#without the narrative trying to frame him as jesus every two second

[thebellekeys]

Ember Quinlan is the realest one for stepping into Prythian just for five seconds and realizing how horrifying Rhys and his treatment toward Nesta are.

[holyhellpod]

Holy Hell: 3. Metanarrativity: Who’s the Deleuze and who’s the Guattari in your relationship? aka the analysis no one asked for.

In this ep, we delve into authorship, narrative, fandom and narrative meaning. And somehow, as always, bring it back to Cas and Misha Collins.

(Note: the reason I didn’t talk about Billie’s authorship and library is because I completely forgot it existed until I watched season 13 “Advanced Thanatology” again, while waiting for this episode to upload. I’ll find a way to work her into later episodes tho!)

I had to upload it as a new podcast to Spotify so if you could just re-subscribe that would be great! Or listen to it at these other links.

Please listen to the bit at the beginning about monetisation and if you have any questions don’t hesitate to message me here.

Apple | Spotify | Google

Transcript under the cut!

Warnings: discussions of incest, date rape, rpf, war, 9/11, the bush administration, abuse, mental health, addiction, homelessness. Most of these are just one off comments, they’re not full discussions.

Meta-Textuality: Who’s the Deleuze and who’s the Guattari in your relationship?

In the third episode of Season 6, “The Third Man,” Balthazar says to Cas, “you tore up the whole script and burned the pages.” That is the fundamental idea the writers of the first five seasons were trying to sell us: whatever grand plan the biblical God had cooking up is worth nothing in face of the love these men have—for each other and the world. Sam, Bobby, Cas and Dean will go to any lengths to protect one another and keep people safe. What’s real? What’s worth saving? People are real. Families are worth saving. 

This show plugs free will as the most important thing a person, angel, demon or otherwise can have. The fact of the matter is that Dean was always going to fight against the status quo, Sam was always going to go his own way, and Bobby was always going to do his best for his boys. The only uncertainty in the entire narrative is Cas. He was never meant to rebel. He was never meant to fall from Heaven. He was supposed to fall in line, be a good soldier, and help bring on the apocalypse, but Cas was the first agent of free will in the show’s timeline. Sam followed Lucifer, Dean followed Michael, and John gave himself up for the sins of his children, at once both a God and Jesus figure. But Cas wasn’t modelled off anyone else. He is original. There are definitely some parallels to Ruby, but I would argue those are largely unintentional. Cas broke the mold. 

That’s to say nothing of the impact he’s had on the fanbase, and the show itself, which would not have reached 15 seasons and be able to end the way they wanted it to without Cas and Misha Collins. His back must be breaking from carrying the entire show. 

But what the holy hell are we doing here today? Not just talking about Cas. We’re talking about metanarrativity: as I define it, and for purposes of this episode, the story within a story, and the act of storytelling. We’re going to go through a select few episodes which I think exemplify the best of what this show has to offer in terms of framing the narrative. We’ll talk about characters like Chuck and Becky and the baby dykes in season 10. And most importantly we’ll talk about the audience’s role, our role, in the reciprocal relationship of storytelling. After all, a tv show is nothing without the viewer.

I was in fact introduced to the concept of metanarrativity by Supernatural, so the fact that I’m revisiting it six years after I finished my degree to talk about the show is one of life’s little jokes.

 I’m brushing off my degree and bringing out the big guns (aka literary theorists) to examine this concept. This will be yet another piece of analysis that would’ve gone well in my English Lit degree, but I’ll try not to make it dry as dog shit. 

First off, I’m going to argue that the relationship between the creators of Supernatural and the fans has always been a dialogue, albeit with a power imbalance. Throughout the series, even before explicitly metanarrative episodes like season 10 “Fan Fiction” and season 4 “the monster at the end of this book,” the creators have always engaged in conversations with the fans through the show. This includes but is not limited to fan conventions, where the creators have actual, live conversations with the fans. Misha Collins admitted at a con that he’d read fanfiction of Cas while he was filming season 4, but it’s pretty clear even from the first season that the creators, at the very least Eric Kripke, were engaging with fans. The show aired around the same time as Twitter and Tumblr were created, both of which opened up new passageways for fans to interact with each other, and for Twitter and Facebook especially, new passageways for fans to interact with creators and celebrities.

But being the creators, they have ultimate control over what is written, filmed and aired, while we can only speculate and make our own transformative interpretations. But at least since s4, they have engaged in meta narrative construction that at once speaks to fans as well as expands the universe in fun and creative ways. My favourite episodes are the ones where we see the Winchesters through the lens of other characters, such as the season 3 episode “Jus In Bello,” in which Sam and Dean are arrested by Victor Henriksen, and the season 7 episode “Slash Fiction” in which Dean and Sam’s dopplegangers rob banks and kill a bunch of people, loathe as I am to admit that season 7 had an effect on any part of me except my upchuck reflex. My second favourite episodes are the meta episodes, and for this episode of Holy Hell, we’ll be discussing a few: The French Mistake, he Monster at the end of this book, the real ghostbusters, Fan Fiction, Metafiction, and Don’t Call Me Shurley. I’ll also discuss Becky more broadly, because, like, of course I’ll be discussing Becky, she died for our sins. 

Let’s take it back. The Monster At The End Of This Book — written by Julie Siege and Nancy Weiner and directed by Mike Rohl. Inarguably one of the better episodes in the first five seasons. Not only is Cas in it, looking so beautiful, but Sam gets something to do, thank god, and it introduces the character of Chuck, who becomes a source of comic relief over the next two seasons. The episode starts with Chuck Shurley, pen named Carver Edlund after my besties, having a vision while passed out drunk. He dreams of Sam and Dean larping as Feds and finding a series of books based on their lives that Chuck has written. They eventually track Chuck down, interrogate him, and realise that he’s a prophet of the lord, tasked with writing the Winchester Gospels. The B plot is Sam plotting to kill Lilith while Dean fails to get them out of the town to escape her. The C plot is Dean and Cas having a moment that strengthens their friendship and leads further into Cas’s eventual disobedience for Dean. Like the movie Disobedience. Exactly like the movie Disobedience. Cas definitely spits in Dean’s mouth, it’s kinda gross to be honest. Maybe I’m just not allo enough to appreciate art. 

When Eric Kripke was showrunner of the first five seasons of Supernatural,  he conceptualised the character of Chuck. Kripke as the author-god introduced the character of the author-prophet who would later become in Jeremy Carver’s showrun seasons the biblical God. Judith May Fathallah writes in “I’m A God: The Author and the Writing Fan in Supernatural” that Kripke writes himself both into and out of the text, ending his era with Chuck winking at the camera, saying, “nothing really ends,” and disappearing. Kripke stayed on as producer, continuing to write episodes through Sera Gamble’s era, and was even inserted in text in the season 6 episode “The French Mistake”. So nothing really does end, not Kripke’s grip on the show he created, not even the show itself, which fans have jokingly referred to as continuing into its 16th season. Except we’re not joking. It will die when all of us are dead, when there is no one left to remember it. According to W R Fisher, humans are homo narrans, natural storytellers. The Supernatural fandom is telling a fidelitous narrative, one which matches our own beliefs, values and experiences instead of that of canon. Instead of, at Fathallah says, “the Greek tradition, that we should struggle to do the right thing simply because it is right, though we will suffer and be punished anyway,” the fans have created an ending for the characters that satisfies each and every one of our desires, because we each create our own endings. It’s better because we get to share them with each other, in the tradition of campfire stories, each telling our own version and building upon the others. If that’s not the epitome of mythmaking then I don’t know. It’s just great. Dean and Cas are married, Eileen and Sam are married, Jack is sometimes a baby who Claire and Kaia are forced to babysit, Jody and Donna are gonna get hitched soon. It’s season 17, time for many weddings, and Kevin Tran is alive. Kripke, you have no control over this anymore, you crusty hag. 

Chuck is introduced as someone with power, but not influence over the story, only how the story is told through the medium of the novels. It’s basically a very badly written, non authorised biography, and Charlie reading literally every book and referencing things she should have no knowledge of is so damn creepy and funny. At first Chuck is surprised by his characters coming to life, despite having written it already, and when shown the intimidating array of weapons in Baby’s trunk he gets real scared. Which is the appropriate response for a skinny 5-foot-8 white guy in a bathrobe who writes terrible fantasy novels for a living. 

As far as I can remember, this is the first explicitly metanarrative episode in the series, or at least the first one with in world consequences. It builds upon the lore of Christianity, angels, and God, while teasing what’s to come. Chuck and Sam have a conversation about how the rest of the season is going to play out, and Sam comes away with the impression that he’ll go down with the ship. They touch on Sam’s addiction to demon blood, which Chuck admits he didn’t write into the books, because in the world of supernatural, addiction should be demonised ha ha at every opportunity, except for Dean’s alcoholism which is cool and manly and should never be analysed as an unhealthy trauma coping mechanism. 

Chuck is mostly impotent in the story of Sam and Dean, but his very presence presents an element of good luck that turns quickly into a force of antagonism in the series four finale, “Lucifer Rising”, when the archangel Raphael who defeats Lilith in this episode also kills Cas in the finale. It’s Cas’s quick thinking and Dean’s quick doing that resolve the episode and save them from Lilith, once again proving that free will is the greatest force in the universe. Cas is already tearing up pages and burning scripts. The fandom does the same, acting as gods of their own making in taking canon and transforming it into fan art. The fans aren’t impotent like Chuck, but neither do we have sway over the story in the way that Cas and Dean do. Sam isn’t interested in changing the story in the same way—he wants to kill Lilith and save the world, but in doing so continues the story in the way it was always supposed to go, the way the angels and the demons and even God wanted him to. 

Neither of them are author-gods in the way that God is. We find out later that Chuck is in fact the real biblical god, and he engineers everything. The one thing he doesn’t engineer, however, is Castiel, and I’ll get to that in a minute.

The Real Ghostbusters

Season 5’s “The real ghostbusters,” written by Nancy Weiner and Erik Kripke, and directed by James L Conway, situates the Winchesters at a fan convention for the Supernatural books. While there, they are confronted by a slew of fans cosplaying as Sam, Dean, Bobby, the scarecrow, Azazel, and more. They happen to stumble upon a case, in the midst of the game where the fans pretend to be on a case, and with the help of two fans cosplaying as Sam and Dean, they put to rest a group of homicidal ghost children and save the day. Chuck as the special guest of the con has a hero moment that spurs Becky on to return his affections. And at the end, we learn that the Colt, which they’ve been hunting down to kill the devil, was given to a demon named Crowley. It’s a fun episode, but ultimately skippable. This episode isn’t so much metanarrative as it is metatextual—metatextual meaning more than one layer of text but not necessarily about the storytelling in those texts—but let’s take a look at it anyway.

The metanarrative element of a show about a series of books about the brothers the show is based on is dope and expands upon what we saw in “the monster at the end of this book”. But the episode tells a tale about about the show itself, and the fandom that surrounds it. 

Where “The Monster At The End Of This Book” and the season 5 premiere “Sympathy For The Devil” poked at the coiled snake of fans and the concept of fandom, “the real ghostbusters” drags them into the harsh light of an enclosure and antagonises them in front of an audience. The metanarrative element revolves around not only the books themselves, but the stories concocted within the episode: namely Barnes and Demian the cosplayers and the story of the ghosts. The Winchester brothers’s history that we’ve seen throughout the first five seasons of the show is bared in a tongue in cheek way: while we cried with them when Sam and Dean fought with John, now the story is thrown out in such a way as to mock both the story and the fans’ relationship to it. Let me tell you, there is a lot to be made fun of on this show, but the fans’ relationship to the story of Sam, Dean and everyone they encounter along the way isn’t part of it. I don’t mean to be like, wow you can’t make fun of us ever because we’re special little snowflakes and we take everything so seriously, because you are welcome to make fun of us, but when the creators do it, I can’t help but notice a hint of malice. And I think that’s understandable in a way. Like The relationship between creator and fan is both layered and symbiotic. While Kripke and co no doubt owe the show’s popularity to the fans, especially as the fandom has grown and evolved over time, we’re not exactly free of sin. And don’t get me wrong, no fandom is. But the bad apples always seem to outweigh the good ones, and bad experiences can stick with us long past their due.

However, portraying us as losers with no lives who get too obsessed with this show — well, you know, actually, maybe they’re right. I am a loser with no life and I am too obsessed with this show. So maybe they have a point. But they’re so harsh about it. From wincestie Becky who they paint as a desperate shrew to these cosplayers who threaten Dean’s very perception of himself, we’re not painted in a very good light. 

Dean says to Demian and Barnes, “It must be nice to get out of your mom’s basement.” He’s judging them for deriving pleasure from dressing up and pretending to be someone else for a night. He doesn’t seem to get the irony that he does that for a living. As the seasons wore on, the creators made sure to include episodes where Dean’s inner geek could run rampant, often in the form of dressing up like a cowboy, such as season six “Frontierland” and season 13 “Tombstone”. I had to take a break from writing this to laugh for five minutes because Dean is so funny. He’s a car gay but he only likes one car. He doesn’t follow sports. His echolalia causes him to blurt out lines from his favourite movies. He’s a posse magnet. And he loves cosplay. But he will continually degrade and insult anyone who expresses interest in role play, fandom, or interests in general. Maybe that’s why Sam is such a boring person, because Dean as his mother didn’t allow him to have any interests outside of hunting. And when Sam does express interests, Dean insults him too. What a dick. He’s my soulmate, but I am not going to stop listening to hair metal for him. That’s where I draw the line. 

 Where “the monster at the end of this book” is concerned with narrative and authorship, “the real ghostbusters” is concerned with fandom and fan reactions to the show. It’s not really the best example to talk about in an episode about metanarrativity, but I wanted to include it anyway. It veers from talk of narrative by focusing on the people in the periphery of the narrative—the fans and the author. In season 9 “Metafiction,” Metatron asks the question, who gives the story meaning? The text would have you believe it’s the characters. The angels think it’s God. The fandom think it’s us. The creators think it’s them. Perhaps we will never come to a consensus or even a satisfactory answer to this question. Perhaps that’s the point.

The ultimate takeaway from this episode is that ordinary people, the people Sam and Dean save, the people they save the world for, the people they die for again and again, are what give their story meaning. Chuck defeats a ghost and saves the people in the conference room from being murdered. Demian and Barnes, don’t ask me which is which, burn the bodies of the ghost children and lay their spirits to rest. The text says that ordinary, every day people can rise to the challenge of becoming extraordinary. It’s not a bad note to end on, by any means. And then we find out that Demian and Barnes are a couple, which of course Dean is surprised at, because he lacks object permanence. 

This is no doubt influenced by how a good portion of the transformative fandom are queer, and also a nod to the wincesties and RPF writers like Becky who continue to bottom feed off the wrong message of this show. But then, the creators encourage that sort of thing, so who are the real clowns here? Everyone. Everyone involved with this show in any way is a clown, except for the crew, who were able to feed their families for more than a decade. 

Okay side note… over the past year or so I’ve been in process of realising that even in fandom queers are in the minority. I know the statistic is that 10% of the world population is queer, but that doesn’t seem right to me? Maybe because 4/5 closest friends are queer and I hang around queers online, but I also think I lack object permanence when it comes to straight people. Like I just do not interact with straight people on a regular basis outside of my best friend and parents and school. So when I hear that someone in fandom is straight I’m like, what the fuck… can you keep that to yourself please? Like if I saw Misha Collins coming out as straight I would be like, I didn’t ask and you didn’t have to tell. Okay I’m mostly joking, but I do forget straight people exist. Mostly I don’t think about whether people are gay or trans or cis or straight unless they’ve explicitly said it and then yes it does colour my perception of them, because of course it would. If they’re part of the queer community, they’re my people. And if they’re straight and cis, then they could very well pose a threat to me and my wellbeing. But I never ask people because it’s not my business to ask. If they feel comfortable enough to tell me, that’s awesome.  I think Dean feels the same way. Towards the later seasons at least, he has a good reaction when it’s revealed that someone is queer, even if it is mostly played off as a joke. It’s just that he doesn’t have a frame of reference in his own life to having a gay relationship, either his or someone he’s close to. He says to Cesar and Jesse in season 11 “The Critters” that they fight like brothers, because that’s the only way he knows how to conceptualise it. He doesn’t have a way to categorise his and Cas’s relationship, which is in many ways, long before season 15 “Despair,” harking back even to the parallels between Ruby and Cas in season 3 and 4, a romantic one, aside from that Cas is like a brother to him. Because he’s never had anyone in his life care for him the way Cas does that wasn’t Sam and Bobby, and he doesn’t recognise the romantic element of their relationship until literally Cas says it to him in the third last episode, he just—doesn’t know what his and Cas’s relationship is. He just really doesn’t know. And he grew up with a father who despised him for taking the mom and wife role in their family, the role that John placed him in, for being subservient to John’s wishes where Sam was more rebellious, so of course he wouldn’t understand either his own desires or those of anyone around him who isn’t explicitly shoving their tits in his face. He moulded his entire personality around what he thought John wanted of him, and John says to him explicitly in season 14 “Lebanon”, “I thought you’d have a family,” meaning, like him, wife and two rugrats. And then, dear god, Dean says, thinking of Sam, Cas, Jack, Claire, and Mary, “I have a family.” God that hurts so much. But since for most of his life he hasn’t been himself, he’s been the man he thought his father wanted him to be, he’s never been able to examine his own desires, wants and goals. So even though he’s really good at reading people, he is not good at reading other people’s desires unless they have nefarious intentions. Because he doesn’t recognise what he feels is attraction to men, he doesn’t recognise that in anyone else. 

