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paceyrememberseverything · 5 years

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When Calls The Heart

I know my blog has been mostly GoT dominated but I do watch many shows and I am a part of many fandoms (and I’m still just mad AF with how GoT ended that I can’t even talk about it) so, I’m moving on to other shows I enjoy.

A guilty pleasure of mine is “When Calls The Heart” If a show is filmed in Canada (like this one) I always watch to try and support it, as a fellow Canadian.

Sometimes you just want to watch a show that’s just easy to enjoy and it’s mind numbing ...

To be honest, I had kind of lost interest somewhere around season 4 but the revamp of season 6 has peaked my interest again.

Why did I lose interest?

Forgotten characters and stories

Jack & Elizabeth, by the time they finally got married I was kind of already over it, the writing had become quite stale. I love a slow burn (I waited 8 damn years for Niles & Daphne) but there has to be some good conflict and there just wasn’t any for J&E by S4. Besides, Jack had become a little too Dudley Do Right.

Why am I newly interested in season 6?

Elizabeth is a widow and single mother, I like seeing that human side of her.

I thought I would really miss Jack .... yet, I kind of don’t. I feel like the focus has shifted to other characters (and it’s about damn time) I like that they are focusing on Elizabeth’s other relationships and bonds. I love how close she has grown to Lee & Rosemary.

While I liked Abigail & Elizabeth’s friendship, I’m glad that hallmark chose to fire LL, if they hadn’t, I would of quit the show. Her ass is cancelled.

I was always intrigued by Henry & Abigail’s relationship. They are such polar opposites yet they respect and understand one another. I hope they recast Abigail with someone who has great chemistry with Henry.

I love Henry, he’s such a fantastic grey character. He’s not this cookie cutter perfect guy, he’s messy but he does try. He is worthy of love & family and I would like to see it.

I have loved the introduction of Fiona! She’s young, fashionable and has “big city” ideas, it’s just what Hope Valley needs! Speaking of newbies, I think Fiona & Nathan would be a good match. She could light a fire under his ass, take him out of his comfort zone and she could handle Allie in a battle of wits and sass.

Lucas Bouchard, the new, fine AF saloon owner. He’s mysterious and intriguing, I love him already! I’m totally shipping Elizabeth & Lucas, I think he’s just what she needs. I know many fans aren’t ready to let Jack go and to see Elizabeth move on but that’s not realistic. How long is she supposed to put her heart on a shelf and be alone? Life goes on. Jack was her first love, another man will be her last.... and I hope that man is Lucas! I think Lucas could challenge her in a way that she’s never be challenged. I think he could awaken something in her, the part of her that doesn’t just want to read a steamy romance novel, but actually live it. I think he is as worldly and educated as she is and I’ve enjoyed their fights so far. I think she could give him the stability he needs (she would call him out on his crap and keep him level) and he gives her the intrigue & spice she needs.

I like Nathan, I do, but he is just not for Elizabeth. It’s too much of a rinse & repeat of Jack. He’s already taken Jack’s position as Mountie, is he to take his place in bed and as husband/father? ... it’s just too much. That to me, would feel like a total Jack replacement instead of Elizabeth truly moving on.

I really hope Lee & Rosemary choose to adopt next season.

Faith & Carson? Meh, just not feeling it much. I like them both and we will see what happens.

I hope Jesse & Clara don’t waste a season or two over wedding planning & fighting.

This post got really long really fast 😂 I have an Elizabeth & Lucas vid in the works, I’ll post it when it’s finished.

#when calls the heart #WCTH #hearties #season 6 #elizabeth thornton #elizabeth x lucas #lucas bouchard #hallmark

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fandom-oracle · 6 years

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Out of unadulterated curiosity and not the intent to start a fight, I would love a detailed response concerning your issues with the Jones men

aIt’s fine, really! I know I sound super upset on my discourse blog and even on my main blog sometimes, but if you genuinely want to have a civil conversation off anon with me I’m cool with it, even if we have different opinions.

