic or bad films do much better with audience reaction - in fact some truly terrible films do really well as they’re marketed to a niche audience, and that audience gobbles them up and we get the inverse, of critically panned but audience ratings pretty high.

I mean, I’m assuming if you follow me you’re a Supernatural fan and so we’re all here to gobble up the melodramatic pretty boys :P

So, idk, I think in some ways the picking apart of the film and emphasising its flaws is happening in a strange social climate, where in some ways the discomfort about the film not catering with the most “easy” empathy of a white male main character & with flawed but interesting characters in the other roles particularly prone to being criticised in society for existing anyway and that the SW revival has already had one film threatened boycott over because of Finn being a black stormtrooper on his reveal, and I doubt that feeling has just magically gone away… There comes a point where I wonder how much is basically film review concern trolling when it comes to criticising his and Rose’s arc, or the film in general. 

And how much of the film’s real flaws, plotholes etc if they existed in an easier version of the film with all 4 Chrises in the major roles would take months or years to get properly dissected by the internet while it’s basically as soon as you go back online after the movie someone’s complaining about why Canto Bight even existed.

I mean my “Hm” was “this is interesting and I think it definitely could apply to the wider cultural reaction to the movies” while obviously on a personal level if people have certain standards for films (my dad hates basically *everything* so I don’t think his reaction to TFA was categorically racist or sexist, just that he would be inclined to think pretty much anything JJ Abrams makes is garbage and whoops I never should have naively made him watch the first episode of Fringe with me :P) then if any of these movies are things you can tell would have rubbed you up the wrong way anyway, e.g. you didn’t like the original Ghostbusters that much/have found it far cringey-er on adult rewatches etc then you are absolutely allowed to have a reaction to it on a personal level which is not a sign of the sickness of our society :P 

But I think even if you don’t like the new SW film, it’s worth putting aside your critiques of it for a moment to think about this article and the wider reaction - not to make you guilted into enjoying the film, but because it’s worth at least pondering the wider social issues the film’s already definitely caught up in since like, before TFA came out, so we can’t deny that there’s at least some portion of the audience, whether the loud but small group of assholes who utterly invisibly boycotted TFA, or the wider percentage of the population who’ll be consciously or unconsciously turned off by the cast and the power given to their characters in the story, and the possibly even wider percentage who may still struggle to empathise with female characters because Hollywood has so systematically underrepresented like, what can alternately be the literal largest demographic on the planet, and presented just plain old cis women as characters whose inner lives are valuable and decisions should be respected. 

I mean since I came out the movie I’ve been swinging back and forth on “should Holdo have just told Poe her plan or was the point that this man of a much lower station is getting all up in her business demanding to know and questioning her, and I assume that was intentional so I should agree with Holdo but would this have looked just as bad if a male admiral showed up doing the same thing and they accidentally undermine her by it being a bad decision in general, or is the point that if it had been a male admiral Poe would have shut up and not let an insurrection, but I mean it’s *Poe* and I love him and I totally understand and he was made out to be more sympathetic until *after* the twist so did they WANT us to be critical of Holdo or am I just falling into a trap of not giving female characters the same room to fuck up as male characters -” and that’s BEFORE I get onto the internet and read this debate for weeks, just my confusion about this arc and what it was saying and if it was meant to say one thing or the other or if it’s a bit of bad writing (but not something so bad it would ruin the film to the point of only 50% enthusiasm like Rotten Tomatoes is giving it - like, 93% or something :P) or if it’s doing exactly what it’s supposed to by making my brain cogs go and making me feel I need to write like, a dozen female admiralty into things to allow Holdo a cultural sisterhood of good bad and ugly admirals to be her own person in instead of the only female admiral to ever stick in my head like this :P So idk. 

Hm. Basically. 

[onion-souls]

Outside of the bit about scale (you got a point), how come you didn’t like TLJ?

Spoilers

I pretty much mentioned everything I liked: it was nice to see Mark Hammil playing the role of Bitter Old Failure to the best it could be done, the recursive asshole plane was a nice visual, uh…the red layer on Salt Hoth was kind of cool, and the red throne room of Snoke was ok looking, albeit entirely derivative of the Imperial Guard from Return of the Jedi.

OK, so first of all, the structure is entirely derivative of The Empire Strikes Back, in the same way the Force Awakens was a New Hope II. We told ourselves that this reuse was OK back then because it was the start of a new cycle, but really it wasn’t, we were wrong, and this plot structure was inexcusable. They also botched its pacing because the Space Monte-Carlo (Canto Bite?) section just sucked. Its “just Earth” design took me out of the film in the same way that the weird 50s diner scene in Clones did.

Benecio del Toro’s little arc was nothing compared to Billy D. Williams. Lando Calrissian just oozes charisma, so his betrayal actually hurts and he has sympathetic reasoning behind it (even though it sucked to turn on Han, he was almost morally obligated to keep Cloud City from facing the wrath of an empire that has no qualms about blowing up planets). Del Toro…I forgot his character name…is a slicer who comes out of nowhere (they go to the planet looking for a decoder, and just run into this guy who happens to be a skilled decoder but apparently wasn’t the first guy? I don’t know, it was muddled) and comes across as kind of an obvious scumbag so his betrayal is obvious and we only new him for like 10 space minutes. Betrayal is hack screenwriting twist #3.

There are sphinx-cat-lama things that run faster than motorized hover vehicles. They are constantly prodded in space horse races because their riders are EVIL despite the sphinxcatlamas obviously having very strong racing instincts and strong, intuitive rider bonds anyway. But the space rich people are BAD, unlike the real life rich people who make these movies.

So yeah, Space Monte-Carlo felt like a huge waste of time.

Laura Dern shows up with purple hair as basically another Leia but even less competent as a military commander. Non-Mothma nearly gets the entire Resistance destroyed but that’s OK because she kills herself after fucking over everyone. Also if going to hyperspace can absolutely devastate a capital ship like that, hyperspace warheads should completely dominate Star Wars military doctrine, though to be fair, military operations never made any sense in Star Wars (like AT-AT walkers).

Poe gets to carry out a mutiny and doesn’t get executed when Leia undoes it with a single shot. It would have been cool as hell to see Poe killed for treason, showing that the Resistance is an actual military force that we should take seriously and that there are shades of real grey in this. But nope, can’t have Leia in a bad light now even though everyone else from the original trilogy is shit.

Also Akbar died but he wasn’t really a character anyway in this so I’m going to pretend it’s like Calamarian “Smith” and my boy Admiral “It’s a Trap” Akbar is chillin’ on pleasure planet Risa with mermaids.

Hux is the only competent character and I wanted him to open fire on Kylo and Luke. Just frag him. Kylo is a liability to the First Order.

BB8 is also competent and kind of a mass murderer, which is cool.

Bitter Old Failure is called Luke Skywalker but that’s probably a coincidence because Luke Skywalker was this endless font of optimism, valor, and goodness who wanted off his backwater world feared being stranded for the rest of his life farthest from the bright center of the universe. Bitter Old Failure kind of trains Rey for a few days but not really. And he’s mostly mopey and spends his days pole-vaulting down to a little rock where he drinks the milk-jizz of a humanoid being. Turns out he got sad because the greasy haired pale kid turned out to be evil so he wanted to kill him but only for like a second but then evil kid wakes up, turns on his lightsabre, and somehow both defeats Luke and kills every other student from a prone position. So BOF was really bad at training those losers too. He’s pretty much wrong about everything. Rey tells him he’s shit and that Kylo is still awesome because Snoke set up a Force discord server and they totally held hands. She then kicks BOF’s ass and leaves because she can still change the father-murdering lunatic. There is a magical fire that burns down his tree where he keeps ancient artifact texts of the Jedi order but a terrible puppet Yoda shows up to let them burn because Rey already knows the lessons in those books because she’s awesome and better than everyone so might as well let an ancient culture die out, a white girl has the power in her heart.

Both Kylo and Rey are huge, immature children. And I kind of like that in Kylo because it’s funny. It’s totally tonally off and ruins the atmosphere of every scene he’s in, but he’s super-funny as a character. He is basically Dark Helmet from Space Balls but the actual big bad of an actual, big-budget Star Wars fan film. Rey is impulsive and runs off to save Kylo on a whim, but unlike Luke running off to save Han and Leia, you know, good characters that he loves, Rey is not punished at all for this idiotic move. No lost hand, no terrible revelation (other than that her parents were just nobodies, but whatever, my parents are nobodies, that’s not trauma), just a bit of painful telekinesis and a fight scene in which guards actually run away from her when they could have easily swarmed and killed her. The fight is that badly choreographed. At one point she is arm-locked and escapes it by dropping her lightsabre, even though the lightsabre was not the point of contact on the grapple. Whaaaat

Snoke was a nobody who just died a dumb death because he’s dumb. Whatever. I assume he was one of those weird grey guys who hung with Sheev in Return of the Jedi. An evil guy who loves evil. There was a bit of change in characterization - he seemed a bit more, I don’t know, rational and less arch in Awakens. But I don’t care. Not worth wasting time on this guy. Sorry Andy Sirkus.

There are like half a dozen sequences where someone is totally fucked but then some kind of explosion happens and they cut away to the imperiled characters safely teleported out of harms way. And there are an other four incidents where someone is blow away by something but totally fine, no injuries. It felt cartoonist.

Aliens don’t matter anymore. They are just set dressing. At one point Rey nearly kills two aliens and doesn’t apologize to them because they are not people to her. Even Chewbacca is just there because he was in the OT. I’m still miffed that he wasn’t the one to comfort Leia after Han died. No, it had to be Rey, because Chewbacca isn’t actually a person. The Prequels actually deserve praise for making the aliens in this universe matter. They had agency and political needs.

I don’t know the scale of this universe anymore. The destruction of Not-Corruscant (Holstein Prime?) in Awakens seemed like kind of a big deal, but not anymore. I don’t have a feeling of how many planets are in this conflict. If the entire Resistance is essentially 400 people in a ship, how can anyone in this Galaxy give a shit?

100 Billion Stars.

Quadrillions of people.

Does anyone care about this war between a thousand Tarkin-LARPers and this incompetent monarchist PTA?

It kind of feels more like Battlestar Galactica.