Okay that’s completely off topic, wow. Getting back to metanarrativity in “The Real Ghostbusters,” I’ll just cap it off by saying that the books in this episode are more a frame for the events than the events themselves. However, there are some good outtakes where Chuck answers some questions, and I’m not sure how much of that is scripted and how much is Rob Benedict just going for it, but it lends another element to the idea of Kripke as author-god. The idea of a fan convention is really cool, because at this point Supernatural conventions had been running for about 4 years, since 2006. It’s definitely a tribute to the fans, but also to their own self importance. So it’s a mixed bag, considering there were plenty of elements in there that show the good side of fandom and fans, but ultimately the Winchesters want nothing to do with it, consider it weird, and threaten Chuck when he says he’ll start releasing books again, which as far as they know is his only source of income. But it’s a fun episode and Dean is a grouchy bitch, so who the holy hell cares?

Season 10 episode “fanfiction” written by my close personal friend Robbie Thompson and directed by Phil Sgriccia is one of the funniest episodes this show has ever done. Not only is it full of metatextual and metanarrative jokes, the entire premise revolves around fanservice, but in like a fun and interesting way, not fanservice like killing the band Kansas so that Dean can listen to “Carry On My Wayward Son” in heaven twice. Twice. One version after another. Like I would watch this musical seven times in theatre, I would buy the soundtrack, I would listen to it on repeat and make all my friends listen to it when they attend my online Jitsi birthday party. This musical is my Hamilton. Top ten episodes of this show for sure. The only way it could be better is if Cas was there. And he deserved to be there. He deserved to watch little dyke Castiel make out with her girlfriend with her cute little wings, after which he and Dean share uncomfortable eye contact. Dean himself is forever coming to terms with the fact that gay people exist, but Cas should get every opportunity he can to hear that it’s super cool and great and awesome to be queer. But really he should be in every episode, all of them, all 300 plus episodes including the ones before angels were introduced. I’m going to commission the guy who edits Paddington into every movie to superimpose Cas standing on the highway into every episode at least once.

“Fan Fiction” starts with a tv script and the words “Supernatural pilot created by Eric Kripke”. This Immediately sets up the idea that it’s toying with narrative. Blah blah blah, some people go missing, they stumble into a scene from their worst nightmares: the school is putting on a musical production of a show inspired by the Supernatural books. It’s a comedy of errors. When people continue to go missing, Sam and Dean have to convince the girls that something supernatural is happening, while retaining their dignity and respect. They reveal that they are the real Sam and Dean, and Dean gives the director Marie a summary of their lives over the last five seasons, but they aren’t taken seriously. Because, like, of course they aren’t. Even when the girls realise that something supernatural is happening, they don’t actually believe that the musical they’ve made and the series of books they’re basing it on are real. Despite how Sam and Dean Winchester were literal fugitives for many years at many different times, and this was on the news, and they were wanted by the FBI, despite how they pretend to be FBI, and no one mentions it??? Did any of the staffwriters do the required reading or just do what I used to do for my 40 plus page readings of Baudrillard and just skim the first sentence of every paragraph? Neat hack for you: paragraphs are set up in a logical order of Topic, Example, Elaboration, Linking sentence. Do you have to read 60 pages of some crusty French dude waxing poetic about how his best friend Pierre wants to shag his wife and making that your problem? Read the first and last sentence of every paragraph. Boom, done. Just cut your work in half. 

The musical highlights a lot of the important moments of the show so far. The brothers have, as Charlie Bradbury says, their “broment,” and as Marie says, their “boy melodrama scene,” while she insinuates that there is a sexual element to their relationship. This show never passed up an opportunity to mention incest. It’s like: mentioning incest 5000 km, not being disgusting 1 km, what a hard decision. Actually, they do have to walk on their knees for 100 miles through the desert repenting. But there are other moments—such as Mary burning on the ceiling, a classic, Castiel waiting for Dean at the side of the highway, and Azazel poisoning Sam. With the help of the high schoolers, Sam and Dean overcome Calliope, the muse and bad guy of the episode, and save the day. What began as their lives reinterpreted and told back to them turns into a story they have some agency over.

In this episode, as opposed to “The Monster At The End Of This Book,” The storytelling has transferred from an alcoholic in a bathrobe into the hands of an overbearing and overachieving teenage girl, and honestly why not. Transformative fiction is by and large run by women, and queer women, so Marie and her stage manager slash Jody Mills’s understudy Maeve are just following in the footsteps of legends. This kind of really succinctly summarises the difference between curative fandom and transformative fandom, the former of which is populated mostly by men, and the latter mostly by women. As defined by LordByronic in 2015, Curative fandom is more like enjoying the text, collecting the merchandise, organising the knowledge — basically Reddit in terms of fandom curation. Transformative fandom is transforming the source text in some way — making fanart, fanfic, mvs, or a musical — basically Tumblr in general, and Archive of our own specifically. Like what do non fandom people even do on Tumblr? It is a complete mystery to me. Whereas Chuck literally writes himself into the narrative he receives through visions, Marie and co have agency and control over the narrative by writing it themselves. 

Chuck does appear in the episode towards the end, his first appearance after five seasons. The theory that he killed those lesbian theatre girls makes me wanna curl up and die, so I don’t subscribe to it. Chuck watched the musical and he liked it and he gave unwarranted notes and then he left, the end.

The Supernatural creative team is explicitly acknowledging the fandom’s efforts by making this episode. They’re writing us in again, with more obsessive fans, but with lethbians this time, which makes it infinitely better. And instead of showing us as potential date rapists, we’re just cool chicks who like to make art. And that’s fucken awesome. 

I just have to note that the characters literally say the word Destiel after Dean sees the actors playing Dean and Cas making out. He storms off and tells Sam to shut the fuck up when Sam makes fun of him, because Dean’s sexuality is NOT threatened he just needs to assert his dominance as a straight hetero man who has NEVER looked at another man’s lips and licked his own. He just… forgets that gay people exist until someone reminds him. BUT THEN, after a rousing speech that is stolen from Rent or Wicked or something, he echoes Marie’s words back, saying “put as much sub into that text as you possibly can.” What does Dean know about subbing, I wonder. Okay I’m suddenly reminded that he did literally go to a kink bar and get hit on by a leather daddy. Oh Dean, the experiences you have as a broad-shouldered, pixie-faced man with cowboy legs. You were born for this role.

Metatron is my favourite villain. As one tumblr user pointed out, he is an evil English literature major, which is just a normal English literature major. The season nine episode “Meta Fiction” written by my main man robbie thompson and directed by thomas j wright, happens within a curious season. Castiel, once again, becomes the leader of a portion of the heavenly host to take down Metatron, and Dean is affected by the Mark Of Cain. Sam was recently possessed by Gadreel, who killed Kevin in Sam’s body and then decided to run off with Metatron. Metatron himself is recruiting angels to join him, in the hopes that he can become the new God. It’s the first introduction of Hannah, who encourages Cas to recruit angels himself to take on Metatron. Also, we get to see Gabriel again, who is always a delight. 

This episode is a lot of fun. Metatron poses questions like, who tells a story and who is the most important person in the telling? Is it the writer? The audience? He starts off staring over his typewriter to address the camera, like a pompous dickhead. No longer content with consuming stories, he’s started to write his own. And they are hubristic ones about becoming God, a better god than Chuck ever was, but to do it he needs to kill a bunch of people and blame it on Cas. So really, he’s actually exactly like Chuck who blamed everything on Lucifer. 

But I think the most apt analogy we can use for this in terms of who is the creator is to think of Metatron as a fanfiction writer. He consumes the media—the Winchester Gospels—and starts to write his own version of events—leading an army to become God and kill Cas. Nevermind that no one has been able to kill Cas in a way that matters or a way that sticks. Which is canon, and what Metatron is trying to do is—well not fanon because it actually does impact the Winchesters’ storyline. It would be like if one of the writers of Supernatural began writing Supernatural fanfiction before they got a job on the show. Which as my generation and the generations coming after me get more comfortable with fanfiction and fandom, is going to be the case for a lot of shows. I think it’s already the case for Riverdale. Correct me if I’m wrong, but didn’t the woman who wrote the bi Dean essay go to work on Riverdale? Or something? I dunno, I have the post saved in my tumblr likes but that is quagmire of epic proportions that I will easily get lost in if I try to find it. 

Okay let me flex my literary degree. As Englund and Leach say in “Ethnography and the metanarratives of modernity,” “The influential “literary turn,” in which the problems of ethnography were seen as largely textual and their solutions as lying in experimental writing seems to have lost its impetus.” This can be taken to mean, in the context of Supernatural, that while Metatron’s writings seek to forge a new path in history, forgoing fate for a new kind of divine intervention, the problem with Metatron is that he’s too caught up in the textual, too caught up in the writing, to be effectual. And this as we see throughout seasons 9, 10 and 11, has no lasting effect. Cas gets his grace back, Dean survives, and Metatron becomes a powerless human. In this case, the impetus is his grace, which he loses when Cas cuts it out of him, a mirror to Metatron cutting out Cas’s grace. 

However, I realise that the concept of ethnography in Supernatural is a flawed one, ethnography being the observation of another culture: a lot of the angels observe humanity and seem to fit in. However, Cas has to slowly acclimatise to the Winchesters as they tame him, but he never quite fit in—missing cues, not understanding jokes or Dean’s personal space, the scene where he says, “We have a guinea pig? Where?” Show him the guinea pig Sam!!! He wants to see it!!! At most he passes as a human with autism. Cas doesn’t really observe humanity—he observes nature, as seen in season 7 “reading is fundamental” and “survival of the fittest”. Even the human acts he talks about in season 6 “the man who would be king” are from hundreds or thousands of years ago. He certainly doesn’t observe popular culture, which puts him at odds with Dean, who is made up of 90 per cent pop culture references and 10 per cent flannel. Metatron doesn’t seek to blend in with humanity so much as control it, which actually is the most apt example of ethnography for white people in the last—you know, forever. But of course the writers didn’t seek to make this analogy. It is purely by chance, and maybe I’m the only person insane enough to realise it. But probably not. There are a lot of cookies much smarter than me in the Supernatural fandom and they’ve like me have grown up and gone to university and gotten real jobs in the real world and real haircuts. I’m probably the only person to apply Englund and Leach to it though.

And yes, as I read this paper I did need to have one tab open on Google, with the word “define” in the search bar. 

Metatron has a few lines in this that I really like. He says: 

“The universe is made up of stories, not atoms.”

“You’re going to have to follow my script.”

“I’m an entity of my word.”

It’s really obvious, but they’re pushing the idea that Metatron has become an agent of authorship instead of just a consumer of media. He even throws a Supernatural book into his fire — a symbolic act of burning the script and flipping the writer off, much like Cas did to God and the angels in season 5. He’s not a Kripke figure so much as maybe a Gamble, Carver or Dabb figure, in that he usurps Chuck and becomes the author-god. This would be extremely postmodern of him if he didn’t just do exactly what Chuck was doing, except worse somehow. In fact, it’s postmodern of Cas to reject heaven’s narrative and fall for Dean. As one tumblr user points out, Cas really said “What’s fate compared to Dean Winchester?”

Okay this transcript is almost 8000 words already, and I still have two more episodes to review, and more things to say, so I’ll leave you with this. Metatron says to Cas, “Out of all of God’s wind up toys, you’re the only one with any spunk.” Why Cas has captured his attention comes down more than anything to a process of elimination. Most angels fucking suck. They follow the rules of whoever puts themselves in charge, and they either love Cas or hate him, or just plainly wanna fuck him, and there have been few angels who stood out. Balthazar was awesome, even though I hated him the first time I watched season 6. He UNSUNK the Titanic. Legend status. And Gabriel was of course the OG who loves to fuck shit up. But they’re gone at this stage in the narrative, and Cas survives. Cas always survives. He does have spunk. And everyone wants to fuck him.  

Season 11 episode 20 “Don’t Call Me Shurley,” the last episode written by the Christ like figure of Robbie Thompson — are we sensing a theme here? — and directed by my divine enemy Robert Singer, starts with Metatron dumpster diving for food. I’m not even going to bother commenting on this because like… it’s supernatural and it treats complex issues like homelessness and poverty with zero nuance. Like the Winchesters live in poverty but it’s fun and cool because they always scrape by but Metatron lives in poverty and it’s funny. Cas was homeless and it was hard but he needed to do it to atone for his sins, and Metatron is homeless and it’s funny because he brought it on himself by being a murderous dick. Fucking hell. Robbie, come on. The plot focuses on God, also known as Chuck Shurley, making himself known to Metatron and asking for Metatron’s opinion on his memoir. Meanwhile, the Winchesters battle another bout of infectious serial killer fog sent by Amara. At the end of the episode, Chuck heals everyone affected by the fog and reveals himself to Sam and Dean. 

Chuck says that he didn’t foresee Metatron trying to become god, but the idea of Season 15 is that Chuck has been writing the Winchesters’ story all their lives. When Metatron tries, he fails miserably, is locked up in prison, tortured by Dean, then rendered useless as a human and thrown into the world without a safety net. His authorship is reduced to nothing, and he is reduced to dumpster diving for food. He does actually attempt to live his life as someone who records tragedies as they happen and sells the footage to news stations, which is honestly hilarious and amazing and completely unsurprising because Metatron is, at the heart of it, an English Literature major. In true bastard style, he insults Chuck’s work and complains about the bar, but slips into his old role of editor when Chuck asks him to. 

The theory I’m consulting for this uses the term metanarrative in a different way than I am. They consider it an overarching narrative, a grand narrative like religion. Chuck’s biography is in a sense most loyal to Middleton and Walsh’s view of metanarrative: “the universal story of the world from arche to telos, a grand narrative encompassing world history from beginning to end.” Except instead of world history, it’s God’s history, and since God is construed in Supernatural as just some guy with some powers who is as fallible as the next some guy with some powers, his story has biases and agendas.  Okay so in the analysis I’m getting Middleton and Walsh’s quotes from, James K A Smith’s “A little story about metanarratives,” Smith dunks on them pretty bad, but for Supernatural purposes their words ring true. Think of them as the BuckLeming of Lyotard’s postmodern metanarrative analysis: a stopped clock right twice a day. Is anyone except me understanding the sequence of words I’m saying right now. Do I just have the most specific case of brain worms ever found in human history. I’m currently wearing my oversized Keith Haring shirt and dipping pretzels into peanut butter because it’s 3.18 in the morning and the homosexuals got to me. The total claims a comprehensive metanarrative of world history make do indeed, as Middleton and Walsh claim, lead to violence, stay with me here, because Chuck’s legacy is violence, and so is Metatron’s, and in trying to reject the metanarrative, Sam and Dean enact violence. Mostly Dean, because in season 15 he sacrifices his own son twice to defeat Chuck. But that means literally fighting violence with violence. Violence is, after all, all they know. Violence is the lens through which they interact with the world. If the writers wanted to do literally anything else, they could have continued Dean’s natural character progression into someone who eschews the violence that stems from intergeneration trauma — yes I will continue to use the phrase intergenerational trauma whenever I refer to Dean — and becomes a loving father and husband. Sam could eschew violence and start a monster rehabilitation centre with Eileen.

This episode of Holy Hell is me frantically grabbing at straws to make sense of a narrative that actively hates me and wants to kick me to death. But the violence Sam and Dean enact is not at a metanarrative level, because they are not author-gods of their own narrative. In season 15 “Atomic Monsters,” Becky points out that the ending of the Supernatural book series is bad because the brothers die, and then, in a shocking twist of fate, Dean does die, and the narrative is bad. The writers set themselves a goal post to kick through and instead just slammed their heat into the bars. They set up the dartboard and were like, let’s aim the darts at ourselves. Wouldn’t that be fun. Season 15’s writing is so grossly incompetent that I believe every single conspiracy theory that’s come out of the finale since November, because it’s so much more compelling than whatever the fuck happened on the road so far. Carry on? Why yes, I think I will carry on, carry on like a pork chop, screaming at the bars of my enclosure until I crack my voice open like an egg and spill out all my rage and frustration. The world will never know peace again. It’s now 3.29 and I’ve written over 9000 words of this transcript. And I’m not done.

Middleton and Walsh claim that metanarratives are merely social constructions masquerading as universal truths. Which is, exactly, Supernatural. The creators have constructed this elaborate web of narrative that they want to sell us as the be all and end all. They won’t let the actors discuss how they really feel about the finale. They won’t let Misha Collins talk about Destiel. They want us to believe it was good, actually, that Dean, a recovering alcoholic with a 30 year old infant son and a husband who loves him, deserved to die by getting NAILED, while Sam, who spent the last four seasons, the entirety of Andrew Dabb’s run as showrunner, excelling at creating a hunter network and romancing both the queen of hell and his deaf hunter girlfriend, should have lived a normie life with a normie faceless wife. Am I done? Not even close. I started this episode and I’m going to finish it.