First of all, we have to notice that not all of my dislike for Jughead and F.P. comes from the text. There are three planes of literary analysis that I employ before making my mind up about a character and they’re: text, subtext, and metatext. Text is what is actually portrayed on the work. With as little hermeneutics as possible, it’s what’s written. Subtext is what we can infer from exegesis, that is, interpretation, but still not connecting it with anything outside the work. Subtext is usually, but not always, intentional. In a television show, actors have a huge influence on subtext; for instance, there are tons of homoerotic subtext in Teen Wolf, despite the fact that there is very little actual homosexuality portrayed. Then we have metatext, which involves looking at the work critically and finding how they fit into larger societal trends outside of it. My dislike for Jughead is primarily metatextual. For a more tangible example, Once Upon a Time, a popular television show, had five canonical rapists: Regina, Hook, Zelena, Arthur, and Gothel. I adore Zelena, I have mixed feelings about Regina, Arthur and Gothel weren’t relevant enough for me to have an opinion on them, and I loathe Hook. Not because of the act of the rape, but because Hook’s entire storyline fits very well into a world where rape culture exists and men are taught that disregarding women’s boundaries is expected, and women are taught that it’s romantic. In fact, the part of Hook’s arc that bothers me the least is the actual rape, since that was portrayed negatively. Zelena and Regina’s (and for that matter, Arthur’s and Gothel’s) rapes were portrayed as negative and, perhaps more importantly, they weren’t part of romantic storylines that drove them towards disregarding their love interests’ consent.

For my textual problem with Jughead, my “anti jughead jones” tag is filled with it. Some of it will be strongly worded, so be wary. Aside from that, and probably, more to the point of this long ass post I wrote, Jughead represents a lot of different things metatextually, and of course, there are different readings of the character. But from his very early days, I couldn’t help but read Jughead as a perfect representation of white, masculine faux-progressivism. And there are two trends at play here: 1) First, you have the Guevara-worshipping, dictatorial apologist brocialists (derrogatory term for socialists who ignore the fight against the partiarchy). They question capitalism, but generally give undivided support to social structures that oppress minorities. Guevara was a racist and a homophobe, for instance. Stalin was an antisemite. Marx himself had a very controversial reading of racial struggle that completely ignores the aesthetic, emotional, religious, cultural and intellectual forms of oppression ethnic minorities suffered and continue to suffer in order to sustain dialectical materialism. Sometimes they manifest as a nationalistic left, although that exists primarily in Latin American politics and not so much in the U.S. 2) Then you have the 1960s-loving “wild boys”. It’s the people who believe that cosmopolitanism, secularism, education, science and technology, the economization of individual lives, the focus on LGBT+, ethnic minority, and women’s issues, run contrary to the true liberation of oneself and “coddles” people, being just as much a “prison” as conservative values and religion. It’s a weird unification of rugged individualism and anticapitalism. You might be thinking there’s nothing wrong, but putting excessive value in any form of antisocietal individualism is dangerous; it’s just a reworking of the cultural structures of patriarchal thinking, that had its beggining with a book called On the Road, by Jack Kerouac. In the words of Mary Paniccia Carden, “he attempts to substitue male brotherhood for the nuclear family and to replace the ladder of success with the freedom of the road as primary measures of male identity”. And no one really notices how insidious those discourses have historically been and are starting to again be (the very need for a term “brocialist” implies they’re getting stronger in leftist communities) in erasing minority and women’s historically oppressed roles. Both of them discourage thought to liberal democracy as an institution that, however flawed it may be, has been notoriously capable of allowing for minority rights to have a sphere of influence that they wouldn’t otherwise. And praising Jughead as a paragon of the fight against oppression and demonizing Veronica as the oppressor, or at the very least the one to benefit from systemic oppression, endorses those discourses. I could write more about this I suppose but eh, this is basically the bulk of why I dislike Jughead.