The end sequence on Salt Hoth is the dumbest shit. A turbo-laser is deployed that they say is miniature Death Star technology even though it looks nothing like it and high power siege lasers should have been a common thing in the setting for over 10,000 years. BUT YOU HAVE TO REFERENCE THE DEATH STAR (Seriously, Death Star idolotry is one of the worst parts of this universe. It should be considered a total ultra-Hindenberg of a failure but people just love the damn things. It’s a saga about a family of failures and their relationship with the Death Star plans). So the last few pilots of the Resistance make the slowest charge ever directly at the Turbolaser in rustbuckets that drag through the salt for…traction maybe? And they get picked off one by one by Hux The Token Not-Dumb. Despite this being a suicide mission from the start, a last ditch effort to save the last 400 people in the Resistance, they call off the suicide mission because it’s suicidal and just kind of go back to Echo-of-Echo base to get killed there. Finn at least tries to save everyone by zooming right into the laser and mutual-killing it, but Rose has some emotions so we have to shut everything down until she works through it; she rams his craft with her craft, because forcing your lover into a supersonic car accident in front of a hundred AT-AT-KINDA walkers and the enemy command carrier and a laser battery is how you save people when you’re you’re very very stupid. She says you win by saving people you love, kind of ignoring that Finn was trying to save everyone in the Resistance for the good of whatever they’re fighting for. She then passes out because the 1000 kmph crash knocked her to 0 HP and she forces Finn to magically drag her dumb ass back to base over a salt flat filled with wizard sword fights and a turbo laser and walker guns. Luckily everyone in the First Order is nice enough to let the filthy TRAITOR go back to base.

Oh shit, totally forgot, Phasma showed up about 20 minutes before this to have a boss fight and die. Sorry Gwyndolin Christie, you keep being too good for things

Finally BOF shows up using MAGIC TRANSGALACTIC BILOCATION POWERS that would have been incredibly useful during the rest of the series to buy the Resistance 5 minutes of time to get out of a hole covered by rocks that these people with laser guns and skimmers can’t remove. Thank God that Alolan Ninetails showed up to do the location scouting for this advanced Resistance movement. BOF collapses, gets to look at the sun and has a peaceful moment, because Luke looked at the suns of Tatooine too and that was a good shot. And then BOF dies, becoming one with the Force because he used too much bandwidth projecting himself. But at least he got to humiliate that little shit Kylo, the most easily humiliated man in the galaxy. And he got a cool brush-off dust scene and line deliveries.

And so Luke had no children, didn’t marry a hot redhead secret agent, didn’t bring a lasting peace to the galaxy, and left no actual pupils worth mentioning. LOL, fuck you, fans

Also Rey apparently saved the old Jedi texts somehow even though she wasn’t there, because she’s just that good. And so she can take a huge shit on Luke’s legacy by being the actual person who rebuilds the Jedi Order.

Oh and the First Order just kinda let's the Resistance leave despite still having arial/spatial superiority.

[un-enfant-immature]

‘The Rise of Skywalker’ delivers a messy but satisfying finale to the new Star Wars trilogy

“Star Wars: The Rise of Skywalker” is the ninth and final film in what Lucasfilm is calling The Skywalker Saga. It’s the end of the story — that’s both its greatest asset and its heaviest burden.

Certainly, if you’re hoping that a single movie can effectively wrap up every storyline, complete every character arc and answer every lingering question from the eight preceding films, you should abandon that hope now. Director J.J. Abrams is pitching this as the culmination of a nine-film epic, but how could any single movie live up to 40 years of theories and daydreams from millions of Star Wars fans?

(This review describes the general plot of “Star Wars: The Rise of Skywalker” but contains no major spoilers.)

Yes, you’ll see some returning faces from the original trilogy, including Mark Hamill as Luke Skywalker, the late Carrie Fisher as Leia Organa (courtesy of unused footage from “The Force Awakens”) and Billy Dee Williams as Lando Calrissian.

But their roles are pretty small. In fact, I’d argue that only Williams is used effectively. That’s okay, though — this isn’t their story anymore. They’re here to pass the torch.

Anthony Daniels is C-3PO, John Boyega is Finn and Oscar Isaac is Poe Dameron in STAR WARS: THE RISE OF SKYWALKER

So it’s the new characters who fully step into the spotlight this time around. More than anything, “The Rise of Skywalker” serves as one last chance for the new trilogy’s three main heroes — scavenger-turned-Jedi Rey (Daisy Ridley), stormtrooper-turned-Resistance-fighter Finn (John Boyega) and ace pilot Poe (Oscar Isaac) — to have an adventure together.

The film begins with Kylo Ren (Adam Driver) having ascended to the role of Supreme Leader of the First Order (a.k.a. the new Empire). He lands on a mysterious planet to track down transmissions that appear to come from the long-dead Emperor Palpatine (Ian McDiarmid, clearly relishing his return to the role).

It’s quickly established that Palpatine somehow survived his death at the end of “Return of the Jedi,” and he’s been the secret mastermind behind the First Order all along. Now he’s assembled a giant fleet of even deadlier ships — and if Kylo wants to take command, all he has to do is kill Rey first.

This scene sets the template for the rest of the film, combining moody, gorgeous visuals with a breakneck pace, while delivering any and all exposition with the absolute minimum amount of detail.

The first half of “The Rise of Skywalker” turns into one long chase, as our heroes search for a mysterious artifact that may be crucial to defeating the Emperor, while Kylo and his Knights of Ren are close behind.

Oscar Isaac is Poe Dameron, Daisy Ridley is Rey and Anthony Daniels is C-3PO in STAR WARS: THE RISE OF SKYWALKER

It’s not hard to notice that many of these early plot developments seem designed to fill time, keeping our heroes busy before the grand finale. The film is both hurried and drawn out — constantly coming up with new destinations to visit, then rushing over as quickly as possible.

This didn’t bother me as much as I would have expected, largely because the plot brings us from one richly imagined world to another. They’re filled with some of the most delightfully bizarre aliens in the franchise, and they adds up to the most expansive tour of the Star Wars universe that I can recall.

As for the film’s second half, you can probably guess where the story will end — especially if you’ve watched “Return of the Jedi” recently. But even it doesn’t surprise you, you can still appreciate how Abrams has expanded on the older film’s scale and stakes.

When he revived the franchise in 2015 with “The Force Awakens,” Abrams seemed largely content to remix the original trilogy. With “The Rise of Skywalker,” on the other hand, he was apparently inspired to be more “daring,” and the film contains some of the most striking images of his career — a tiny skimmer struggling to stay afloat on an impossibly choppy ocean, a vast, ancient throne room filled with shadowy figures, a light saber duel amid the floating ruins of an old Death Star.

Daisy Ridley is Rey in STAR WARS: THE RISE OF SKYWALKER

Sadly, Abrams the screenwriter (working with co-writer Chris Terrio) didn’t do quite as good a job. The dialogue is clunkier and more obvious than it was in the past two films, with jokes than rarely land as effectively.

There’s a slipshod quality to the plotting as well, with many major events seemingly to transpire for no reason except that they have to, because it’s the last movie. And while “The Last Jedi” tried to put the mystery of Rey’s parentage to rest, “The Rise of Skywalker” can’t quite move on. It takes up the question again, providing a final answer that’s reasonably satisfying on its own, but doesn’t quite justify the enormous build-up and back-and-forth over the course of three movies.

Ultimately, while I liked “The Rise of Skywalker” well enough, I also thought it was the weakest installment of the new trilogy. I’m particularly hard-pressed to recall any moments that affected me as deeply as the end of “The Last Jedi” — there’s nothing here that can match the quiet sadness of Luke’s reunion with Leia, or his lonely last stand against the First Order.

But even if “The Rise of Skywalker” isn’t the grand culmination that I’d been hoping for, it’s still a diverting adventure, not to mention a worthy farewell to Luke, Leia and all the others. When the forces of good and evil lined up for one final battle, I felt that old Star Wars thrill. And when I saw the last shot, I knew the story was ending where it was always supposed to end.

[everythingisgreenandsubmarine]

"It" (2017) Review

SPOILERS FOR IT (2017) BELOW

It is a mammoth novel. At over 1100 pages, containing a huge assortment of characters, and spanning over 200 years of mythos, you can imagine just how hard this novel is to adapt. It's not just an issue of plot, it's an issue of time. While King has over 275,000 words to tell his story (the equivalent of a 4,500 hour film, if 1 script page is equivalent to one minute of film time) Andy Muschietti has given himself roughly four hours -- around 240 pages -- to adapt both halves of these novels.

The 1990 miniseries showed that this novel is both incredibly hard to adapt, and impossible to water down. While Tim Curry shines through, in that adaptation, as Pennywise, the rest of the film around him is rife with bad acting, poor writing, stilted dialogue, and cheesy effects. This miniseries covered the entirety of the novel, but even its three-hour runtime wasn't enough to effectively adapt King's story. Additionally, this adaptation avoided almost all of the violence, sexuality, and dark humor that made the novel unique, and memorable.

Andy Muchietti's It suffers, too, from this inability to capture the temporal expansiveness of King's novel. The first chapter of the film, clocking in at a little over two hours, covers the majority of the plot points contained in about half of King's novel. However, it fails to capture the depth, and the intricacies contained within those pages. Furthermore, its horror is executed in the most lazy, and frustrating, way: jump scares.

Let's begin with the writing, though.

This adaptation of It was originally written by Cary Fukunaga and Chase Palmer. Fukunaga was originally attached as writer/director for a long time. You may know Fukunaga from his directorial efforts on films like Beasts of No Nation and Sin Nombre, along with his directing work on the first season of the HBO show True Detective.

Fukunaga was fired from the project after it had been mired in development Hell for quite some time. After being fired, he shared some details about why he was given the boot, and what the producers wanted his film to be.