When we find out that Chuck is God in the episode of season 11, it turns everything we knew about Chuck on its head. We find out in Season 15 that Chuck has been writing the Winchesters’ story all along, that everything that happened to them is his doing. The one thing he couldn’t control was Cas’s choice to rebel. If we take him at his word, Cas is the only true force of free will in the entire universe, and more specifically, the love that Cas had for Dean which caused him to rebel and fall from heaven. — This theory has holes of course. Why would Lucifer torture Lilith into becoming the first demon if he didn’t have free will? Did Chuck make him do that? And why? So that Chuck could be the hero and Lucifer the bad guy, like Lucifer claimed all along? That’s to say nothing of Adam and Eve, both characters the show introduced in different ways, one as an antagonist and the other as the narrative foil to Dean and Cas’s romance. Thinking about it makes my head hurt, so I’m just not gunna. 

So Chuck was doing the writing all along. And as Becky claims in “Atomic Monsters,” it’s bad writing. The writers explicitly said, the ending Chuck wrote is bad because there’s no Cas and everyone dies, and then they wrote an ending where there is no Cas and everyone dies. So talk about self-fulfilling prophecies. Talk about giant craters in the earth you could see from 800 kilometres away but you still fell into. Meanwhile fan writers have the opportunity to write a million different endings, all of which satisfy at least one person. The fandom is a hydra, prolific and unstoppable, and we’ll keep rewriting the ending a million more times.

And all this is not even talking about the fact that Chuck is a man, Metatron is a man, Sam and Dean and Cas are men, and the writers and directors of the show are, by an overwhelming majority, men. Most of them are white, straight, cis men. Feminist scholarship has done a lot to unpack the damage done by paternalistic approaches to theory, sociology, ethnography, all the -ys, but I propose we go a step further with these men. Kill them. Metanarratively, of course. Amara, the Darkness, God’s sister, had a chance to write her own story without Chuck, after killing everything in the universe, and I think she had the right idea. Knock it all down to build it from the ground up. Billie also had the opportunity to write a narrative, but her folly was, of course, putting any kind of faith in the Winchesters who are also grossly incompetent and often fail up. She is, as all author-gods on this show are, undone by Castiel. The only one with any spunk, the only one who exists outside of his own narrative confines, the only one the author-gods don’t have any control over. The one who died for love, and in dying, gave life. 

The French Mistake

Let’s change the channel. Let’s calm ourselves and cleanse our libras. Let’s commune with nature and chug some sage bongs. 

“The French Mistake” is a song from the Mel Brooks film Blazing Saddles. In the iconic second last scene of the film, as the cowboys fight amongst themselves, the camera pans back to reveal a studio lot and a door through which a chorus of gay dancersingers perform “the French Mistake”. The lyrics go, “Throw out your hands, stick out your tush, hands on your hips, give ‘em a push. You’ll be surprised you’re doing the French Mistake.” 

I’m not sure what went through the heads of the Supernatural creators when they came up with the season 6 episode, “The French Mistake,” written by the love of my life Ben Edlund and directed by some guy Charles Beeson. Just reading the Wikipedia summary is so batshit incomprehensible. In short: Balthazar sends Sam and Dean to an alternate universe where they are the actors Jared Padalecki and Jensen Ackles, who play Sam and Dean on the tv show Supernatural. I don’t think this had ever been done in television history before. The first seven seasons of this show are certifiable. Like this was ten years ago. Think about the things that have happened in the last 10 slutty, slutty years. We have lived through atrocities and upheaval and the entire world stopping to mourn, but also we had twitter throughout that entire time, which makes it infinitely worse.

In this universe, Sam and Dean wear makeup, Cas is played by attractive crying man Misha Collins, and Genevieve Padalecki nee Cortese makes an appearance. Magic doesn’t exist, Serge has good ideas, and the two leads have to act in order to get through the day. Sorry man I do not know how to pronounce your name.

Sidenote: I don’t know if me being attracted aesthetically to Misha Collins is because he’s attractive, because this show has gaslighted me into thinking he’s attractive, or because Castiel’s iconic entrance in 2008 hit my developing mind like a torpedo full of spaghetti and blew my fucking brains all over the place. It’s one of life’s little mysteries and God’s little gifts.

Let’s talk about therapy. More specifically, “Agency and purpose in narrative therapy: questioning the postmodern rejection of metanarrative” by Cameron Lee. In this paper, Lee outlines four key ideas as proposed by Freedman and Combs:

Realities are socially constructed

Realities are constituted through language

Realities are organised and maintained through narrative

And there are no essential truths.

Let’s break this down in the case of this episode. Realities are socially constructed: the reality of Sam and Dean arose from the Bush era. Do I even need to elaborate? From what I understand with my limited Australian perception, and being a child at the time, 9/11 really was a prominent shifting point in the last twenty years. As Americans describe it, sometimes jokingly, it was the last time they were really truly innocent. That means to me that until they saw the repercussions of their government’s actions in funding turf wars throughout the middle east for a good chunk of the 20th Century, they allowed themselves to be hindered by their own ignorance. The threat of terrorism ran rampant throughout the States, spurred on by right wing nationalists and gun-toting NRA supporters, so it’s really no surprise that the show Supernatural started with the premise of killing everything in sight and driving around with only your closest kin and a trunk full of guns. Kripke constructed that reality from the social-political climate of the time, and it has wrought untold horrors on the minds of lesbians who lived through the noughties, in that we are now attracted to Misha Collins.

Number two: Realities are constituted through language. Before a show can become a show, it needs to be a script. It’s written down, typed up, and given to actors who say the lines out loud. In this respect, they are using the language of speech and words to convey meaning. But tv shows are not all about words, and they’re barely about scripts. From what I understand of being raised by television, they are about action, visuals, imagery, and behaviours. All of the work that goes into them—the scripts, the lighting, the audio, the sound mixing, the cameras, the extras, the ADs, the gaffing, the props, the stunts, everything—is about conveying a story through the medium of images. In that way, images are the language. The reality of the show Supernatural, inside the show Supernatural, is constituted through words: the script, the journalists talking to Sam, the makeup artist taking off Dean’s makeup, the conversations between the creators, the tweets Misha sends. But also through imagery: the fish tank in Jensen’s trailer, the model poses on the front cover of the magazine, the opulence of Jared’s house, Misha’s iconic sweater. Words and images are the language that constitutes both of these realities. Okay for real, I feel like I’ve only seen this episode max three times, including when I watched it for research for this episode, but I remember so much about it. 

Number three: realities are organised and maintained through narrative. In this universe of the French Mistake, their lives are structured around two narratives: the internal narrative of the show within the show, in which they are two actors on a tv set; and the episode narrative in which they need to keep the key safe and return to their own universe. This is made difficult by the revelation that magic doesn’t work in this universe, however, they find a way. Before they can get back, though, an avenging angel by the name of Virgil guns down author-god Eric Kripke and tries to kill the Winchesters. However, they are saved by Balthazar and the freeze frame and brought back into their own world, the world of Supernatural the show, not Supernatural the show within the show within the nesting doll. And then that reality is done with, never to be revisited or even mentioned, but with an impact that has lasted longer than the second Bush administration.

And number four: there are no essential truths. This one is a bit tricky because I can’t find what Lee means by essential truths, so I’m just going to interpret that. To me, essential truths means what lies beneath the narratives we tell ourselves. Supernatural was a show that ran for 15 years. Supernatural had actors. Supernatural was showrun by four different writers. In the show within a show, there is nothing, because that ceases to exist for longer than the forty two minute episode “The French Mistake”. And since Supernatural no longer exists except in our computers, it is nothing too. It is only the narratives we tell ourselves to sleep better at night, to wake up in the morning with a smile, to get through the day, to connect with other people, to understand ourselves better. It’s not even the narrative that the showrunners told, because they have no agency over it as soon as it shows up on our screens. The essential truth of the show is lost in the translation from creating to consuming. Who gives the story meaning? The people watching it and the people creating it. We all do. 

Lee says that humans are predisposed to construct narratives in order to make sense of the world. We see this in cultures from all over the world: from cave paintings to vases, from The Dreaming to Beowulf, humans have always constructed stories. The way you think about yourself is a story that you’ve constructed. The way you interact with your loved ones and the furries you rightfully cyberbully on Twitter is influenced by the narratives you tell yourself about them. And these narratives are intricate, expansive, personalised, and can colour our perceptions completely, so that we turn into a different person when we interact with one person as opposed to another. 

Whatever happened in season 6, most of which I want to forget, doesn’t interest me in the way I’m telling myself the writers intended. For me, the entirety of season 6 was based around the premise of Cas being in love with Dean, and the complete impotence of this love. He turns up when Dean calls, he agonises as he watches Dean rake leaves and live his apple pie life with Lisa, and Dean is the person he feels most horribly about betraying. He says, verbatim, to Sam, “Dean and I do share a more profound bond.” And Balthazar says, “You’re confusing me with the other angel, the one in the dirty trenchcoat who’s in love with you.” He says this in season 6, and we couldn’t do a fucken thing about it. 

The song “The French Mistake” shines a light on the hidden scene of gay men performing a gay narrative, in the midst of a scene about the manliest profession you can have: professional horse wrangler, poncho wearer, and rodeo meister, the cowboy. If this isn’t a perfect encapsulation of the lovestory between Dean and Cas, which Ben Edlund has been championing from day fucking one of Misha Collins walking onto that set with his sex hair and chapped lips, then I don’t know what the fuck we’re even doing here. What in the hell else could it possibly mean. The layers to this. The intricacy. The agendas. The subtextual AND blatant queerness. The micro aggressions Crowley aimed at Car in “The Man Who Would Be King,” another Bedlund special. Bed Edlund is a fucking genius. Bed Edlund is cool girl. Ben Edlund is the missing link. Bed Edlund IS wikileaks. Ben Edlund is a cool breeze on a humid summer day. Ben Edlund is the stop loading button on a browser tab. Ben Edlund is the perfect cross between Spotify and Apple Music, in which you can search for good playlists, but without having to be on Spotify. He can take my keys and fuck my wife. You best believe I’m doing an entire episode of Holy Hell on Bedlund’s top five. He is the reason I want to get into staffwriting on a tv show. I saw season 4 episode “On the head of a pin” when my brain was still torpedoed spaghetti mush from the premiere, and it nestled its way deep into my exposed bones, so that when I finally recovered from that, I was a changed person. My god, this transcript is 11,000 words, and I haven’t even finished the Becky section. Which is a good transition.

Oh, Becky. She is an incarnation of how the writers, or at least Kripke, view the fans. Watching season 5 “Sympathy for the Devil” live in 2009 was a whole fucking trip that I as a baby gay was not prepared for. Figuring out my sexuality was a journey that started with the Supernatural fandom and is in some aspects still raging against the dying of the light today. Add to that, this conception of the audience was this, like, personification of the librarian cellist from Juno, but also completely without boundaries, common sense, or shame. It made me wonder about my position in the narrative as a consumer consuming. Is that how Kripke saw me, specifically? Was I like Becky? Did my forays into DeanCasNatural on El Jay dot com make me a fucking loser whose only claim to fame is writing some nasty fanfiction that I’ve since deleted all traces of? Don’t get me wrong, me and my unhinged Casgirl friends loved Becky. I can’t remember if I ever wrote any fanfiction with her in it because I was mostly writing smut, which is extremely Becky coded of me, but I read some and my friends and I would always chat about her when she came up. She was great entertainment value before season 7. But in the eyes of the powers that be, Becky, like the fans themselves, are expendable. First they turned her into a desperate bride wannabe who drugs Sam so that he’ll be with her, then Chuck waves his hand and she disappears. We’re seeing now with regards to Destiel, Cas, and Misha Collins this erasure of them from the narrative. Becky says in season 15 “Atomic Monsters” that the ending Chuck writes is bad because, for one, there’s no Cas, and that’s exactly what’s happening to the text post-finale. It literally makes me insane akin to the throes of mania to think about the layers of this. They literally said, “No Cas = bad” and now Misha isn’t even allowed to talk in his Cassona voice—at least at the time I wrote that—to the detriment of the fans who care about him. It’s the same shit over and over. They introduce something we like, they realise they have no control over how much we like it, and then they pretend they never introduced it in the first place. Season 7, my god. The only reason Gamble brought back Cas was because the ratings were tanking the show. I didn’t even bother watching most of it live, and would just hear from my friends whether Cas was in the episodes or not. And then Sera, dear Sera, had the gall to say it was a Homer’s Odyssey narrative. I’m rusty on Homer aka I’ve never read it but apparently Odysseus goes away, ends up with a wife on an island somewhere, and then comes back to Terabithia like it never happened. How convenient. But since Sera Gamble loves to bury her gays, we can all guess why Cas was written out of the show: Cas being gay is a threat to the toxic heteronormativity spouted by both the show and the characters themselves. In season 15, after Becky gets her life together, has kids, gets married, and starts a business, she is outgrowing the narrative and Chuck kills her. The fans got Destiel Wedding trending on Twitter, and now the creators are acting like he doesn’t exist. New liver, same eagles.

I have to add an adendum: as of this morning, Sunday 11th, don’t ask me what time that is in Americaland, Misha Collins did an online con/Q&A thing and answered a bunch of questions about Cas and Dean, which goes to show that he cannot be silenced. So the narrative wants to be told. It’s continuing well into it’s 16th or 17th season. It’s going to keep happening and they have no recourse to stop it. So fuck you, Supernatural.

I did write the start of a speech about representation but, who the holy hell cares. I also read some disappointing Masters theses that I hope didn’t take them longer to research and write than this episode of a podcast I’m making for funsies took me, considering it’s the same number of pages. Then again I have the last four months and another 8 years of fandom fuelling my obsession, and when I don’t sleep I write, hence the 4,000 words I knocked out in the last 12 hours. 

Some final words. Lyotard defines postmodernism, the age we live in, as an incredulity towards metanarratives. Modernism was obsessed with order and meaning, but postmodernism seeks to disrupt that. Modernists lived within the frame of the narrative of their society, but postmodernists seek to destroy the frame and live within our own self-written contexts. Okay I love postmodernist theory so this has been a real treat for me. Yoghurt, Sam? Postmodernist theory? Could I BE more gay? 

Middleton and Walsh in their analysis of postmodernism claim that biblical faith is grounded in metanarrative, and explore how this intersects with an era that rejects metanarrative. This is one of the fundamental ideas Supernatural is getting at throughout definitely the last season, but other seasons as well. The narratives of Good vs Evil, Michael vs Lucifer, Dean vs Sam, were encoded into the overarching story of the show from season 1, and since then Sam and Dean have sought to break free of them. Sam broke free of John’s narrative, which was the hunting life, and revenge, and this moralistic machismo that they wrapped themselves up in. If they’re killing the evil, then they’re not the evil. That’s the story they told, and the impetus of the show that Sam was sucked back into. But this thread unravelled in later seasons when Dean became friends with Benny and the idea that all supernatural creatures are inherently evil unravelled as well. While they never completely broke free of John’s hold over them, welcoming Jack into their lives meant confronting a bias that had been ingrained in them since Dean was 4 years old and Sam 6 months. In the face of the question, “are all monsters monstrous?” the narrative loosens its control. Even by questioning it, it throws into doubt the overarching narrative of John’s plan, which is usurped at the end of season 2 when they kill Azazel by Dean’s demon deal and a new narrative unfolds. John as author-god is usurped by the actual God in season 4, who has his own narrative that controls the lives of Sam, Dean and Cas. 

Okay like for real, I do actually think the metanarrativity in Supernatural is something that should be studied by someone other than me, unless you wanna pay me for it and then shit yeah. It is extremely cool to introduce a biographical narrative about the fictional narrative it’s in. It’s cool that the characters are constantly calling this narrative into focus by fighting against it, struggling to break free from their textual confines to live a life outside of the external forces that control them. And the thing is? The really real, honest thing? They have. Sam, Dean and Cas have broken free of the narrative that Kripke, Carver, Gamble and Dabb wrote for them. The very fact that the textual confession of love that Cas has for Dean ushered in a resurgence of fans, fandom and activity that has kept the show trending for five months after it ended, is just phenomenal. People have pointed out that fans stopped caring about Game of Thrones as soon as it ended. Despite the hold they had over tv watchers everywhere, their cultural currency has been spent. The opposite is true for Supernatural. Despite how the finale of the show angered and confused people, it gains more momentum every day. More fanworks, more videos, more fics, more art, more ire, more merch is being generated by the fans still. The Supernatural subreddit, which was averaging a few posts a week by season 15, has been incensed by the finale. And yours truly happily traipsed back into the fandom snake pit after 8 years with a smile on my face and a skip in my step ready to pump that dopamine straight into my veins babeeeeeeyyyyy. It’s been WILD. I recently reconnected with one of my mutuals from 2010 and it’s like nothing’s changed. We’re both still unhinged and we both still simp for Supernatural. Even before season 15, I was obsessed with the podcast Ride Or Die, which I started listening to in late 2019, and Supernatural was always in the back of my mind. You just don’t get over your first fandom. Actually, Danny Phantom was my first fandom, and I remember being 12 talking on Danny Phantom forums to people much too old to be the target audience of the show. So I guess that hasn’t left me either. And the fondest memories I have of Supernatural is how the characters have usurped their creators to become mythic, long past the point they were supposed to die a quiet death. The myth weaving that the Supernatural fandom is doing right now is the legacy that will endure. 