#anti jughead jones #anti riverdale #riverdale #jack kerouac #che guevara #karl marx #marxism #once upon a time #anti hook #anti captain swan #on the road #mary paniccia carden #veronica lodge #regina mills #zelena #zelena mills #gothel #mother gothel #eloise gardener

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chicagoindiecritics · 4 years

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New from Every Movie Has a Lesson by Don Shanahan: MOVIE REVIEW: Irresistible

(Image courtesy of Focus Features)

IRRESISTIBLE— 3 STARS

Jon Stewart’s new film Irresistible holds a broad and powerful mirror up to the lies and guises of America’s election economy. Right when you think an outspoken personality like the beloved former host of The Daily Show is going to shout from his now-taller cinematic pontiff a chosen side or favorite, he remarkably doesn’t. This is an even-handed farce of finger-pointing where both political sides have dirty hands and the media in the middle is wholly and equally complicit. Stewart unleashes this cringing astonishment in a surprising movie that pulls your leg and also very rug right out from underneath you.

The political labels are coming at you for full exposure. If that’s a porcupine you try to avoid (astounding social acrobatics if you’ve got them), good luck. However, if you need a way into Irresistible consider the lyrics of heartland rocker and political centrist (who knew) Bob Seger’s 1978 hit “Still the Same.”

You always won, every time you placed a bet

You’re still damn good, no one’s gotten to you yet

Everytime they were sure they had you caught

You were quicker than they thought

You’d just turn your back and walk

You always said, the cards would never do you wrong

The trick you said was never play the game too long

A gambler’s share, the only risk that you would take

The only loss you could forsake/The only bluff you couldn’t fake

And you’re still the same/I caught up with you yesterday

Moving game to game/No one standing in your way

Turning on the charm/Long enough to get you by

You’re still the same/You still aim high

There you stood, everybody watched you play

I just turned and walked away/I had nothing left to say

‘Cause you’re still the same/You’re still the same

Moving game to game/Some things never change/You’re still the same

The simple song is a recurring background musical motif that echoes the deception happening from the red and blue directions of this movie with pure white citizens being manipulated in the middle. Between the insincere sameness of the bets, charms, aims, bluffs, tricks, and more, line after line of Seger’s ditty nails a piece of the duplicitous characters in Stewart’s film.

The guileful gamblers of Irresistible are political strategists Gary Zimmer and Faith Brewster played by the twosome of Steve Carell and Rose Byrne. Each are fantastically introduced during the 2016 national election in front of small gatherings of faceless press with their eager microphones, flashbulbs, and cameras. Letting you know exactly what kind of outrageous people they are and the type of movie that contains them, both proudly proclaim their job is to lie straight into faces. Their matching responses are delivered precisely as if it were one of the sterilized and scripted soundbites we tend to expect. Instead, it’s the veracity we never hear but should be able to decipher.

LESSON #1: SPIN WITHOUT SHAME— With their finely stretched fabrications, Gary and Faith relish this cruddy combat, veiled as “working with” not “working for.” Truth be told, they don’t value the people they’re collaborating with or studying. Both spin doctors blow off teachable moments with zero regrets under twisted mantras that state “people have to do shitty things in the service of the great good.” That’s the slime of supposed dignity they wash their hands through and shine their smiles with. If you don’t know the type, you’re falling for the fake shine.

The post-election hangover of Donald Trump’s historic Presidential victory has left the Democratic pusher Gary crushed and desperate to expand the base of the party so lacking in rural American support. When a low-ranking staffer shows Zimmer a viral video of a former Gulf War Marine Colonel named Jack Hastings (Academy Award winner Chris Cooper) standing before a city council meeting speechifying needed support for welfare programs in the small (and fictitious) town of Deerlaken, Wisconsin, his eyes light up. He sees “a Democrat that just doesn’t know it yet,” “Bill Clinton with impulse control” and “Bernie Sanders with bone density.”

Gary is so convinced he can make something of this utilitarian unicorn he travels to the swinging Badger State to turn him into a mayoral candidate. The completely city-slicking 2%-er who is used to getting his ass kissed and avoiding carbs jumps right into his awkward elbow-rubbing in the land of beer, streusel, cheese curds, and Carthartt. After coaxing Jack to challenge the incumbent Mayor Braun (veteran character actor Brent Sexton), word travels faster than the town’s dialup internet among the kindly denizens and a race is on.