"I was trying to make an unconventional horror film. It didn’t fit into the algorithm of what they knew they could spend and make money back on based on not offending their standard genre audience. Our budget was perfectly fine. We were always hovering at the $32 million mark, which was their budget. It was the creative that we were really battling. It was two movies. They didn’t care about that. In the first movie, what I was trying to do was an elevated horror film with actual characters. They didn’t want any characters. They wanted archetypes and scares. I wrote the script. They wanted me to make a much more inoffensive, conventional script. But I don’t think you can do proper Stephen King and make it inoffensive. The main difference was making Pennywise more than just the clown. After 30 years of villains that could read the emotional minds of characters and scare them, trying to find really sadistic and intelligent ways he scares children, and also the children had real lives prior to being scared. And all that character work takes time. It’s a slow build, but it’s worth it, especially by the second film. But definitely even in the first film, it pays off. It was being rejected. Every little thing was being rejected and asked for changes. Our conversations weren’t dramatic. It was just quietly acrimonious. We didn’t want to make the same movie. We’d already spent millions on pre-production. I certainly did not want to make a movie where I was being micro-managed all the way through production, so I couldn’t be free to actually make something good for them. I never desire to screw something up. I desire to make something as good as possible. We invested years and so much anecdotal storytelling in it. Chase and I both put our childhood in that story. So our biggest fear was they were going to take our script and bastardize it. So I’m actually thankful that they are going to rewrite the script. I wouldn’t want them to stealing our childhood memories and using that. I mean, I’m not sure if the fans would have liked what I would had done. I was honoring King’s spirit of it, but I needed to update it. King saw an earlier draft and liked it."  -- Cary Fukunaga

Ultimately, Fukunaga and his producers were trying to make two different films: Fukunaga wanted to make something akin to The Shining, or Rosemary's Baby, whereas his producers wanted him to make the next Conjuring film.

When Fukunaga was booted from the project, the producers hired writer Gary Dauberman (writer of Annabelle and Wolves at the Door) to make extensive changes to Fukunaga and Palmer's script. They also hired Andy Muschietti, writer/director of the 2013 film, Mama, to replace Fukunaga in the director's chair.

Sadly, what Fukunaga divulged in that interview is completely true. While some elements of his script has been kept, much of it was re-written to fit Muschietti's vision (which, in turn, fit Hollywood's vision). By this I mean to say that Muschietti's It is full of poor dialogue, jump scares, and very flat characters.

Part of this stems from what I mentioned above -- trying to adapt a huge novel into a relatively short script. Supporting characters, like Henry Bowers, or Beverly Marsh's father, are fleshed out in the novel, and given compelling backstories. In the film, they are defined by very rigid, and thin motivations. Henry Bowers, for instance, is a bully because his father is a violent drunk. That's it. That is the entire motivation behind this bully's extremely violent, and destructive tendencies. Beverly Marsh's father has no motivation, nor any backstory. He's just a looming, abusive figure that is shrouded in darkness.

The real issue with the writing of this film, though, is the depiction of Pennywise the Clown. Obviously this character is essential to the novel, and to the overall story.

Bill Skarsgård is fine as Pennywise, though he is very forgettable. His performance can be summed up as "forced" -- a combination of whisper-talking, and overacting. Pennywise's horrific actions are augmented by poor CGI, which takes away from both the character, and the Skarsgård's performance.

Furthermore, this Pennywise never feels like an organic part of the story. Pennywise is an old entity, spanning well beyond the lifespan of the children. Yet we never get a feeling for that age beyond some vague dialogue which speaks to it. Furthermore, because of all of the jump scares, Pennywise never feels scary. In fact, all of the scares in the film feel very forced, and inorganic to the atmosphere Muschietti attempts to set up.

The main cast is good, though, and they are the saving grace of the film. While Pennywise, and the fear surrounding him, feel inorganic and forced, the interactions and chemistry between the core characters is strong. They are funny, endearing, and realistic. 

The real standout performance in this film comes from Finn Wolfhard, who plays Richie Tozier. Carrying the majority of the comedic relief on his shoulders, Wolfhard is able to punctuate each scene he's in with authenticity and endearing realism. 

The rest of the cast works well, even if they don't quite fit the character descriptions we remember from the novel. In this respect, while they may not replicate the characters we have envisioned, they certainly embody them. The performances are all solid.

In fact, ironically enough, the younger performances are much better than their adult counterparts. Part of this could be from the shallow writing, or the stilted dialogue the adults are often stuck with, but it is worth mentioning.

The real issue with this film comes from the jump scares, though. Jump scares, by themselves, are not inherently evil. They are most certainly lazy, but they aren't the worst thing ever. A horror film can still be very good if it has a couple of jump scares in it. However, like many other things in the filmmaking world, less is more. 

Muschietti does not abide by this adage, as everything from Pennywise's interaction with Georgie to the climactic third act are rife with forced jump scares, grating musical cues, and dramatic lighting. 

That first interaction with Georgie helps set up the entire film, both in terms of tone, and in terms of scares. The script has jarring shifts in tone, which are best exemplified by Georgie chasing his boat down the street happily, running into a road block, and then meeting Pennywise. In a matter of a minute or two, we change the entire tone of the film three times, and without warning. This happens throughout the film continually, with varying degrees of success (blending horror and comedy can work, it just depends on how you do it).

My opinion of Skarsgård's performance is complicated, and this scene perfectly encapsulates why. There are fleeting moments where he captures the essence of Pennywise as a character -- this lure for children that is used so he can feed -- and there are moments where he feels like he is trying to be scary (which, as we all know, generally doesn't work; just like when someone is trying to be funny, it comes off as forced).

Skarsgård oscillates between these two positions frequently throughout the film. When he releases some balloons to reveal his face to one of our core characters, it feels forced. It's supposed to be scary, but it isn't. When he is playfully tortures Eddie, who has broken his arm, he inhabits the comedic, and terrifying, nature of Pennywise as a character. I don't know how much of this is Skarsgård's performance, and how much of it is the writing, but Skarsgård as Pennywise is wildly inconsistent, to say the least.

I guess those are the two terms I would use to best illustrate my feelings about this film: forced, and inconsistent.

None of this is to say that the film is unwatchable -- if you don't mind jump scare horror, similar to what James Wan provides (though Muschietti is not nearly as skillful as Wan when it comes to delivering said type of horror), then you will probably like this film. 

However, from my perspective, as a filmmaker and a film lover, Muschietti's It is the kind of film that exudes all of the issues the horror genre currently has. It's full of forced scares, and light on depth and characterization. That doesn't mean it can't be enjoyed, nor does that mean it's devoid of any quality; it just means that, as an adaptation of its excellent source material, and as a film, it fails in a number of capacities.

[semicolonthefifth]

Star Wars: Rise of Skywalker REVIEW.

The conclusion to the Sequel Trilogy for Star Wars has come, and it has surely been a rough ride. What started as a mass of eager anticipation for “Force Awakens” has turned into a hesitant and otherwise frustrating wait for the conclusion to these films. I feel like I’ve seen a lot of people welcome “The Rise of Skywalker” as an obligation rather than something to feel excitement for; as if the end couldn’t come any sooner, and now audiences can finally breath a sigh of relief that it is all over. Of course there are still fans who both defend and await the film with high energy, although it seems they’re far outweighed by those who are either tired or angered with how this trilogy has developed.

Which is why I wanted to try my best to approach this film with as calm a head as possible. Despite much of the anger and hate to the previous episode “The Last Jedi”, I personally considered it a flawed though entertaining film. While I have issues with the plots and character development, that movie couldn’t push me to anger enough to really hate it - and instead found it to be alright.

So will I find this film to be much the same? Will Episode 9 be the desired conclusion to both this long-running saga and the Disney trilogy? Will it undo the wrongs of its previous works and create a much better product overall?

To all that, I shall start with the plot as usual and work from there.

PLOT:

Set some time after the events of the Last Jedi, the Resistance has been reduced to a much smaller force that is constantly hounded down by the First Order. Under the new Supreme Leader, Kylo Ren, the First Order has been stomping down any rebellion across the galaxy - effectively stopping any chance of reinforcement or aid for the Resistance. However his campaign has a new challenger, as throughout the galaxy comes the announcement that the long dead Sith Lord, Emperor Palpatine, has returned to reclaim control once more. Meanwhile, Rey and her friends are trying their best to fight what has now become two major threats.

With the Galaxy now gripped from either side, it is up to Rey to find some means of fighting back - and hope that there is still some chance to turn the lost Ben Solo away from the Dark Side. All while she discovers new and dangerous things about her past.

STORY (SOME SPOILERS):

JJ Abrams makes a major mistake with this film that costs so much of the quality it could have had. The main issue, and one that ties into nearly every flaw with this movie, is that Abrams has made Episode 9 into two movies: Last Jedi (again), and Rise of Skywalker. Whether by his own choice or the insistence of Disney (most likely), Abrams tries his hardest to either bury, attack, or otherwise wave away several plot details and ideas that were established in the Last Jedi. At the same time, he also tries to insert enough details and ideas that could’ve worked well in a theoretical Abrams’ Last Jedi, while also trying to progress the plot further with what should be the third movie of the trilogy. So you have a story that is constantly at the races, trying to cram so many things to both erase the previous movie while also being a continuation in and of itself. Naturally this makes for an incredibly messy, fast-paced plot that has very little room to breath and gives little to no build up to several of its plot points. Moments jump after the other, and character POV’s shift rapidly between Kylo, Rey, and Poe/Finn within the very first half hour. You’ve given little area to establish what’s going on and to get used to what is happening currently, as sooner another plot point jumps from around the corner. This style of directing keeps sprinting on for much of the first half, which not only removes any significance behind some major moments, but also makes the story feel shorter than it should be.

Furthermore in robbing significance: as I’ve previously stated, various elements and plot details from the Last Jedi are done away with, and in a very insulting manner. While I had some issues with the Last Jedi’s story, I much preferred they’d be continued on in this film than to be thrown alongside the bathwater. As I also said, it’s all done rather insultingly. Characters like Rose are reduced immensely in any importance to the plot, almost to the point of being a background character (as well her sudden romance with Finn being thrown away completely). Holdo’s Maneuver is tossed aside with a single line in some lazy attempt to remove its usage in this story. Luke’s character does a 180 and blatantly says that he’s wrong on what he said in Last Jedi, meanwhile Kylo rebuilds his previously destroyed helmet while the film ironically embraces the past even harder (in contrast to the message of the Last Jedi). This treatment goes even further for characters established before Last Jedi. General Hux, once a villain alongside Kylo, is not only playing second fiddle to a higher ranked officer who only appears in this film (and is quickly established to be from the Empire of the old Trilogy), but he’s barely in the film before being done away with. Worst of all is Finn who doesn’t do much, and has little character development. This is a huge shame because it feels like the Trilogy as a whole barely did much with Finn, with all his more significant actions done in Force Awakens. He also spends much the film trying to tell Rey a secret of sorts, but that plot line is soon dropped and forgotten for seemingly no reason.