References

I got all of these for free from Google Scholar! 

Judith May Fathallah, “I’m A God: The Author and the Writing Fan in Supernatural.” 

James K A Smith, “A Little Story About Metanarratives: Lyotard, Religion and Postmodernism Revisited.” 2001.

Cameron Lee, “Agency and Purpose in Narrative Therapy: Questioning the Postmodern Rejection of Metanarrative.” 2004.

Harri Englund and James Leach, “Ethnography and the Meta Narratives of Modernity.” 2000.

https://uproxx.com/filmdrunk/mel-brooks-explains-french-mistake-blazing-saddles-blu-ray/

[cinemavariety]

The Director’s Series: Nicolas Winding Refn

The director series will consist of me concentrating on the filmography of all my favorite directors. I will rank each of their films according to my personal taste. I hope this project will provide everyone with quality recommendations and insight into films that they might not have known about. Today’s director in spotlight is Nicolas Winding Refn

#9 - Fear X (2003) Runtime: 1 hr 31 min Aspect Ratio: 2.35 : 1         Film Format: 35mm

When his wife is killed in a seemingly random incident Harry, prompted by mysterious visions, journeys to discover the true circumstances surrounding her murder.

Verdict: Refn’s most forgotten about film, even I have a hard time remembering that this film is part of his oeuvre. Nevertheless, Fear X is a quiet and lingering exercise in style. It’s a surrealist film noir with heavy influences from David Lynch. It’s also the first time where Refn began experimenting with color and started to move away from shaky cam.

#8 - The Pusher Trilogy (1996/2004/2005) Runtime: 1 hr 45 min / 1 hr 40 min / 1 hr 30 min Aspect Ratio: 1.66 : 1 / 1.85 : 1 /  1.85 : 1                 Film Format: 16mm / 35mm / 35mm

A drug pusher grows increasingly desperate after a botched deal leaves him with a large debt to a ruthless drug lord.

Verdict: I made the decision to categorize all three Pusher films as one entry for this post (otherwise it would just be too many). Nicolas Winding Refn started off his career with the strong crime tale of Pusher, and made the last two films to complete the trilogy after his English language debut Fear X ended up bombing. While I love the first and third entry more than I do the second, all three Pusher films are captivating and anxiety-ridden crime docudramas. It’s a great way to see how far Refn has evolved by starting with these films first.

#7 - Bleeder (1999) Runtime: 1 hr 38 min Aspect Ratio: 2.35 : 1 Film Format: 35mm

Two stories for the price of one: Lenny works in a video shop and tries to get acquainted with the waitress Lea. Leo can't cope with the pressure of becoming a father, leading to trouble with his pregnant wife and especially her brother.

Verdict: While Bleeder might be Refn’s lowest budget film to date, and not all the violence comes off as extremely convincing, I enjoyed it more than all three Pusher films because of the emotional stakes within the story. Multiple characters lives intertwine and interconnect in oftentimes disastrous circumstances. I also loved how Mads Mikkelsen’s character is a huge film aficionado, all of the scenes he is featured in bring a much needed reprieve from the turmoil and abuse.

#6 - Too Old to Die Young (2019) Runtime: 15 hr Aspect Ratio: 1.85 : 1                     Film Format: Arri Alexa Digital

The numb existences of Martin Jones, a police officer with secrets to hide, and Jesus, a traumatized avenging son, collide in a ghostly Los Angeles where several ruthless criminal gangs fight for their turf and dictate who lives and who dies. Verdict: Too Old To Die Young finds the celebrated auteur, Nicolas Winding Refn, sharing his view of humanity and society at its most despicable. All of his usual motifs and creative decisions are employed in full force with Too Old To Die Young, sometimes to an almost unbearable degree unless you are a truth Refn aficionado. His long takes, infinitesimal silences between lines, neon lighting, synth score and characters belonging to a criminal underworld are all utilized to great affect within the series. And while I believe that Refn’s sensibilities are best conveyed through a film medium, the limited series allows Refn to explore what he wants to convey like an artist adding layer upon layer of colors onto a blank palette.

#5 - Bronson (2008) Runtime: 1 hr 32 min Aspect Ratio: 1.85 : 1 Film Format: 35mm

A young man who was sentenced to 7 years in prison for robbing a post office ends up spending 30 years in solitary confinement. During this time, his own personality is supplanted by his alter ego, Charles Bronson. Verdict: Bronson is quite possibly Tom Hardy’s most impressive performance, and that’s saying a lot. It exudes such a hypnotic quality that every time I watch it, it’s as if I am seeing the film for my very first time. It tells the true story of one of Britain’s most infamous criminals.Refn’s visual flair and unique filming style make it unlike any other prison film I’ve ever witnessed. This is the beginnings of Refn’s disinterest in traditional narrative structure.

#4 - Only God Forgives (2013) Runtime: 1 hr 30 min Aspect Ratio: 1.85 : 1 Film Format: Red Epic Digital

Julian, who runs a Thai boxing club as a front organization for his family’s drug smuggling operation, is forced by his mother Crystal to find and kill the individual responsible for his brother’s recent death. 

Verdict: This is easily Refn’s most frustrating film. Whenever I watch it, I’m unsure whether I adore it or dislike it. But the fact that it’s the Refn film I have probably revisited the most is extremely telling of the ambience that Refn creates. Only God Forgives is arguably the most beautifully shot film from Nicolas. The neon drenched streets of Bangkok are presented to look like a netherworld. It’s a revenge fantasy thriller mixed with Oedipal undertones. Also, Gosling looks like a treat in every frame.

#3 - Valhalla Rising (2009) Runtime: 1 hr 33 min Aspect Ratio: 2.35 : 1 Film Format: Red One Digital

1000 AD, for years, One Eye, a mute warrior of supernatural strength, has been held prisoner by the Norse chieftain Barde. Aided by Are, a boy slave, One Eye slays his captor and together he and Are escape, beginning a journey into the heart of darkness. On their flight, One Eye and Are board a Viking vessel, but the ship is soon engulfed by an endless fog that clears only as the crew sights an unknown land. As the new world reveals its secrets and the Vikings confront their terrible and bloody fate, One Eye discovers his true self. 

Verdict: Valhalla Rising is Refn’s dirtiest and bloodiest work, and it certainly finds the director at his most surreal and existential. If anyone wants to know a film that epitomized what it means to be considered art house - this is it. It’s a film about a slave finding emancipation from his tyrannous slave owners, and finds himself on a doomed voyage to the New World with a group of fanatical Christian vikings. The story is told in separate chapters, with each section the audience finds itself traveling down a rabbit hole that resembles something of an acid try gone awry.

#2 - The Neon Demon (2016) Runtime: 1 hr 57 min Aspect Ratio: 2.35 : 1 Film Format: Arri Alexa XT Plus Digital

When aspiring model Jesse moves to Los Angeles, her youth and vitality are devoured by a group of beauty-obsessed women who will take any means necessary to get what she has.

Verdict: The Neon Demon has grown to become my second favorite movie from Nicolas. The film succeeds in shedding light on the hedonistic lifestyle of deranged young women in a tongue-in-cheek, almost satirical fashion. It’s one of the best looking Refn films to date, with even banal or commonplace locations drenched in neon hues. Composer Cliff Martinez outdoes himself with the synth-heavy score which guides the audience along a fairytale of horrors. In Refn’s surreal vision of Los Angeles there is no such thing as going too far to reach fame, even if it means bloodshed. As one character says in the film: “Beauty isn’t everything, it’s the only thing.” It would be nice to write off this statement as pure subjectivity, but what else has the media taught us but this ideal?

#1 - Drive (2011) Runtime: 1 hr 40 min Aspect Ratio: 2.35 : 1 Film Format: Arri Alexa & Cooke S4 Digital

A Hollywood stunt performer who moonlights as a wheelman for criminals discovers that a contract has been put on him after a heist gone wrong. 

Verdict: Seeing Drive in theatres back in 2011, without even having seen a film from Refn and not knowing much of the plot in general, is hands down one of the most memorable and inspiring theatrical experiences I ever had. Drive, among many other films that came out around that time, acted as a catalyst for me to branch out and discover more independent and arthouse filmmakers. I believe that it is undoubtedly Refn’s best film, and I might dare say that might be credited to the fact that is one of the only Refn films in which he didn’t write. These characters, while quiet and mysterious, have more depth to them than any of his others. The quiet romance between Drive and Irene provide more emotional stakes than any of his other works as well. All the elements of Drive complement each other and build off of each other. As cheesy as it may sound, if any film could be considered cool - it’s this. It’s already gained a cult status and it will most definitely go down in history as one of the most beautiful crime noirs ever made.

[fightmeyeats]

Let’s Make it That Deep: Thinking about the Surveillance State, Racial Politics, and Humanity in Terminator: Dark Fate

This week I watched Terminator: Dark Fate, which carries forward from the second Terminator film, Terminator: Judgement Day (1991), wisely ignoring everything that happened in movies 3-5. Dark Fate is set in the year 2020 and follows Dani Ramos, humanity’s new hope to survive the future robot apocalypse, as she, Grace (an augmented human from the future), Sarah Connor, and Carl (a T-800 model terminator) fight against a Rev-9 sent back in time to kill Dani. Overall, to quote my sibling, the movie “isn’t a literary masterpiece,” but it is fairly enjoyable--especially if you’re thirsting over the main leads. However, because I have a feral academic-garbage brain I also wanted to spend some time unpacking what I saw as the film’s three major discourses: surveillance/technological inevitability, race politics, and human exceptionalism. These are fraught discourses, often represented in contradictory and confusing ways over the course of the film, but I think it is generative to sit with them and to try to work out what messages are intentionally and/or unintentionally being conveyed through the movie, as well as what the potentials and limitations of these messages might be. 

Spoilers ahead.

i. Surveillance & Technological Inevitability

Before getting into the content of the film, one thing which may be useful to consider is how the movie previews shown in the theater before the start of the movie contextualize reception and engagement with the actual story Terminator: Dark Fate tells. There were quite a few trailers before the movie--enough so that one patron a few seats down in my row loudly commented “is the movie going to start now or what??” as yet another trailer started playing, the majority of which were either for war or horror movies. The two in particular I am interested in discussing are The King’s Man (2020) and Midway (2019), and the way that they both glorify and justify the imperialist/security state. The King’s Man trailer, for example, positions the titular agency as being an “independent intelligence agency” which essentially is able to actively “protect” people while governments fall short. In between clips from the film, title cards read "witness the rise...of the civilized," a shockingly open and yet seemingly unconscious connection between the King’s Man narrative and British colonialism/imperialism. Immediately following this trailer is one for Midway, a WWII moving centering on the aircraft carrier USS Midway immediately after the events of Pearl Harbor, which a character in the trailer calls “the greatest intelligence failure in the history of the US”. The reason why these trailers are important to keep in mind is because they implicitly respond to some of the anxieties articulated in Terminator; if Terminator films speak to fears of technology and surveillance, these trailers argue that really technology, surveillance, and military power are all important aspects of “civilized” nations, necessary for security and safety. 

This actually ties in immediately to the opening of Terminator: Dark Fate, and the death of John Connor which can be interpreted, in one sense, as a failure of surveillance. This actually specifically made me think of Inderpal Grewal’s article “Security Moms,” and the rise of the neoliberal female citizen subject as an agent of security through motherhood in the post 9/11 U.S. The “security mom, essentially, is a “conceptualization of women as mothers seeking to protect their innocent children - a figure that is not so new in the history of modern nationalisms, or even American nationalisms and racism” (Grewal 27). Much like the King’s Man trailer suggestion that private intelligence is better suited to save lives than governmentalized intelligence, “neoliberalism suggests that the state is unable to provide security and thus it disavows its ability to protect all citizens”--only in here, it is the figure of the mother rather than a private agency which becomes the new and better fitted agent of surveillance, always watching for enemies in order to protect their children (Grewal 28). In a voice over, Sarah Connor tells us that she “saved three billion people but [she] couldn’t save [her] son”; a T-800 (Arnold Schwarzenegger) model Terminator which had been sent back before Skynet was destroyed and continued carrying out orders “from a future that never happened” walks right past Sarah and shoots John. While Sarah leaps in to action after she recognizes the threat, she is unable to stop the T-800 from killing her son in seconds. This might actually be a key difference between Sarah Connor and Grewal’s “security mom”: while security moms are a largely a post-9/11 construction of neoliberal/nationalist motherhood, Sarah Connor was a successful security mom in 1991, constantly vigilant and constantly surveilling her surroundings for concealed enemies who could kill her son. In the post-9/11 era, Sarah Connor’s belief that the apocalypse has been averted causes her to believe that she and her son are safe, resulting in inadequate surveillance/vigilance and her son’s death. Much like the framing of Pearl Harbor in the Midway trailer and 9/11 in real life, disasters happen because of failures to appropriately surveil. 

Technological state surveillance itself is reflected in strange ways in the film, which seems to be at once critiquing and accepting constant surveillance. Sarah Connor keeps her cell phone in a chip bag to avoid being tracked and tells Grace and Dani that they will not last without her help because they are not aware of the constant surveillance occurring at every traffic light, every store, every gas station, etc--information the Rev-9 terminator chasing Dani will certainly have access to. Terminator: Dark Fate expresses fears of technological abuse/control and surveillance, but constantly frames these fears as the failure of the government to control these technologies--the threat isn’t what the government will do or is doing with these technologies, but rather that these technologies are uncontrollable or might be used by enemy agents. While one could argue that the fear being expressed here is actually a critique of the existence of surveillance technologies--that technologies exist for a reason and will do what they are programmed to do--this framing overwhelmingly still imagines a kind of governmental neutrality, where the threat is the located exclusively in the technology itself, not in those creating and using it. Here I also want to emphasize that while in Judgement Day there’s a deeper critique of the military industrial complex and the role of private corporations, in Dark Fate it appears to be the government alone engaged in constant surveillance and the technologies which result in the robot apocalypse, with the role of capitalism largely obscured from the connection between the new evil AI, Legion. In this same vein, while it seems that Legion is built as a weapon by the government, but we do not even explicitly know which government--again, the threat isn’t government construction of Legion (although Sarah does comment “they never learn”) but rather the technology itself. 

In the original movies, Skynet was a defensive surveillance software--but this is no longer science fiction; as Edward Snowden revealed/confirmed in 2013, constant mass surveillance is a real thing, and there are real ways people can avoid it (using VPNs, encryption, covering webcams, anti-facial recognition makeup (called CV dazzle), wearing disguises, etc). Despite this, and despite Sarah Connor’s awareness of constant surveillance, the characters don’t do much to avoid surveillance and just as Sarah originally predicted, the Rev-9 easily tracks them through governmental surveillance apparatuses. In the same way, surveillance and the technological abuse/carelessness which bring about the robot apocalypse are largely imagined inevitable. While there is a constant argument for agency and the idea that people can and must make choices in the present moment that determine the future, nothing is done to disrupt surveillance in the present moment, and the future seems to be unstoppable. While we can certainly think about the switch from Skynet to Legion, and the way this articulates a different set of social concerns and anxieties in 2019 than in the late 80s/early 90s, stopping Skynet delays but does not prevent what seems to be, from a material standpoint, the same future. In this same vein, when Grace dies so that Dani can use her power source to destroy the Rev-9, Grace tells Dani “we both knew I wasn’t coming back”; this frames her death as predetermined and fixed. Similarly, at the end of the film Sarah tells Dani she will help her to “prepare”, implicitly suggesting that the future cannot be prevented--further legitimizing the reading of the Skynet to Legion switch as an inability to meaningfully change the future. This brings us to the line used both in Judgement Day and Dark Fate: “there is no fate but what we make for ourselves”. While this line seems to suggest that we have agency and can make choices that change the future, the inability to actually enact change might instead lead to a counter reading of the line: is it that we make fate, or that the fate we get is the one we “deserve”? 

ii. Race (& Gender) Politics

There’s actually quite a bit to think about in terms of the racial politics of Terminator: Dark Fate. One the one hand, we can certainly think about the underlying savior discourse and the transition of this role from a white man to a Mexican woman. There is some fairly heavy handed Christian symbolism involved in John Connor as the white male hero—John’s initials parallel him to Jesus Christ, and Sarah comments “let her play Mother Mary for a while” when she thinks Dani has become the new target because a son Dani will someday give birth to will be the new savior of humanity. Sarah also comments that Dani isn’t the threat, it’s her womb. I want to go two directions on this comment: first, while it of course turns out that Dani is the hero herself, the idea of Latinx wombs as a threat is intricately tied to U.S. immigration policies and histories of eugenics, with the imagined threat being to the preservation of the (white) nation, so to here articulate the idea of Latinx reproduction as a kind of weapon to protect humanity is to offer something very different from a discourse of salvation through white reproduction/motherhood. Second, this line offers a kind of meta commentary on the way the previous movies claimed John as the savior (despite Sarah’s own heroism) to convince viewers that Dark Fate is more politically aware than previous Terminator movies, since Dani is the one destined to save the world (which  of course ties back into my previous discussion of the unresolved tension between fate and agency), not her son and not a white man.