LESSON #2: DOES EACH PARTY HAVE A TYPE?— Here come the warped “liberal” and “conservative” labeling assignments that demand side-choosing. Why? That’s because a duel between analytics and polling (personified by smarmy supporting turns from Topher Grace and Natasha Lyonne that could fill their own spinoff movie of competitive banter) reveal an alarming amount of trends and descriptors in every person. Chris Cooper, with his silvered mop and down-home cadence, is perfectly cast to be a principled fellow not bound by any porch-rocking. Anchored by his astute daughter and unofficial public barometer Diana (Mackenzie Davis), his character is fluffed up to become someone and something he is not purely for the sake of appearances. That created image moves needles, television graphics, and checkbook covers.

The full orchestra of Gary’s war drums draws national media attention to this humble hamlet as well sparks the invading arrival of the vapid bitch Faith to back Mayor Braun. Armed with their micromanaged minions, mucky millions, and salacious scalpels for scandal, the two rivals thrown down an oral sex wager to whomever’s candidate can win this parliamentary pissing contest. Let the zany pandering and placating begin.

LESSON #3: PATRONIZING IS A TWO-WAY STREET— Echoing Lesson #1, Gary and Faith’s professions are that of micromanaging shit shows. Inconsequential things are inflated to manufactured influences. The strategists do not care to connect unless there is an angle of personal or professional gain. The by-products of the wannabe geniuses thinking they are above their targets are perverted presumptions and massive condescension, with an emphasis on the “con” prefix. Not every hayseed is a mark. Plenty of fat cats are as well.

LESSON #4: THE INSANITY OF THE MONEY IN POLITICS— With the one-upmanship of “spend to start” and “spend to stop them,” the rinky dink stuff is soon over. Framed in comedic setups and montages, frivolous millions are poured into Deerlaken and the PAC influences crop up next. At a fancy fundraising party in New York, the out-of-his-element Jack mildly unloads on how stupid the preening glad-handing stage is. Even that emboldened and honest truth doesn’t change the deep-pocketed donors. No one bats an eye and that’s not good. The course of all this is a financial food chain all its own, one where, during the very telling end credits of Irresistible, a research subject poeticizes “money lived happily ever after reveling in its influence in politics.” The real question should be what shady sunset does the money ride off into.

LESSON #5: COMPARING THE END RESULT TO THE PROCESS— On the eve of the climactic election, Zimmer comes right to Hastings telling him his chase is about extremely simple math behind all the streamers, fireworks, and media mound. The goal is to outvote the other person by merely one vote. Screw all the analytics and polling when the ballots open. In his experience, the tawdry theatrics are forgotten when there’s a winner to celebrate. That is all the more reason why the perceived importance of the result, even for a small-town mayoral election, is maddeningly worth the quality of the chase.

LESSON #6: WHERE IS THE BLAME?— The cog of the dramatized machine in Irresistible that comes out the cleanest and most dutiful is John Q. Voter. The “fickle mob” public are the ones who must be discerning enough not to snort the spin or guzzle the cable TV conjecture. It would be easy just to slap a “satire” label on this movie and take none of it seriously. That would be a mistake. Stewart and company play us all because we, the people, deserve to be played. Yet, it still has a stance begging whoever is watching not be a part of any future blame. Color that as hope out of the shocking sarcasm.

There are places in Irresistible where the mockery is as thin as a pesky mosquito’s wings as it draws patriotic blood and passes on diseased ideas. Other spots are as thick as quicksand made with indomitable behaviors that seem insurmountable to rescue if this was the real thing. Preposterous is the point. If you think you have the movie all figured out when it debuts on streaming platforms on June 26th, you have another thing coming.