However there is something the film is happy to put time into, and that is nostalgia pandering. If you felt that the pandering in Force Awakens was a bit strong, than that’s nothing when compared to the amount of nostalgia-baiting throughout this whole movie. It feels like the whole movie is trying to go through so many callbacks to the old movies, especially Return of the Jedi, that it barely has much of an identity in its own. Characters and scenes are pulled up plenty of times. Music cues are played as some thematic call back to the saga as a whole. Plenty of sets and landmarks from the old movies are revisited for extended periods of time, and plot details are repeated almost bit for bit. The showdown between The Emperor and Rey is practically a carbon copy of the one between him and Luke from Return of the Jedi, right down to the idea of killing the villain to then become an apprentice/host to the big bad. The return of yet another set of planet killers is groan-worthy, with the bigger stakes being that it’s now an entire fleet of Star Destroyers - each with a planet-destroying cannon. At this point it feels like a farce, and that Abrams is trying so hard to cater to nostalgic fans that it becomes an insult to the audience’s intelligence. It doesn’t help that this fleet has zero build up and shows up right at the beginning, as if the film is set to fast-forward and is trying to get over itself.

No to mention some plot points are given little explanation without outside help. The reveal of the Emperor’s return is seemingly first seen thanks to the opening crawl, but you wouldn’t hear his supposed announcement unless you - and this is for real - play Fortnite to then hear the actual recording. This is a major detail that should’ve been in the movie, but you’d have to go to outside the film series (and what is mostly non Star Wars material) to hear it. You also would be confused by the very first planet - not knowing it was Mustafar from Episode III unless you played a VR game that explains both who Kylo was fighting there and why it’s suddenly forested. Admittedly these are small grievances, but it speaks to a larger problem of the movie trying to cram so much information in its attempt to be both a revision and a sequel. It really gives the idea that many fans suspected: that there wasn’t a plot planned for the trilogy - or that somehow it got lost between Episodes 7 and 8.

The film also tries to be a last hurrah for the saga as a whole, and it honestly fails to warrant that. This isn’t to say there are plot details that need to be continued (aside from Finn’s mysterious secret), but rather that it feels unearned. It feels less like the end, but rather the repeating of what was already an end. Whereas the prequels left a world that needed to be saved by the originals - the sequel trilogy feels like it’s stuck in the mud. It’s a problem I’d go into, but I want to stay focused on this film.

Overall, the plot is a mess. A fast-paced, sloppy mess.

ACTING AND CHARACTERS:

While the plot is poorly done, I’d say that the performances are alright. I wouldn’t call anyone in this movie a bad actor. Everyone does a fine job with what they’re given, and at times they do give some great emotional performances. However said emotion isn’t strong, not due to the acting but rather the plot not giving much area to breath and absorb them (save a few moments).

The main heroic cast is great, and I dare say an improvement from the previous film. I feel like I had more fun with Finn, Rey, and Poe, and I think that has to do with the fact that they’re interacting with each other a whole lot more in this movie than in the rest of the trilogy. Frankly I’m disappointed we couldn’t get more chemistry between all three of these characters, as they bounce off each other quite well enough that I’d welcome more scenes of the trio. Finn and Poe are the best, as their friendship is strong. However I feel that friendship extends well to Rey, who feels more emotional and easier to relate to now than she has been throughout the previous films. Although this is undone by what development we get for Rey, and how it doesn’t at all counter the arguments that she is something of a Mary Sue. The problem with Rey is that she’s shot into the stratosphere with how much importance and prestige she has, which runs counter to Last Jedi’s argument that she had nothing special about her. The plot also rapidly grows her power level, having her perform feats that go beyond what any master Jedi has ever been seen to accomplish. This is again a problem with how quick the plot is written. Theoretically this could work if established more carefully throughout the trilogy, but the way it is all crammed into one film makes it so hard to swallow. It’s a shame to because Daisy Ridley is a fine actress, but the plot doesn’t utilize her character efficiently.

Next there are the villains. Kylo Ren is greater here as well, with a story that provides so much more development. The drama is a lot stronger with how he’s trapped under the Dark Side, not out of its influence but more so his fears of returning to the Light after all he’s done. You really feel for the guy, and you become invested in his development and possible redemption. However he’s about the only villain worth cheering. General Hux is downsized and under-utilized, which is a drastic fall from where he once stood in the previous films. He’s barely worth mentioning, sadly. Then there are the newer villains:

General Pryde is a new commanding officer, and he’s given little character build up other than he’s a former Imperial commander that is taking control of the First Order. He’s a rather unmemorable character, and isn’t at all important. There are the Knights of Ren who make their debut since Force Awakens, and although they give a chase of the characters they are basically another group of faceless thugs for the heroes to fight. It feels like they would’ve originally had a greater importance to the plot as a posse under Kylo, but Abrams has to now cram them into the film when they were completely missing throughout Last Jedi. Finally there’s the new main villain, Emperor Palpatine, making his return - and I honestly do not like it one bit. Palpatine being a villain again is, in my opinion, a major misstep in Abrams part. Not only does it once again feel like a retread of the original trilogy, but it further robs any unique identity that this trilogy could’ve had. It would’ve been so much better if Rey and company had to fight Hux and Kylo, but instead their bigger threats are literally old villains making a comeback. I know that the Emperor is a fun character, and I’ll admit that seeing him say “Do it!” did have me smiling, but it comes at the cost of letting the sequel trilogy come on its own.

Other characters are fine as well, with good performances all throughout. However they barely have much screen time and are basically extended cameos. Old characters like Leia and Lando come and go (one for, sadly, obvious reasons). New characters like Jannah and Zorii are a bit fun and interesting, but barely have much to do in what little presence they have in the film. Also, as I said, Rose is barely in the movie - as part of the way The Last Jedi is being erased from this film.

That’s really all I can say about the acting. It’s fine, but a lot of characters fall to the wayside due to how the plot is structured.

SPECIAL EFFECTS AND SOUND:

I feel like I say this all time with these movies, but I can’t deny it: The special effects are great. Practical and CGI do a great job, and there’s a whole lot of colors throughout this while movie. The action pieces are well directed and are quite exciting, though the lack some power due (again) to the rapid nature of the plot. There’s more emphasis of darks in this movie, with various locales and scenes set either in the night or in darker colored landscapes. However this isn’t an issue as it does allow the colors from lights, lasers, and other scenery to pop out a lot stronger. Although the setting of the conclusion is a bit weak, due to the strobe-light feeling of the lightning of the world, and with how some colors feel a bit muted. Overall though I wouldn’t call any of the backgrounds or settings bad. They do a great job, and I applaud the special effects team.

I wouldn’t say I was awe-struck, however. While some actions scenes and locales are great, and the film does try to recreate areas for its nostalgia pushing, they don’t leave so much of an impact on me. The immense power of the sight of a massive fleet of Star Destroyers is unearned and ineffective - due largely to how they were introduced and established in this film. I know I sound like a broken record in mentioning the plot structure, but it honestly is infectious in how it ruins or weakens various elements of the film throughout. While the landscapes and creature effects are great, there’s is a strong lack of calm, quiet moments to allow yourself to absorb them. The big moments don’t feel that big because it’s done all so quickly. They feel done and done, and it’s a shame because so much hard work is apparent in how they come off.

Meanwhile the sound and music is good. It is very much Star Wars, no doubt about it. I do enjoy hearing many of the old tunes from films before, but it is obvious in how much it tries to force you to become emotionally invested with its pandering. It’s a conflicting sensation. I’m both touched by it, but the pandering is so clear that I’m either bored or tired from it. I feel as if I’m peering behind the curtains and seeing all the magic for what it is: cheap trickery.

The technical stuff is great, but it leaves little of an impact on me.

THE GOOD STUFF:

As is with all my reviews, if I lean heavily into one end I have to try and bring up stuff to counter it out of fairness. I’ve complained a lot about this film, so here’s some good stuff:

The Death Star, while pandering, was an interesting locale to visit in its destroyed state.

Rey is much improved, and I like how she went with Finn and Poe.

There’s some good funny moments, but there’s also a lot of MCU humor that puts the film to a halt more so now than previous.

Combat and action pieces are great, with little issue outside plot structure affecting it.

It’s a much more colorful film, more so than even Last Jedi.

So many interesting and new designs. I almost want an art book of the Trilogy.

And that’s about it.

CONCLUSION:

Comparatively, this film is worse than Last Jedi. While I wouldn’t go so far as to say this is the absolute worst film ever, or that it has ruined the franchise, it is nevertheless a weak movie whose greatest mistake is trying to be two films at once. It lacks an identity to call its own, and it misuses its characters that would’ve otherwise been a lot stronger if given the chance.

I’m not mad at this movie, for that is far too strong an emotion for what it’s worth. Overall I’m disappointed in it, in as a film, a sequel, and a conclusion. Is it the worst of the franchise? Hard to really say. It isn’t the absolute worst movie as some would say, but it is an incredibly weak and messy film that tries to play fast and loose with a safe plot. It’s nowhere near enough to kill the franchise, not but a long shot. However I feel this should send a message to Disney about the importance of knowing how to structure their story, and to try and invent new ideas that actually works with the universe its set in. It’s a shame that a TV series like Mandalore has done so much more to get me emotionally invested than these films have.

I can’t recommend this movie. Not necessarily because it is bad, but because it’s a weak and uneventful film that is better seen as a rental or on your television/monitor. I can’t stress enough how down the middle and nothing I feel for this film. Again, I am not mad - just very disappointed. In trying to undo Last Jedi, Abrams has also delivered a weak film that can barely stand on its own. It wastes so much potential it could've had, all for the sake of nostalgic pandering.

It's almost a fitting end to this Disney Era trilogy: a mess that tries to play fast and safe, while trying to copy what came before it.

[recentanimenews]

Crunchyroll Favorites 2017: Everything Else

  Movies, music, comic books, great food, everything goes in this last category. With Part One and Part Two out of the way, here's our final Crunchyroll 2017 Favorites with everything else!

PETER FOBIAN (@PeterFobian)

Blade Runner 2049: I never in my entire life actually scoffed until I came upon news of this movie. On the heels of a few monstrously bad Hollywood adaptations and reboots, I couldn’t imagine this movie being anything but another disappointment. I’m so happy to be wrong. Visually this movie was every bit the cinematic marvel as the original. That’s not to say it’s faultless. The story was perfectly serviceable until the forced shoehorning of Harrison Ford’s character left the plot a mess, but the atmosphere was maintained and it had some great modern takes on the content of the original. If every adaptation were this good I’d welcome them all.