Moving beyond the switch in hero, one of the main things I want us to consider in thinking about the racial politics of Dark Fate is the question of collateral damage: while it’s nothing unusual to see large amounts of collateral damage in the background of an action movie, here this damage seems to be located exclusively in the Global South (specifically Mexico). Most (but not all) of the destruction is disassociated from individual people--for example, in one scene the Rev-9 drives a bulldozer down the wrong side of a freeway, crushing or crashing into numerous cars which obviously have people inside, even though we do not see most of them. Scenes of damage or interactions between populations and the Rev-9 in the U.S. do not result in death the same way that they do in Mexico/along the border. When the Rev-9 is knocked off of a plane after take off and crashes into a backyard in Texas, for example, he picks himself up and apologizes to the white people barbecuing in the yard for destroying their shed before continuing on his way. Similarly, when he flies over a military base which is actively attacking him, he ignores them and continues his pursuit of Dani without fighting back. While in both of these cases, one might argue that this is connected to the Rev-9’s obsession with fulfilling his mission without needing to kill anyone who is not actually preventing him from reaching Dani, a) this is a work of fiction so someone decided that the Rev-9 could fulfill his mission with minimal collateral damage in some spaces but not others, and b) in the final fight at the dam, the workers simply disappear when the fighting begins, removing them from any risk of becoming collateral damage. 

Although there are action scenes throughout the movie, the last scene to involve mass violence against background characters is in the detention center. Before I get into the discussion of collateral damage/background character death at the detention center, I want to start by discussing border crossing and the representation of the detention center more broadly. There are some ways in which Dark Fate does attempt to address the violence involved in detention centers and U.S. immigration policy, but overwhelmingly it falls short. One of the ways we see this is in the actual crossing of the border and the way that it’s not particularly difficult or dangerous for Dani, Grace, and Sarah to cross. Certain popularized images of border crossing are deployed in ways which might suggest this is an authentic look at what it means to cross borders without documents (Dani, Grace, and Sarah ride on the top of a train with other migrants, which I suspect draws from the documentary Which Way Home, and Dani’s uncle, a Coyote, helps them cross the desert and enter the U.S. through a tunnel under the border wall), however the way these images are used as a shorthand undermines the danger undertaken/violence experienced by real undocumented migrants as the result of U.S. border policy. Riding the freight trains, called El tren de la muerte or La Bestia (the Death Train or The Beast) in real life, is highly dangerous and many people are killed or suffer serious and long term injuries as a result, and although we are told that Dani’s uncle is a good Coyote who gets people across safely (and he is of course helping his own niece), crossing the desert is extremely dangerous and many people die. Representing this crossing in maybe 10 minutes of screen time makes it seem easy and safe, obscuring the very real dangers faced by migrants in real life. Similarly, in the detention center border patrol agents are represented as apathetic but not particularly violent/dangerous, and the depictions of the cages migrants are kept in do not come close to reflecting the overcrowding experienced by the people who are being imprisoned in detention centers in real life. Furthermore, the imprisoned migrants do not have speaking roles and become non-agentive; the real suffering of undocumented migrants becomes nothing more than a setting, offering no significant or useful critique of U.S. border policies/politics. This brings us back to that question of collateral damage in the detention center. After Grace breaks out of the medical room she was being held in, she unlocks all of the cages and detained migrants begin to flee; although I have seen this described in some places online as her “freeing” them, escaping migrants become a distraction which aids in Dani, Sarah, and Grace’s actual escape from the detention center and the Rev-9 which has caught up with them. While most of the violence is enacted on border patrol agents rather than migrants (which is good), the Rev-9 does kill/harm some of the migrants who block his path as they attempt to escape, and the only border patrol agent we can identify as a speaking character to be killed is the Black woman who was pointedly apathetic to Dani’s pleas for help during the intake process. Most, if not all, of the other border patrol agents with speaking lines at the detention center are white, and seem to be framed as almost more sympathetic; the medical personnel fixing Grace’s wounds, for example, notices the metal interlaid in her body and are horrified by “what’s been done to her,” viewing her as a victim to be sympathized with. While one of the guards insists “we call them detainees” when Grace escapes from her handcuffs and demands to know where the prisoners are being kept, which offers an attempted commentary on the linguistic obscuration of violence and white apathy, we again must come back to the fact that the white medical guard is left unharmed while the Black guard is very pointedly killed. 

We might push back on this overall interpretation by thinking about the ways that in real life people of color can become complicit in systems of white supremacy which will ultimately harm them while continuing to overwhelmingly protect white citizens, as well as the way that the Global South so frequently is a site of collateral damage, and experiences the displaced violence of the Global North. However, what I want us to think about is that this kind of intervention is useless when it is left latent, and overall only feeds into the constant racialized violence which plays out in movies and television programming. Furthermore, I want us to think about James Cameron’s comment about Judgement Day when he said that the T-1000 looked like an LAPD officer because “the Terminator films are...about us losing touch with our own humanity and becoming machines, which allows us to kill and brutalize each other. Cops think of all non-cops as less than they are”. While some have argued that Dark Fate picks up this legacy by making border patrol the villains, and the Rev-9 does clearly represent a military/border patrol kind of threat, the Rev-9 is also always a person of color. The base appearance, played by Gabriel Luna, is a man of color, and every single person it transforms itself to look like (which we are told kills the person being copied) is also a person of color. Because of this, there is a way in which the critique of border patrol is divorced from white supremacy and people of color become part of what is imagined as the threat. 

iii. Thinking About Humanity 

Finally, this ties into the discussion of humanity and the idea of human exceptionalism and purity articulated throughout Dark Fate. As with much of what I have previously talked about, this is a frequently contradictory kind of discourse which simultaneously broadens and constrains the idea of what “humanity” is/means. One example of this is the way in which augments and terminators that grow a conscious queer the boundary between “human” and “machine.” When Sarah demands they shoot Carl in the face to see what he “really is,” Dani insists “I don’t really care what he is”; through this there seems to be, on some level, an articulation that there’s more to being “human” than literally being a human being. Furthermore, these characters are queer in multiple dimensions--Grace is a very butch, very queer feeling character, and while I don’t want to say that the reformed murderous robot said Ace Rights, Carl’s character does push back against the heteronormative coital imperative by through his relationship to Elisa and his adopted son Mateo, which offers a model of meaningful romantic partnership and family commitment which does not involve biological reproduction or sexual intimacy. However, despite these queer potentials, we are constantly pushed back towards a privileging of “human” through frequent assertions that Grace is human (not a machine, just augmented), that augmentation is unstable (Grace’s frequent metabolic crashes and dependence on a cocktail of medication to keep herself going), and Carl only has the approximation of a conscious and cannot love the way humans do. Furthermore, Carl and Grace both die, suggesting that this queering of the human/machine boundary is untenable. 

So what does “humanity” mean in Dark Fate? Ultimately, it seems to mean protecting the vulnerable and being willing to sacrifice yourself to do it. During the final confrontation between Dani, Sarah, Grace, and Carl, the Rev-9 says “I know she’s a stranger, why not let me have her”; Sarah responds: “Because we’re not machines you metal motherfucker”. While I obviously think the film offers a confused message on agency and that we need to be critical of the racial politics of the film, this ties into what I think (or what I would like to think) the movie hoped to say about border patrol and detention centers: we need to do better by refugees and undocumented migrants. It doesn’t matter whether we know someone, whether we imagine they are deserving or undeserving, what it might or might not cost us to do the right thing; we can choose, in this moment, whether or not we step up and fight against the detention of undocumented migrants, whether we resist ICE, whether we advocate for refugees. There is no fate but what we make for ourselves. 

[paunchsalazar]

hey!! bro ur my number #1 source for lupin III content so can I ask like how in the hell I go about watching all the series / movies / etc for it in order??? I’m really pumped for the live action so I wanna at least dip into all the other stuff. thanking ya kindly //tips hat

hello!!! what an honor!! oh my… ok I’m so sorry in advance… I’ve gotten a few similar asks and I started writing out a list and it was getting over 1500 words long so I had to try to chill out…so…

LUPIN III CRASH COURSE

I’m sorry that this is so long.. and consider I cut it down! but here is my intro because I know this franchise is huge and confusing!! (I’ve had multiple instances of friends being like ‘I tried to find that Lupin thing you like but I could only find the third one?’) 

I kind of liken it to Scooby Doo? it stretches some 60 years and has been handled by many different writers, directors, and animators across very different eras? most important to know! the order doesn’t really matter and things aren’t really sequential (save for where the three most recent shows) so you can jump in and explore whatever seems compelling! it’s overwhelming because there is so much but also nice because there’s something for everybody! if you like fun and pure, edgy, etc. etc. 

feel free to disregard everything coming… I will say my personal priority order is

- Castle of Cagliostro

- some episode of part 2

- part IV, ideally all of it! there’s filler but it’s hard to know which ones

- part I (or some episodes of it? up to you!)

- Fuma Conspiracy

- part V 

- part III (it’s great too!! just not as sequential as IV and V)

- First Contact… truly indulgent but its so cute!

(below I broke down a little about each and my favorite episodes, where to find them, etc. and there’s so much more but just doing everything below is a whole lot)

TV (All the shows except for The Woman Called Fujiko Mine are on Crunchyroll!)

Part 1 (1971) - crunchyroll!

The beginnings kind of a weird feeling because the first half was directed with one vision vs. the second half being co-directed by Takahata and Miyazaki, there’s a shift in Lupin’s personality and most significantly they sought to shed his ‘sense of apathy’ and make him more of a hero? something that’s echoed later on! honestly, I don’t think the transition is as dramatic as some people find it? but it does shift across the episodes and end on a sweet note!

truly they all have something to enjoy but I made note of 

episodes 2, 4, 5, 7, 9, 11, 13, 16, 18, 19, 23 

for some reason? really really suggest watching the last episode! but get a bit of the first and second half beforehand!

Part II/Red Jacket (1977-80) - 155 episodes - on crunchyroll dubbed and subbed

there are a lot so I tried to narrow it down to a few of my favorites/ particularly noteworthy ones? I bolded my absolute favorites! I’m sure I missed a few but save for a few two-episode arcs you can jump in anywhere and it’ll be fine.

episodes 1-79 are dubbed on Crunchyroll! In my personal opinion the script makes it worth it!! there are a bunch of non-dubbed episodes anyway if you want to get a feel for both

(these episode titles are often hilarious, misleading, and/or horribly embarrassing?)

1 - ‘The Return of Lupin the Third’ - just a good starting point!

5 - ‘Will the Leaning Tower of Pisa Be Standing?’

6 - ‘Tutankhamen’s 3,000-Year-Old Curse’

7 - ‘Venetian Super Express’ - I want to say this is a cute little road trip episode? it’s been so long

9 - ‘Steal the FIle M123’ - this dub… madness. very strange Christopher Walken impression for absolutely no reason?

10 - ‘Bet on the Monaco Grand Prix’

15 - ‘Crude Reproduction, Perfect Frame’ - Lupin keeps committing strange and uncharacteristic crimes, but he has no memory of doing so!

29 - ‘Fly Me to the Moon’ - Lupin has some mysterious Levitation Technique and everyone is after it 

32 - ‘Lupin the Interred’ A famed hitman is after Lupin!

34 - ‘But Your Brother Was Such A Nice Guy’ - this episode is one of the zaniest ones and that’s saying a lot… Vampires? Jesus? Really really funny moments though especially in the dub

42 - ‘Cruisin’ in Drag’ Lupin infiltrates the ship of a wealthy bachelor disguised as a woman 

45 - ‘Diamonds and Minx’ kind of a mess of people stealing from each other? 

46 - ‘The Island of Dr. Derange’

57 - ‘Alter-Ego Maniac’ - Inspector Zenigata goes criminal

62 - ‘Church of the Poison Mind’ - Jigen and Goemon stumble into a religious cult

69 - ‘Zenigata Getcha Into My Life’ - this title is awful but this episode is great. 

78 - ‘Ice, Robot’ - an inventor has made a machine that can cry diamonds!

79 - ‘Baton Death March’ 

81 - ‘Fujiko, Men are a Sorry Lot!” - Fujiko gets engaged to a Prince, the rest of the gang goes after the monarchy’s Golden Bell

96 - ‘Lupin’s Gourmet World’ tbh this is a vore episode but there are some great gang moments here and a really fun third act

99 - ‘Fighting Jigen’ - first anime episode (I think like in history? but I could’ve misread) in stereo! And I believe the first to air of the TMS staff’s work, you can tell because the style shifts to a more Miyazaki/Cagliostro look and this will keep happening for the rest of the show

101 - ‘Fervent Love at Versailles’ - a crossover episode with Rose of Versailles! 

103 - ‘The Wolf Looked at an Angel’ - Goemon is an angel I can say little else

104 - ‘The Most Dangerous Golden Bed’ - debut of perhaps the best opening! I love this episode?? so much?

112 - ‘Danger! Goemon’ 

122 - ‘An Unusual End to an Expedition for Napoleon’s Treasure’ 

143 - ‘The Miami Bank’ 

145 - ‘Wings of Death: Albatross’ - ah yes, one of the famed Miyazaki-directed episode, truly so worth it

151 - ‘To Arrest Lupin, the Mission at the Highway’ - another not exactly Miyazaki episode but a lot of the people he trained? They depart from the part 2 style(s) again but its a good bit of fun all around! Really lovely character animation

152 - ‘Jigen and the Hatless Pistol’ - Jigen loses his hat and thus his ability to shoot

155 - ‘Thieves Love the Peace/Farewell, Dear Lupin’ - the finale episode! Miyazaki-directed as well, and just beautiful 

Part III (1984) - 50 episodes - crunchyroll!

I’m still very early in this one so I can’t say much yet! But it gets a bad rep? Perhaps for being more inconsistent stylistically and a bit on the zanier end! But I really like it!! these drawings are such a blast! I think each bit has its merits and this one is no exception. Plus with all their freedom animation-wise they can do a lot of fun stuff!

The Woman Called Fujiko Mine (2012) - 13 episodes - on kissanime for certain and I think animetake?

this is the most dramatic departure from the rest of the shows/films/specials. Fujiko Mine is the star of this part! It definitely has less obviously plot-important episodes but it’s one narrative from start to finish. I must note that it’s by far Lupin’s edgiest, I think it’d be safe to deem this part as R-Rated. There’s sex, violence, sexual violence, abuse, bodily mutilation, obsession… a gay character who gets a pretty tragic fate (at first I was excited by the very existence of an LGBT+ character but he really goes through the wringer and never gets a resolution.. I don’t want to spoil). This is probably Lupin at his ickiest? I do like Jigen’s personality here! And his dynamic with Fujiko, but it’s a lot more disjointed than the other parts. She meets each of them separately and towards the end, Lupin and Jigen interact more but there’s barely a time when they’re all together. That’s not meant to be a deterrent but personally, I’m a sucker for their friendship and love them as a group so it’s a bit of a bummer. Sequential plot-wise though! This one is definitely captivating, a bit disturbing, and there is a plot-twist that really got me. The villain design is really cool too!

Part IV (2015) - 26 episodes - on crunchyroll, also dubbed on Funimation

This part is narrative-based and sequential! It still has some more standalone episodes but there’s definitely an overarching story throughout! I think they’re all worth watching and might leave little important bits that’ll be confusing later on. Essentially this part takes place in Italy for the most part and starts with Lupin getting married to a multi-millionaire heiress/model/celebrity who wants to get into the thief business. This one feels like a good combination of old and new, it’s not quite as silly as the earlier parts can be, but it’s full of nostalgia while still feeling original. I really had a good time!

This dub isn’t bad but!! It comes with a different opening and soundtrack, I guess Lupin’s pretty big in Italy and perhaps there were licensing issues? I’m not sure? But it’s a bit of a bummer to be without the Yuji Ohno soundtrack. The alternate opening feels more like a collection of stills and footage found throughout the show? It’s not horrible, just different! Regardless, the Part IV Japanese OP (vs. the Italian/US one) is worth a watch!

Part V (2018, airing on Adult Swim right now, summer 2019!) - 23 episodes 

I’m actually not done with this part but its good fun! more directly tied to part iv then the others are to each other. It’s more sequential as well with a few sub-arcs and since it fell on the franchise’s anniversary it has callback episodes with Lupin in various jackets in various tones. Interesting Lupin characterization here… he seems… sadder, wistful? and we get hints of Lupin lore! Lots of fanservice but… I love it! I still think they could’ve pushed it more? it feels somehow more reserved than part IV in some ways, which is already different from the 70s and 80s, but it’s got a lot of lovely moments!!

Films/TV Specials

From 1989 to 2011 they had a special every year!! So much!

Castle of Cagliostro (1979) - Available on Netflix! 

perhaps the best-known piece of media in the Lupin franchise? And rightly so. This film is Hayao Miyazaki’s directing debut and a blast from start to finish! This characterization of Lupin is definitely Miyazaki’s more than Monkey Punch’s but that seems to be the strange nature of the Lupin franchise! I could really go on forever… please watch it!