Bring it all back to Seger. The grand game is exposing the hypocrisy and Irresistible builds to the swindle of swindles to make this very valuable point, one prominently placed now in an election year. If you have an open mind, which can be a challenge for far too many folks on the swinging national pendulum of personal politics, you may come to enjoy the razor sharp cut of your Stewart’s biting jib. Irresistible becomes an immediate pre-election time capsule and a deserving place for rubbing our nose in our own shit, forcing us to see our gullibility, inaction, and ignored responsibilities before history repeats itself… again.

LOGO DESIGNED BY MEENTS ILLUSTRATED (#891)

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tessatechaitea · 7 years

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Wonder Woman #13

Apparently Wonder Woman cries out of her eyes and ears.

Wonder Woman quickly gets better. I don't mean all the way better. I just mean out of a coma better.

I think Steve Trevor and Wonder Woman have wound up on the island from Lost in their search for Themyscira. That must be why there's a Dharma logo on the cover for the Sprocket Station. Did anybody ever do an I Ching reading of the Dharma logos? I should ask Lord Google about that. Here's a reading by NewSuez on losteastereggs, a blogspot blog: "I chose these symbols for a reading on the internet and this is what it came up with... The time is not yet right for you to act, so be patient: the transition from chaos to order is not yet complete. You are following the right path, but avoid disputes, and success will come to you in time. Equal partnerships benefit. Act with humility to all people; restore balance between excess and dearth in order to be successful. This is a good time for increased activity and prosperity, and maybe travel over water. Make the most of this time because it will pass. Be generous and do not seek unfair advantage over others. Do not follow someone else's path. Be careful of dangerous situations: deceit and hidden objectives will be harmful, although honesty and honourable actions could be beneficial. Learn from these situations for the future. There is good fortune, but this is not a time to relax. Be sure to consolidate what you have, or have gained. Act with caution and strive to maintain balance. Everything is as it should be! Take opportunities as they arise, and act with conviction, but make sure you do not appear over-confident or 'immodest'. Avoid excesses, and preserve what you have. You may need to accept a loss, but do so easily: greater benefit will replace the loss. Be restrained but flexible, and act with sincerity. There is danger which must be acknowledged, and actions taken in quiet ways with the support of others. Greater prosperity will follow if you act fairly and with honour, and are cautious in your actions." I would do an I Ching reading of the logo on the cover except I don't think it has entries for tentacles. The theory that they're on the island from Lost isn't just a joke! The caduceus on Maru's face was one of the Dharma stations. In fact, all of the Dharma stations have some connection to Apollo. Which probably means something if I cared to spend any more time thinking about Lost than I already have in this lifetime.

That's what the captain of the Black Rock probably said! Oh! Steve Trevor keeps thinking about how they're trapped on a "rock" in the middle of the "Black" sea! Totally on the Lost island!

This island is also an island that can't be found and shouldn't be where it is. Coincidence? The island might also be a gateway to another place. This one to Themyscira, the island of Lost to Heaven (since it was, you know, Purgatory). Maru (who is a Marina and not a Piper) lands on the island with her team, Poison. They rock the fucking faces off the hair band kids and then get their asses beat by jock Steve Trevor. He might kick the asses of Poison but not their leader, Marina Maru. She gets the drop on Wonder Woman and ends the battle because Steve Trevor hasn't seen the comic by Kerry Callen

Why the bracelets? Click through to find out!

Steve and Diana are rescued by some of Steve's or Etta's or Jack's or Locke's or Ben's friends. They leave the Island and escape although they'll probably have to come back later to finish finding Themyscira and Diana's past. Diana is locked in a mental ward until she can metamorphose into Rebirth Wonder Woman. Right now, she's still really confused by all of that history between Crisis on Infinite Earths and now. The Ranking! -1! This was just a stupid love letter from Steve Trevor to Diana! Romance is stupid! And dumb! That might not be a fair assessment of this comic book but it's a completely biased assessment, which is all you'll ever get from me! I promise!

#Wonder Woman #DC Comics #Greg Rucka #Renato Guedes #Romulo Fajardo Jr

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