John Wick 2: Another visual marvel that gives me hope for modern movies, John Wick 2 is every bit as good as the first, a combination of novel sequences and set pieces with great cinematography. The unapologetic daisy chain of fight scenes the raise the bar for Hollywood action. Like Blade Runner, the movie suffered a bit for the sake of a cameo, with Reeves and Fishburns' reunion taking up altogether too much screen time, but otherwise the film is a spotlessly choreographed action masterpiece. I can’t wait for the post-apocalyptic part 3, in which John Wick has killed 99.99% of Earth's population.

Atomic Blonde: Capping off my style-over-substance cinematic trilogy for 2017 is Charlize Theron’s rampage through Cold War Germany. I respect this film trying to deliver all the hyper-stylized, tightly-directed action as John Wick while including a compelling story, even if it didn’t quite land. Falling back on a few bored tropes left the later half of this movie feeling narratively stale, but the final sequences were marvelous all the same. I hope this grows into some sort of franchise all its own.

Takeshi Miike’s Blade of the Immortal: Two of the greatest anime disappointments of my anime life were the Blame! OAV series and the Blade of the Immortal anime, which were both made right in 2017. Polygon Pictures provided a Blame! Movie which satisfied (for now) and Blade of the Immortal got perhaps the man most suited in the world to direct its live-action adaptation. This movie is just the kind of bloodbath that the 100-man slayer and the 100-movie director both deserved.

Star Wars VIII: The Last Jedi: It’s honestly cheating putting this movie in this list since it’s 100% anime. I’m pretty sure the middle of this film was just Gunbuster. Unfortunately it did actually sort of feel like two movies, one of them much better than the other. The plot following Rey and Kylo was marvelous from start to finish, as well as its branching conclusion with Luke, but the subplot with Finn dragged on forever and led to some themes that felt confused and left me wondering if they even knew what they want to do with his character (bring back Benicio though). That one scene, you know which one, was inspired (also very anime) and I hope other directors and studios take note.

RENE KAYSER (@kayserlein)

Baby Driver: If you forced me to pin down my single favorite movie, game or song, I could hardly come up with an answer. When it comes to my favorite director, this one’s a lot easier, though: It’s Edgar Wright, hands-down. No other director manages to reinvent himself every single movie while also staying true to what his fans love about him, and Baby Driver is his first “Big Budget Movie” (it does star several big Hollywood actors but only cost $34 million!). It not only combines its visuals with its soundtrack like no other movie but also tells a genuine heart-warming story. While Hot Fuzz will remain my favorite action movie of all time, Baby Driver keeps its distinctive shape in its rearview mirror.

Spider-Man: Homecoming: I’ve enjoyed almost every MCU movie thus far but with me being a lover of great villains, I have also suffered from Marvel’s biggest flaw: Having good antagonists. I couldn’t warm up to Loki like everyone else and had almost given up hope ... but then my third-favorite superhero swung in and gave me a great villain who was also played by a major actor of my favorite one! The rest of the movie may not hold a candle to the first two Raimi movies but I hope that we can keep this momentum with the MCU and may one day see a proper depiction of Dr. Doom.

Wonder Woman: If you were to ask me whether I preferred DC or Marvel, I would easily side with the bat and the man of steel. But even I can’t proclaim the current state of the DCEU as anything but bad while Marvel keeps hitting it out of the park. However, after the two trainwrecks of 2016, Wonder Woman gave us a glimmer of hope and a fantastic movie in which we also finally(!) got a female lead. Justice League was in turn bogged down by its production issues but I sincerely hope that we will start to get a proper representation of all these amazing characters from now on - even if we have to flashpoint it along the way.

Star Wars - Thrawn Trilogy Audioplay: My birds have told me the concept of an audioplay isn’t as common in the US as it is in Germany, so I’ll preface this with a short explanation. An audioplay is basically the same as an audiobook but instead of a single narrator, you have an entire cast of actors who act out the written story which is usually formatted to work with only dialogue and sound effects (though there are ones who use a narrator).

This year I, as a major Star Wars-fan, was delighted to discover a production I had never stumbled upon: An entire audioplay of Timothy Zahn’s famous Thrawn trilogy. While it may seem trivial at first, the people behind this not only got the entire German voice cast of the original movies (who actually dub every movie and even cartoons to this day!) but also paid close attention to absolutely every detail. They licensed John Williams’ famous score and made sure that the listener was able to distinguish each ship by its engine sound, each fighter by their weapon sound and each alien race by their own made-up language. Disney may have eradicated these books from the canon (though they thankfully brought Admiral Thrawn back in the Rebels cartoon) but this production will forever allow German fans to experience this original sequel to Return of the Jedi as close as possible to actual movies - all thanks to some amazing voice work and love from some serious fans.

Star Wars Episode VIII: The Last Jedi: As I’m writing this, less than a day has passed since me attending its premiere. So while I may be still blinded by the early “Honeymoon Phase” of still getting my emotions sorted and not having contemplated everything a thousand times, I am currently convinced that this is the best Star Wars movie I have ever seen. Rian Johnson mixed up the characters we love in a tale that’s both completely and yet faithful to the franchise and it almost disappoints me that Disney gave him “only” one additional trilogy to handle. This movie not only changes up Star Wars completely and for the best, but it also serves as a perfect capping stone for 2017 itself. A lot of bad things happened over these past twelve months but the final shot of this movie serves as a reminder that no matter how bad things get, we can still change the world for the better - no matter who we are and where we come from.

Game of Thrones Season 7: Game of Thrones got dumb this year. The time it takes characters to travel doesn’t match up in the slightest, we got a lot of scenes the audience was clearly intended to not think too hard about and a lot of it devolved into fanservice … but I completely loved it! After six years of buildup, we got an entire season with payoffs and while they didn’t always make perfect sense, they certainly were satisfying. I hope that the writing will improve a little for the final season  but I’m definitely looking forward to seeing it.

Female Doctor Who & other awesome ladies: This year has truly been great for awesome female leads in popular media. I already mentioned Wonder Woman and Star Wars: The Last Jedi who both have amazing female leads not to forget Aloy from Horizon Zero Dawn!) but one of the oldest British TV series also finally made the jump to change things up. At the time of writing, I haven’t seen Jodie Whittaker’s take on the Doctor but I can’t wait to see that Christmas special and what fresh air she will bring to the show!

KARA DENNISON (@rubycosmos)

Mystery Science Theater 3000: The Return: If you’re a fan of the original series, you’ll know within the first half hour that the show is back for real. And if you’re unfamiliar with it, the new series is a great jumping-off point. The new selection of movies is impressive, as is the new selection of cameos. Season 12 promises to be amazing!

Doctor Who Series 10: “Extremis”: “Extremis” is one of the riskiest episodes of Doctor Who ever made, and that’s saying something. I’ve been enjoying the Twelfth Doctor’s run immensely, but the fearful and challenging nature of this story makes it stand out for me. The gut drop of the big reveal still hasn’t left me.

A Series of Unfortunate Events: As a fan of Lemony Snicket’s dire children’s book series and all the puzzle-solving that went with it, I was thrilled with the new iteration of the story. Neil Patrick Harris is a perfect Count Olaf, and it’s just the right mix of dire and hilarious. There will be new mysteries to unravel whether you’re a casual reader, a hardcore fan, or a newcomer.

Night Mind: Halloween 2017: I get all my nightmare fuel analysis from Nick Nocturne, the host of the YouTube channel Night Mind. And this year he pulled out all the stops for Halloween. The latest SCP Vault imagines how certain entries might be interpreted by the public, Monster Hunt explores local legends, and his Candy Bowl vid combines an “Internet Ghost Tour” with world-premiere horror shorts. Lovers of the macabre need Nick in their lives at Halloween and year-round!

NICK CREAMER (@b0bduh)

Sick Scenes - Los Campesinos!: For my “the rest” this year, I’m just gonna go with a couple albums that have been circling my brain. And in this tumultuous year of 2017, Los Campesinos!’s Sick Scenes feels like the most urgent of releases. Marrying the band’s consistent indie rock hooks to tortured reflections on surviving in the age of Brexit and Trump, Sick Scenes is simultaneously a symbol of artistic maturation and a redoubling of youthful intent, a resounding cry saying even though we’re all very tired, we’re all very tired together.

After the Party - The Menzingers: If Sick Scenes casts its anxious eye outward, The Menzingers’ After the Party feels like a more inward-focused release, a monologue spiraling into a panic attack as the band’s longtime punk rockers face the onset of true adulthood. At twenty-nine-and-three-quarters years old, I must be the ideal mark for a record that opens on “whoa-a-o-o, whoa-o-o, where we gonna go now that our twenties are over.”

THOMAS ZOTH (@ABCBTom)

Blade Runner 2049: When a sequel to Blade Runner was announced, I made fun of it, because Blade Runner didn’t need a sequel. Any time there was an announcement about it, I would retweet it with a snide comment about how the film didn’t need to exist. But then, rumors started to spread that the film was good. I gave in and watched it, and I agree. A fully worthy companion to the original Blade Runner, less an exploration of what makes humans human and more about how people define their identities in Kafkaesque bureaucratic nightmares. I waited years to hate it and couldn’t. I’m looking forward to buying it on Blu-ray.

Get Out: An amazing directorial debut by Jordan Peele, Get Out is an acclaimed and fantastically realized horror movie, of all things. I love horror as a genre, but it’s usually far from respectable. By making a Rosemary’s Baby of race, Peele manages to make a funny, smart, and scary film that has resonated widely with audiences. I had never seen Key and Peele before this, so this was my first exposure to Peele (who also wrote), and I’m now looking forward to his future work.

Twin Peaks: The Return: In a documentary about the original Twin Peaks, David Lynch seemed genuinely sad that the original series ended the way it did and expressed a desire to go back. So when the series was announced, fans of Lynch knew this wasn’t a quick cash in, especially when Lynch seemed to walk away from the table when he wasn’t going to be given complete creative control. But the series arrived, and no one knew what to expect, and what we got was massively different than anyone could have imagined. At 18 hours, Twin Peaks: The Return nearly doubled the amount of Lynch-directed content in existence, itself a delicious treat, but it also updated Twin Peaks for the modern age in uncanny ways. Stunning and important.

Big Mouth: Images of this Netflix series circulated the internet as an example of how unbelievably ugly American cartoon designs are, and those opinions aren’t wrong. But if you can get past the aesthetic, Big Mouth is incredibly funny, starring favorites Nick Kroll and John Mulaney of The Kroll Show and Oh, Hello. It’s the puberty series that everyone needed during puberty, that you couldn’t watch during puberty because no adult would show this series to a kid. But now you can watch it and heal some old wounds.