The Fuma Conspiracy (1987) - 

perhaps harder to find, but it’s on Kissanime! Goemon is getting married but before the ceremony is over the bride is taken by the Fuma ninja clan and the gang helps him to get her back as well as learn the story of a family heirloom? Really great stuff from everybody! Adorable Zenigata, the fluffiest and most handsome Goemon, cute Jigen, Fujiko, and Lupin interactions, a really really incredible car chase! Even with Cagliostro’s fame, this one has got some serious pizzazz

Episode 0: The First Contact (2002) - on Kissanime as well! 

A journalist asks Jigen how he met Lupin III, this is probably my favorite TV special? And features one of my favorite opening scenes in the whole franchise. The instrumental!! Perhaps each member of the gang at their purest, whatever that means, really great moments between everybody and peak Lupin and Jigen meeting and somehow signing up to be life partners

[unofferable-fic]

The Flower & The Serpent (Arthur Morgan x OFC)

Chapter 1 - Orphans from the East

Summary: In the early 1890s, the Van der Linde Gang were truly at their finest. Experts at stealing from the rich and giving to the poor, they've made a name for themselves across the West. Two of their newest recruits, a pair of rebellious Irish siblings with an unknown past, slowly find their footing and settle into their new lives as outlaws. And yet, as they grow older, threats from all sides begin to appear. A strained relationship with Colm O'Driscoll spells disaster for the gang, and no matter how far they roam across America, the world continues to change around them. If they want to survive, difficult choices must be made. No one is as they seem and the impending arrival of law and order threatens to tear the siblings, and everything they hold dear, apart. Is it too late for anyone to find a happy ending?

Originally posted by loga-boga

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Pairing: Arthur Morgan x OFC

Warnings: Language, violence.

Word Count: 4,699

Next Chapter

Playlist: “Red Dead Redemption 2 Trailer Theme” — L’Orchestra Cinematique, “Blessed Are The Peacemakers” — Woody Jackson, “Old Dog” — The Scratch

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A/N: Also available on AO3. So I've been obsessing over the Red Dead series since December and decided to finally bite the bullet and write a fic about my favourite cowboys and gals. That being said, this bad boy is the result of smashing heads together with a friend of mine, who is also a writer and contributing just as much to the narrative and characters. So this is essentially a mutual creation of ours and we hope y'all enjoy some western shenanigans with some Irish patriotism sprinkled on top. This is my first attempt at anything Red Dead related, so hopefully it isn't a steaming pile of trash! Any thoughts at all, comments are always welcome.

“What the hell is this?”

Arthur Morgan had found himself in many sticky situations in his short life, but standing with his revolver pointed at a pair of kids was definitely a new one.

Well, they were pointing their own guns right back at him, so it wasn’t exactly a situation that required basic manners.

“Looks like they got to our take first,” Dutch replied in disbelief from his spot between the two parties. Their agitated mounts continuously shuffled on their hooves, neighing restlessly as each rider did their best to focus on the newest threat before them. “Hold on a minute there, son—”

“Who are you lot?” the young boy demanded, with his revolver currently pointed directly at Dutch. Behind him, a girl had just finished shoving the much sought after contents of the stagecoach lockbox into a large bag. In her other hand was a gun pointed directly between Arthur’s eyes.

“You best drop that gun, you little shit!” a very wound up John Marston ordered. “Before I put a bullet in your head!”

The girl swiftly pointed her gun towards John, the threat apparently cutting deep. Despite her slight frame and obvious youth, her voice sounded confident from beneath her bandana. “Try it, greasy! I’ll take great pleasure in riddlin’ your fuck-ugly face!”

Of course, John was never one for staying calm. “You ain’t in charge here, little missy!”

“Marston!” Arthur cut in, seeing things spiralling quickly if they didn’t do something.  His furrowed brow was already covered in sweat beneath his hat. “Shut your damn mouth and take it easy!”

“No one needs to die here,” Hosea added, his voice surprisingly calm despite their current predicament. “We all need to relax.”

Dutch agreed and tried to take control of the situation as he always did. “My good friend here is right. How about lowerin’ your guns, fellers, and we can talk this out.”

The boy’s eyes flared on his mostly hidden face. “How about you get your monkeys to lower theirs first!”

While the insult barely fazed Arthur, John was a little more sensitive. “Shut your damn mouth!”

Well Jesus, this couldn’t possibly end well…

* * *

8th June, 1890, outside Waukesha, Wisconsin

Today is the day. Dutch wants me and Marston to scout out the road before the stagecoach comes through later this evening. It’ll be the kid’s first real try at a robbery like this, so Dutch thinks getting familiar with the area might help settle his nerves a little… I was against it at first, but he said we need the extra man if we’re going to deal with the Pinkerton escort afterwards.

As long as he keeps a cool head he should be fine, but he’s still not one for taking orders very well, even if he’s been with us for five years. Still young, dumb as shit, and eager to prove himself. I’m hoping he learns to listen though — Lord knows I’d hate to see anything happen to him.

* * *

“Grub’s up, folks! Grub’s up!”

Arthur closed over his journal at Pearson’s call. Glancing up to see the cook placing a steaming pot of stew over the fire, he returned the book to its spot on his bedside table. Morning had swiftly arrived at the camp, and most of the inhabitants were up and about already, attending to the many chores that needed doing. It was a clear and sunny day, with only a few fluffy white clouds littering the blue sky. The heat was somewhat intense despite the early hour and brought a light sheen of sweat to his forehead. This camp had been their home for some weeks now, and Arthur really didn’t mind. He quite liked it out here — he always preferred the open plains to dense cities. The cosy field where they now resided was situated on the bank of a river outside a small city called Waukesha. The surrounding lowlands were flat, open, and easy to traverse, but the gang was safely hidden from the nearest trail by a thick group of green trees. Though the region was home to some of Wisconsin’s largest cities, most of it was made up of farmland, so it was relatively easy for them to remain here without being noticed. He really hoped they could stay in these vast fields for some time. He could get used to travelling across the stretching green pastures atop Boadicea, and the first breath of fresh air he inhaled every morning bought a genuine smile to his face.

Arthur’s eyes flitted over the lightly dancing trees on the camp’s outskirts before looking to what had originally grabbed his attention. Though Pearson’s food was in dire need of some seasoning, his stomach rumbled at the prospects of a hot meal. He got to his feet, wiping some of his unruly hair out of his eyes, and went to get his share.

“Mornin’, Mr Morgan,” Susan greeted him as she grabbed a cup of coffee.

“Miss Grimshaw,” he replied with a nod, helping himself to a large bowl of stew.  “Mornin’.”

She took a seat on one of the nearby tables and urged him to join her.

With a shrug, he took a seat and set his bowl down. “Coffee good?”

“As always,” she said. “As long as it calms my nerves it’ll do.”

“What do you have to be nervous about?” he asked before taking a mouthful of stew and ignoring the mild bland taste.

“I seem to be more concerned with this stagecoach than you are!”

“You concerned about the coach, or the fact Marston will be near the coach?”

“He can be a headstrong little brat at times, but I’d rather not see him with a hole in his head.”

Miss Grimshaw shook her head in exasperation, but the gesture only brought a smirk to Arthur’s lips. She could be quite a harsh woman, especially when people lounged around and didn’t do their part in keeping everything running smoothly. Despite being the current flame of the ever flirtatious Dutch van der Linde, Susan Grimshaw refused to sit idly by and act like the lady of the manor. She was very much involved in ensuring that the camp remained a functioning unit. She was perfect for the role, probably because she could be positively terrifying if you didn’t help out.

“I’ll admit,” Arthur began, swallowing some food. “I wasn’t exactly happy ’bout the idea at first, but Dutch has faith in the little brat. And besides, he’s got me, Dutch, and Hosea lookin’ out for him. He’ll be fine as long as he does what we say.”

Susan eyed him carefully, but nodded, seemingly happy with his words. “As long as you do look out for him, Mr Morgan. You know how he can be — he reminds me a lot of you at that age.”

“Hey now! Don’t go comparin’ me to that fool—”

Miss Grimshaw cut across him with ease. “It is the reason you two get on so well, what with bein’ such like-minded individuals…”

Arthur finished his breakfast while she reeled off the many reasons why he and John were one and the same. Sometimes it as best just to keep his mouth shut, and this seemed like one such moment. His saving grace came when Dutch called him over to his tent.

“Mornin’, Dutch.”

“And a fine morning it is, son,” he replied with gusto and set down the book he had been reading. He offered Arthur a cigarette before taking one for himself. He lit the two, then continued on. “Hosea and Bessie took young John into town to get some supplies for tonight.”

“How’s he seem?” Arthur asked and took a drag.

“John? Seems fine to me. Maybe a little… let’s say, eager, to get goin’.”

“Still got faith in him?”

“O’course,” Dutch said, his voice firm. “We all gotta start somewhere, Arthur, you know that. He’s seventeen now, so it ain’t a bad age to get goin’. Heck, you did it even younger.”

He knew Dutch was right — there was no point letting John fester around camp doing nothing. They definitely didn’t need a second Uncle around the place, and Marston seemed keen to please… Or maybe he was just passionate about shooting something, who knew? It seemed that Dutch did though, and if there was someone whose opinion mattered, it was Dutch.

Arthur kept busy around the camp doing numerous chores while he waited for the trio to return. Chopping firewood and helping Pearson prepare their dinner for later at least meant that time flew by for him. He was playing fetch with Copper when John finally returned with Hosea and Bessie in tow. While the older couple went to check in with Dutch, Arthur and John mounted their horses and, with Copper running along side them, headed out down the road to the spot where they intended to rob the stagecoach.

“Why are we robbin’ it at this spot exactly?” Marston asked, scanning his eyes over the strip of dirt road.

“It’s the best distance outside town where a robbery won’t attract any attention,” Arthur explained, gently patting Boadicea. “The stagecoach is carryin’ bank transfers into Milwaukee, so you can bet that robbin’ it close to town would bring a whole heap of law on us. See that turn there?” He pointed off in the distance, tipping the brim of his hat to keep the shimmering sunlight out of his eyes. “It’s gonna come down that road there and loop this way. We’ll be waitin’ on this here ridge and hidden in some of the trees so that they don’t spot us.”

“What about them?” the younger boy asked. “They got any guns?”

“Four in total, if Hosea’s intel is right. So we should be able to take ’em out with the four of us. They’ll have a backup escort comin’ in from there, though.” He pointed up the road in the opposite direction. “’The bank in Milwaukee will be sendin’ out some of their own guns to meet the stagecoach just a little ways up the road, considerin’ this lil strip is so deserted. So we’re expectin’ maybe four more guns to show, which is why Dutch wants you involved. Once we rob the coach and the extra men arrive, there’ll be enough of us to take ’em out if needs be.”

“Sounds dangerous,” John mused, hanging on his every word.

Arthur let out a chuckle and proceeded to light himself a cigarette. “What, you scared, boy?”

“No! I ain’t scared, just bein’ honest about things.”

“You’ll do just fine,” the older man reassured him and offered him a cigarette. “You just need’a keep a cool head, and do as Dutch says. That’s how we make sure things go smoothly.” He paused to take a drag. “You ain’t got nothin’ to worry about if you do that.”

John nodded and puffed away to calm his nerves. “Thanks. I’m just glad that you’ll have my back, brother.”

“That’s what family is for,” Arthur responded with a small grin. He watched Copper as the dog sniffed along the roadside. “You’ll be fine.”

The two of them remained there for a few moments more as Arthur went over their plan of action in more detail. Though he knew how John could be, he was glad to see that he was eager to get to work. He hoped this wouldn’t make him over excited when the time came, but he thought back on what Dutch had said — he needed to put faith in his brother to do the job right. Thankfully, Marston had yet to give him a reason to doubt him so aggressively.

They returned to camp and waited out the rest of the day going over their plan with Hosea and Dutch. They had everything planned perfectly — it had to be, otherwise they could find themselves in a sticky situation once the Pinkerton escort arrived. Regardless, spirits were high at dinner time when Arthur, Dutch, Hosea, and young John mounted up and headed out to rob the stagecoach. They road through the fields in the late evening sun, avoiding the main road so that they wouldn’t be spotted ahead of time. The familiar buzz that came with performing robberies and the like was already stirring within Arthur’s chest. It was always risky business, but a part of him loved the thrill and feeling of power that came with these takes. Knowing that the money would be given to those who needed it most also gave him a nice sense of self-worth — it was one of the only things in his life that made him feel that way. He wasn’t a good man by any means, but he still tried to do some small bit of good where he could.

“And here we are,” Dutch announced from atop his horse as the group arrived at the waiting spot. He glanced at his pocket watch and nodded. “Right on time. Does everyone remember the plan?”

“O’course,” Arthur confirmed.

“Good. Now, cover your faces; we won’t be waitin’ too long for the stage to swing by.”

Arthur quickly pulled his bandana up to cover his mouth and nose and double-checked that his guns were fully loaded and ready to be used if things took a turn.

“Remember, gentlemen,” Dutch continued on. “No killing unless absolutely necessary.”

“Best of luck, everyone,” Hosea added.

Then the group descended into silence and waited.

And waited.

And waited.

Arthur’s fingers flexed on his reigns. He could see John beginning to get anxious. Something definitely wasn’t right.

The only noise they could hear was the light breeze on the leaves above their heads, and the persistent ticking of Dutch’s pocket watch as he checked the time again.

“Somethin’ ain’t right,” Hosea whispered, mimicking Arthur’s own concerns. “They should have come through here by now.”

“Maybe you got the times wrong?” John suggested. “Or the place?”

Arthur shook his head. “That ain’t it. We heard from multiple people and all of them said it would come through this road at this time.”

“So what do we do then?”

“Well,” Dutch sighed, somewhat vexed with the development. He pulled down his bandana and turned to the rest of them. “We can’t stay here and wait for it to possibly arrive. I suggest we head up road and see do we come across it. But we stay out of sight and appear as inconspicuous as we can until I say otherwise.”

Hosea nodded and uncovered his face. “I agree. It’s definitely a better idea than waitin’ here and hopin’ for the best.”

“In that case, follow me, gentlemen.”

Arthur followed as the group made their way through the fields adjacent to the strip of road. They kept an eye out, but met no one along the way, and their anxiety only grew with each passing second. This was some take according to the locals, so missing it would be a great loss to the gang.

“Up ahead!” Dutch suddenly announced in a hushed tone.

Arthur looked up to see a stagecoach in the distance, stationary on the road. “Why’s it stopped?”

“Because,” Dutch growled out. “It’s bein’ robbed.”

“It’s what?”

“Somebody beat us to it! C’mon!”

Right well, this certainly wasn’t an outcome for which the gang was prepared. Arthur  hastily followed Dutch’s lead as their horses galloped up to the precious stage. He strained his eyes to get a look at who had intercepted the take before they even had a chance. The closer he got, the more information became apparent to him — two figures crowded the rear of the coach, one of whom was emptying its contents into a bag. The other stood by guarding her every move. The drivers and guards were nowhere to be found. At first, Arthur just assumed that the figures were small because of their position in the distance, but the closer he got, the more he realised that this was no normal robbery.

“It’s a pair of kids!” John exclaimed, disgust evident in his tone. “We got beaten to it by some damn kids!”

“Kids?” Arthur repeated in disbelief.

With the noise of their arrival, the pair of young thieves looked up from their prize to see four men thundering towards them on horseback. They were clothed in dirty outfits with bandanas hiding their identities. A quick once over told Arthur that it was boy and a girl who had managed to rob an obscene amount of money from the stage. How in the hell had two kids manage that?

Perhaps riding directly to them hadn’t been the best idea, as the pair were quick to point their guns at the gang.

“Hold on there!” Dutch called, grinding his mount to a halt and holding up his hands. The trio behind him followed suit, but Arthur and John instead chose to aim a weapon at each of them just in case.

“What the hell is this?” Arthur asked, completely dumbfounded with the situation they found themselves in.

“Cé hiad na leaids sin?” the girl asked her companion.

“The fuck you say?” John demanded, already losing his temper.

“Who are you lot?” the boy demanded, his eyes very skeptical already and completely unfazed by this strange man’s apparent aggression.

And now here they were — facing off against a pair of kids on a quiet dirt road. Sometimes Arthur really got tired of this shit.

“How about you get your monkeys to lower theirs first!”

“Take it easy, son,” Dutch answered calmly with his hands still raised. “We mean you no harm.”

“Your friends with the guns there don’t give us much comfort,” the girl replied in a thick Irish accent. “Now do as he said and get them to lower their weapons!”

“If you give me your word that you won’t shoot ’em, I will.”

“Is that a good idea?” Arthur asked, not exactly enjoying pointing his gun at a kid, but also not liking the idea of being defenceless.

“Trust me, Arthur. You and John, put the guns away.”

Arthur released a heavy sigh, but listened to his mentor and returned his gun to its holster. “Goddammit…”

John obliged, though he was far more hesitant to listen. A stern look from Hosea got the point across.

“Now,” Dutch announced. “We did as you asked. How about you meet us halfway and lower yours?”

The pair exchanged a knowing look before slowly lowering their revolvers, but not putting them away. The boy called out to them again. “Now, as I was sayin’, who are you lot and what do you want?”

“No harm in bein’ honest. We were the ones plannin’ on gettin’ that coach, but it seems like you beat us to it.”

“Not our problem,” the girl replied. “We got to it first, so you’s aren’t gettin’ any of it.”