Lady Bird: Written and directed by Greta Gerwig, who I mostly know as the voice of Pony in China, IL, Lady Bird is an assured debut film about adolescence in a time period very close to my own. It’s funny and charming, but also saves up some really painful emotional arrows in its quiver for the final act. Centering on the relationship of Lady Bird and her mother, it also touches on larger social questions and the common experiences of high school. Support an up and coming director by checking this one out.

JOSEPH LUSTER (@Moldilox)

Baby Driver: I didn’t see nearly as many movies in the theater as I wanted to in 2017, but Edgar Wright’s Baby Driver was one I enjoyed from the first frame to the last. Some of the musical elements were a little too clever for their own good, but the final product is a fast-paced action/chase/comedy flick that’s incredibly fun to watch.

Thor: Ragnarok: Speaking of comedies, Thor: Ragnarok certainly didn’t seem to leave many jokes on the cutting room floor. Thor is the bro-iest Avenger, but it kind of works. If they had focused more on the Planet Hulk storyline and less on the typical world-ending Marvel plot that swirled around Hela, it probably would have gone down as my favorite of the Marvel movies.

Fantasy Sports No. 3: If you’re not reading Sam Bosma’s Fantasy Sports series, you need to get on these comics ASAP. They’re so colorful and full of energy, and all of Bosma’s designs are damn near perfect. The third one came out this year, but I’d happily list every single installment in a best-of year-end list.

ISAAC AKERS (@iblessall)

Shihai Surunoha Kimito Koi No Aji by MOSHIMO: 2017 was the year I discovered you could actually find some J-pop and J-rock on Spotify, which lead to an exploration of all sorts of new discoveries for me. Among the best was a little band called MOSHIMO, which puts out a charming sort of pop rock sound—with a female lead vocalist who actually plays guitar! You can only watch so many idol lives before you start to long for singers who can play instruments. Anyways, MOSHIMO’s 2017 EP is, I’d wager, their best effort yet, showing a level of musical sophistication that’s a step above their previous works.

Baby Driver: The movie that grabbed the hearts of a great number of anime fans (as shown by its presence in other people’s lists here), I adored the film—which was the only movie I saw in theaters all year—primarily for amazing gimmick of writing a whole film to a playlist. I mean, back when I was at university, I’d skip around campus walking to classes much the way Baby does in the movie, so seeing that aspect of my life made into a whole dang film was pretty fun. It gets a bit long in spots, but overall I had a ton of fun with it.

Duolingo’s Japanese Course: Earlier this year, the popular language learning app Duolingo released the beta of their Japanese course, providing me with the convenient tool I needed to start actually learning the language. I’m under no illusions that I’m going to become fluent using Duolingo’s course, but just having something like this available makes it so much easier to fit some beginning learning into my head and busy schedule. If I manage to go on and truly learn Japanese someday, it’ll be because it started with this course. It’s worth checking out!

NATASHA H (@illegenes)

Mr. Robot S3: I’m admittedly biased about this one; Mr. Robot is one of my all time favorite shows, and this year, Sam Esmail took us on a hell of a ride as opposed to last season, which was far more slow paced and Lynchian. While not necessarily reaching the same highs, season 3 remained incredibly consistent, bringing two very different seasons together in full circle as we travel with Elliot to the depths of despair, but also, back into a hopeful and determined future of self awareness, culpability, and responsibility. The show only continues to break TV standards and I can’t wait for next year to raise my stress levels and churn my brain again.

The Expanse S2: Someone once told me The Expanse was like ‘sci fi Game of Thrones’. While I understand that to an extent, this is a form of clickbait, they’re not completely wrong either. Season 2 ramps up from Season 1 as more political factions are introduced and old characters make relationships with new. The show isn’t afraid to take risks, but at the same time, none of its twists or moments of tension feel haphazardly done. Likewise, the character development continues to be stellar, with no clear ‘good’ or ‘bad’ side to root for. One of my favorite things about this show is how firmly committed it is to diversity, featuring one of the most diverse casts I’ve seen in years. Its attention to realistic space physics is also incredibly neat and something I respect.

Blade Runner 2049: When the trailer for this movie first came out, I was half furious, half terrified. How could a movie possibly live up to the groundbreaking Blade Runner, let alone, be a direct sequel? After seeing it however, I can say that Blade Runner 2049 rose to become one of my favorite movies in recent years, surpassing its original with a soul of creativity and respect that few sequels possess. It borrows the best from Blade Runner, reinvents it for the current age, and then adds nuance in ways I’d never expect. It also happens to be, possibly, the most visually stunning thing I have ever seen. Nearly a 3 hour movie? Totally worth it.

The Night is Short, Walk on Girl: I recently watched Tatami Galaxy a year ago, and while it was great, I still felt like I missed watching it at the right time in my life for it to really have an impact on me. The Night is Short, Walk on Girl corrects this by combining many of the show’s strengths into a single feature film while also expanding upon the show’s main themes. Filled with the same charmful designs, warm and wacky adventures (and characters!),  Night is Short is a movie about living life to your fullest, and the need to connect with another human being, even if we can’t fully understand their perspective. It’s one of Yuasa’s strongest works and my favorite animated movie of the year…..

A Silent Voice: …..other than A Silent Voice. Naoko Yamada is a powerhouse in the animation industry, and she brings that talent to this movie based off the manga and one-shot. While many have complained about how the movie fails to mesh the two into a fleshed out and nuanced story, for me, the movie was nearly perfect in its portrayal of topics like miscommunication, depression, anxiety, and self guilt. With stunning animation at every turn along with small but brief details that are rewarding upon rewatch after rewatch, this movie is guaranteed to win you in some way or the other. And make you cry. A lot.

SAM WOLFE (@_Samtaro)

Mystery Science Theater 3000: The Return: I was in the middle of a major MST3K kick when I heard that the Satellite of Love was coming to Netflix. Like anyone, I had my reservations about this new series; with an all new cast, and only some of the original writing staff, how would the new show hold up? As it happens, even with new voices, Crow, Tom Servo, and Gypsy were as great as ever, and Jonah Ray was an excellent addition as the human on board. My only complaints were with the new Mads, Felicia Day and Patton Oswalt; their bits were clearly filmed in bulk, and were host to several odd editing tricks (the liquid technology gag was really only there to cover the jump cuts between takes, wasn’t it?). Despite that, the movie selection was great, the sketches were silly, and I’m hoping we see even more from this crew in the not too distant future.

Twin Peaks: The Return: I watched Twin Peaks for the first time in 2014, and I was still antsy with excitement about the show’s final chapter; I can’t imagine what the wait was like for those who watched it when it first aired back in 1990. Twin Peaks: The Return is a masterful metatextual experiment that is as brilliant as it is polarizing. The show is conscientious that the audiences who hung on this long are thirsty for answers, and provides them in deliberate bites of surreal, disturbing television that David Lynch has both spearheaded and mastered. The Return’s slow windup seems loaded with fanservice and levity at first until it shocks viewers with episode 8 (which is presented completely in black and white, and is almost entirely silent), as if to say “alright fairweather friends, it was fun, but your time being comfortable has come to an end.”

The Return borrows a lot more from Lynch’s cinematic playbook, in many cases resembling Eraserhead more than the Twin Peaks it comes from. The result is a challenging, engaging, and almost paradoxical ending that both resolves the now twenty year long mystery, as well as igniting a spiral of new questions about reality, time, and what exactly is at stake for the characters we’ve come to know and love.

I particularly enjoyed seeing how the show flirted with the metanarrative, teasing the audience by introducing Kyle Mclaughlin’s character early on, but keeping Agent Dale Cooper well out of reach, instead forcing us to spend time with the dull but lucky Dougie Jones.

While Twin Peaks: The Return is a far cry from the show it’s derived from, and it’s certainly not for everyone, I would invite anyone who loves serial storytelling to challenge themselves and give it a try (after watching Twin Peaks seasons one, two, and the movie Twin Peaks: Fire Walk With Me, of course).

Grape-kun: I remember waking up one morning to see the top story on the anime subreddit: an aged Humboldt penguin had fallen in love with a life size standee of penguin-girl Hululu from Kemono Friends placed in his enclosure. I knew I would be making a video about this penguin, but I never could have predicted how much of an impact he would have on my life. Over the next nine months, the story developed, and I made a new video for Crunchyroll as each new chapter unfolded. I know it’s silly, but I really felt an affinity for the little penguin who was enamoured with a piece of cardboard. So much so, that when planning a trip to Japan this fall, I had scheduled a day to visit the Tobu zoo and see Grape-kun for myself. Unfortunately, that visit never happened, as Grape-kun passed away just weeks before my trip.

So what’s the takeaway? When this little penguin made an innocuous decision, he was abruptly elevated to the world’s stage, and people several continents suddenly away had opinions about him. There were responses on all sides of the spectrum (thankfully mostly positive), but none of those responses ever reached Grape-kun. Grape-kun just kept doing what he was doing, and I think that’s what we can learn from him: be yourself no matter what the madding crowd says. Rest in peace little guy. Thank you for sharing your story with us.

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That's it for our three-part series on 2017! Be sure to check out Part One and  Part Two! If you're still in the mood for past CR Favorites, check out the previous years' features here:

  Crunchyroll Favorites 2016 Part One Part Two Part Three

Crunchyroll Favorites 2015 Part One Part Two Part Three

Crunchyroll Favorites 2014 Part One Part Two Part Three

Crunchyroll Favorites 2013 Part One Part Two Part Three

Crunchyroll Favorites 2012 Part One Part Two Part Three

Crunchyroll News' Best of 2011 Part One Part Two

  What were your favorite "everything else" of 2017? Comment below and share with us! Remember, this is a FAVORITES list, not a BEST OF list, so there's no wrong answers!

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Peter Fobian is an Associate Features Editor for Crunchyroll, author of Monthly Mangaka Spotlight, writer for Anime Academy, and contributor at Anime Feminist. You can follow him on Twitter @PeterFobian.