Dutch shook his head. “We ain’t gonna steal it from you. You two earned it, fair and square. I don’t quite know how you managed it, but I’d be lyin’ if I said I wasn’t impressed.”

“We’re used to bumping into rival gangs every now and then,” Hosea added with a goodnatured chuckle. “But not so used to seein’ kids out on jobs.”

“Yeah, well,” the girl grumbled. “You gotta get by somehow when you’ve nothin’ else.”

“Of course!” Dutch agreed. “We ain’t here to judge.”

As they spoke, Arthur briefly turned his head as the sound of horses grabbed his attention. He looked back down the road from where they came, and suddenly remembered an important detail of the plan. “Awh, shit. We got company!”

“Wait, what?” the boy asked, looking baffled. “What’s goin’ on?”

“The Pinkertons!” Hosea confirmed just as the escort appeared at the end of the trail. “How many we got, Arthur?”

“I see six comin’ in!” he confirmed, looking through his binoculars at the patrol heading down the road.

“That’s more than expected!” John commented in dismay.

“Pinkertons?” the young girl repeated. “What Pinkertons?”

“An escort sent to meet the stagecoach,” Dutch elaborated. “I assume by your confused expressions that you two didn’t know about that part.”

“Jaysus Christ,” the boy muttered and drew a carbine from his back. “No, we didn’t.”

“Well then I think your best odds are to come with us, or you can stay here and try to fight off six guns.”

The kids shared a look again before the girl spoke first in a language that Arthur didn’t understand. “Cad a dhéanfaimid anois?”

The boy shook his and gave her hand a squeeze. “Níl an dara rogha againn. Let’s get outta here.”

“You got horses?”

“No,” the girl explained. “We came on foot.”

“Well then, you hop up here with me, son, and your partner can jump on with my friend, Mr Morgan, there.”

The boy took Dutch’s outstretched hand and hauled himself on to the back of the horse, while Arthur offered the girl a hand and helped to pull her up behind him. “Hold on tight now, you hear?”

“I’ll be grand,” she replied, though he could hear the hint of fear in her voice. “Just move.”

Just as shouts and some shots rang out from the arriving escort, the gang sped off and through a nearby bunch of trees in an effort to lose their pursuers. Arthur felt the young girl hold on to his shoulders tightly as he pushed Boadicea as hard as she could go. The noise of the horses thundering along and jumping over bushes and fences was one that he knew well, and one that was always accompanied by a small amount of worry and excitement. He could hear John and Hosea urging their mounts forwards, realising how risky it was being out in the open like this. The head start thankfully gave them a decent advantage over the Pinkertons as they spend through the Wisconsin fields. Unfortunately, despite the distance between them and the men chasing them, the Pinkertons persisted and were hard to lose.

“They’re still on us,” the girl shouted from behind him. “You’s need to do somethin’!”

“I know,” Arthur answered, breathing in deep. “Just lemme think.”

“What about those trees?” William called, pointing to the outskirts of a bunch of greenery just in front of them.

Right on queue, bullets whizzed over their heads, some a mile off and others unnervingly close.

Arthur let out a huff and ducked his head down as one very nearly got him. “Keep your head down, girl! We’re sittin’ ducks out in the open like this!”

“We can lose them in there!” Dutch confirmed. “We just need to make it past the tree line.”

Behind them, the rate of gunfire began to increase the closer they got to the safety of the trees. The escort clearly knew that they’d lose them amidst the thick foliage. Thankfully, the trees drew closer and closer and their bullets managed to miss their targets as they shifted side to side to throw them off. Arthur breathed a sigh of relief as they breached the tree line and slowed to navigate between the brush. He felt the girl’s grip on his frame ease up a little with their new cover and he gave her a swift glance to see how she was holding up.

Dutch called out orders to once more grab their attention. “Everyone, veer left and follow me!”

They manoeuvred carefully between the tall trees and bushes, keeping a careful eye out behind them incase the escort appeared on their tail once more. Thankfully, as they weaved to and fro between the shrubbery, the Pinkertons weren’t seen again. When they finally broke through the edge of the forest and reappeared in an open field, the sun had just about set on the distance and the threat seemed to have been lost.

The horses were eased to a halt and Arthur placed a loving pat on trusty Boadicea’s neck. “You did good, girl.”

“Everyone alright?” Hosea asked the group. The responses he received were unanimously positive though out of breath.

“That certainly could’ve gone worse,” the boy mused as he jumped from The Count.  Seeing no danger around, he pulled his bandana back down to reveal his youthful face. Arthur was surprised to see just how young he was — he looked to be about the same age as he was when he first joined the gang. Despite this, he looked like he was sleeping rough, with a dirty face and a fresh red scar that ran over his right brow and down his cheek. “But at least nobody got shot.”

Arthur noticed the girl dismounting to join her companion and she too pulled off her mask. She seemed just as young as him and showed signs of dirt and older scars. Immediately she went to the boy’s side and gave him a once over. “Are you alright?”

“Yeah,” he said with a small smile and let out a huff as he got his breath back. “I’m grand. Are you?”

“Yeah. Thankfully these lads are good riders.”

She wiped her brow and reached back to tie her messy brown hair out of her face as Dutch addressed them. “I thought you two did pretty good out there, considerin’ you managed that stage all on your own.”

“Yeah, bar the squad that we weren’t even remotely prepared for showin’ up,” the girl replied with a pained smile. She looked up at Dutch and gave him a thankful nod. “We definitely would’a been captured or worse if it wasn’t for you lot.”

“Outlaws gotta stick together in times like these,” he said calmly. “We’re livin’ in different times, and we’re just tryin’ to survive.”

The boy nodded in agreement and then shared a look with the girl. “We appreciate the help Mister, uh…”

“Van der Linde,” Dutch replied and reached out to shake their hands. “Dutch van der Linde. These are my friends, Hosea Matthews, Arthur Morgan, and young John Marston.”

“I’m Maebh Hennigan,” the girl replied. “And this is my brother, William.”

“A pleasure. Can I ask, is it just the two of you? No parents or family around?”

Maebh flinched slightly at the question. “Uh, yeah. Our parents died a while back and the rest of our family is back in Ireland. We have nothin’, so we have to rob sometimes to get by. But that doesn’t matter, we owe you’s a lot for this. I suppose it's only fair that we give you’s a bit of the money from the stage.”

Dutch grinned at her suggestion and Arthur recognised that look almost immediately. He could already see his leader’s mind coming up with his next plan of action. Based on everything that happened today, he thought he had an idea of what it might be. “That’s a very kind offer, Miss Hennigan, but I actually have an offer for you.”

Maebh and William met each others gaze before the latter sceptically asked. “You have an offer for us?”

“As I already said, outlaws have to stick together if we want to get by out here. It’s the best way to ensure that we survive, that we live.”

Dutch was descending into a classic rousing speech with which Arthur and the group were quite familiar. He had heard it many times himself when he needed a bit of self belief in what they were doing. The most notable time he heard it was when he first met Dutch and Hosea as an unruly fifteen year old with nowhere to go and no one to turn to. Yes, this was certainly an encounter with which he had some personal experience.

Atop The Count, Dutch stretched out his arms in a welcoming gesture and grinned from ear to ear. “If we want to live like Americans, then we got to have each others backs, no matter how tough or worrisome things may be. You need a family, you need stability, you need to know that you are safe. But I think that today is a sign of what you both could have.” He paused and Maebh and William hung on every word. “My offer to you two, is how’d you like to join my gang?”

[lastoneout]

I actually like didnt hate the new Aladdin remake?

Like dont get me wrong it wasnt great. A lot of it felt really, really forced, like certain lines and scenes were only there becuase they were in the original and had no purpose or meaning behind them in the re-worked narrative, and aside from Naomi Scott and Will Smith none of the actors really seemed like they gave a shit or were trying at all, especially Aladdin. His line delivery was sub-par and forced as hell, and he ended up feeling like a side character when he is supposed to be the main character? It really felt like the plot was just happening to him. Plus there was a lot of stuff added that didnt seem to serve any purpose at all and they opened with a narrative device and then didnt end with it?? Which like true the og movie did that too but it was more egregious in this one since it was so well established and involved a main character so seeing it fall flat was extra disappointing.

But there was also a lot of good stuff?? As pointless as she was I though Dahlia was fun and her actress had good comedic timing that added a lot of life to the scenes she was in. And Will Smith was clearly having a BLAST like his energy was phenomenal and it really helped with the immersion, since up until he was introduced it felt less like a big budget Disney movie and more like a soulless shot for shot play at Disneyland. Plus Naomi Scott was amazing. She really brought a lot of needed depth and force to Jasmine and helped her feel less like a sexy lamp(which as much as I like the og Aladdin she really was a sexy lamp) and more like an actual person. And my God she was KILLING the songs like really her last song has me in tears it was so powerful. She is an amazing singer.

And for real tho I feel like Jasmine really got what she had always deserved in this movie. Unlike the Beauty and the Beast remake this one didnt seem to fumble it's feminism and was consistent and impressive. No spoilers, but it def made it obvious how poorly Jasmine was treated in the og movie.

I mean in the original Jasmine seemed flat and naive to the point of stupidity and only had a few token 'feminist' moments which were dropped the second she found a guy that she actually wanted to marry. In fact her most powerful moment was when she had to submit herself sexually to a monster who had tried to kill her and like?? That's actually gross as hell imo. I mean what happened to her desire to travel?? Her insistence that she was worthy of respect and not a prize to be won?? I mean at the end she still has to convince her dad that it's ok to let her marry him. No agency, no depth, nothing. As soon as she finds Aladdin she ceases to be a character and fully reverts to 'Aladdin's sexy lamp' and I am over it.

Plus better people than I have pointed out how over sexualized she was, and while I doubt the costume in the new one is even a little historically accurate, she was fully dressed and never once was framed as 'exotically sexy' or even sexy at all. Her power and ferocity and strength came before all of that. (And like the scene where she comes in dressed in her full princess regalia I swooned SO hard like she had such a presence and it was breathtaking. My disaster bi was showing HARD.)

But tbh as much as I love it, Jasmine's arc outshone all of the others to the point that it really felt like her movie. Aladdin is arguably the driving force of the narrative, but nothing about him stood out, and I honestly think the movie might have been better without him?? Or at least with him taking a backseat. And I mean it didnt help that the movie shortened or scrapped a lot of his defining character moments(not unlike what happened to the Beast in that remake) so his character was seriously lacking any complexity or depth, and I had a hard time believing that Jasmine could like him. When you think he is going to go back to being a peasant and leave it felt...natural? Like I fully expected him to go on and find adventure or something and only come back once he had grown more and found his self worth. Him marrying Jasmine felt...idk I mean it was gonna happen but the movie would have been just as good if he didnt. It felt meaningless.

And like...jesus the sidekicks. Carpet was good! They actually did a good job of giving them personality, but Abu felt completely pointless and they took away a lot of his agency and replaced it with "he is a monkey with no self awareness lol" and that didnt work given how important he is to the story? And Iago....Iago shouldnt have been in the movie. They def couldn't seem to decide between him being a self aware henchman and a normal bird and at the end of the day he more than any character he legit just felt like he was only there because he was in the original. The movie would have been better without him, or wirth him legit just being a bird. He seriously distracted from every scene he was in.

So yeah, Jasmine and the Genie were the best parts, and outshone everything else, which was def a lot of mediocre writing, acting, and singing. Plot holes were filled in, but at the expense of the main character, and there were def a lot of pointless additions that while charming, distracted from the story. The fumbling of the narrative device at the beginning was disappointing, and a lot of the restructuring was the same. But, it is worth a watch if you like Will Smith and Naomi Scott. Those two steal the show and make it all worth it, and Jasmine's character really shines.

I would watch it again, and it was fun and at the end of the day that's all that really matters.

[beckyhop]

I watched a crappy anti-SJW documentary today

I may have been re-listening to Hbomberguy’s Measured Response videos as background noise lately, and it inspired me, in between chores and drawing today, to check out the inspiration behind some of his early popular videos: the infamous “documentary” The Sarkeesian Effect.

I’ll fully admit to not having watched Anita Sarkeesian’s videos (making me about as knowledgable about her work as Davis Aurini himself), and my opinion on her is one of massive indifference, though I think she deserved none of the awful harassment she got. However, as a connoisseur of shit movies with questionable messages…this sounds like a goldmine to me.

I know I’m late to the party on this one, but screw it, a documentary shouldn’t feel limited to the time period it was created in. And even as someone who’s not interested in Sarkeesian’s videos, I don’t think that should matter because a good documentary shouldn’t just preach to the choir; it should be able to inform people who may not have any stakes in the game.

…emphasis on “should”.

For a better idea of what I’m in for here, check out We Hunted the Mammoth’s coverage. Also, this is a great opportunity to break out my updated Alt-Right bingo card!

So without further ado, here’s my notes on Jordan Owen and Davis Aurini’s The Sarkeesian Effect: Inside the World of Social Justice Warriors

First shot is of Jorden Owen’s “production logo”

Between the font choice and the accompanying sound, I think he’s trying to imitate the THX logo. It fails because it’s butt-ugly and the “JO42” is barely readable.

The movie proper starts with this quote:

“Our censure should be reserved for those who would close all doors but one. The surest way to lose truth is to pretend that one already wholly possesses it”

-Gordon W. Allport

Time will tell how ironic this choice may be.

The title sequence is a CGI shot going across a goddamn CONSPIRACY THEORY WALL, WITH THUMBTACKS AND STRING AND EVERYTHING. Good job establishing your side’s credibility already, Jordan.

OH YEAH, THAT’S RIGHT, THUNDERF00T’S IN THIS DESPITE DECRYING THE DOCUMENTARY LATER ON. Really, though, Jordan took out all mentions of Davis Aurini, so I’m surprised Thunderf00t’s still in this thing.

Speaking of Thunderf00t, does he always look like he just rolled out of bed, or is it just me?

Oof, I think Jordan Owen needs to get a new pop filter.

Alright, I think you can cut Anita a little slack for forgetting that Zelda was the main character in two of the CD-i games; Nobody wants to remember those, and they sure as fuck aren’t canon.

Bringing up the assumption that Anita’s an “art critic” is some rather flimsy justification for interviewing a traditionally attractive female erotic photographer, Owen. Also, WHY CAN I SEE YOUR HANDS IN THE SHOT, HAVE YOU NEVER WATCHED A GOOD DOCUMENTARY BEFORE.

God, that’s an awkward jump cut. You couldn’t throw in some B-roll to make that cut less awkward? AND WHAT THE FUCK IS THIS LIGHTING, COULD YOU NOT FILM HER IN AN AREA WHERE THE CHANGING OUTDOOR LIGHTING WOULDN’T FUCK UP THE WHITE BALANCE

The hell does Mallorie mean by not seeing female game characters as “women” and learning not to “anthropomorphize” characters, and only seeing characters as a means to further a story? Isn’t that kinda defeating the purpose of engaging in media? She’s acting like video games and all fictional characters should exist in a politics-free vacuum, when they really, really can’t. Taking away a character’s wants, desires, and their cultural implications kinda ruins the effect of a story, if you ask me.

Aggggh, the quick shots of each “social justice warrior” game critic are cut way too fast for me, I had to pause to actually read some of the names and credentials here.

Another interview subject who couldn’t be bothered to clean up his appearance before showing up on camera. Sigh.

AGGGGH, FUCKING FONT COLOR CHOICE, please tell me this is other peoples’ pet peeve as well.

I’ve seen documentaries where you could hear the interviewer’s voice in the interview, or see them actually in the shot, but those were usually done for a purpose (such as making the question being asked clear to the audience), and the interviewer themselves usually has enough screen presence to pull off actually being seen on camera (look at most Werner Herzog docs, for example). Jordan Owen has the screen presence of a mildewy sponge, and I don’t need to hear him go “right” and “uh-huh” every few seconds during interviews. I LEARNED THIS IN ONE GODDAMN CLASS IN COLLEGE, HOW HAS HE NOT LEARNED THIS YET.

Side note, I find it kinda eyeroll-worthy that, when listing logos of sites that have been pro-Sarkeesian, both Gawker and Kotaku are shown. Dude, Gawker owned Kotaku at the time you were making this, that’s a little redundant.

Also, as someone who has worked freelance, I don’t care much for Brad Wardell’s assumption that freelance writers are willing to work for free so they can push their agenda. Fuck you, buddy.

Black Sabbath quote, huh? Man, I’d love to see Ozzy Osbourne’s opinion on being dragged into this shit.

Oh god, more shit lighting, I should not be seeing goddamn artifacting or lighting glares from the mirror in this shot. And could you not nudge the camera tripod a little further down? Maybe fix the focus a little? And why is your fucking shoe in this shot?!

One of the subjects in this interview says that Sarkessian claims that anyone who enjoys media with sexist elements is a bad person. Again, I haven’t actually watched any of Sarkeesian’s stuff, but I think this viewpoint sums up a lot of angry gamers’ reaction to even the slightest criticism of anything they like. For the record, I don’t think you’re a bad person if you like something with problematic elements, but people are allowed to criticize media with sexist elements because how else are we going to progress?

Jordan. I know you had lapel mics on hand for this documentary. I know you and Davis got a LOT of money to produce this thing. Could you not make the sound quality a little better? Because I SHOULD NOT BE HEARING ANY ECHOING.

Was…was that an actual dip in volume? Where did you learn your skills, Jordan, the James Nguyen School of Sound Editing? Also, I had to move my left headphone speaker away from my ear for a second because I thought I heard something in the other room, and noticed that once I did, I could hear NOTHING the interview subject was saying. Fucking…can he not balance his audio channels?

These are the kinds of threats that several interview subjects think Anita should have just brushed off:

…you guys, uh, don’t see any bigger problem with women being called whores or being told to kill themselves over goddamn video game opinions? Okay then.

I’M ONLY 20 MINUTES IN.

“Police don’t just delete records…do they?” Uh, yeah. Sometimes they do. A quick Google search might have told you that.

You know, normally if the audio quality of a call is crappy, you put subtitles on the video. Just saying. Also, even if nothing comes of a terror threat, IT’S STILL LAW ENFORCEMENT’S JOB TO INVESTIGATE IT.

I don’t need to hear every intake of breath in your narration, Owen.

He…he’s actually using a fanfiction of Sarkeesian threatening Randy Pitchford and then killing him over Aliens: Colonial Marines as a talking point? What?! This documentary just got hilarious.

“Why would Anita Sarkeesian…endorse the spread of such a chilling snuff narrative?” Uh, because it doesn’t sound like it’s a very serious story, and anyway doesn’t most of the gaming community hate Aliens: Colonial Marines and Randy Pitchford’s attempts to brush over that controversy? I mean, I think a fanfiction that also costars Spider-Man and the Green Goblin should be taken way less seriously than actual rape and death threats.

Christ, if you’re gonna have lower thirds, keep them up long enough for people to read them without pausing, asswipe.

Wait, are you seriously crediting this guy as a Wikipedia editor? Isn’t that like crediting someone as a clothes-wearer? He also claims to have edited over 1,000 articles which…man, that’s a weak claim to fame.

Okay, so Wikipedia guy says he was trying to point out on the Talk page for Sarkeesian’s Wikipedia entry that there was nothing on there about how she once worked with a pickup artist (he points out this as hypocrisy, though let’s be real, we’ve all associated with people we grow to despise the views of later in life), and he claims that the Wikipedia admins were forbidding him to edit GamerGate related articles. Sounds to me like the higher-ups at Wikipedia were just getting really, really goddamn tired of vandalism on Wikipedia pages for people related to GamerGate, and this guy’s editing attempt just got lumped in with a lot of the bullshit.

Now the Honeybadger ladies are criticizing Sarkeesian for bringing up toxic masculinity and relating it to a then-recent mass shooting. I don’t deny the questionable nature of those comments, but you guys ARE aware she’s nowhere near the first (or worst) person to use a shooting to bring up one of their favorite talking points, right?

AGHHH, WHO’S MAKING NOISES RIGHT INTO THE MIC MY POOR EARS

Why is all the footage of Wikipedia guy so weirdly shot and edited? It looks like he’s trying to scoot out of the frame.

Oh hey, actual context for that “I’m not a fan of video games” clip I’ve seen floating around in gif form. Sounds to me in this video like she’s just too turned off by the video game fandom and the content of certain games to really consider herself a gamer. And from personal experience in other fandoms I’ve been in, I totally get it.

I never thought I’d see a gamer documentary actually defending Jack Thompson and his views on violent video games, after all the backlash I saw against him in the 2000s.

AGAIN with the awkward jump cuts, Jesus.

Oh, is Jack making the old “How can you get angry about THIS sexist issue when there’s BIGGER sexist issues out there” argument? Despite the fact that most feminists I know are capable of multi-tasking?

JIHAD! JIHAD! HE SAID THE MAGIC BUZZWORD! HE COMPARED HER TO RADICAL ISLAM!

Oh don’t try to one-up her in the Who-Got-More-Death-Threats Olympics, Jack. Also, wow, he actually sounds bitter that she got an award for her coverage (even claiming that awards undercut a critic’s credibility!) and that some people actually like her while he’s gotten nothing. Overall, Jack Thompson sounds like a whiny old man who’s mad that nobody respects him the way he thinks he should.

Thunderf00t is claiming that Rebecca Watson’s reaction to being propositioned at 4 AM during an atheist conference was overblown. Dude, in a society where women can and do get date raped under similar circumstances, I think she had every right to be creeped out and explain to men why she felt that way. And I don’t think she’s saying “all guys shouldn’t hit on girls” I think she’s saying “please consider if you’re coming across as a creep”. And let’s be real, a LOT of dudes don’t consider that.

Christ, how many instances are we going to get of a dude in this documentary trying to one-up a woman’s claims of harassment by saying “I’VE SUFFERED WORSE, GROW THE FUCK UP” Like…dude. It’s not about you.

What…what even is this bit of editing?

That’s how this shot is edited in the film, I swear to god.

Hoo boy, are we touching on the “PTSD is only for veterans” chestnut?

Hey, now I know the context of that one screencap of a feminist with bright red hair! And her name (Chanty Binx)! And it…sounds like she was just trying to make a point and was getting more and more pissed off that people were interrupting her? Really, this is what anti-feminists like making memes out of? (Also, she apparently later admitted she got pretty rude)

…wait, what does an “adult performer” have to do with any of this? Jordan Owen, I once again SERIOUSLY question your methods in picking interview subjects.

Okay, the performer, Mercedes Carrera, clarifies that she thinks that women who claim their failures (particularly in STEM fields) are rooted in misogyny are being ridiculous. She cites her own experience in a STEM field as proof. Ma’am, I don’t doubt your experience, but let’s not invalidate others’ here. Perhaps you were just lucky?

Apparently one of the interviewees thinks “mansplaining” is one of the most sexist terms ever. Pfffffffffffft.

Hey, come to think of it, in this section about “professional victims”, do we have any actual evidence that the women in question received any money for their victimhood? Maybe that might have helped your point, buddy.

One interviewee, Jim Goad, says “Do micro-aggressions EXIST in sub-Saharan Africa” WHAT IS HE EVEN TALKING ABOUT?

Seriously, why are so many of these interviews so weirdly cropped? Is this “artsy”?

Ugh, thanks a lot for reminding me of the existence of Shredded Moose, asshole.

Brad Wardell claims he didn’t know anything about the gross pornographic cartoon the Shredded Moose guy drew of Zoe Quinn when he reached out to said artist, and claims that Quinn and people on her side (including Jim Sterling!) were lying about him reaching out to him because of the anti-Quinn cartoon. Maybe so, dude, but you really, REALLY should have done some research on this artist before making that job offer. That’s just good business sense.

Oh, THAT’S why Mallorie Nasrallah’s an interview subject: she worked with Zoe back when the latter was a nude model, and claims that Zoe was a compulsive liar!…and this has anything to do with video games how? (also, not sure about verity of the compulsive lying thing)

You know, even if posting images of Zoe’s porny past doesn’t count as “revenge porn” in the strictest sense, the fact that people are bringing these up specifically to discredit her IS A GODDAMN PROBLEM.

This is the image Jordan uses when discussing “social justice warriors”:

…really making your side look mature there, bud.

Jim Goad compares SJWs to “cell warriors” in prison WHAT THE FUCK IS THIS DUDE ON.

Frankfurt School! Ooooh, bring up Cultural Marxism for the sake of my bingo card.

Now we’re seeing a collage of “SJW” game journalists and their respective publications. Shit, this was produced while Jim Sterling was still working at The Escapist, feels like that was forever ago.

Oh of course this documentary would feature people who hate the Southern Poverty Law Center.

More “wisdom” from Jim Goad: “When I was a kid, if you were a Communist or a homosexual, then you’d lose your career. Now communists and homosexuals are in power and are seeking to destroy the career of anyone who’s not down with their agenda.” OOOO! HOMOPHOBIA! I’m one “red pill” mention away from a bingo!

“Orwellian idea of hate speech”? You know, sometimes I wonder if the political Right ever actually understood George Orwell.

Oh for the love of…

STOP CROPPING THINGS SO WEIRDLY, JORDAN OWEN. Or was that Davis’ idea, given how similar this is to the editing of that Alt-Right Dogs trailer?

Citing Breitbart as a source? AHAHAHAHAHAHAHAHAHA oh God, this feels even worse in the current political climate.

I’m an hour and 40 minutes in AND THERE’S 50 MINUTES LEFT, GOOD GOD JORDAN OWEN IS A TERRIBLE EDITOR.

I must not have ever looked too closely at this picture of Zoe Quinn before, because Jordan Owen’s constant use of it has made me realize for the first time she’s wearing a necklace with Sailor Moon’s Cosmic Heart Compact on it.

I don’t always wear jewelry, but I need to find out where she got that now.

Watching a segment on actual death threats aimed towards anti-feminists and Gamergaters, and I should mention that I’m not denying that harassment occurs from the other side of the debate. Death/terror threats probably shouldn’t be the first course of action against someone you disagree with, no matter where you fall on the political spectrum. That said, I’m not comfortable with the whole “Our death threats are worse than yours!” narrative this segment seems to be hinting at.

Wait is…is this how Jordan Owen censors out brand names?

Dude, a blur effect would have looked way better here.

So, why are we presenting the threats Brad Wardell got threatening to rape his wife and child as completely serious, but some of the similar threats that Anita got as “That’s awful, but it’s just how people are on the internet!” Shouldn’t both situations be concerning?

Seriously though, Jordan, thanks for using pics of Zoe Quinn that give me more inspiration to go find sweet-ass Sailor Moon necklaces.

(I want that jacket, too)

Oh NOW, after about a goddamn hour, we get back to Anita Sarkeesian, a.k.a. THE PERSON YOU NAMED THIS DOCUMENTARY AFTER.

Back to the Honeybadger ladies: “If our society were misogynistic…it would not work at all” Hello, I’m from the future-year of 2017, and do I have some bad news for you.

JIM GOAD SAID “BETA MALES”, I CAN CHECK OFF THE ALPHA MASCULINITY SQUARE!

On the #NotYourShield topic now. I don’t feel knowledgeable enough to speak about the racial minorities or trans people who took part in that movement (I am very white and very cis), but I will say that as a woman, I’ve certainly encountered my fair share of misogynist women (who usually justify themselves as being “better” than modern women).

…also, I’m gonna give Jordan Owen the benefit of the doubt and assume that this segment isn’t the documentary equivalent of saying “I’m not racist, I have black friends!”

And the PhD candidate you found to explain “false consciousness” is Christina Parreira, who is first and foremost credited as a sex worker. Now, I’ve got nothing against sex work, but that title seems pretty irrelevant to the subject at hand and just makes me continue to question how you picked half the female interviewees.

Holy shit, what is with this weird buzzy echo in this segment?

Jordan goes on to talk about feminist opposition to sex work and porn, and Parreira brings up Anita’s use of “prostituted women” for female sex workers, but using “sex worker” when referring to male characters in that industry. I certainly won’t deny that certain forms of feminism haven’t been kind to sex workers (there’s a reason the term SWERF exists), but I do think it’s unfair to ignore that there are issues with the porn and sex work industries that really need to be examined and dealt with. (Problems that, admittedly, could be solved partly by destigmatizing women who choose those lines of work)

Christine Parreira goes on to talk about how she broke away from feminism because other feminists didn’t get how she was a proud sex worker. I understand where she’s coming from, but I’d also like to point out that feminism isn’t the monolith Jordan Owen’s trying to present: there’s a reason why we have constant discussions about TERFs and “white feminists” and how feminism really needs to work on its inclusivity issues. It’s not a sign of how feminism has failed, it’s a sign that, like all political movements, it’s still got a long way to go.

And now a serious story about how a sex worker was raped in her home and, despite being informed about it, Anita and many other feminists ignored the story and crowdfunding efforts to support her. I really don’t have much to say about this part except I hope she did get the help she needed (Oh, and Mercedes’ Carrera’s comment about “we don’t get workman’s comp”? Perfect example of the sex industry problems I was talking about)

With all this pointed out, I should state that these notes are being written as I watch the movie, and I now realize why Jordan Owen brought in sex workers to talk about Sarkeesian. However, given that the sex work talk doesn’t start till after the 2 hour mark, it seems really, really odd for those couple of hours that he’s brought in sex workers to talk about a video game critic. If he were a better writer, director, or editor, I wouldn’t be questioning this. Fuck, if he were a better filmmaker, I don’t think this thing would have been two-and-half hours, period.

This is the second time Nick Robalik’s shown up in the film and I just NOW noticed the goddamn pizza box in the background.

I’m pretty sure most filmmakers don’t show their craft services in the film itself. And for god’s sake, WHAT THE FUCK IS WITH THAT ECHO

So now Jordan Owen is criticizing the concept of “gamification”, and specifically using video games as a political mouthpiece. But…aren’t video games art? And isn’t there a long, rich history of art and political messages going hand-in-hand? JORDAN OWEN, YOU ARE A FAN OF SKELETOR, FOR GOD’S SAKE.

Oh and hey, speak of the (almost literal) devil, there’s a quote from Rand herself! 

“Neither am I the means to any end others may wish to accomplish. I am not a tool for their use. I am not a servant of their needs. I am not a bandage for their wounds. I am not a sacrifice on their altars.”

Ironic, considering Rand’s being used as a tool for Jordan Owen’s use here.

Brad Wardell says that he was inspired to get into game programming thanks to Sid Meier’s Civilization and he wanted to know what happens “when that spaceship leaves Earth”. Well, if I may be a smartass here, he could’ve just waited for Alpha Centauri…

Ooooh, and now Jordan Owen gets all ominous as he builds up the reason why he and many others are mad at Anita Sarkeesian, and he describes it as “the unending fountain of rage from which we draw strength” and WAIT ARE YOU USING A SCREENCAP OF AN ARTICLE ABOUT THE PATREON CAMPAIGN FOR THIS VERY FILM TO ILLUSTRATE YOUR POINT?!

WHAT THE FUCK

And speaking of “what the fuck”, why is Jordan going into some monologue about the nature of virtue and morality and the will to live while zooming in on some stock animation of a galaxy?

I’m not kidding, this is an actual screencap from a film about Anita Sarkeesian and GamerGate:

Why is he talking about how we’re different from other animals this is a documentary about video game feminism

He’s claiming that feminists want to take fun and competition out of games. No, dipshit, most geeky feminists I know just want to feel comfortable in gaming communities.

Oh god, he’s comparing them to parasites, WHAT KIND OF DAVE SIM WINGNUTTERY AM I WATCHING NOW

He’s calling gamers “historically ostracized”?! Look, I know what it’s like to be bullied for being a nerd but…I still don’t think that’s the appropriate phrase here?

Oh god oh god oh god he’s claiming that feminists want goverment regulation of the gaming community what is this shit

He claims SJWs who want games to be “better” only want propaganda and can’t see the imaginative potential in games. Dude, making games more inclusive and diverse would, in my opinion, expand the creative possibilities in game design. I’VE LIVED THROUGH SEEING WAY TOO MANY GODDAMN GAMES FEATURING GENERIC BROWN-HAIRED STUBBLED STRAIGHT DUDES AS THE MOST IMPORTANT CHARACTERS FOR ME TO LET THAT ARGUMENT SLIDE.

He’s claiming that people who want to be represented in art simply want to use creators as mouthpieces. REPRESENTATION. DOES NOT. WORK THAT WAY.

He keeps using this animation to represent how SJWs want to beat opposition into submission or some shit and good God, man, you think the Left is fearmongering?

“It is not because we resent the idea of gaming’s expanding horizons, but because we know that there was never any limits in the first place” Except the limits of close-minded execs who only want to appeal to 13-year-old male COD players, of course. But you won’t touch on that, now will you?

And he pulls out the old “If you want representation, make your own stuff” argument. And yet, I do distinctly remember him deriding Gone Home as “D*ke Mansion 3D”, so even if someone took his advice, people like Jordan Owen would still complain about its political agenda. People do make their own diverse works and yet they still get pushback from anti-SJW types.

And a montage of gaming history to prove “how far we’ve come without [SJWs]”. I noticed a clip from one of the King’s Quest games in this montage, which is hysterical to me considering how many Sierra adventure game people refused to work with Jordan Own specifically because of the views he spouted in this very documentary.

I’m admittedly a little grumpy he included footage of one of my favorite game series, Portal, in the “We don’t need SJWs to make good games!” montage

And now a montage of the interview subjects telling what they’d say to Anita Sarkeesian if given a chance. One of the Honeybadger ladies pulls out the “get a real job” line, which, as someone working in a creative field, admittedly made me flinch.

Are…are some of these people trying to psychoanalyze Anita?

Well, if all else fails, Jordan, you could always get a job making overly-long montages for awards shows.

Oh, so you ARE at least crediting Davis for the videography! First of, I think you mean “cinematographer” or “director of photography” and second, holy fuck does that explain a lot given what I’ve seen of Davis’ camera work in other stuff.

Sargon of Akkad gets a special thanks! Another person who would (understandably) break ties with Davis Aurini!

And that was, undoubtedly, the worst documentary I have ever watched…

…at least, until I get around to watching Davis Aurini’s version.

And here’s the Alt-Right bingo results! Didn’t get the bingo I wanted, but I came REALLY damn close:

One last note: in the description for this video, Jordan Owen says "No, I am not returning to Sarkeesian/SJW related commentary." Good, because you suck at delivering said commentary.