By: news+feed@crunchyroll.com

[briangroth27]

Iron Fist Season 1 Review

I went into Iron Fist knowing next to nothing of the character: only his reputation as Luke Cage’s best friend/fellow Hero for Hire and his “zen surfer” portrayal on Ultimate Spider-man. Unfortunately, I didn’t leave the character’s first live action showcase, currently streaming on Netflix, a fan. It’s gotten a lot of bad reviews, and sadly I think they’re largely deserved. The show is low-stakes and repetitive from the get-go, never really has a grasp of who Danny (Finn Jones) is or what the main threat should be, and (though this doesn’t seem to be entirely their fault) boasts a mythology behind its central character that makes little to no sense.

Full spoilers…

First off, I don’t understand the Iron Fist mythology. Iron Fist is supposed to be a great warrior who guards the path to the mystical K’un-Lun (which only appears in our reality every 15 years), meaning he has to stay there. But he’s also the sworn enemy of The Hand…so how can he destroy them if he’s not supposed to leave his monastic Brigadoon? Was the plan to just wipe out any Hand who happened to try to take the village whenever the path appeared, hoping they’d never stop trying until their ranks had been completely destroyed? To the show’s credit, Danny does realize this contradiction…eleven episodes in (and even then, it comes off as an excuse for why he won’t go back rather than a mission-altering epiphany). It would’ve been a stronger character motivation had he left K’un-Lun to destroy The Hand to complete that portion of his duties instead of completely abandoning them, choosing a proactive approach rather than sitting and doing nothing. That’s another issue: since K’un-Lun only appears in our plane of existence every 15 years, their information is outdated, but even that doesn’t excuse the idea that The Hand are talked about as if they’re mythical enemies who haven’t existed for a very long time. Danny has no idea The Hand are currently active in modern-day New York when he gets there; who did he think he was training to fight all these years if he didn’t believe The Hand were still real? Why is the Iron Fist necessary to protect the gateway to a magical training camp that didn't even know its sworn enemy was still around? Is Danny Rand anything more than a mystical doorman? I don’t know if any of this is the case in the comics, but if it is, the show should’ve either updated it, better explained it, or used it to spin the characters into interesting directions.

K’un-Lun itself should’ve been much more explored. We got maybe five minutes of screentime spent there, all of it very vague and barren. There's not much context to anything Danny felt there because we barely even saw snippets of his stay; it's all secondhand for us. These were the 15 most transformative years of Danny’s life and we saw next to nothing. We never see him struggle (except for one random scene of the monks beating him as a child). We never see him as an outsider. What we did see was entirely unimpressive. I didn’t need the entire series to be about his training (nor would I want it to be), but I definitely needed a better idea of what it was like and how being there changed him (since we have no information about the kid he was before he went missing either). Maybe the show should’ve started off with the first two-three episodes detailing his training or the rules of magic in Danny’s world. Much like Dr. Strange, I wish they'd gone FAR weirder and more outlandish with the supernatural elements. A season later, I’m not even sure what's so great about K'un-Lun that makes them so much more important than the rest of the world. And who were the masters of the Iron Fist mysticism, who thought it unnecessary to teach Danny how to use his focused Chi to heal others, or even to recharge his powers? Even if his “training went a little sideways,” as he claims, shouldn’t recharging his abilities have been lesson #2?

My first impression of Danny Rand from the trailers was that he’d be yet another rich guy who got lost/traveled abroad and came back to save his city with new powers and/or skills. Having seen this from Green Arrow, Batman, Iron Man, and Dr. Strange, I wasn’t sure what new twists Iron Fist could bring to the table. Turns out, not many. Not every character has to reinvent the wheel—there are only so many origin story tropes—but they should all find some fresh angle. Iron Fist didn’t. He doesn’t seem to come home with a concrete goal at all, beyond convincing people he’s really Danny Rand. His attempt to get back into his family’s company feels half-hearted (unfortunately so, since I liked him best when he was insisting on better business practices and on using their resources to help people) and is quickly forgotten. It barely even feels like getting in is what he wants (he doesn’t even know what he’s supposed to do there once he’s in); it’s just something to kill time. He later centers on trying to figure out who killed his parents, eventually giving us the season’s main villain, but even that felt completely routine; the only trope more well-trodden than dead parents inspiring heroes and guys coming back home with skills/talents is evil businessmen. I didn’t find Danny compelling, but the unfocused writing and direction may take some blame off Jones. They asked him to show several seemingly conflicting facets of Danny’s personality that never had a strong connective tissue (more on that in a bit). 

Rand was surrounded by controversy from the show’s first announcement: some saw him as a white savior figure who’d appropriated Asian culture; a relic of the 70s that didn’t belong in the modern day. Many argued Marvel should change his character to be Asian-American. Others said they should remain faithful to his Caucasian comic book appearance, claiming an Asian character who’s good at martial arts would be racist in and of itself. It seemed Marvel was damned either way. I don't necessarily mind Danny being white and an expert at martial arts—there's no reason someone from any background can't become an expert in any field with enough practice and training (assuming we're not looking at a story where the white guy is just automatically special and better for no reason beyond the idea that he naturally is; a magical chosen white savior)—and the way he talked about wanting to be Iron Fist more than anything and fighting against impossible odds to attain the title and responsibilities associated with it felt respectable and earned. However, the way he's better at every aspect of Colleen Wing’s life and culture (fight skills, speaking Mandarin, knowing where the best food is served, dojo etiquette, meditation and Tai Chi techniques, capturing the attention of students (until he’s too violent), etc.) than she is does grate on me and crosses the line. His apology for correcting Colleen after informing her about challenging a dojo’s master also came off as condescending. Nothing said K’un-Lun culture had to be exactly hers—not every Asian culture is the same, obviously, especially not made-up mystical ones—but the show chose to have them correlate almost exactly, and it’s in his complete domination of her culture that he comes off as appropriating it. Iron Fist had a golden opportunity by going with Danny’s comic book whiteness to discuss cultural appropriation—what it is and isn’t, why it’s wrong, etc.—in the same way that Daredevil did gentrification, Jessica Jones did sexism and misogyny, and Luke Cage did racism. Danny's talk about feeling empty and thinking the Iron Fist would solve all his problems could’ve been a perfect metaphor for cultural appropriation if the show were at all interested in exploring that. But it isn’t. Had they gone with an Asian-American actor instead, Danny fighting so hard to claim the Iron Fist title could’ve been a great parallel to an Asian-American kid (who would already feel out of place in both American and Asian culture, by the way) fighting to reclaim his culture, as Lewis Tan (a potential Danny Rand) said. It was also frustrating that, even though Danny says he worked hard and earned the Iron Fist mantle, the show teases out an idea that he is some mystical Chosen One who was meant to be Iron Fist all along. That plays even further into the White Savior trope, and that’s not something I’m down to explore in future seasons.

One of the most common arguments I read about why Danny “had to be white” was that he had to feel like an outsider in the Asian-cultured K’un-Lun. If that’s an essential part of Danny’s background, the show completely dropped the ball. It feels like they paid lip service at most to Danny feeling like a fish out of water in both K'un L'un and New York. He commented on being called an outsider back in his mystical land and said there were some unhappy memories, but also mentioned a best friend and fun times sneaking wine. Episode 6 reveals that he might actually be a mighty prophesied savior and was trained to believe as such...some outsider. It does seem like the requirements of being Iron Fist are colder than I’d anticipated, but assuming the beatings he received as a child were part of his training (and we have no reason to think they weren’t), that seems like the rigors everyone else was going through too, not something specifically aimed at him because he was white. And there’s no “Man out of Time” element to his journey back to New York after 15 years; the only times he feels out of place amount to people questioning his lack of footwear, him being friendly with the homeless, not sleeping in a bed, and his lack of "business acumen"…which is really just him having the most basic compassion about clean emissions and the price of pharmaceuticals. He doesn't seem to struggle to connect with anyone he really wants to, unless the other party has dubious interests (the Meachums, mainly) and are intentionally working against him or have the common sense not to invite total strangers into their lives after being semi-stalked by them (Colleen). Nothing about his situation feels very different from any other superhero, much less any other rich guy who returns home with powers/tech to be a hero.

Danny's clear PTSD that he ignored to focus on his training feels like something that could’ve been explored more to add dimension to his character. His fear of flying and near-freakout during turbulence (that’s how his parents died) was a great eample of this, but it was never explored beyond his fits. Along the lines of another trope—the dead parents—why is it necessary that Danny's folks be murdered? Batman’s parents’ murders made him vow not to let that happen to anyone else. Uncle Ben was killed to show Spider-man he could and should be doing more to help people with his powers. What does Danny get out of the fact that his parents were murdered? Wouldn't a random accident providing no enemy to take out his frustrations on be a bigger challenge for his survivor's guilt and his (completely inadequate) attempts to re-center himself? Furthermore, his childlike sensibility upon returning to New York would’ve played better had it been the result of his training to suppress his emotions, rather than just existing completely independent of his PTSD, as if one or the other state of his being didn’t exist at various times. The other problem is we don’t really ever see his training work. It appears the best he can manage is seizure-esque outbursts of shouting and hitting things when he gets overwhelmed. These fits seem like they’re trying to show us a character who could break but for the sake of his training, but they only come off as making it seem like he’s wasted the last 15 years. Along those same lines, he says he took a vow of celibacy, but only a few episodes later sleeps with Colleen. Challenging his resolve, vows, and training would’ve been one thing, but it doesn't feel like he trained for 15 years to be the best anything (despite showing up Colleen at nearly every turn), much less a mystical warrior who's supposed to be in total control of his emotions (he is absolutely not). The show could’ve mined that for an interesting character development—and it almost does, with Claire calling out how unhealthy suppressing his emotions is—but Danny’s answer is to go back to K’un-Lun for even more training at the end of the season (completely reversing his epiphany from the final battle). Ultimately, Danny doesn't feel like he has an arc at all because he's just flitting from one situation to the next as the plot demands. It’s as if they regressed him from where he should’ve been at the start for the sake of drama to watch him kinda-sorta regain all of his skill again, only to have him set off for even more training at the end. He has the nuts and bolts of a complex personality, but they aren’t assembled or explored at all.

The series’ best attributes are without a doubt Claire Temple (Rosario Dawson), Colleen Wing (Jessica Henwick), and Madame Gao (Wai Ching Ho). Carrie Ann Moss is another very strong Netflix-verse asset, though she doesn’t get as much screentime as the others. I'm glad Claire's here to talk sense into these heroes (she’s the wisest person on these Netfilx shows). I love her as a helper to heroes and I’m glad she’s adding self-defense to her skills (her insisting on going to collect Gao was great!). Claire's talks with Danny about dealing with his issues and letting his emotions out instead of running back to K'un-Lun were really solid. Dawson’s no-nonsense presence and sarcasm ground and humanize these shows so well I don’t know why they’re so afraid to go more fantastical. Galactus could show up and she’d still make it feel like we were tethered to the real world. And she got to say “Sweet Christmas,” which was great! Madame Gao was still the stoic and imposing Hand operative from Daredevil. I’ll always be glad to have her reappear. Since she’s apparently been around since the 17th century, it seems there are many more tales to tell about her!

Colleen was the best new addition to the Netflix-verse and I liked her a lot! Of the characters on the show, she’s the one I want to read more about in the comics. Her struggle with adhering to the Bushido code and keeping her students invested in training and off the streets was far more interesting than Danny stumbling his way through pretrial proceedings that ultimately went nowhere and his other issues. The things she was up against felt real—right down to just paying the rent—and Henwick brought a sense that Colleen really was tested by the forces against her, like with her comments about issues with control in the fight club. Danny’s approach to “dealing” with frustrations served to throw Colleen’s into a much more sympathetic light too. While his dating style—bringing a restaurant to her—felt just like any other billionaire, Danny being impressed with her sword and nunchuck skills—and her glee at showing him she was his equal for once—was cute. I didn’t need them to be together, but I was fine with their relationship. When she was poisoned, I was more concerned about Colleen dying than I was about anyone else at any point on the show, even though I figured she probably wouldn’t die. I absolutely did not see the reveal that she was proudly a member of The Hand coming! That was the one place the show truly shocked me—the one point where it took the more interesting option—and I loved it. I didn’t understand why a martial arts instructor would be training her students to hunt people on the streets, but then it all made sense. Colleen struggling to justify her Hand allegiance and having a good argument that certain segments do help people was good, solid stuff. Claire's retort that they should've chosen another name was perfect...I've had the same thought about SHIELD after they were outted as half-Hydra. It didn’t quite make sense that she wouldn’t know more about the Iron Fist if she were a member of The Hand, but I suppose she could’ve been playing dumb with Danny. I also thought her turn from true believer to betrayer was a little quick, but The Hand attacking Danny was a justifiable motivator and a strong reason to believe him. I’m glad we didn’t get anyone trying to convince her that Danny had struck first. I also felt sorry for her when she realized The Hand would kill her for her doubts, which would’ve been a great parallel to Danny's doubts in the Iron Fist's mission had his side been explored more. Although, him telling her that he knows what it's like to believe in something only to have it pulled away falls totally flat when he's the one who left K'un-Lun.

Iron Fist’s writing definitely has some holes (what psychiatric hospital would let their completely unknown new patient wander around unsupervised with a "tour guide" who was caught trying to convince him to kill himself???), but the biggest problem is that it’s nothing new or inventive. The dialogue isn’t the most original and the show’s pacing is way off. This has been a problem with previous Netflix shows too—I really wish they’d be a little less serialized instead of trying to be 13-hour movies with a single plot—but it was especially apparent here. Two episodes in, Danny was still mostly walking around going “I’m Danny Rand. No, really,” someone disbelieves him, and then he goes on to the next person to start it all over again. There’s also a recurring thing where everyone comments on Danny’s lack of shoes like it’s the funniest running gag ever (it’s not); as if that’s the only thing weird about this guy. There’s also a bit in episode two where Danny’s thought insane because he has a stolen passport with a different name on it, but Danny had no reason to believe his company and his best friends Joy and Ward Meachum (Jessica Stroup and Tom Pelphrey) are no longer friendly, so why didn’t he just call his company? Why all the subterfuge? The later reveal that he knows Jeri Hogarth (Carrie Ann Moss) and that she’s gung-ho about helping him confirms he could’ve just gotten her to bend the rules and let him in the country, making those early plot developments pointless. Even better, why not use his super-ninja skills to sneak in? Unnecessary speed-bumps like these slowed the plot down right off the bat and it never really recovers, thanks to wishy-washy writing around its lead character.

That the Netflix shows keep referring to the Avengers Chitauri invasion as "The Incident" and largely ignoring it has gotten annoying (at least Daredevil used it to regress Hell’s Kitchen and Luke Cage featured bootleg video of it as a plot point). I do not understand the desire to keep halfway pretending that they’re in some separate, mostly grounded universe; they are not. They don't need to talk about it as incessantly as SHIELD did in season 1, but coyly vague references draw more attention to the lack of Avengers than the simple fact that these heroes don't world-savers’ help does. On a show like this with magic, this is especially apparent. I’m not sure why Clarie wouldn’t think dragons might be real in this world. I mean, sure, just because one crazy thing is real doesn't mean they all are, but given everything that's happened to New York alone (not to mention the existence of Thor), a little less skepticism would be believable. Even more baffling, why doesn't Claire call Daredevil (or even refer to him by his superhero name)? He might be absolutely helpful in fighting the Hand! Just use an excuse that he’s out of town or something if they don’t want to bring Matt in.

This unwillingness to venture into a bigger universe extends to the opponents Danny faces. Madame Gao and The Hand are great villains, but The Hand aren't anything like what they were in Daredevil and don't come off as a threat here at all. They seem decidedly toned down and it feels like they could’ve been any generic mercenaries. Where are the badass, creepy, somewhat undead ninjas Daredevil fought? If you're going to start your show with Danny as a superhero (and for all intents and purposes, he was—this is 15 years into his training!), you have to give him opponents who are more threatening than random gangsters (Luke Cage had this issue too) and martial arts-trained street kids. If the street kids are supposed to undergo some kind of process to become the heartbeat-less assassins of Daredevil, where is that happening? And what happened to them after Danny busted out of their training compound? The Hand’s leader, Bakuto (Ramon Rodriguez) was just an OK villain, which wasn’t enough on a season this long when he was supposed to be second only to Meachum in terms of villainy (according to the season’s structure, at least). He seemed to have no real plan beyond the continued existence of the Hand via Rand Corp’s assets, making him seem pretty weak. Lewis Tan's drunken guard had more character and charisma than 90% of the characters on this show and also provided the best fight of the series up to episode 8. If they aren’t going to go creepy, they at least need to go distinct. The karaoke-loving assassin from episode 6 felt a little cliché, but at least he and the other three Hand champions Danny faced had personalities and unique fighting styles. Across the board on Netflix series, I want more powered supervillains and far fewer gangsters and businessmen. I don’t know who Danny has in his Rogues Gallery, but he’s gotta have a few mystical enemies he could’ve fought here, if for no other reason than to vary the fights and Danny’s tactics therein. On that note, Danny is the third Defender whose power is super strength. Obviously superheroes are more than their powers, but I’d like to see more variation of them (a super-punch is not that impressive anymore).

Davos (Sacha Dhawan), Danny’s former best friend in K’un-Lun, was another good opponent, and I would’ve liked his arc expanded a lot. There was a lot that could’ve been mined from his well-crafted belief that Danny wasn’t the right choice for the Iron Fist, which never came off as petty jealousy to me. He seemed legitimately hurt that Danny abandoned his duties and sided with a member of the Hand. The one area where Danny’s seeming failure in most of his training worked perfectly was in Davos’ assessment of him; Danny being so unbalanced fueled and justified Davos’ hate quite effectively. I absolutely believe Davos should’ve been the primary antagonist, if not secondary only to The Hand. Imagine how much more complex the show would’ve been had Danny left to defeat The Hand, with Davos following him to stand up for (and represent K’un-Lun and its teachings) and bring him back from the start. Davos chasing Danny for leaving his duties would’ve completed the parallel to Colleen being chased by The Hand for doubting their mission too.

The season’s actual main antagonists, the Meachums, were not compelling to me at all. Danny’s attempts to save Ward and Joy from themselves seemed to fall rapidly to the wayside as the siblings took turns going morally black before bouncing back to gray, then back again, over the course of the season. I understood their desire to keep the company they’d built and didn’t really harbor them any ill will over it—again, Danny never seemed to truly want it—but I never really cared about who controlled it. Ward’s drug problem didn’t interest me at all, nor did Harold’s (David Wenham) attempts to get the company back from his children and The Hand. I didn’t see Ward killing Harold or Harold’s resurrection coming, but I suppose I should’ve, given Nobu’s repeated resurrections on Daredevil. I wasn’t a fan of Harold’s confused undead state and apparently he’ll start becoming a crazed murderer, so a member of the Daredevil cast has that to look forward to… Harold was at least a little interesting to me when it seemed like he really was on Danny’s side, but the reveal of his true evil intentions fell flat because nothing about him stood out in the first place. I didn’t guess that he was behind the Rands’ murders, but it also didn’t shock me. That Harold’s entire goal was to be running Rand (he’s immortal and that’s all he wants? Really?) was so small compared to everything else going on that he felt like a minor villain who should’ve been dealt with by mid-season if not sooner. By no means did he deserve to be the embodiment of Danny’s cave dragon, which felt entirely anticlimactic. I don’t think my lack of interest in the Meachums was the fault of any of these three actors; they were just stuck in a mediocre plot that carried on far longer than it should have.

Speaking of the fights, outside of Bakuto vs. Colleen and Davos vs. Danny (and the massive battle leading into them), none of them have any emotional component to them. Maybe that’s just because most of them involve thugs, but even Danny vs. Harold—the climactic battle of the season—left me cold and just waiting for it to end. If the show doesn’t get me invested in the conflicts between characters, the fights will feel empty. Even though Harold killed Danny’s parents, I wasn’t feeling it. The choreography to Danny’s fights wasn’t the most polished either, but this wasn’t Jones’ fault, as he apparently only had 15 minutes of training before each fight was filmed.

I wish they’d done what the other Netflix shows have done: showcase the hero’s city in the opening credits to make it as much a character as anything else. Here, the credits only showed a CGI Danny doing kung-fu. They should’ve shown off K’un-Lun and juxtaposed it with New York City. The score also felt repetitive.

I didn’t want this to be disappointing (why would anyone want anything they’re watching to be bad?), but unfortunately it was. There are kernels of a good, maybe even great, show here (Colleen, Claire, Gao, Davos), but Danny’s character arc, the villain aspects, and the rest of the show never coalesce around them. It almost always takes the least interesting option, so it comes off as bland and repetitive. If Danny’s character can be redeemed in Defenders, then cool, but it will take a great deal of boldness and precise direction/writing/acting choices to right this ship.